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​Leo Álvarez: «Cuando trabajas para prensa, no hay una libertad real de discusión»

A Leo Álvarez no se le entrevista, con Leo Álvarez se conversa… en una cafetería, expreso y tiempo mediante. Si no, no tiene sentido, porque al igual que en su trabajo fotográfico, el encuentro con Leo Álvarez resultará en una inmersión de largo aliento, donde será difícil separar verbo y gesto, gesto e imagen, figura y fondo. Continúa leyendo ​Leo Álvarez: «Cuando trabajas para prensa, no hay una libertad real de discusión»

The window at night

In the midst of the pandemic and isolation everything has been disrupted and upset, but especially the dream. We no longer sleep like before. Every day and every night seem the same day and the same night. The time has stopped. Only windows let us know how things are going. Windows are now our watch and our mirror. Windows at night invite us to recognize ourselves as fused into solitude and silence that we always refuse to see and hear. The windows are no longer there on the walls, that’s an illusion. They are now our soul, between shadows and light beams of light. They are now our soul, in the middle of the dark night, the pandemic and the isolation. Continúa leyendo The window at night

Semápolis: abandonment, color and death in Mexico City

Women in CDMX also wear colors, such as the tombs and walls shattered by the abandonment of the Dolores Civil Pantheon and La Ola Water Park. But these colors are not enough to conjure the fear of harassment, kidnapping and murder. Women in CDMX also walk alone dressed in bright colors, but most are forced to follow an uncertain, insecure course, even if they bravely approach the street. Color does not save them, nor does religion. It does not save them entrusting themselves to their dead in November, nor to the Virgin of Guadalupe. They only have to be empowered since their establishment in self-defense groups. His path seems to be drawn to a cross, behind which he always seems to wait for a male figure to perpetrate violence. From the color of the graves and the joy that seems to invoke to give happiness to the dead, there is also the fragile happiness that accompanies women in Mexico City. «Semapolis» goes about that. They are images that trace a polysemic path to warn about that reality, or those realities that intermingle and overlap in the overwhelming chaos of this cosmopolitan city that celebrates its saints and their dead in every corner. Continúa leyendo Semápolis: abandonment, color and death in Mexico City

Bacigalupo reinterpreted

In 2014 the Italian photographer Martina Bacigalupo presented her work «Gulu Real Art Studio», a series of portraits found in the bin of the oldest photographic studio in Gulu, in northern Uganda. They are faceless prints that make up the typological representation of a community, identified primarily by their clothes, skin color and postures. Six years later I have decided to select three of these images and rework them to broaden the representation of the moving story that Bacigalupo generates until it is universalized by making it much more symbolic. Migration, death and children at risk adhere to the typological representation of Bacigalupo through the intervention carried out with fragments of my own photographs and with it I resignify the «Gulu Real Art Studio» code to relate it to issues such as violence against women and helplessness before military power and isolation. Continúa leyendo Bacigalupo reinterpreted