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Posts from the “Latin America” Category

The Fourth Annual Latin American Foto Festival

Posted on August 1, 2021

Alfred Flores, 5, holds a bunch of quenettes in Patanemo, Venezuela, on July 17, 2020 © Andrea Hernández Briceño

Strength, resistance, endurance, and adaptability are vital necessities for survival in a brutal world, one that continues to perpetrate the horrors of colonialism upon indigenous communities who have been rooted in the land for thousands of years. When looking at contemporary Latin America, we bear witness to an extraordinary blend of cultures in 33 nations on two continents fighting for survival in the wake of cataclysmic waves of warfare, ethnic cleansing, and environmental destruction.

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With the Bronx Documentary Center’s (BDC) Fourth Annual Latin American Foto Festival(LAFF), which opened July 15, we see the stories of the people told by those who have lived it. Featuring a series of exhibitions, virtual and in-person workshops, tours, and panel discussions online and within the Bronx, the LAFF presents a series of powerful and poignant stories offering new paradigms that speak truth to power. 

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Curated by BDC Directors Michael Kamber and Cynthia Rivera, the LAFF features work by artists Andrea Hernández Briceño, Carlos Saavedra, Cristóbal Olivares, Florence Goupi, Luis Antonio Rojas, Pablo E. Piovano, Rodrigo Abd, Victor Peña, and Victoria Razo. On view until Sunday in installations at the BDC galleries, as well as on sidewalks, school exteriors, and in community gardens, the LAFF brings the story of Latin America to the Bronx, home to more than half a million Latinos. 

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Read the Full Story at Blind

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A working horse bites its tail during a break from carrying cocoa beans in a farm in Patanemo, Venezuela, on July 16, 2020 ​​​​© Andrea Hernández Briceño
Categories: Art, Bronx, Exhibitions, Latin America, Photography

Ruber Osoria: A Migrant’s Journey from Cuba to Chile

Posted on June 23, 2021

Ruber Osoria

Photographer Ruber Osoria hails from Contramaestre in Santiago de Cuba on the east end of the fabled island, a town that gets its name from the river whose waters nourished three of the most influential men in Cuban history: Carlos Manuel de Céspedes, known as “Father of the Fatherland” for his actions during the Cuban War of Independence; revolutionary philosopher and political theorist José Martí; and Fidel Castro.

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Born in 1992, Osoria is the only child of a single mother and farmer. “I spend my entire childhood at my mother’s farm where she grew corn, potatoes, bins, cassava and pumpkin, and also raised chickens, ducks and one or two pigs occasionally,” he recalls. “My first toys were plants and animals. I had a happy childhood until one day a hurricane devastated our home.”

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Growing up, Osoria surrounding himself with poets, musicians, rockers, rappers, and muralists. He explains, “I’ve always been immersed in the constant search for an element that would allow me to express the feelings burning inside me: the fact that my father abandoned me when I was a baby, my grandpa and other family members emigrating to the United States, and the loss of my home.”

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Read the Full Story at Blind

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Ruber Osoria
Ruber Osoria
Categories: Art, Blind, Latin America, Photography

Emily Sujay Sanchez: Stories of Trauma, Survival and Healing

Posted on May 31, 2021

Emily Sujay Sanchez

“My story is no different from women who look like me,” says Emily Sujay Sanchez, a Bronx-based photographer of Dominican heritage, who recounts a story of trauma, survival, and healing that first took root when she picked up the camera at the age of 23.

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“I had just moved back to Providence, Rhode Island, after having my son. It was a really rough time,” Sanchez says. “ I had this baby and separated from my son’s father, right away. I was suffering from postpartum depression, though at the time I didn’t know what it was. I couldn’t find work, and then when I did it was an overnight job one hour away from home, working in the coat checkroom at a casino. I was going through it.”

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But providence, as it were, intervened and Sanchez enrolled in a photography course being taught at a local school. “I took into to film and darkroom and I will never forget the feeling because I was able to quiet everything that was going on at the time,” Sanchez says, then stills herself, holding back the tears.

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“I still remember the first photographs I took. My instructor sent me out and said, ‘Take pictures of what attracts you and look at the lines’ — whatever the hell that meant!” Sanchez laughs. “The city is deserted, there’s nothing really going on. I was walking around this area and there was a diner. I saw a waitress outside smoking a cigarette on her break. Her eyes were glazed and she was completely in her own world. I asked if I could take her picture and she said, ‘Sure.’”

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Read the Full Story at Blind

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Emily Sujay Sanchez
Emily Sujay Sanchez
Categories: Art, Blind, Bronx, Latin America, Photography, Women

Sarah Hermanson Meister: Fotoclubismo – Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 1946–1964

Posted on May 10, 2021

Gertrudes Altschul, Filigree (Filigrana), 1953, The Museum of Modern Art, New York © 2020 Estate of Gertrudes Altschul

At precisely 2:34 p.m. on April 29, 1939, a small group of amateur photographers gathered in the Blue Room of the Martinelli building in São Paolo, Brazil, to create the Foto-Cine Clube Bandeirante (FCCB). Lawyers, businessmen, accountants, journalists, engineers, biologists and bankers… These white collar professionals shared a common love for the innovative possibilities of photography. Together, artists including Thomaz Farkas, Geraldo de Barros, Gertrudes Altschul, Maria Helena Valente da Cruz, and Palmira Puig-Giró, among others would gather regularly in the spirit of competition and camaraderie to create a space for shared discovery.

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Informed by the movement towards abstraction dominating the modern art world, members of the FCCB pushed the boundaries of the medium into new realms, and their influence extended into artistic circles across Europe and North America. Like their peers working in painting, design, and literature, the FCCB found inspiration in majestic elegance of daily life, drawing from architecture, nature, texture, shape, shadow, solitude, and movement to create new ways of seeing the world.

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For 25 years, the FCCB continuously challenged visual tropes, resisting the lure of repetition and cliché in a search for originality of style and technique. But with the Coup of 1964, in which the United States funded the Brazilian Armed Forces overthrow of President João Goulart, a brutally repressive regime dominated the country for the next twenty years. As the FCCB prepared for the Eighth São Paulo Bienal in September–November 1965, the government began to jail critics and intellectuals, an act that signaled the end of an era had arrived.

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After the FCCB disbanded, they all but disappeared from the history of modern photography outside Brazil. In her final exhibition for the Museum of Modern Art, curator Sarah Hermanson Meister has organized Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 1946–1964, a restoration of a vital but forgotten chapter of art history, opened since May 8. Featuring more than 60 photographs drawn from the MoMA’s collection, the exhibition and accompanying catalogue present a series of works that offer indelible insight into mid-century modernism with a Brazilian touch.

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Read the Full Story at Blind

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Maria Helena Valente da Cruz, The Broken Glass (O vidro partido), c. 1952, The Museum of Modern Art, New York © 2020 Estate of Maria Helena Valente da Cruz
Julio Agostinelli, Circus (Circense), 1951, The Museum of Modern Art, New York © 2020 Estate of Julio Agostinelli
Categories: Art, Blind, Books, Exhibitions, Latin America, Photography

Gilles Peterson: Cuba: Music and Revolution – Original Album Cover Art of Cuban Music: The Record Sleeve Designs of Revolutionary Cuba 1960–85

Posted on January 15, 2021

From rhumba to salsa, mambo to jazz, the music of Cuba has set the world aflame. Seamlessly fusing the melodies of Spanish guitar with complex African drum patterns to create an endless variety of intoxicating styles, it has become one of the most influential sounds of our times.

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After the Cuban Revolution, the state launched its official record company, Egrem, which stands for ‘Empresa de Grabaciones y Ediciones Musicales’ (‘Enterprise of Recordings and Musical Editions’) in 1964. At that time, record sleeves were one of the only means for an artist to convey their image to the public en masse. The government understood the power of art, photography, and graphic design to spread its message around the globe.

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“We must bear in mind that a new society is being established in Cuba and graphic art plays an important role in communicating the message to this society,” Cuban graphic designer Félix Beltrán is quoted as having said in 1969 in the new book, Cuba: Music and Revolution – Original Album Cover Art of Cuban Music: The Record Sleeve Designs of Revolutionary Cuba 1960–85 (Soul Jazz Records) edited by Gilles Peterson and Stuart Baker.

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Read the Full Story at Huck

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Categories: 1960s, 1970s, 1980s, Art, Books, Huck, Latin America, Photography

Adriana Parrilla: No Me Llamas ‘Trigueña’; Soy Negra (Don’t call me ‘Trigueña’; I Am Black)

Posted on September 14, 2020

A young man holds a newborn baby in Loíza, Puerto Rico. July 26, 2018. I was taught in school that the only place that there was a “real” black community was in the town of Loíza and that their only contribution to Puerto Rican society was only tied to our folklore, to the heritage of our traditional Afro-Caribbean music, Bomba and Plena. Subsequently, the image of the Afro-Puerto Rican community in Loiza was distant and distorted. From ‘No Me Llames Trigueña; Soy Negra’ (‘Don’t Call Me Trigueña; I’m Black’). © Adriana Parrilla

The Bronx Documentary Centre’s Third Annual Latin American Foto Festival (LAFF) brings together artists from across the Western Hemisphere, among them Adriana Parrilla, Luján Agusti, Adriana Loureiro Fernández, and Luisa Dörr.

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For as long as Afro-Puerto Rican photographer Adriana Parrilla can remember, she was called “trigueña” – a word to describe someone who is light-skin Black or mixed-race to distinguish them from someone who was “Negro”, or explicitly Black.

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“It was so common to hear this word that it was almost as if they were calling me by name. ‘Trigueña’ was always used by people as a euphemism, to make me feel better by not calling me ‘Black’ because that had a negative connotation. They only called me ‘Black’ when they intended to hurt me​.”

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For Parrilla, growing up, her relationship to her African heritage had been a mystery. “I had thousands of questions about my racial identity, but I never dared to seek some answers,” she says. “My identity was in limbo, a mixture of many elements that I preferred not to examine. Like many Puerto Ricans, I accepted my identity as ‘in-between’ but never as Black.”

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Read the Full Story at Huck

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Three young men, c. 1950 © 2019 Leo Goldstein Photography Collection LLC
Categories: Art, Exhibitions, Huck, Latin America, Photography

Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jaques and Natasha Gelman Collection

Posted on October 24, 2019

Frida Kahlo, Self-Portrait with Monkeys, 1943.

Diego Rivera, Landscape with Cacti, 1931.

In the early 1920s, a teenage Frida Kahlo met Diego Rivera while he was painting the mural ‘La Créación’ at the Escuela National Preparatoria, the oldest high school in Mexico. In his late 30s, Rivera was at the outset of a spectacular career, and was set to become one of the most prominent modern artists in the world.

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“One day they asked me who I wanted to marry, and I said I would not marry,” Kahlo told Olga Campos in 1950. “But I did want to have a child by Diego Rivera.”

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Though they never had any children, the couple married twice. Theirs was not an easy life, as Kahlo famously confirmed: “I have suffered two grave accidents in my life, one in which a streetcar knocked me down… The other accident is Diego.”

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Yet for all their trials and tribulations, their legacy lives on, and is being celebrated in the new exhibition Frida Kahlo, Diego Rivera, and Mexican Modernism from the Jaques and Natasha Gelman Collection. Featuring about 140 works, the exhibition explores their lives and love affair, while placing their contributions within the larger context of revolutionary Mexican art.

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Read the Full Story at Huck

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Diego Rivera, Portrait of Natasha Gelman, 1943.

Frida Kahlo, The Bride Who Becomes Frightened When She Sees Life Opened, 1943

Categories: Art, Exhibitions, Huck, Latin America, Painting

Karla Hiraldo Voleau: Hola Mi Amol

Posted on October 2, 2019

© Karla Hiraldo Volaeau, courtesy of SPBH Editions

French-Dominican photographer Karla Hiraldo Voleau was often told, “never date a Dominican”. It was a piece of advice she shrugged off. Both she and her cousin were born to French mothers and Dominican fathers while her French grandmother had also travelled to the Dominican Republic and fallen in love with a local man.

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“I was like, ‘But every one of you guys dated a Dominican so… what the heck?’” Hiraldo Voleau says with a laugh from her home in Lausanne, Switzerland. Growing up, she would travel to Santo Domingo, the island’s capital, every summer and she decided to return once more to do a project exploring love, sex and the relationships between men and women that have long fascinated her.

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“I was intrigued by these foreign white women who come to the Caribbean to have this escape, this tropical love story, and wanted to impersonate one,” Hiraldo Voleau says, subverting the traditional idea of sexual tourism. The result is Hola Mi Amol, a shortlist nominee for Aperture’s First PhotoBook Award, which will be featured in the 2020 Foam Talent exhibition.

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Read the Full Story at AnOther

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© Karla Hiraldo Volaeau, courtesy of SPBH Editions

Categories: Art, Books, Latin America, Photography

The Second Latin American Foto Festival

Posted on August 16, 2019

Fred Ramos. A Honduran child plays near train tracks in Arriaga, Chiapas, in southern Mexico, October 2018.

Johis Alarcón. Nicole Carcelén, 19, plays with a cotton plant in her hair. The black slaves who first came to Ecuador were forced to work in cotton fields, cane fields and coal mines. For Nicole, cotton plants represent the strength of her ancestors and the strength of their blood. La Loma, 2018

With the second edition of the Bronx Documentary Center’s Latin American Foto Festival, curators Michael Kamber and Cynthia Rivera provide a space for photographers living and working in Latin America to tell their stories on their terms. The Festival, held in nine venues throughout the Melrose neighborhood of the Bronx, gave some 50,000 residents — many of whom are Latinx immigrants — the opportunity to engage with stories from their homelands through exhibitions, workshops, tours, and panel discussions.

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The history of colonized lands is rarely told by those who have suffered the fate of centuries of imperialism that have systemically decimated the people and the lands of every continent outside Europe. Over the past 200 years, the people of Latin America have fought for independence and sovereignty, and against puppet regimes installed by the United States that first began in 1823 under the Monroe Doctrine.

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As ICE raids systemically target Black and Latinx communities, the Foto Festival provides a pertinent moment to pause and reflect on the impact of white supremacy in its many forms, and the ways in which those it aims to exploit, oppress, and erase fight back in a struggle for life or death.

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Read the Full Story at Feature Shoot

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Chris Gregory. Ruta del Progreso

Yael Martinez. Family heart .photos on the wall of Perla Granda’s (my sister-in-law) bedroom of her missing brothers. She is 14 years old, she is in high school. She lives with her mother and Her sister Sandra at Taxco Guerrero Mexico On September 10,2013.

Categories: Art, Bronx, Exhibitions, Feature Shoot, Latin America, Photography

Urban Impulses: Latin American Photography from 1959 to 2017

Posted on June 26, 2019

Pablo Ortiz Monasterio. Flying low, Mexico City, 1989 © Pablo Ortiz Monasterio Courtesy of the artist

“I am not a liberator,” said Ernesto “Che” Guevara in 1958, just one year before the Cuban Revolution transformed the landscape of Latin America. “Liberators do not exist. It exists when people liberate themselves.”

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This historic movement for independence from western imperialism marks the starting point of the new exhibition Urban Impulses: Latin American Photography from 1959 to 2017. Curated by María Wills Londoño and Alexis Fabry, the show features more than 200 works by over 70 artists; including masters of the medium Alberto Korda, Graciela Iturbide, Sergio Larrain, as well as lesser-known artists such as Enrique Zamudio, Beatriz Jaramillo, and Yolanda Andrade.

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“The purpose of the show is to bring a counterpoint to Latin American photography beyond gazes that have an exoticising point of view,” says Londoño. “We want to introduce new perspectives focusing on the chaos and crisis of utopian models of modernity.”

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Read the Full Story at Huck Online

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Álvaro Hoppe. Calle Alameda, Santiago, 1983

Categories: 1960s, 1970s, 1980s, 1990s, Exhibitions, Huck, Latin America, Photography

Adreinne Waheed: Black Joy and Resistance

Posted on January 17, 2019

© Adreinne Waheed

Hailing from Oakland, California, Adreinne Waheed took up photography at the age of 13 and never put the camera down. Inspired by the work of Roy DeCarava and Gordon Parks, Waheed has dedicated her life to celebrating the beauty and resilience of the African diaspora.

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In her new book Black Joy and Resistance, Waheed does just this, bringing us inside the 2015 Million Man March, #FeesMustFall, and Carnival in Bahia, as well as Brooklyn’s own West Indian Day Parade, Afropunk, Dance Africa, and Soul Summit.

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“Every image in this book was photographed at a large public event,” Waheed says. “What ties them together is the celebration of black and brown cultures and the resistance of conformity, oppression patriarchy, etcetera. Music, dance, art and other forms of passionate expression are elements that are interwoven throughout.”

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Read the Full Story at Huck

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© Adreinne Waheed

© Adreinne Waheed

Categories: Africa, Art, Books, Brooklyn, Japan, Latin America, Photography

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