Emiliano Valdes

Indian Bathers Michatoya, 1958

The recent re-discovery of Julio Zadik’s archive has yielded in a reconsideration of the origins of modern photography in Guatemala and its development through the nineteen forties, fifties and sixties. The exhibition and book that resulted from the Zadik family’s incursion into the great and impeccably kept legacy of their relative are filling in a gap in the construction not only of a recent history of photography but also in the construction of the identity of the country. In fact, it is in Zadik’s early images that we perceive a shift in the appreciation of the land and its people: a turning away from the ethnographic approach that prevailed during the late 19th century in favour of a more equalitarian, more modern view of the “other” as the exhibition's co-curator, Valia Garzón, explains in the catalogue essay. 

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Barquero del Titicaca, 2000

Perú, Viaje al sol by Juan Manuel Castro Prieto

Perú, Viaje al sol is a revealing exhibition by Spanish photographer Juan Manuel Castro Prieto that has been traveling through Latin American since October 2008. The project started in one of the most captivating cultural contexts of the world: the sacred valley of the Incas. From his first contact with the Peruvians, Castro Prieto has developed an extensive body of work that has taken him through nearly all of Peru's regions -the 'jungle eyebrow', the highlands, the coast, the Amazon Jungle- as well as through many of his personal and professional interests.

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PHotoEspaña, by now one of the important photography festivals in Central Europe is going Latin American. After 10 years, the event that began in Madrid as a group of local exhibits on contemporary photography has increasingly become a platform for the diffusion of the still image in the Old Continent. Until now.

Descubrimientos, a parallel program dedicated to young photographers in which the participants who apply will have the chance to have their portfolio reviewed by photography professionals from around the world and engage in dialogue with them, is now, for the first time, also holding Visionados [critique sessions] in Lima, Peru and Mexico City. In addition, the program involves a competition –Premio Descubrimientos PHE Epson – whose prize consists of a solo exhibition in the following edition of the festival in Madrid, Spain.

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In a country where the sole possession a camera can jeopardise the bearer's integrity, being a photojournalist is not only an act of resistance but also one of faith. Faith in that the acknowledgement of such a situation by a wider audience will somehow improve it. In that by showing it to the world, capturing it in a still frame, it might become less real, less dangerous. As in a place far away from the witness.

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