Bøger af PABLO ORTIZ MONASTERIO

Toro-Goya's representative series of "Baroque Documentarianism" dedicated to the memory of the vanishedIn commemoration of the 50th year since the 1973 civil-military coup in Chile, photographer Mauricio Toro-Goya (born 1970) delves into the harrowing subject of forced disappearances, in partnership with the Association of Relatives of Disappeared Detainees from La Serena, Chile.

Cuando Frida Kahlo muere Diego Rivera, marido, ex marido y viudo de Frida, le pide al poeta Carlos Pellicer que convierta la Casa Azul en un museo para que el pueblo de México pueda visitarla y admirar la obra de la artista. Pellicer seleccionó los cuadros de Frida que estaban en la casa, así como algunos dibujos, fotos, libros y cerámicas conservando los espacios tal cual los había adaptado el matrimonio para vivir y trabajar. El resto de los objetos, ropa, documentos, dibujos, cartas y más de seis mil fotografías que Frida reunió a lo largo de su vida, se guardaron en los baños convertidos en bodegas. Este formidable acervo estuvo oculto por más de medio siglo. Hace pocos años decidieron abrir las bodegas, armarios y baúles que lo resguardaban. El conjunto de imágenes fotográficas es un tesoro que desvela los gustos e intereses de la famosa pareja, no sólo en lo que cuentan las imágenes sino también en las anotaciones al margen, y permite especular en torno a sus fobias y atracciones, incluso es posible documentar sus orígenes familiares. La fotografía para Frida siempre estuvo presente, su padre Guillermo Kahlo fue uno de los grandes fotógrafos de principios del siglo XX mexicano, de él conservó algunas imágenes de arquitectura colonial y un buen número de autorretratos. En la colección de Frida hay una lista de grandes fotógrafos: Man Ray, Brassaï, Martin Munkacsi, Pierre Verger, George Hurrel, Tina Modotti, Edward Weston, Manuel y Lola Álvarez Bravo, Gisèle Freund y muchos otros, entre ellos la propia Frida Kahlo. Es probable que ella hiciera varias de las fotos de la colección, aunque estamos seguros de su autoría sólo en unas cuantas que decidió firmar en 1929. When Frida Kahlo dies, Diego Rivera, Frida's husband, ex-husband and widower, asks the poet Carlos Pellicer to turn the Casa Azul into a museum so that the people of Mexico can visit it and admire the artist's work. Pellicer selected Frida's paintings that were in the house, as well as some drawings, photos, books and ceramics, preserving the spaces as the couple had adapted them to live and work. The rest of the objects, clothes, documents, drawings, letters and more than six thousand photographs that Frida collected throughout her life, were kept in the bathrooms converted into cellars. This formidable collection was hidden for more than half a century. A few years ago they decided to open the cellars, cabinets and trunks that protected it. The set of photographic images is a treasure that reveals the tastes and interests of the famous couple, not only in what the images tell but also in the annotations in the margin, and allows speculation about their phobias and attractions, it is even possible to document their family origins. Photography was always present for Frida, her father Guillermo Kahlo was one of the great photographers of the early 20th century in Mexico, of whom she kept some images of colonial architecture and a good number of self-portraits. In Frida's collection there is a list of great photographers: Man Ray, Brassaï, Martin Munkacsi, Pierre Verger, George Hurrel, Tina Modotti, Edward Weston, Manuel and Lola Álvarez Bravo, Gisèle Freund and many others, including Frida Kahlo herself. . It is probable that she took several of the photos in the collection, although we are sure of her authorship only in a few that were closed in 1929.

Photographers Marcos Lopez, Ricardo Cases, Jorge Chiguano, Edu Leon and others were invited to a workshop to explore Quito, Ecuador--both the real city and imaginary structures. The resulting volume, Flux Quito, compiles their work.

Mexico City presents a post-apocalyptic paradigm, rivaled only, perhaps, by Los Angeles -- it is a metropolis ravaged by immense poverty, crime, and the ill-effects of over-population. As a street photographer working in the tradition of committed documentary image-making, Ortiz Monasterio reveals Mexico City's fragmentation.