2010 Free India Channel Frequency

Javier Ramírez Limón

ALTAR DESERT


"... breathtaking land and air ...
land with a white glow skeleton
stripped by the birds ... "

-JL Borges



From time to time change the landscape of sand. One does not account very well. Just dig into the white line on the road to turn and see that the dunes are swollen or have more horizontal in less than five minutes. And there, in the distance that emerges as the novels of William Munro and Cormac McCarthy, you may get a gust of wind and sand finsísima the light thinning and alters the rate of respiration. Is the Altar Desert. Suddenly
Javier Ramírez Limón camera captures something, a situation. "I do not understand anything, but what was strange, to say the least. I felt that in spite of me had to unravel the mystery of the pick up. " This presents the photographer
Sonora (Hermosillo, 1960) the sequence of six photographs taken somewhere in the desert of Altar, between Puerto Peñasco, Sonoita and San Luis Rio Colorado. That is the triangle of the dunes and the saguaros. A strange white van
visited by men on horseback who is a colt, under a subsidiary of one of the mares. The group of riders around to pick up and picking up or something. Then, a boy runs through the dust and who drives back to the stealthy camera. Something happens. In the last image comes from nothing other camionta and stops. Quiet, some men drink beer cap.
"I knew if qie we separated some time disappear forever. And I would have to gather each of your parts, like a puzzle, "Ramírez Limón writes in the catalog of the exhibition hanging in the House of Image: Plaza de la Ciudadela 2, Centro Histórico in Mexico City, until 29 January.
The "hills" as they say to the children as well as the dunes are not as soft. The tires of the truck and the legs of horses seem buried. Are on solid ground.
To me there, by the placement of the six photos in sequence, is hiding a murder mystery. Something is transported. Something is collected. But for other viewers about boys a ride horses rented. And not in the heart of the desert, near the hill of Pinacate, but on the outskirts of a population. Have lying around.
However, what photography is a weapon invented in different ways in the mind of every observer. The eye of the photographer himself deluded suspicion and incorporates the disclosure (discovery) in the darkroom lab, under circumstances of light and the letters impossible not to relate to this sensational story by Julio Cortazar, "Blow the devil" , which reworked narrative procedure Antonioni in Blow Up.
"I figured that the white pickup had all your pieces and that someone would so far I could not find them. I had to shoot the camera to catch you forever. And now I guess I'll be there waiting for me ... ", adding slides Ramírez Limón data which the invention originated in the photograph does not need. Each of the photos suggests a hidden story, but placing the order, the progression of all images-in the natural order of numbers-is intriguing to the receiver.
Like memory, the picture does not play, invent and serves as the imagination.

Brown Suede Hiking Boots With Red Laces

SHADOW LINE

At first we were moving in the same territory, nowhere defined by the "international route". Moving the center of Tijuana to a movie in Chula Vista did not at cross practice some tangible barrier. It was like moving in a certain area of \u200b\u200beveryday life that had a framework of binational space, without curtains in the middle. These were the years of infancy and early post-war (1946-1952). Still feel some fallout from the recent world war air-raid blackouts, San Diego, and the flow from one country to another was much lower than now. The city walked in the ninety thousand inhabitants, though no longer crossed, as in the first decades of the century, White Gate when Americans thirsty came in droves to lie beyond the drink that I was forbidden to President Roosevelt with the prohibition. Around the years, and ironically since it came into operation on "free trade", the wall metal and electronics has been widening and lengthening the project not as a defensive architecture does not become architecture, but as result of a crude constructivism, pragmatic and "strategic." So perhaps the Catalan poet Rubén Bonet occurred to him that "everything is an installation Tijuana, like a plastic proposal, referring to the rusty fence landing strips blade-waste military-which is the deterrent fence. The disability is severe: no one comes here and nobody should pass by the natural barrier impassable desert sun, thirst, starvation and dehydration. Humans can not pass. What can go-and-misses are cocaine, pot and heroin.
Photographers, better than anyone, have captured the drama of immigration that has been exacerbated not only here in the northwest corner of Mexico, but in many other parts of the world. Quite a few photographers such as Sebastião Salgado, Graciela Iturbide, Lourdes Grobet, Cordoba and Vladimir Roberto Tellez, their images are frozen in the faces of this tragedy, but in our line of fire Baja California who has spent more thoroughly with 35 mm camera-fast, instant, no frames "study" - was Elsa Medina.
Over the past two years, the Mexican photographer has been taking his pulse to the desperate social nest, night, midday, at dawn, at dawn, when the wolf of this century when it senses a threat or discover signs of impending danger. His is the picture of the gaps: the frontier cracked by the hope that slips and falls apart in the dust far from the border patrol. This crack or linear open space left between the two national bodies evokes-in-depth picture of the monumental Great Wall of China military inspired or territory of Laconia in which stood the ancient Greek Sparta and the architect Richard Ingersoll has derived the term "field laconic" to refer to the sprawling city full of frayed areas, irregularly built without space events, private communication architecture. And there seems to be something else this "field laconic" appearing in the desolation undocumented collected by the lens of Elsa Medina, a short field, a few elements such as the outskirts of Tijuana patched or near San Ysidro, the Nest of the Eagles and the barrel La Cabra. But if Sparta did not need walls and could be extended along its laconic gaps was because, according to Thucydides, "his soldiers were their walls" in the same way now, on the border mexicanoestadunidense, the army of Border Patrol makes offensive and defensive wall with the vulnerability of the sheet beneath which no unbridgeable gaps Nikon has introduced Elsa Medina.
What we see in your photos? We see some scattered patrols yonder in the valley of the Goat. We see the black silhouettes of a dozen agents blond brackets and lanterns protruding his belt, against the setting sun, just at the instant of green beam cancels the vastness of the Pacific. We see a man alone on the beaches of Tijuana, staring toward the north of the rusty fence that cuts through the waves offshore. We see a child put in his poncho, a teenager without a country, an elderly without support. We see a helicopter with its searchlights nailing a peasant from Nayarit while, as sprayed spider, hiding his face with a cap of Yanque. We see a convoy of government trucks and four wheel drive motor graders and tractors demarcating the "no man's land", this expression of qualifying military zone between the trench and another and no one can pass without the risk of being shot by a sniper excited by the border patrol. We see a lot of shoes and boots used, signs of the walk and emigration, that someone sold on the corner of a street. We see a guy who puts more than three hundred white crosses in the painting of a pair of black figures, numbers of migrants killed at the border. We see a group of young people who make their ranch apart under a tree while waiting, waiting, waiting, in the canyon Zapata. We see a group of undocumented workers waiting to be hired as casuals in the Broadway and Pico in Los Angeles. We see a landmark in the Eagles Nest in the boundary portion, established by force of arms in 1848. We see the double fence perimeter security, barbed wire and in the trenches, seismic sensors to track walkers surreptitious, long distance infrared telescopes, video cameras, night detectación instruments. We see a war zone. We see a cessation of all governments, we see indifference, see his smile grim and stupid, we see a conspiracy against the right to work.
However, the look of Elsa Medina is not the only one on the border is nomadic or undocumented are the only people who are struggling to survive in the yard of the border sedentary.
As Will and Representation, the border is in every dictionary of clichés: glass border, the border as a wound, scar, perimeter deterrent, cutting, historical machete, the gap of the weeping rock, wall, the border, no man's land, the collision, the boundary, the curtain the fence adjacent blood, the literature of threshold, when the wolf at the moment of dawn when you cross the traffic underground, the language border, hope, failure, painted stripe, the invisible boundary, the border of snakes, ether tunnel which makes the journey to nowhere, dementia is triggered border between night and dawn, between reality and desire, hunger and engorgement, between health and disease, between the murderer and victim, between youth and maturity (shadow line), between life and death, the country border between something and nothing, between grief and nothing, red border.
has vanished the very notion of boundary or transformed by war and political dislocations of Eastern Europe. Historians to rethink their new conceptualization. No legal, since no state without borders. But cultural fusion of languages, the mixture of races, the invasion of a speech the other, the fade-in film-mounting sense of public attitudes. While sociologists are careful to speculation border country around a log-national border between the developed and the stalled, between English and English, between production and consumption of goods, services and drugs, including export and import between banking uncontrolled and denationalization of money, "the novelists of the literature of the threshold or the interstices traffic in the inexhaustible vein of the red border, the serial murders or" satanic "that swallows the Hollywood aesthetic matrix in endless orgy violence as fun as lucrative. It assimilates the psychiatric sense of the "border states"-an instance pre-schizophrenic-on experience everyday life on the frontier, ie to the madness and the degradation of civil coexistence.

Tracey Adams à Paris

Ivonne Medina Elsa Venegas

THE MIRROR OF TWIN

Juliet and I had polka
with my dad we identified.

-Yvonne Venegas

double
The problem appeared much earlier in the literature in psychiatry. Pre-Freudian poets and storytellers, and Hoffmann, Edgar Allan Poe, Fyodor Dostoevsky, glimpsed in the dark layers of personality physical presence, real or imagined, of a "double" in which "tells us Mario Pratz-man thinks he sees the shadow of itself same projected by the unconscious. Hoffmann, in the elixirs of the devil, has the split personality as a phenomenon that summons the powers of evil, demonic instance in all of us. Both
Poe in his short story "William Wilson" and Dostoevsky's novel The Double discerned the appearance of the other voice, the other self, the divided self, and drew up the character talks to himself as if speaking to his own conscience. The narrator of Poe is so harassed by the admonitions of William Wilson, his double, "an imitation of me," which ends up killing him.
In the case of Dostoevsky, whose characters always have a double, the second voice can not merge with our hero. "On the contrary," says Mikhail Bakhtin, "it sounds more and more the tone of mockery treacherous. That voice provokes and taunts our hero, and finally removes the mask. Appears twice. The internal conflict is dramatized, the game starts with our hero twice. "
However, the most famous story of a split was imagined by Stevenson in The Strange Case of Dr. Jekyll and Mr. Hhyde, from a dream. The monster of what could be a metaphor for depression, or schizophrenia, takes possession of Dr. Jekyll and leads him to run over a child as a child kills another character unfolded: Frankenstein Mary Shelley.
"The other one, Borges, to whom things happen," wrote Jorge Luis Borges in "Borges and I".
"De Borges I have news in the mail and see his name on a list of professors ... I do not know which one is writing this page. "And what of his story" The Other ", when it appears Borges Borges in Boston, opposite the Charles River?
literature topics glide without apparent transition to life itself and of otherness (the other, double, split, personal identity) circulated a lot, at least until the mid-sixties, studies on twins. It was hoped to discern some of the mysteries of schizophrenia and indeed the analysis were not entirely idle, when it was retarded autistic twins. However, "Oliver Sacks has in his disturbing book The Man Who Mistook His Wife for a Hat" the reality is much stranger and more complex and less explicable than it suggests any of these studies.
In the story that includes "Twins," Sacks is careful not to generalize and is specific to twins John and Michael met in 1966 and became famous for their exceptional memory for numbers and his ability to tell what day of the week fell an arbitrary date for the next forty thousand years.
Sacks feel what is there to see them without bias, as individuals, not as "subjects" without the desire to define or prove. "You see that there is something there that is acting very mysterious, you see power and depths of a genre perhaps fundamental."
is certainly not easy and yes very distressing individuation process which has to pass the newborn during the first months in this world to become independent and distinguishable from other and presumably for the twins this step may be a capsize. But every mind is a language and every human being, unique, fortunately. So much has moved me the courage and health-and talent-that photographer Yvonne Venegas has dared to address the issue of twin-sister to the great singer-songwriter Julieta Venegas, Tijuana, in his book The time we spent together, text and photographs to the magazine forward partly Luna cornea in number 14.
"I have my theories about relationships like ours. I think that having shared the womb has assigned us each a part of what would be the temperament of an individual. So we can say that our temperaments were both born on the other end. Maybe it's like the relationships of many years, which used to be together and have been accommodating themselves to be part of each other.
"I have been asked many times if you take pictures of Juliet is not like take pictures of myself. But living with a person who is physically equal to one since birth, does not make you a mirror of it but its opposite, "writes Yvonne.

What Does Miralax And Gatorade Taste Like

Ferdinando Scianna

SLEEP, THEN THERE

Not the least of the fascinations that promotes photography which each photographer took a picture different from each face or each object. For such conditions as may be distance or light, each photographer chooses a different frame rate or the most intimate and projected himself when choosing a particular frame and not another. Why would one, when photographed, it is another and different according to the photographer: an invention of the artist who always has something unusual to do with death and memory?
Faster than you thought the picture when there is the "decisive moment" that Cartier-Bresson talked about and what ultimately matters in the end, is that the pictures have soul and a certain, very particular look.
There is another case of the Sicilian Ferdinando Scianna, born in Bagheria, a step in Palermo on July 4, 1943, and has just published two wonderful books: Dormire, forse Sognare and Viaggio a Lourdes. The first one shows true to his habit of sleeping people portray throughout your trip (in Colombia, India, Africa, Asia): a tribute to the sleeper (which is a sacred animal, said Pepe Revueltas), an inventory of sleep. The second is a wordless story about a group pilgrimage to Lourdes Italian.
I first heard of Scianna was for the credit was given in a photographic portraits of Sicilian writers, the same certainly adorn the walls of the Italian Library here in Mexico, in the Plaza Rio de Janeiro. After I met him when he jumped from Oaxaca had been photographing some models Cuilapan, and we knocked on the door of our apartment in Stockholm, in Colonia Juarez. He asked us to join him to see Garciela Iturbide and Manuel Alvarez Bravo. Graciela next day took him to visit the Casasola archive in Pachuca, who did not want to miss. Scianna
began taking photographs at a young age in 1960, at age 18, he studied literature and philosophy at the University of Palermo. In 1962 he met someone who would be one of the most significant friendships (by bonding and artistic affinity): Leonardo Sciascia. Photographer and writer met because once, when at age nineteen was riding his first exhibition in Bagheria, Ferdinando Scianna was found with a page in the guestbook full of praise and enthusiasm, in black ink, signed by someone that had passed through: Leonardo Sciascia.
With the author of The parishes of Regalpetra published in 1965 in Sicily and Religious festivals in 1989
prepare-with the master typographer Sciardelli Franco, also resident in Milan Sicilian a beautiful little book of all his friendship with the Sicilian novelist of 1964 to 1989. As a stylish black passport, Leonardo Sciascia da Ferdinando Scianna fotografato opens not only a collection but an editorial idea, which aims to collect a friendly and creative relationship between a writer and a photographer over many years (like the could do with Juan Rulfo Ricardo Salazar, Rogelio Cuéllar Octavio Paz, Juan Vicente Miranda Paulina Lavista Leñero or with Salvador Elizondo). Thus, the curious book opens with a photograph of Racalmuto, Sciascia's people in the region of Agrigento, and continues with successive images of the novel until the day of his death. You feel the passage of time: the smile of maturity, the joy of the creator, the illness that seen in the last days of 1989.
Trasterrado to Milan since 1966, undertaken as a freelance photographer Scianna an intense period of a story that led to the U.S., Africa, and Latin America.
For nine years, from 1974 to l983, Scianna was Paris correspondent for the Italian magazine L'Europeo, but there also was traveling to various parts of the world where it had been before: the Chile of Salvador Allende, the Uruguay of the Tupamaros, the Ethiopia of the famines and droughts, Czechoslovakia where soldiers Russians pointed and kidnapped their photos. ECCO LE FOTO CHE CI AVEVANO SEQUESTRATE RUSI I was reading on the cover of L'Europeo, 1968. Unico
Italian team Magnum agency founded by Robert Capa and Henri Cartier-Bresson, the photographer Sicily was one of those selected to illustrate the number of American Photo Magazine (March-April 1992) dedicated to "Euro style "ie, to the best European photographers. Also in the fixed section of the publication that appears on the last page, under the title Case study, where a photographer each month displays all instruments, cameras, lenses, exposure meters, leaving their bags, the photographer chosen for the number of 1993 was Ferdinando Scianna. "I respect my team. But I'm not a collector of cameras. A camera has to work well. That's all," he said then, as he showed two Nikon FM2, a Canon EOS 10S, a Nikon N6006 and a Nikon F-801 ( European version of the N8008).
not easy to decide what Ferdinando Scianna's book that best represents the sensitivity of man and artist, his look, it's not uncommon sadness, compassion.
In all his photographs are a glimpse of the same look, the eye of the unconscious that captures the "decisive moment", without any intellectual premeditation between the retina and actually frozen, but "every photograph is a thought: one thought visible", as Manuel Vazquez Montalban says in the preface he wrote for Le form of chaos: a summa of all the work of Scianna over the past 30 years.
precisely in this anthology that will form the chaos was inaugurated in the Roman Villa Medici on June 29, 1992, images of Sicily Scianna roam the halls of the gallery, from the religious parties the 60 to the last shots of the Dutch model Marpessa.
can be enjoyed in its pages, the route that this world has made the photographer, since the image of an emaciated dog that surprised in the streets of Benares (India) to another of Jorge Luis Borges that he took in Palermo in 1984. Multitudes in Ethiopia or in India, faces that come and sneak into various peoples Sicilian women's face covered in Tunisian sites, evidence of the horror and desolation in the icy streets of New York or Paris subway system will allow guess the eyes of a photographer of our time that might have made his book more round in Kami.
Title volume is the same mining town of the high Bolivian-operated since 1908, but extraordinarily productive in the 30's when he discovered tungsten and was acquired by Simon I. Patiño Ferdinando Scianna, who attended in 1987. "The camp where they live these men and women and children, these miners, called Kami, as the mountain of the Bolivian Andes, more than 3 800 m altitude," he says in the foreword to the photographer-writer-reporter . In Kami, Bolivia, the names designating the history and geography are names of mountains and mines in its "dark and hard belly suggest hundreds of miles of galleries: the Cerro de Potosi, which for her udder was generous centuries gold and silver, and one of the centers of the world, Llallagua Catavi, Siglo XX, Huanuni, Milluni, Kami ... "
The testimony of the miners, few, very succinct, the photographs accompanying the cold and weddings, the band of family ceremonies, the ovals of faces and hats and freshly baked breads, the swollen cheeks of coca, the pictures on the walls of the child and absent uniformed, metal helmets with a focus in front , the plush women bowlers.
Was this because the description of the reality of Kami, not complete or exhaustive, Ferdinando Scianna has done. "To be complete I should have used language physician, anthropologist, sociologist, economist, historian, politician. But I have none of these trades. I have only the photographer, with humility, pride, trying my best to use the instruments of my own language, "Scianna said.
" During my last trip to Kami I explained some of the photographs in the hospital. Everyone in the camp came to see them. The pointed laughing. Many asked me a few copies. I hope that these photographs have been recognized in the same way that I, through them, I have tried to recognize them. "
Another of his most recent books, Marpessa-A racconto, which depicts the model Marpessa on the streets and corners of several Sicilian towns, as their native Bagheria may seem paradoxical if one recalls the career of the photographer, his images of religious festivals, his snapshots of the Soviet soldiers on the streets of Prague, the body of a victim of the mafia, mobs of drought and mannish in rural areas of Ethiopia, the desolation of certain people Yorkers or Parisians, Manhattan bridges, those attending the funeral of Sartre in a Paris cemetery, the faces Kami miners of Bolivia, which make up Kami, his best book, perhaps his masterpiece. However, both work for the fashion industry and its graphic reports are part of a comprehensive work that can not be parceled, and proof of this way of integrating the triviality of fashion to the solitude of the faces in the corners of southern villages are in each of the pages Alrove, reportage di fashion, recounting a photographer in the world of models continues its very personal perception of life. Photographer
to write, Scianna is also responsible for the prologue of piaciere di leggere Il (Ed. Franco Sciardelli, Milan, 1997) that includes the photos of the Hungarian André Kertész, who died in New York in 1985, characters from different times and places ( New York, Paris, Budapest) committed in a dumpster or in a park on a roof or on a train, the antisocial act of our time reading.
"Kertész proposes, I think, at this historical moment, some basic questions as who wonders if the meaning of things can still be read-or write-or if the reading is still the great game through which decrypts the world. Which, after having been for centuries, for better or for worse, we are not sure to remain. Although you may believe, when we see pictures of Kertész, that the world is a great book, "writes Scianna.
Like almost all photographers and artists all, Scianna is not fond of walking giving explanations of their works. No But at the end of Dormire, forse Sognare includes this notation:
"If reality is, as I believe, the mirror of the photographer and not the reverse, traveling tens of thousands of images that for many years, we will deliver the camera is as verifying that terrible Brancati Vitaliano hypothesis: that a picture a day from the face of a man, from birth to death, is but the dramatic projection of a lifetime. "

Cervic Penetration Clips

Robert Capa photo

Militiaman PHOTO

At forty
Robert Capa stepped on a mine in Vietnam a few seconds after taking his last picture. Hungarian, born in 1913 and died in the line fire in 1954, was due in the legal life Ernö name Endre Friedmann, but as a photographer went down in history adopted the pseudonym when he began to cover the English Civil War in 1936.
His photographic work, an invaluable historical document about the human condition, the greatness of ordinary people, the capacity for tenderness and sympathy of the people, war reminds us that the era of print journalism pretelevisivo, a period in which the reader had to imagine both the images of text and photography, in a sort of intermediary preelectrónica as it were more literary.
Jew, Robert Capa was to emigrate to Paris in 1933 and met three crucial life: David "Chum" Seymour. Henri Cartier-Bresson and Gerda Taro, the German photographer who dabbled in Spain during the first months of civil war and was the great love of his life. In those days is precisely the picture of your camera frozen militia in the very moment of his sudden death on September 5, 1936, in front of Cordoba, near the hill of Muriano, and that his glory should start seeing more as a photographer .
After the Republican defeat, Capa moved to New York and then Life magazine sent him to photograph the Normandy landings which have become their instant celebrity out of focus of Omaha Beach. Between one race and another was given a tour of Mexico on July 7, 1940, and portrayed a almazanista protester killed by police. Also survive in adverse political movements streets of Paris of the 30's, the bombing of Bilbao, the farewell to the International Brigades in Barcelona in 1938, soldiers from China in 1938, Allied troops in Troina and Monreale, Sicily in 1943, the cacophony of the liberation of Paris in 1944, and of course the opening scenes of Vietnam two weeks after the defeat of the French in Dienbienphu.
Returning to New York in 1947 founded the first photo agency history, Magnum, along with David Seymour and Cartier-Bresson, taking the name of the bottle of champagne with which he always held.
Capa was the first to bring to the battlefield the Leica 35 mm which was already in the market since the 20's and she stamped which is perhaps the most important and most controversial picture in the history of the war because there was someone, the British journalist D'Dowd Gallagher, who questioned its authenticity.
Indeed, in the mid-70's Gallagher said that Capa had been with him at a hotel in Barcelona the day he allegedly took the photo of the militia. Thereafter also ran the species layer had stayed at the Republican militia and thinned its hitherto undisputed prestige. However, while driving a series of interviews for his biography of Capa American journalist Richard Whelan demonstrated not only that the old English reporter was confused but the militia had been unmistakably a boy of 24 years the town of Alcoy, near Alicante , and whose name was Federico Borrell García.
Later, the biographer found in the archives of the English government Borrell García was killed in front of Cerro Muriano, north of Cordoba on September 5, 1936 and the controversy was settled in favor of Capa.
Furthermore, a countryman of Federico Borrell García, Mario Brotóns Jorda, acknowledged that the man in the photograph belonged to the regiment from Alcoy because the cartridge of the dead were unique, having been designed and made by the saddlers of people with their own style and not the other combatants were using the Republic. In addition, Brotóns established in Salamanca and Madrid files that only a member of the Alcoy militia had died in front of Cerro Muriano on September 5, 1936: Federico Borrell García.
And not only that: Brotóns showed him the picture of Capa's younger brother Frederick, Evaristo, and he confirmed that all the circumstances of time and place agreed and undoubtedly the militiaman was immortalized his brother.