A Alex Philips Jr.,
in memoriam
A Tijuana have portrayed many photographers, from Sebastiao Salgado and Graciela Iturbide to Lourdes Grobet, and Elsa Medina. Now in this book, lyrics light, prepared by Paul Guadiana, the artists of the camera are Tijuana, have grown and living in Tijuana, Tijuana in the interior, and therefore have the vision from within, not from abroad or from the southern Mexican.
Ten men and a woman (Yvonne Venegas) appear at this meeting of shadows and light and every one of his eyes shows and reconstructs a particular Tijuana and subjective. Tijuanas no two alike and thus lend support us Rene Blanco, Miguel Cervantes, Alfonso Lorenzana, Bojórkez Manuel Enrique Trejo, Roberto Cordoba, Julio Orozco, David Maung, Vidal Pinto and Yiri Manrique, who more than a speech, photography is a reading.
The work of photographer Ferdinando Scianna said, is to concentrate on a single gesture the gaze, the random thought. Because photography is not only a way to see but also feel, to think about the world and life. And nothing else will reveal the images of these photographers border. And it's not a Tijuana as a city traditionally drawn, with the square and church and town hall in the heart. No. It is a continuous patch of chaos which constitutes its own aesthetic.
Usually a book is often referred to a city set on the streets and houses, buildings and streets populated by pedestrians, loneliness, or the clamor of the parks, daily life and bustling markets. But the editorial and photographic design corresponds to the classical city of the twentieth century: Barcelona, \u200b\u200bParis, London, New York even. The XXI century Tijuana escape that conventional urban category and represents a city that sets an intermediary, between one culture and another, enters an economy and another on a planet of seven billion people, with all its resonances of overpopulation, of emigration and immigration, national identity shattered. René White
not worried about the line otherwise urban or city-existent material. Attracted to scenes of violence precisely because of its uniqueness. Freeze the face of Mario Aburto, scared and dirty, just a minute after Lomas Taurinas crime. There are scenes in the emergency room, nurses and ambulances, coffins, and the photo of his father shot, Jesus Blancornelas, being rescued on a stretcher. That
journalistic bias also has Miguel Cervantes Sahagun: his characters are dead. "Death is a woman" called one of his shots, that of a corpse whose face covers a bag plastic. Pages later hanging from a pole the body of an electrician who hung reminded Cristero war. Miguel Cervantes photographic work throughout his life in Tijuana has been a struggle against stereotypes imposed by the photographers who came from elsewhere.
Ivonne Venegas's eyes reveals a personal world and certain types of characters. Because the fundamentals of photography for her is a search on that side in which "we as humans, or you do not feel the obligation to comply with the false appearance."
Since making his book Portraits from Tijuana began to perceive a reality that is imposed, images with a smooth quality of human imperfection: "Many of the photos were moments that could be seen as errors, things that normally a discarded wedding photographer or edit, as photos of frightened or when someone is about to mourn." While
Alfonso Lorezana initially delights in the portrait and in some ways with the search of the soul of character impressed and printed over the years turned his eyes to his new environment and took up the color and urban dynamics, "trying to give another perspective to all that ephemeral symbolism of the graffiti and the anonymous graffiti decorating the streets and buildings of Tijuana. "
If the outskirts of Tijuana are the sea and the board that separates the two countries, Roberto Cordova has been there in the vicinity, in the canyons of the terrain Tijuana, capturing the ebb and flow of emigration. Images that one day they are more populated than the other, as if observing from afar an anthill, photographs realize the drama of being between two stools, between one world and another that has not yet manifested. Chronicle
a moment, according to Salvador Elizondo, timing of key and unconscious, as Cartier-Bresson, photography also preserves the memory and memory and thinking. If the writer thinks first and write later, the photographer photographic works en cuanto piensa: escribe o graba pensamientos en el acto. En cierto modo, fotografía su propio pensamiento. Y en esa mirada siempre hay algo de inconsciente y espontáneo, no controlado, y por ello mismo si varios fotógrafos fotografían la misma cosa, el mismo rostro, la misma persona, sus placas nunca serán iguales, por un cambio de luz, por una diferencia de grado en el punto de vista. De ahi que tengamos aquí, entre estas páginas conmovedoras e inquietantes de Letras de luz, una multiplicidad de tijuanas que en la diversidad plástica conforman una sola, probablemente la que más se aproxima al imaginario colectivo de los tijuanenses.
Justo por su doble estatuto de documento y de representación subjetiva, the invention of photography is ambiguous for excellence in the exemplary case of the eleven photographers who are in search of the soul Tijuana. Your photos are memory, reading from a time and a place left for subsequent generations.
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