{"id":683,"date":"2021-05-20T11:28:38","date_gmt":"2021-05-20T16:28:38","guid":{"rendered":"https:\/\/vistprojects.com\/en\/?page_id=683"},"modified":"2021-06-07T17:19:59","modified_gmt":"2021-06-07T22:19:59","slug":"interviews","status":"publish","type":"page","link":"https:\/\/vistprojects.com\/en\/interviews\/","title":{"rendered":"Interviews"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|phone” _builder_version=”4.9.4″ _module_preset=”default” background_enable_color=”off” max_width=”100%” module_alignment=”center” custom_margin=”0px||0px||false|false” custom_padding=”170px||0px||false|false” custom_padding_tablet=”140px||||false|false” custom_padding_phone=”120px||||false|false”][et_pb_row use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Titulo” _builder_version=”4.9.4″ _module_preset=”default” width=”100%” max_width=”1920px” module_alignment=”center” custom_margin=”0px|0px|0px|0px|false|false” custom_margin_tablet=”|0px|0px|0px|false|false” custom_margin_phone=”|0px|0px|0px|false|false” custom_margin_last_edited=”on|phone” custom_padding=”0px|50px|40px|50px|false|false” custom_padding_tablet=”|25px|20px|25px|false|false” custom_padding_phone=”|20px|15px|20px|false|false” column_structure=”1_2,1_2″][et_pb_column type=”1_2″ _builder_version=”4.9.4″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false”][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”content” _module_preset=”default” text_font=”|||on|||||” text_text_color=”#000000″ text_font_size=”85px” text_line_height=”82px” text_font_size_tablet=”75px” text_font_size_phone=”50px” text_font_size_last_edited=”on|phone” text_line_height_tablet=”” text_line_height_phone=”” text_line_height_last_edited=”on|desktop” custom_css_main_element=”font-family: ‘tt_bluescreensdemibold’;”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF90aXRsZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IiIsImFmdGVyIjoiIn19@[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.9.4″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false”][et_pb_code _builder_version=”4.9.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]\n\t
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Bego Ant\u00f3n: Between Elves and Cha-cha, the Love for Nature<\/h3>\n\t\t\t\t
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Bego Ant\u00f3n<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Gloria Oyarz\u00e1bal: The Colonization of the Concept of Woman<\/h3>\n\t\t\t\t
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Gloria Oyarz\u00e1bal<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“We are more than a virus”<\/h3>\n\t\t\t\t
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Diego Argote<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Foto F\u00e9minas: Community and Representation<\/h3>\n\t\t\t\t
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Ver\u00f3nica Sanchis<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Metamorphosis of the Archive<\/h3>\n\t\t\t\t
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Marina Feldhues<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Mobility of Images<\/h3>\n\t\t\t\t
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Ricardo Miguel Hern\u00e1ndez<\/span><\/p>\n\t\t\t\t\t

Cuba<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Fictions for imagining flavorful futures<\/h3>\n\t\t\t\t
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Juan C\u00e1rdenas<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Beekeepers<\/h3>\n\t\t\t\t
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Gabriela Portilho<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ancient beings take my dreams<\/h3>\n\t\t\t\t
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Bonitka<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations about the African American | Season 2 Episode #3<\/h3>\n\t\t\t\t
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Paula Balduino de Melo<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations about the African American | Season 2 Episode #2<\/h3>\n\t\t\t\t
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B\u00e1rbara y Benito Medina<\/span><\/p>\n\t\t\t\t\t

Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Subverting the Everyday<\/h3>\n\t\t\t\t
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Santi Garc\u00eda<\/span><\/p>\n\t\t\t\t\t

Nicaragua<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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What do they do with our stories, our bodies, and our bones? | Fresco #7: R\u00edo Paran\u00e1<\/h3>\n\t\t\t\t
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R\u00edo Paran\u00e1<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Who are “The Undisciplined” in Peruvian Photographic Art?<\/h3>\n\t\t\t\t
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Alejandro Le\u00f3n Cannock<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A mother and daughter look at themselves together in the mirror.<\/h3>\n\t\t\t\t
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Paula Huven <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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United by the sun | Fresco EP #6<\/h3>\n\t\t\t\t
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Victor Zea<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Life that Remains by the Great Hole<\/h3>\n\t\t\t\t
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Ian Cheibub<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Faces that get lost<\/h3>\n\t\t\t\t
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Luvia Lazo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mayan resistance against agribusiness<\/h3>\n\t\t\t\t
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Robin Canul<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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This self-publication is also my passport | Fresco #5<\/h3>\n\t\t\t\t
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Mitmaq Ediciones<\/span><\/p>\n\t\t\t\t\t

Latinoam\u00e9rica \/ Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Facing the State from a Wheelchair<\/h3>\n\t\t\t\t
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Violeta Ayala<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The photobook as an artifact for (re)thinking a country<\/h3>\n\t\t\t\t
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Francisco Medail<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The memory of my territory is alive in this decolonial gesture | Fresco EP#4<\/h3>\n\t\t\t\t
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Nicol\u00e1s Cox<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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For a migrant gaze of the world<\/h3>\n\t\t\t\t
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Fabiola Ferrero<\/span><\/p>\n\t\t\t\t\t

Am\u00e9rica Latina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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IAbuelas: How to imagine the face of a disappeared person<\/h3>\n\t\t\t\t
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Santiago Barros<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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An image that is read, a poem that is seen<\/h3>\n\t\t\t\t
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Victor Vich - Lucero Del Castillo <\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A performance, a knife, and a chroma in the face of media opportunism | Fresco EP#4<\/h3>\n\t\t\t\t
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Rafael Roncato<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Wembler’s, patriarchs of Amazonian cumbia<\/h3>\n\t\t\t\t
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Luis Chumbe<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Artist Gardener and His Coca Plants<\/h3>\n\t\t\t\t
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Wilson Diaz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A symptom of climate change | Fresco EP#2<\/h3>\n\t\t\t\t
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Alejandra Orosco<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d<\/h3>\n\t\t\t\t
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Cora Gamarnik<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Yoga in Confinement<\/h3>\n\t\t\t\t
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Ivana Legler<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Voices for Yasun\u00ed<\/h3>\n\t\t\t\t
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Joseph Z\u00e1rate y Andr\u00e9s Cardona<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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An Aleph tailored to your measure | Fresco EP#1<\/h3>\n\t\t\t\t
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Juan Manuel Lara<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Blossoming at 70 years old<\/h3>\n\t\t\t\t
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Ma\u00edra Erlich<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Salt, Water, and Police Repression<\/h3>\n\t\t\t\t
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Susi Maresca<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Memories that the dictatorship could not erase<\/h3>\n\t\t\t\t
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Evandro Teixeira<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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World Press Photo South America 2023 | VIST Talk with the Winners<\/h3>\n\t\t\t\t
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VIST<\/span><\/p>\n\t\t\t\t\t

Latinoam\u00e9rica<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Sentipensarse Black in Colombia\u00a0<\/h3>\n\t\t\t\t
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Marcela Angulo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“Popular photography is on its way to becoming something different: something between photography and painting.”<\/h3>\n\t\t\t\t
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Lev Manovich<\/span><\/p>\n\t\t\t\t\t

Rusia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Art as a Crime, Crime as Art<\/h3>\n\t\t\t\t
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Irene Avramelos<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations about the African American | Florencia Gomes<\/h3>\n\t\t\t\t
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Florencia Gomes<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“A child excited about nature is an ally for life”<\/h3>\n\t\t\t\t
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Javi Vel\u00e1squez<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Apocalypse Now: Mar\u00eda Abadd\u00f3n’s Textile Art<\/h3>\n\t\t\t\t
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Mar\u00eda Abadd\u00f3n<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Between saving nature and documenting its end<\/h3>\n\t\t\t\t
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Paulina Chamorro<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Following the Charr\u00faa family tree<\/h3>\n\t\t\t\t
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Archivo de la Memoria Charr\u00faa<\/span><\/p>\n\t\t\t\t\t

Uruguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The footprints of my mother have not been erased<\/h3>\n\t\t\t\t
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Cindy Mu\u00f1oz S\u00e1nchez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Afro-Argentine, the third root<\/h3>\n\t\t\t\t
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Nicol\u00e1s Janowski<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Latin America is an overcrowded prison<\/h3>\n\t\t\t\t
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Thiago Dezan<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Being fag in Mexican public schools<\/h3>\n\t\t\t\t
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Mr. Poper<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Where is Latin American photography heading?<\/h3>\n\t\t\t\t
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Pablo Corral<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Photography (also) was invented in Brazil<\/h3>\n\t\t\t\t
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Boris Kossoy<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Twenty cents that shook a country<\/h3>\n\t\t\t\t
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Gabriela Bil\u00f3<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“If the right to Mother Earth is negotiated, life is negotiated.”<\/h3>\n\t\t\t\t
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Miguel Vilela <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The pop art gaze of the mountain ranges<\/h3>\n\t\t\t\t
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Cholita Chic<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on the African-American | EP#4: Velia Vidal<\/h3>\n\t\t\t\t
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Velia Vidal<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Looking for glimpses between the past and present<\/h3>\n\t\t\t\t
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Celeste Rojas M\u00fagica<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Virtual portraits of a naked mind<\/h3>\n\t\t\t\t
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Carlos del Carmen<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Even the walls will shout our rage<\/h3>\n\t\t\t\t
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Diana Cano<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on African American | Episode #3<\/h3>\n\t\t\t\t
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Medhin Tewolde Serrano<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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I am not a mother, nor do I want to be one<\/h3>\n\t\t\t\t
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Judith Romero<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Wounds in the land (and the bodies) of the Yanomami<\/h3>\n\t\t\t\t
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Pablo Albarenga<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Humans, minerals, and the desert<\/h3>\n\t\t\t\t
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Marcos Zegers<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on African American | Episode #2<\/h3>\n\t\t\t\t
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Abraham Jim\u00e9nez Enoa<\/span><\/p>\n\t\t\t\t\t

Cuba<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Chim\u00e1n people’s film debut<\/h3>\n\t\t\t\t
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Manuel Seoane<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Looking at the world like a Kichwa child<\/h3>\n\t\t\t\t
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Misha Vallejo<\/span><\/p>\n\t\t\t\t\t

Amazonas<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A winged giant in the city of rage<\/h3>\n\t\t\t\t
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Sof\u00eda L\u00f3pez Ma\u00f1an<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Kakataibo’s Battle<\/h3>\n\t\t\t\t
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Florence Goupil<\/span><\/p>\n\t\t\t\t\t

Amazonas<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Landscape intimacy<\/h3>\n\t\t\t\t
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Nicol\u00e1s Amaro<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Buenos Aires’ true roots<\/h3>\n\t\t\t\t
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Roc\u00edo Cardenas<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Lights and shadows of the new white gold<\/h3>\n\t\t\t\t
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Sebasti\u00e1n L\u00f3pez Brach <\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Diogenes: photography as the driving force of cinema<\/h3>\n\t\t\t\t
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Leonardo Barbuy<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Saving the planet is a feminist struggle<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gabriela Di Bella<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on the African American | Episode #1<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

In\u00e9s Morales<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Towards photobook vanguard<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ricardo B\u00e1ez<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Lives not buried by soybeans<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sub Cooperativa<\/span><\/p>\n\t\t\t\t\t

Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Fire-wounded territories<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marilene Ribeiro <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Sixty days trapped in the ice<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Isadora Romero<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Faces of Peru’s protests<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcha.pe<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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neoTropico: a complete x-ray of Latin American human trafficking<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gerardo Suter <\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Universal Indigenousness: The Work of Bernardo Oyarz\u00fan<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Bernardo Oyarz\u00fan<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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The dark side of gold<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marco Garro<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Landscapes of an agonizing river<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alejandro Kirchuk<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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The heavy backpack of a war photographer<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime R\u00e1zuri<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Peripheral bodies<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Roc\u00edo Inmensidades<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Migration is a big word<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Lia Valero<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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For photography that transforms the system<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Federico Estol <\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A river in my backyard<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mauricio Pokemon<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Saying what has been kept quiet for too long: cinema and memory to overcome the crisis<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Fernando V\u00edlchez<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mushrooms poetics<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Tuane Eggers <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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My family is that leaf caressed by the sun<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Luc\u00eda Ledesma<\/span><\/p>\n\t\t\t\t\t

Argentina - Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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V\u00edctor Vich: “Art is a courage discourse that is not afraid to show its wounds.”<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Victor Vich<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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They seem to dance on the pitch<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manne Stoller<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Graphic art spreads like ivy<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Guillermina Mongan<\/span><\/p>\n\t\t\t\t\t

Argentina <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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I photographed the birthdays of the most powerful Colombian narco.<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Edgar Jim\u00e9nez Mendoza<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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The artificial memories of Crist\u00f3bal Ascencio<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Cristobal Ascencio<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Memories in the shadow of a dictatorship<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Eric Allende<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Violence documents<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Stephen Ferry<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mangrove forests for Buen vivir<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juan Arias<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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A class with the neighborhood chemist<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Diego Magaldi<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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\u00d3scar Catacora: Looking and feeling the world from the Andes<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

\u00d3scar Caracora<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Black Faces of the Revolution<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcio Pimenta<\/span><\/p>\n\t\t\t\t\t

Brasil <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Machos, Violence, and Propaganda: How to Dynamite the Image of a Narco-Country<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Nadia Granados <\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Gonzalo Golpe: Does “Latin American photography” really exist?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gonzalo Golpe<\/span><\/p>\n\t\t\t\t\t

Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Becoming a Chola again<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gabriela Olivera Hidalgo<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Looking yourself through others<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mariela Sancari<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico - Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A debt to the gazes relegated by history<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Abraham Nah\u00f3n<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A train, a trip, and a workshop<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Federico Estol y Sara Wayra<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Palliadelics: The Dignity of Good Dying<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime Andr\u00e9s Vinasco<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The plundering of Bolivian gold<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manuel Seoane y Sergio Mendoza<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Jos\u00e9 Manuyama: “The western world has expired”<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Microdoses: an inside journey<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paola Lambert\u00edn<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

God is Argentine (and his name is Maradona)<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Varios autores<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The second life of leaves<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Natalia Ortiz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

A sacred plant has something to tell you<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Antonella Fagetti<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"La<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The beauty I found in coca leaves<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Tatiana Arocha<\/span><\/p>\n\t\t\t\t\t

Estados Unidos\/Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Look me in the eyes<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Carolina Navas<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

What can this fruit tell us about Latin America?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juanita Solano<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The green that inhabits my dreams<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Adriano Machado<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Images at the limit of metaphor<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alfonso Carrera<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Memes, Substances, and Belonging in a Polarized World<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

X. Andrade<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Aqu\u00ed y all\u00e1: The Photobook as a Reflection<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Zully Sotelo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Knowing the pill you are about to take<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ina C. <\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Aquelarre: design beyond design<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Aquelarre<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Coca chewing peasants: the dismissal of traditional coca leaf consumption<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Herney Ruiz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Dr. Weed’s kitchen<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Dra. Weed<\/span><\/p>\n\t\t\t\t\t

Uruguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

All the wars I saw<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Zoraida D\u00edaz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Ghosts of the Great Depression<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Le\u00f3n Mu\u00f1oz Santini y Jorge Panchoaga<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

All family albums are open wounds<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Roc\u00edo Celis<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Memory, grief, and Forgiveness: Images as a Symbolic Reparation<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Felipe Alarc\u00f3n Correa<\/span><\/p>\n\t\t\t\t\t

<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The end of video games (as you used to know them)<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Hermanos Magia<\/span><\/p>\n\t\t\t\t\t

Per\u00fa <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Masculum Gymnasium: Boys\u2019 Last Ritual<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Nicol\u00e1s Pousthomis<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Fran Brivio: Cannabis is also medicine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Francesca Brivio<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Cannabis: beyond the Plant (and its Laws)<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Diana Valenzuela<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The Women of my Life<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Maya Goded<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Grow and Consume your Cannabis without Breaking the Law<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paco Briones<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Those Stones you Threw at Me as a Child do not Hurt me Anymore<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Rodrigo Masina Pinheiro and Gal Cipreste Marinelli<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

God is a Black Woman\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sabrina Fidalgo<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Irina and Tam’s journey<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Irina Werning<\/span><\/p>\n\t\t\t\t\t

Bolivia <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Memory Portraits<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Retratos de memoria<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The art of registering the aura of plants<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Wara Vargas<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

A mural for land defenders<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Fernando Bryce and Marcelo Brodsky<\/span><\/p>\n\t\t\t\t\t

Peru and Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Why is it so uncomfortable to see the face of a women’s assassin?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Rueda Fotos<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Venuca Evan\u00e1n: the memory of my desire<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Venuca Evanan<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

200 black female authors in a bookstore showcase\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Megafauna - Irene de Hollanda<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Martin Bollati behind the mirage<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Martin Bollati<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
\n\t\t\t
Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Benedicte Kurzen and the myth of war photographers\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Benedicte Kurzen<\/span><\/p>\n\t\t\t\t\t

Francia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Art and drugs in Colombia: an investigation\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Santiago Rueda<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Indigenous Futurism in Photography\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Josu\u00e9 Rivas<\/span><\/p>\n\t\t\t\t\t

Mexico - Estados Unidos<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Mexico: cannabis that heals\u00a0<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paco Briones<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Telling me through others<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Macidiano C\u00e9spedes <\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Reflections and potentials: the photography of the black Amazon\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcela Bonfim<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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There are already too many people taking pretty pictures<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Kenny Lemes<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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How we are supposed to live\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Carolina Aguero<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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‘Africamericanos’ in Guatemala: an invitation to reconnect with roots<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

VIST<\/span><\/p>\n\t\t\t\t\t

Guatemala<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Being Muxe: photography as a way of discovering the identity\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Nelson Morales<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Soma: drugs as they are<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Proyecto Soma<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Seeds of water: planting que\u00f1uas in the Andes\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Gender, sexuality, and inner worlds in Carla Yovane’s work<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Carla Yovane<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Titicaca and pollution: what will we do when the lake dies?\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manuel Seoane<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Syzygy: landscapes of the exact moment when the moon and the sun are aligned<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Uiler Costa-Santos<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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The imaginary territory of a migrant artist\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alejandro Erbetta<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The oppression is still quite vivid\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marisol Mendez<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ode to slow photography<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Felipe Romero Beltr\u00e1n<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Monaris: watching the world as a movie\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paola Franqui<\/span><\/p>\n\t\t\t\t\t

Puerto Rico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Karokynka: the journey to the last land\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcio Pimenta<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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\u00a0Is\u0129m Kh\u0169in: fashion and tradition in indigenous communities\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juan Pablo Mar\u00edn<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The time we can’t stop\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manu Melo Franco<\/span><\/p>\n\t\t\t\t\t

Brazill<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Spill in Peru: harbingers of slow death\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Body and maternity: at the limits of desire\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Fabiola Cedillo<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The music of our photos\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

David Pinz\u00f3n Cadena<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Rewriting imaginaries: the use of text, visuality, and collage<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sergio Lasso<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Narco fashion: beauty as power<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mayra Martell<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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At the scene of an environmental crime<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Isis Medeiros<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Spell the Desert has over Me<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

<\/span><\/p>\n\t\t\t\t\t

<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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8th House: a street photographer in quarantine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Andr\u00e9s R\u00edos<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Open images of Latin America<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pietro Paoloni<\/span><\/p>\n\t\t\t\t\t

Latin America<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Afroparlantes: a platform for boosting voices<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Dedee Mandros<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Beyond Pablo Escobar<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Narcos Lab<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“The photo has to be born to dignify”<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alejandro Cegarra<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Archive is a Journey to Other Times<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime Permuth<\/span><\/p>\n\t\t\t\t\t

Guatemala<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Migrate: from Fire to Desire<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Anita Pouchard Serra<\/span><\/p>\n\t\t\t\t\t

France \/ Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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From Almod\u00f3var to counter-hegemonic photography: nipples, algorithms and censorship<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ana Harff y Sol Etchegaray<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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NTF: Street Photography in the Blockchain<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sam Bohorquez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Watching a glacier die is like watching your mother die<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Armando Vega<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Misses in the Sierra Nevada de Santa Marta<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juan Sebasti\u00e1n Zapata y Daniela Rocha<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A residency for photographers in Bolivia<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Warmi Photo<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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When the body no longer feels patriarchy won<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Camila Falc\u00e3o<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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When my spiritual world stopped, I took these photos<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Gui Christ<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Eternal Days of Imprisoned Women<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ana Mar\u00eda Arevalo Gosen<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Resilience: between documentary and intimacy<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Victoria Razo<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mining in Colombia: cutting down 65,000 trees, moving a river and more than one hundred tons of toxic waste<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Isabella Bernal Vega<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Migration, progress and the intimacies of others: ways to refine (and question) the gaze<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Luis Antonio Rojas<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A Photographer on the Film Set<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Camila Jurado<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Nature as construction<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sof\u00eda L\u00f3pez Ma\u00f1an<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A hell that haunts him<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Victor Pe\u00f1a<\/span><\/p>\n\t\t\t\t\t

El Salvador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Poetry in my genes<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juliana G\u00f3mez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Miradas con voz: what do they want to say?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mariona Giner<\/span><\/p>\n\t\t\t\t\t

Catalunya<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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How to take photos in a place with no light<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Omar G\u00e1mez<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Feed the memory fire<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Vist<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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African-americans in Choc\u00f3: Representing Collective Thought in an Image<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Earth likes blood<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gianni Bulacio<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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African Americans in Cali: artists appropriating their territory<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

<\/span><\/p>\n\t\t\t\t\t

<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Andrea J\u00f6sch: escape from the unique image, place yourself in the territory<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Andrea J\u00f6sch<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Strip the jungle<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Inon Sani<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ma\u00edra Gamarra: the power of collective work<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ma\u00edra Gamarra<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Latin American showcases: artisan resistance to globalization<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pablo L\u00f3pez Luz<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Baud\u00f3: an agency to look closely<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Baud\u00f3 AP<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The collective body<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Julia Sbriller<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Everything we touch in quarantine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paula Zuccotti<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Eunice Adorno: How to survive in community<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Eunice Adorno<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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In the body of another: photographs to fill absences<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mariceu Erthal<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Expanded photography is here to stay<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Santiago Escobar Jaramillo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Green spell: life and magic around emeralds<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ana Nu\u00f1ez Rodr\u00edguez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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All the Borders a Photographer Can Cross<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sof\u00eda Ayarzagoitia <\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Geophotography and color: images in an expanded field<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jo\u00e3o Castilho<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Aleix Plademunt: photography of time and distance<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Aleix Plademunt<\/span><\/p>\n\t\t\t\t\t

Barcelona<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Reverberation and subtlety: possible relationships between photography and memory<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Andr\u00e9 Penteado<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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My Photographs Hurt Me<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pedro Pardo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Kucha Suto<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Rodolfo Palomino - Colectivo Kucha Suto<\/span><\/p>\n\t\t\t\t\t

Colombia \/ San Basilio de Palenque<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Long Decisive Moment when a World is Put to Death<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pedro David<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Hopefully the Night will Never Come<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Andr\u00e9s Cardona<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Colombia: the Record of a Historical Outbreak in Real Time<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Reojo Colectivo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mapuche People: the Eternity of Tomorrow<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Crist\u00f3bal Olivares<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Human Cost of Agrotoxins<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pablo Piovano<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Glyphosate and Ecological Disaster: in the Footsteps of Monsanto<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mathieu Asselin<\/span><\/p>\n\t\t\t\t\t

Venezuela\/Francia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Fires in Patagonia: what the Fire Took<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Azzzlejandro Chaskielberg<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The field no Longer Smells of Flowers<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Cristopher Rogel Blanquet<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Laia Abril: a History of Misogyny<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Laia Abril<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Cristina de Middel: a ventriloquist crosses the street<\/h3>\n\t\t\t\t
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Cristina de Middel<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ghetto dreamers, apostando a la vida<\/h3>\n\t\t\t\t
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Johis Alarc\u00f3n<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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\u00c1lvaro Laiz: Looking for the Edge<\/h3>\n\t\t\t\t
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\u00c1lvaro Laiz<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Aya: let the jungle reveal itself<\/h3>\n\t\t\t\t
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Yann Gross y Argui\u00f1e Escand\u00f3n<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Toni Amengual: looking for the limits of photography<\/h3>\n\t\t\t\t
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Toni Amengual<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Amazon: the Pandemic threatens the wisdom of plants<\/h3>\n\t\t\t\t
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Florence Goupil<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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This is not a chain: Ruda Colectiva’s first joint project<\/h3>\n\t\t\t\t
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Ruda Colectiva<\/span><\/p>\n\t\t\t\t\t

Am\u00e9rica Latina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Neuromantic: love addict<\/h3>\n\t\t\t\t
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Ana Cristina Vallejo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Proyecto Quipu: voces por la memoria de las esterilizaciones forzadas en Per\u00fa<\/h3>\n\t\t\t\t
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Rosemarie Lerner<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Amapola and resilience in the Mexican mountains<\/h3>\n\t\t\t\t
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Yael Mart\u00ednez<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Quipu: how to produce a collaborative transmedia documentary<\/h3>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Rodrigo Braga: the camera that does not shoot<\/h3>\n\t\t\t\t
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Rodrigo Braga<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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At the heart of the beast<\/h3>\n\t\t\t\t
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Pablo Allison<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The ancestral avant-garde<\/h3>\n\t\t\t\t
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Rember Yahuarcani L\u00f3pez<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Love spells, potions of resistance<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Malign influences: how to transform the family album<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Photography as a way of registering one\u2019s own transformation<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Roberto Tondop\u00f3<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“Cholita you had to be”<\/h3>\n\t\t\t\t
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Sara Aliaga y Ara Goudsmit<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Art to understand trauma<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Gabriela B\u00e1ez<\/span><\/p>\n\t\t\t\t\t

Puerto Rico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Stories that are born from silence<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Diego Mondaca<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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From the Amazon to the Arctic, in search of the nature that inhabits me<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Erika Larsen<\/span><\/p>\n\t\t\t\t\t

Estados Unidos<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mexico: violence reached the territory of dreams<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Luis Enrique Aguilar<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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In a Corner of La Mancha Where There is More Cocaine that You Can Imagine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Edu Le\u00f3n<\/span><\/p>\n\t\t\t\t\t

Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ways to photograph murdered journalists in Mexico<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

F\u00e9lix M\u00e1rquez<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Colombia: how to narrate an ongoing war<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ram\u00f3n Campos Iriarte<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A street eye in Caracas<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Ronald \u201cMalandro\u201d Pizzoferrato<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Notes to make a migrant herbalist<\/h3>\n\t\t\t\t
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Cynthia Santos Briones<\/span><\/p>\n\t\t\t\t\t

Estados Unidos<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Being black in Paraguay<\/h3>\n\t\t\t\t
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Mayeli Villalba<\/span><\/p>\n\t\t\t\t\t

Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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To Tell the Sacred and the Violent, Photos Printed on Coca Leaves<\/h3>\n\t\t\t\t
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Alexandra McNichols-Torroledo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Photography and criminal records: from stigma to resistance<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Peru: tiktokers, memes and tear gas<\/h3>\n\t\t\t\t
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Noelia Ch\u00e1vez. Fotos: Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Love in the times of problematic consumption<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Leafhopper: David Simon Martret y Blanca Galindo<\/span><\/p>\n\t\t\t\t\t

Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Gisela Vol\u00e1: c\u00f3mo fotografiar el deseo<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Gisela Vol\u00e1<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Nicola Okin in the Amazon: the Call to Portray a Territory in Resistance<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Nicola Okin<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Music to cross the Amazon<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime Chirif Watanabe<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Photographies to imagine new worlds<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jorge Panchoaga<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Catalina Gil Pinz\u00f3n: traditional narratives and drug policies<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A racist insult on my family album<\/h3>\n\t\t\t\t
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Ang\u00e9lica Dass<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div><\/div>\n\t\t\t

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\n\t\n\t\n\t<\/svg><\/div>\n\t\t\t<\/div>\n\t\t<\/div>[\/et_pb_code][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

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Bego Ant\u00f3n: Between Elves and Cha-cha, the Love for Nature<\/h3>\n\t\t\t\t
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Bego Ant\u00f3n<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Gloria Oyarz\u00e1bal: The Colonization of the Concept of Woman<\/h3>\n\t\t\t\t
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Gloria Oyarz\u00e1bal<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“We are more than a virus”<\/h3>\n\t\t\t\t
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Diego Argote<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Foto F\u00e9minas: Community and Representation<\/h3>\n\t\t\t\t
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Ver\u00f3nica Sanchis<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Metamorphosis of the Archive<\/h3>\n\t\t\t\t
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Marina Feldhues<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Mobility of Images<\/h3>\n\t\t\t\t
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Ricardo Miguel Hern\u00e1ndez<\/span><\/p>\n\t\t\t\t\t

Cuba<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Fictions for imagining flavorful futures<\/h3>\n\t\t\t\t
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Juan C\u00e1rdenas<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Beekeepers<\/h3>\n\t\t\t\t
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Gabriela Portilho<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ancient beings take my dreams<\/h3>\n\t\t\t\t
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Bonitka<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations about the African American | Season 2 Episode #3<\/h3>\n\t\t\t\t
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Paula Balduino de Melo<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations about the African American | Season 2 Episode #2<\/h3>\n\t\t\t\t
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B\u00e1rbara y Benito Medina<\/span><\/p>\n\t\t\t\t\t

Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Subverting the Everyday<\/h3>\n\t\t\t\t
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Santi Garc\u00eda<\/span><\/p>\n\t\t\t\t\t

Nicaragua<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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What do they do with our stories, our bodies, and our bones? | Fresco #7: R\u00edo Paran\u00e1<\/h3>\n\t\t\t\t
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R\u00edo Paran\u00e1<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Who are “The Undisciplined” in Peruvian Photographic Art?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Alejandro Le\u00f3n Cannock<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A mother and daughter look at themselves together in the mirror.<\/h3>\n\t\t\t\t
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Paula Huven <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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United by the sun | Fresco EP #6<\/h3>\n\t\t\t\t
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Victor Zea<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Life that Remains by the Great Hole<\/h3>\n\t\t\t\t
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Ian Cheibub<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Faces that get lost<\/h3>\n\t\t\t\t
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Luvia Lazo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mayan resistance against agribusiness<\/h3>\n\t\t\t\t
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Robin Canul<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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This self-publication is also my passport | Fresco #5<\/h3>\n\t\t\t\t
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Mitmaq Ediciones<\/span><\/p>\n\t\t\t\t\t

Latinoam\u00e9rica \/ Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Facing the State from a Wheelchair<\/h3>\n\t\t\t\t
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Violeta Ayala<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The photobook as an artifact for (re)thinking a country<\/h3>\n\t\t\t\t
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Francisco Medail<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The memory of my territory is alive in this decolonial gesture | Fresco EP#4<\/h3>\n\t\t\t\t
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Nicol\u00e1s Cox<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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For a migrant gaze of the world<\/h3>\n\t\t\t\t
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Fabiola Ferrero<\/span><\/p>\n\t\t\t\t\t

Am\u00e9rica Latina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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IAbuelas: How to imagine the face of a disappeared person<\/h3>\n\t\t\t\t
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Santiago Barros<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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An image that is read, a poem that is seen<\/h3>\n\t\t\t\t
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Victor Vich - Lucero Del Castillo <\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A performance, a knife, and a chroma in the face of media opportunism | Fresco EP#4<\/h3>\n\t\t\t\t
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Rafael Roncato<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Wembler’s, patriarchs of Amazonian cumbia<\/h3>\n\t\t\t\t
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Luis Chumbe<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Artist Gardener and His Coca Plants<\/h3>\n\t\t\t\t
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Wilson Diaz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A symptom of climate change | Fresco EP#2<\/h3>\n\t\t\t\t
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Alejandra Orosco<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d<\/h3>\n\t\t\t\t
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Cora Gamarnik<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Yoga in Confinement<\/h3>\n\t\t\t\t
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Ivana Legler<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Voices for Yasun\u00ed<\/h3>\n\t\t\t\t
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Joseph Z\u00e1rate y Andr\u00e9s Cardona<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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An Aleph tailored to your measure | Fresco EP#1<\/h3>\n\t\t\t\t
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Juan Manuel Lara<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Blossoming at 70 years old<\/h3>\n\t\t\t\t
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Ma\u00edra Erlich<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Salt, Water, and Police Repression<\/h3>\n\t\t\t\t
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Susi Maresca<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Memories that the dictatorship could not erase<\/h3>\n\t\t\t\t
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Evandro Teixeira<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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World Press Photo South America 2023 | VIST Talk with the Winners<\/h3>\n\t\t\t\t
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VIST<\/span><\/p>\n\t\t\t\t\t

Latinoam\u00e9rica<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Sentipensarse Black in Colombia\u00a0<\/h3>\n\t\t\t\t
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Marcela Angulo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“Popular photography is on its way to becoming something different: something between photography and painting.”<\/h3>\n\t\t\t\t
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Lev Manovich<\/span><\/p>\n\t\t\t\t\t

Rusia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Art as a Crime, Crime as Art<\/h3>\n\t\t\t\t
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Irene Avramelos<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations about the African American | Florencia Gomes<\/h3>\n\t\t\t\t
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Florencia Gomes<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“A child excited about nature is an ally for life”<\/h3>\n\t\t\t\t
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Javi Vel\u00e1squez<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Apocalypse Now: Mar\u00eda Abadd\u00f3n’s Textile Art<\/h3>\n\t\t\t\t
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Mar\u00eda Abadd\u00f3n<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Between saving nature and documenting its end<\/h3>\n\t\t\t\t
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Paulina Chamorro<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Following the Charr\u00faa family tree<\/h3>\n\t\t\t\t
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Archivo de la Memoria Charr\u00faa<\/span><\/p>\n\t\t\t\t\t

Uruguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The footprints of my mother have not been erased<\/h3>\n\t\t\t\t
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Cindy Mu\u00f1oz S\u00e1nchez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Afro-Argentine, the third root<\/h3>\n\t\t\t\t
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Nicol\u00e1s Janowski<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Latin America is an overcrowded prison<\/h3>\n\t\t\t\t
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Thiago Dezan<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Being fag in Mexican public schools<\/h3>\n\t\t\t\t
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Mr. Poper<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Where is Latin American photography heading?<\/h3>\n\t\t\t\t
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Pablo Corral<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Photography (also) was invented in Brazil<\/h3>\n\t\t\t\t
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Boris Kossoy<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Twenty cents that shook a country<\/h3>\n\t\t\t\t
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Gabriela Bil\u00f3<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“If the right to Mother Earth is negotiated, life is negotiated.”<\/h3>\n\t\t\t\t
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Miguel Vilela <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The pop art gaze of the mountain ranges<\/h3>\n\t\t\t\t
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Cholita Chic<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on the African-American | EP#4: Velia Vidal<\/h3>\n\t\t\t\t
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Velia Vidal<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Looking for glimpses between the past and present<\/h3>\n\t\t\t\t
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Celeste Rojas M\u00fagica<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Virtual portraits of a naked mind<\/h3>\n\t\t\t\t
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Carlos del Carmen<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Even the walls will shout our rage<\/h3>\n\t\t\t\t
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Diana Cano<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on African American | Episode #3<\/h3>\n\t\t\t\t
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Medhin Tewolde Serrano<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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I am not a mother, nor do I want to be one<\/h3>\n\t\t\t\t
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Judith Romero<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Wounds in the land (and the bodies) of the Yanomami<\/h3>\n\t\t\t\t
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Pablo Albarenga<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Humans, minerals, and the desert<\/h3>\n\t\t\t\t
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Marcos Zegers<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on African American | Episode #2<\/h3>\n\t\t\t\t
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Abraham Jim\u00e9nez Enoa<\/span><\/p>\n\t\t\t\t\t

Cuba<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Chim\u00e1n people’s film debut<\/h3>\n\t\t\t\t
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Manuel Seoane<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Looking at the world like a Kichwa child<\/h3>\n\t\t\t\t
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Misha Vallejo<\/span><\/p>\n\t\t\t\t\t

Amazonas<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A winged giant in the city of rage<\/h3>\n\t\t\t\t
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Sof\u00eda L\u00f3pez Ma\u00f1an<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Kakataibo’s Battle<\/h3>\n\t\t\t\t
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Florence Goupil<\/span><\/p>\n\t\t\t\t\t

Amazonas<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Landscape intimacy<\/h3>\n\t\t\t\t
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Nicol\u00e1s Amaro<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Buenos Aires’ true roots<\/h3>\n\t\t\t\t
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Roc\u00edo Cardenas<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Lights and shadows of the new white gold<\/h3>\n\t\t\t\t
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Sebasti\u00e1n L\u00f3pez Brach <\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Diogenes: photography as the driving force of cinema<\/h3>\n\t\t\t\t
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Leonardo Barbuy<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Saving the planet is a feminist struggle<\/h3>\n\t\t\t\t
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Gabriela Di Bella<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Imagining the Fire: Conversations on the African American | Episode #1<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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In\u00e9s Morales<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Towards photobook vanguard<\/h3>\n\t\t\t\t
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Ricardo B\u00e1ez<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Lives not buried by soybeans<\/h3>\n\t\t\t\t
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Sub Cooperativa<\/span><\/p>\n\t\t\t\t\t

Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Fire-wounded territories<\/h3>\n\t\t\t\t
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Marilene Ribeiro <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Sixty days trapped in the ice<\/h3>\n\t\t\t\t
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Isadora Romero<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Faces of Peru’s protests<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcha.pe<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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neoTropico: a complete x-ray of Latin American human trafficking<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gerardo Suter <\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Universal Indigenousness: The Work of Bernardo Oyarz\u00fan<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Bernardo Oyarz\u00fan<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The dark side of gold<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marco Garro<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Landscapes of an agonizing river<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alejandro Kirchuk<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The heavy backpack of a war photographer<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime R\u00e1zuri<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Peripheral bodies<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Roc\u00edo Inmensidades<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Migration is a big word<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Lia Valero<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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For photography that transforms the system<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Federico Estol <\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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A river in my backyard<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mauricio Pokemon<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Saying what has been kept quiet for too long: cinema and memory to overcome the crisis<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Fernando V\u00edlchez<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Mushrooms poetics<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Tuane Eggers <\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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My family is that leaf caressed by the sun<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Luc\u00eda Ledesma<\/span><\/p>\n\t\t\t\t\t

Argentina - Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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V\u00edctor Vich: “Art is a courage discourse that is not afraid to show its wounds.”<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Victor Vich<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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They seem to dance on the pitch<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manne Stoller<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Graphic art spreads like ivy<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Guillermina Mongan<\/span><\/p>\n\t\t\t\t\t

Argentina <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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I photographed the birthdays of the most powerful Colombian narco.<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Edgar Jim\u00e9nez Mendoza<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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The artificial memories of Crist\u00f3bal Ascencio<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Cristobal Ascencio<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Memories in the shadow of a dictatorship<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Eric Allende<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Violence documents<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Stephen Ferry<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Mangrove forests for Buen vivir<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juan Arias<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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A class with the neighborhood chemist<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Diego Magaldi<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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\u00d3scar Catacora: Looking and feeling the world from the Andes<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

\u00d3scar Caracora<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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The Black Faces of the Revolution<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcio Pimenta<\/span><\/p>\n\t\t\t\t\t

Brasil <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Machos, Violence, and Propaganda: How to Dynamite the Image of a Narco-Country<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Nadia Granados <\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Gonzalo Golpe: Does “Latin American photography” really exist?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gonzalo Golpe<\/span><\/p>\n\t\t\t\t\t

Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Becoming a Chola again<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gabriela Olivera Hidalgo<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Looking yourself through others<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mariela Sancari<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico - Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A debt to the gazes relegated by history<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Abraham Nah\u00f3n<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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A train, a trip, and a workshop<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Federico Estol y Sara Wayra<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Palliadelics: The Dignity of Good Dying<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime Andr\u00e9s Vinasco<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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The plundering of Bolivian gold<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manuel Seoane y Sergio Mendoza<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Jos\u00e9 Manuyama: “The western world has expired”<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Microdoses: an inside journey<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paola Lambert\u00edn<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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God is Argentine (and his name is Maradona)<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Varios autores<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The second life of leaves<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Natalia Ortiz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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A sacred plant has something to tell you<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Antonella Fagetti<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"La<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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The beauty I found in coca leaves<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Tatiana Arocha<\/span><\/p>\n\t\t\t\t\t

Estados Unidos\/Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Look me in the eyes<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Carolina Navas<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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What can this fruit tell us about Latin America?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juanita Solano<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The green that inhabits my dreams<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Adriano Machado<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Images at the limit of metaphor<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alfonso Carrera<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Memes, Substances, and Belonging in a Polarized World<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

X. Andrade<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Aqu\u00ed y all\u00e1: The Photobook as a Reflection<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Zully Sotelo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Knowing the pill you are about to take<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ina C. <\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Aquelarre: design beyond design<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Aquelarre<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Coca chewing peasants: the dismissal of traditional coca leaf consumption<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Herney Ruiz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Dr. Weed’s kitchen<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Dra. Weed<\/span><\/p>\n\t\t\t\t\t

Uruguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

All the wars I saw<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Zoraida D\u00edaz<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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Ghosts of the Great Depression<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Le\u00f3n Mu\u00f1oz Santini y Jorge Panchoaga<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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All family albums are open wounds<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Roc\u00edo Celis<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Memory, grief, and Forgiveness: Images as a Symbolic Reparation<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Felipe Alarc\u00f3n Correa<\/span><\/p>\n\t\t\t\t\t

<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The end of video games (as you used to know them)<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Hermanos Magia<\/span><\/p>\n\t\t\t\t\t

Per\u00fa <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Masculum Gymnasium: Boys\u2019 Last Ritual<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Nicol\u00e1s Pousthomis<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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Fran Brivio: Cannabis is also medicine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Francesca Brivio<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Cannabis: beyond the Plant (and its Laws)<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Diana Valenzuela<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

The Women of my Life<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Maya Goded<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Grow and Consume your Cannabis without Breaking the Law<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paco Briones<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Those Stones you Threw at Me as a Child do not Hurt me Anymore<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Rodrigo Masina Pinheiro and Gal Cipreste Marinelli<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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God is a Black Woman\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sabrina Fidalgo<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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Irina and Tam’s journey<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Irina Werning<\/span><\/p>\n\t\t\t\t\t

Bolivia <\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Memory Portraits<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Retratos de memoria<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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The art of registering the aura of plants<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Wara Vargas<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
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A mural for land defenders<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Fernando Bryce and Marcelo Brodsky<\/span><\/p>\n\t\t\t\t\t

Peru and Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
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Why is it so uncomfortable to see the face of a women’s assassin?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Rueda Fotos<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Venuca Evan\u00e1n: the memory of my desire<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Venuca Evanan<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

200 black female authors in a bookstore showcase\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Megafauna - Irene de Hollanda<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Martin Bollati behind the mirage<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Martin Bollati<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Benedicte Kurzen and the myth of war photographers\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Benedicte Kurzen<\/span><\/p>\n\t\t\t\t\t

Francia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Art and drugs in Colombia: an investigation\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Santiago Rueda<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Indigenous Futurism in Photography\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Josu\u00e9 Rivas<\/span><\/p>\n\t\t\t\t\t

Mexico - Estados Unidos<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Mexico: cannabis that heals\u00a0<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paco Briones<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Telling me through others<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Macidiano C\u00e9spedes <\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Reflections and potentials: the photography of the black Amazon\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marcela Bonfim<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

There are already too many people taking pretty pictures<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Kenny Lemes<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

How we are supposed to live\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Carolina Aguero<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

‘Africamericanos’ in Guatemala: an invitation to reconnect with roots<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

VIST<\/span><\/p>\n\t\t\t\t\t

Guatemala<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
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\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Being Muxe: photography as a way of discovering the identity\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Nelson Morales<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

\n\t\n\t\t
<\/div>\n\t\t
\"\"<\/div>\n\t\t
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Interviews<\/div>\n\t\t\t
\n\t\t\t\t

Soma: drugs as they are<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Proyecto Soma<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Seeds of water: planting que\u00f1uas in the Andes\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Gender, sexuality, and inner worlds in Carla Yovane’s work<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Carla Yovane<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Titicaca and pollution: what will we do when the lake dies?\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Manuel Seoane<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Syzygy: landscapes of the exact moment when the moon and the sun are aligned<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Uiler Costa-Santos<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The imaginary territory of a migrant artist\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Alejandro Erbetta<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The oppression is still quite vivid\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Marisol Mendez<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ode to slow photography<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Felipe Romero Beltr\u00e1n<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Monaris: watching the world as a movie\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paola Franqui<\/span><\/p>\n\t\t\t\t\t

Puerto Rico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Karokynka: the journey to the last land\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Marcio Pimenta<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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\u00a0Is\u0129m Kh\u0169in: fashion and tradition in indigenous communities\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juan Pablo Mar\u00edn<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The time we can’t stop\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Manu Melo Franco<\/span><\/p>\n\t\t\t\t\t

Brazill<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Spill in Peru: harbingers of slow death\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Body and maternity: at the limits of desire\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Fabiola Cedillo<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The music of our photos\ufffc<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

David Pinz\u00f3n Cadena<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Rewriting imaginaries: the use of text, visuality, and collage<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Sergio Lasso<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Narco fashion: beauty as power<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Mayra Martell<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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At the scene of an environmental crime<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Isis Medeiros<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Spell the Desert has over Me<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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<\/span><\/p>\n\t\t\t\t\t

<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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8th House: a street photographer in quarantine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Andr\u00e9s R\u00edos<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Open images of Latin America<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Pietro Paoloni<\/span><\/p>\n\t\t\t\t\t

Latin America<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Afroparlantes: a platform for boosting voices<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Dedee Mandros<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Beyond Pablo Escobar<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Narcos Lab<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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“The photo has to be born to dignify”<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Alejandro Cegarra<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Archive is a Journey to Other Times<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime Permuth<\/span><\/p>\n\t\t\t\t\t

Guatemala<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Migrate: from Fire to Desire<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Anita Pouchard Serra<\/span><\/p>\n\t\t\t\t\t

France \/ Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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From Almod\u00f3var to counter-hegemonic photography: nipples, algorithms and censorship<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Ana Harff y Sol Etchegaray<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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NTF: Street Photography in the Blockchain<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Sam Bohorquez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Watching a glacier die is like watching your mother die<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Armando Vega<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Misses in the Sierra Nevada de Santa Marta<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Juan Sebasti\u00e1n Zapata y Daniela Rocha<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A residency for photographers in Bolivia<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Warmi Photo<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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When the body no longer feels patriarchy won<\/h3>\n\t\t\t\t
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\n\t\t\t\t\t

Camila Falc\u00e3o<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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When my spiritual world stopped, I took these photos<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Gui Christ<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Eternal Days of Imprisoned Women<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Ana Mar\u00eda Arevalo Gosen<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Resilience: between documentary and intimacy<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Victoria Razo<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mining in Colombia: cutting down 65,000 trees, moving a river and more than one hundred tons of toxic waste<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Isabella Bernal Vega<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Migration, progress and the intimacies of others: ways to refine (and question) the gaze<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Luis Antonio Rojas<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A Photographer on the Film Set<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Camila Jurado<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Nature as construction<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Sof\u00eda L\u00f3pez Ma\u00f1an<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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A hell that haunts him<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Victor Pe\u00f1a<\/span><\/p>\n\t\t\t\t\t

El Salvador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Poetry in my genes<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Juliana G\u00f3mez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Miradas con voz: what do they want to say?<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mariona Giner<\/span><\/p>\n\t\t\t\t\t

Catalunya<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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How to take photos in a place with no light<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Omar G\u00e1mez<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Feed the memory fire<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Vist<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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African-americans in Choc\u00f3: Representing Collective Thought in an Image<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Earth likes blood<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Gianni Bulacio<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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African Americans in Cali: artists appropriating their territory<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

<\/span><\/p>\n\t\t\t\t\t

<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Andrea J\u00f6sch: escape from the unique image, place yourself in the territory<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Andrea J\u00f6sch<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Strip the jungle<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Inon Sani<\/span><\/p>\n\t\t\t\t\t

Peru<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ma\u00edra Gamarra: the power of collective work<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ma\u00edra Gamarra<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Latin American showcases: artisan resistance to globalization<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pablo L\u00f3pez Luz<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Baud\u00f3: an agency to look closely<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Baud\u00f3 AP<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The collective body<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Julia Sbriller<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Everything we touch in quarantine<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Paula Zuccotti<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Eunice Adorno: How to survive in community<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Eunice Adorno<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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In the body of another: photographs to fill absences<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mariceu Erthal<\/span><\/p>\n\t\t\t\t\t

Mexico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Expanded photography is here to stay<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Santiago Escobar Jaramillo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Green spell: life and magic around emeralds<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Ana Nu\u00f1ez Rodr\u00edguez<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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All the Borders a Photographer Can Cross<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Sof\u00eda Ayarzagoitia <\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Geophotography and color: images in an expanded field<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jo\u00e3o Castilho<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Aleix Plademunt: photography of time and distance<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Aleix Plademunt<\/span><\/p>\n\t\t\t\t\t

Barcelona<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Reverberation and subtlety: possible relationships between photography and memory<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Andr\u00e9 Penteado<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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My Photographs Hurt Me<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pedro Pardo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Kucha Suto<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Rodolfo Palomino - Colectivo Kucha Suto<\/span><\/p>\n\t\t\t\t\t

Colombia \/ San Basilio de Palenque<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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The Long Decisive Moment when a World is Put to Death<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pedro David<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Hopefully the Night will Never Come<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Andr\u00e9s Cardona<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Colombia: the Record of a Historical Outbreak in Real Time<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Reojo Colectivo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Mapuche People: the Eternity of Tomorrow<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Crist\u00f3bal Olivares<\/span><\/p>\n\t\t\t\t\t

Chile<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The Human Cost of Agrotoxins<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Pablo Piovano<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Glyphosate and Ecological Disaster: in the Footsteps of Monsanto<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Mathieu Asselin<\/span><\/p>\n\t\t\t\t\t

Venezuela\/Francia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Fires in Patagonia: what the Fire Took<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Azzzlejandro Chaskielberg<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The field no Longer Smells of Flowers<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Cristopher Rogel Blanquet<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Laia Abril: a History of Misogyny<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Laia Abril<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Cristina de Middel: a ventriloquist crosses the street<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Cristina de Middel<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Ghetto dreamers, apostando a la vida<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Johis Alarc\u00f3n<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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\u00c1lvaro Laiz: Looking for the Edge<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

\u00c1lvaro Laiz<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Aya: let the jungle reveal itself<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Yann Gross y Argui\u00f1e Escand\u00f3n<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Toni Amengual: looking for the limits of photography<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Toni Amengual<\/span><\/p>\n\t\t\t\t\t

Spain<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Amazon: the Pandemic threatens the wisdom of plants<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Florence Goupil<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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This is not a chain: Ruda Colectiva’s first joint project<\/h3>\n\t\t\t\t
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Ruda Colectiva<\/span><\/p>\n\t\t\t\t\t

Am\u00e9rica Latina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Neuromantic: love addict<\/h3>\n\t\t\t\t
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Ana Cristina Vallejo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Proyecto Quipu: voces por la memoria de las esterilizaciones forzadas en Per\u00fa<\/h3>\n\t\t\t\t
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Rosemarie Lerner<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Amapola and resilience in the Mexican mountains<\/h3>\n\t\t\t\t
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Yael Mart\u00ednez<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Quipu: how to produce a collaborative transmedia documentary<\/h3>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Rodrigo Braga: the camera that does not shoot<\/h3>\n\t\t\t\t
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Rodrigo Braga<\/span><\/p>\n\t\t\t\t\t

Brasil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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At the heart of the beast<\/h3>\n\t\t\t\t
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Pablo Allison<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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The ancestral avant-garde<\/h3>\n\t\t\t\t
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Rember Yahuarcani L\u00f3pez<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Love spells, potions of resistance<\/h3>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Malign influences: how to transform the family album<\/h3>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Photography as a way of registering one\u2019s own transformation<\/h3>\n\t\t\t\t
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Roberto Tondop\u00f3<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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“Cholita you had to be”<\/h3>\n\t\t\t\t
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Sara Aliaga y Ara Goudsmit<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Art to understand trauma<\/h3>\n\t\t\t\t
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Gabriela B\u00e1ez<\/span><\/p>\n\t\t\t\t\t

Puerto Rico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Stories that are born from silence<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Diego Mondaca<\/span><\/p>\n\t\t\t\t\t

Bolivia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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From the Amazon to the Arctic, in search of the nature that inhabits me<\/h3>\n\t\t\t\t
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Erika Larsen<\/span><\/p>\n\t\t\t\t\t

Estados Unidos<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Mexico: violence reached the territory of dreams<\/h3>\n\t\t\t\t
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Luis Enrique Aguilar<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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In a Corner of La Mancha Where There is More Cocaine that You Can Imagine<\/h3>\n\t\t\t\t
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Edu Le\u00f3n<\/span><\/p>\n\t\t\t\t\t

Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Ways to photograph murdered journalists in Mexico<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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F\u00e9lix M\u00e1rquez<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Colombia: how to narrate an ongoing war<\/h3>\n\t\t\t\t
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Ram\u00f3n Campos Iriarte<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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A street eye in Caracas<\/h3>\n\t\t\t\t
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Ronald \u201cMalandro\u201d Pizzoferrato<\/span><\/p>\n\t\t\t\t\t

Venezuela<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Notes to make a migrant herbalist<\/h3>\n\t\t\t\t
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Cynthia Santos Briones<\/span><\/p>\n\t\t\t\t\t

Estados Unidos<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Being black in Paraguay<\/h3>\n\t\t\t\t
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Mayeli Villalba<\/span><\/p>\n\t\t\t\t\t

Paraguay<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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To Tell the Sacred and the Violent, Photos Printed on Coca Leaves<\/h3>\n\t\t\t\t
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Alexandra McNichols-Torroledo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Photography and criminal records: from stigma to resistance<\/h3>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

M\u00e9xico<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Peru: tiktokers, memes and tear gas<\/h3>\n\t\t\t\t
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Noelia Ch\u00e1vez. Fotos: Musuk Nolte<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Love in the times of problematic consumption<\/h3>\n\t\t\t\t
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Leafhopper: David Simon Martret y Blanca Galindo<\/span><\/p>\n\t\t\t\t\t

Espa\u00f1a<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Gisela Vol\u00e1: c\u00f3mo fotografiar el deseo<\/h3>\n\t\t\t\t
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Gisela Vol\u00e1<\/span><\/p>\n\t\t\t\t\t

Argentina<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Nicola Okin in the Amazon: the Call to Portray a Territory in Resistance<\/h3>\n\t\t\t\t
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Nicola Okin<\/span><\/p>\n\t\t\t\t\t

Ecuador<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Music to cross the Amazon<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Jaime Chirif Watanabe<\/span><\/p>\n\t\t\t\t\t

Per\u00fa<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Photographies to imagine new worlds<\/h3>\n\t\t\t\t
<\/div>\n\t\t\t\t
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Jorge Panchoaga<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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Catalina Gil Pinz\u00f3n: traditional narratives and drug policies<\/h3>\n\t\t\t\t
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Marcela Vallejo<\/span><\/p>\n\t\t\t\t\t

Colombia<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div>

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Interviews<\/div>\n\t\t\t
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A racist insult on my family album<\/h3>\n\t\t\t\t
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Ang\u00e9lica Dass<\/span><\/p>\n\t\t\t\t\t

Brazil<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a><\/div><\/div>\n\t\t\t

\n\t\t\t\t
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\n\t\n\t\n\t<\/svg><\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":""},"acf":[],"yoast_head":"\nInterviews - Vist Projects<\/title>\n\n\n\n\n\n\n\n\n\n\n\n\t\n