{"id":911,"date":"2021-06-03T18:26:24","date_gmt":"2021-06-03T23:26:24","guid":{"rendered":"https:\/\/vistprojects.com\/en\/?page_id=911"},"modified":"2021-06-10T21:02:07","modified_gmt":"2021-06-11T02:02:07","slug":"authors","status":"publish","type":"page","link":"https:\/\/vistprojects.com\/en\/authors\/","title":{"rendered":"Authors"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|phone” _builder_version=”4.9.4″ _module_preset=”default” background_color=”#1d1d1d” 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|desktop” 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|0px|50px|false|false” custom_padding_tablet=”|25px|0px|25px|false|false” custom_padding_phone=”|20px|0px|20px|false|false” custom_css_main_element=”z-index:3;”][et_pb_column type=”4_4″ _builder_version=”4.9.4″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_font=”||||||||” text_text_color=”#ffffff” text_font_size=”72px” text_line_height=”68px” hover_enabled=”0″ text_font_size_tablet=”72px” text_font_size_phone=”50px” text_font_size_last_edited=”on|phone” text_line_height_tablet=”” text_line_height_phone=”49px” text_line_height_last_edited=”on|desktop” custom_css_main_element=”font-family: ‘tt_bluescreensdemibold’;” sticky_enabled=”0″]

Authors A-Z<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|desktop” _builder_version=”4.9.4″ _module_preset=”default” width=”100%” max_width=”1920px” module_alignment=”center” custom_margin=”0px||0px||false|false” custom_padding=”0px|50px|50px|50px|false|true” custom_padding_tablet=”|25px||25px|false|true” custom_padding_phone=”|20px|50px|20px|false|false”][et_pb_column type=”4_4″ _builder_version=”4.9.4″ _module_preset=”default”][et_pb_code _builder_version=”4.9.4″ _module_preset=”default” custom_padding=”0px||||false|false” custom_padding_tablet=”0px||||false|false” custom_padding_phone=”” custom_padding_last_edited=”on|tablet”]

<\/div>
Ana Mar\u00eda Arevalo Gosen<\/div>
\tThe Eternal Days of Imprisoned Women<\/a><\/div>
Armando Vega<\/div>
\tWatching a glacier die is like watching your mother die<\/a><\/div>
Celeste Rojas M\u00fagica<\/div>
\tLooking for glimpses between the past and present<\/a><\/div>
David Pinz\u00f3n Cadena<\/div>
\tThe music of our photos\ufffc<\/a><\/div>
Guillermo Ospina<\/div>
\tPoppy Relief<\/a><\/div>
Isabella Bernal Vega<\/div>
\tMining in Colombia: cutting down 65,000 trees, moving a river and more than one hundred tons of toxic waste<\/a><\/div>
Javi Vel\u00e1squez<\/div>
\t“A child excited about nature is an ally for life”<\/a><\/div>
Tamara Merino <\/div>
\tAllegory of the cave<\/a><\/div>
A<\/div>
Abilio Est\u00e9vez<\/div>
\tCemetery in Medell\u00edn<\/a><\/div>
Abraham Jim\u00e9nez Enoa<\/div>
\tImagining the Fire: Conversations on African American | Episode #2<\/a><\/div>
Abraham Nah\u00f3n<\/div>
\tA debt to the gazes relegated by history<\/a><\/div>
Adriano Machado<\/div>
\tThe green that inhabits my dreams<\/a><\/div>
Aleix Plademunt<\/div>
\tAleix Plademunt: photography of time and distance<\/a><\/div>
Alejandra Orosco<\/div>
\tA symptom of climate change | Fresco EP#2<\/a><\/div>
Alejandro Cegarra<\/div>
\t“The photo has to be born to dignify”<\/a><\/div>
Alejandro Erbetta<\/div>
\tThe imaginary territory of a migrant artist\ufffc<\/a><\/div>
Alejandro Kirchuk<\/div>
\tLandscapes of an agonizing river<\/a><\/div>
Alejandro Le\u00f3n Cannock<\/div>
\tWho are “The Undisciplined” in Peruvian Photographic Art?<\/a><\/div>
Alexandra McNichols-Torroledo<\/div>
\tTo Tell the Sacred and the Violent, Photos Printed on Coca Leaves<\/a><\/div>
Alfonso Carrera<\/div>
\tImages at the limit of metaphor<\/a><\/div>
\u00c1lvaro Laiz<\/div>
\t\u00c1lvaro Laiz: Looking for the Edge<\/a><\/div>
Ana Cristina Vallejo<\/div>
\tNeuromantic: love addict<\/a><\/div>
Ana Gretel Echaz\u00fa B\u00f6schemeier <\/div>
\tReinventing Ayahuasca<\/a><\/div>
Ana Harff y Sol Etchegaray<\/div>
\tFrom Almod\u00f3var to counter-hegemonic photography: nipples, algorithms and censorship<\/a><\/div>
Ana Nu\u00f1ez Rodr\u00edguez<\/div>
\tGreen spell: life and magic around emeralds<\/a><\/div>
Andr\u00e9 Penteado<\/div>
\tReverberation and subtlety: possible relationships between photography and memory<\/a><\/div>
Andrea J\u00f6sch<\/div>
\tAndrea J\u00f6sch: escape from the unique image, place yourself in the territory<\/a><\/div>
Andr\u00e9s Cardona<\/div>
\tHopefully the Night will Never Come<\/a><\/div>
Andr\u00e9s R\u00edos<\/div>
\t8th House: a street photographer in quarantine<\/a><\/div>
Ang\u00e9lica Dass<\/div>
\tA racist insult on my family album<\/a><\/div>
Animaciones Salvajes<\/div>
\tSteal audio and animate it: that character will tell you the truth<\/a><\/div>
Anita Pouchard Serra<\/div>
\tMigrate: from Fire to Desire<\/a><\/div>
Antonella Fagetti<\/div>
\tA sacred plant has something to tell you<\/a><\/div>
Aquelarre<\/div>
\tAquelarre: design beyond design<\/a><\/div>
Archivo de la Memoria Charr\u00faa<\/div>
\tFollowing the Charr\u00faa family tree<\/a><\/div>
Archivo Nacional Victoria Santa Cruz<\/div>
\tVictoria Santa Cruz: unknown images ot the voice of the Afro-Peruvian woman<\/a><\/div>
Ay\u00fcn fot\u00f3grafas<\/div>
\tAy\u00fcn: Photography to Seek the Light in Others<\/a><\/div>
Alejandro Chaskielberg<\/div>
\tFires in Patagonia: what the Fire Took<\/a><\/div>
B<\/div>
B\u00e1rbara y Benito Medina<\/div>
\tImagining the Fire: Conversations about the African American | Season 2 Episode #2<\/a><\/div>
Baud\u00f3 AP<\/div>
\tBaud\u00f3: an agency to look closely<\/a><\/div>
Bego Ant\u00f3n<\/div>
\tBego Ant\u00f3n: Between Elves and Cha-cha, the Love for Nature<\/a><\/div>
Benedicte Kurzen<\/div>
\tBenedicte Kurzen and the myth of war photographers\ufffc<\/a><\/div>
Bernardo Oyarz\u00fan<\/div>
\tUniversal Indigenousness: The Work of Bernardo Oyarz\u00fan<\/a><\/div>
Bonitka<\/div>
\tAncient beings take my dreams<\/a><\/div>
Boris Kossoy<\/div>
\tPhotography (also) was invented in Brazil<\/a><\/div>
Bruno Morais<\/div>
\tBrazil: Drugs in the Beach where there are no more Tourists<\/a><\/div>
C<\/div>
Camila Falc\u00e3o<\/div>
\tWhen the body no longer feels patriarchy won<\/a><\/div>
Camila Jurado<\/div>
\tA Photographer on the Film Set<\/a><\/div>
Carla Yovane<\/div>
\tGender, sexuality, and inner worlds in Carla Yovane’s work<\/a><\/div>
Carlos del Carmen<\/div>
\tVirtual portraits of a naked mind<\/a><\/div>
Carlos Villal\u00f3n<\/div>
\tThe Sacred, the Banal, the Violent: Variations around Coca<\/a><\/div>
Carolina Aguero<\/div>
\tHow we are supposed to live\ufffc<\/a><\/div>
Carolina Navas<\/div>
\tLook me in the eyes<\/a><\/div>
C\u00e9sar Rodr\u00edguez<\/div>
\tThe Daily Life of Poppy Growers<\/a><\/div>
Cholita Chic<\/div>
\tThe pop art gaze of the mountain ranges<\/a><\/div>
Cindy Mu\u00f1oz S\u00e1nchez<\/div>
\tThe footprints of my mother have not been erased<\/a><\/div>
Colectiva Mamana<\/div>
\tColectiva Mamana: the urgent change of references<\/a><\/div>
Colectivo N\u00f3mada<\/div>
\tColectivo N\u00f3mada: Around the World on a Single Road<\/a><\/div>
Cora Gamarnik<\/div>
\t\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d<\/a><\/div>
COVID LATAM<\/div>
\tHow to take photos of the pandemic<\/a><\/div>
Cristina de Middel<\/div>
\tCristina de Middel: a ventriloquist crosses the street<\/a><\/div>
Cristina de Middel y Bruno Morais<\/div>
\tCrossing the Atlantic from the hand of a spirit<\/a><\/div>
Cristobal Ascencio<\/div>
\tThe artificial memories of Crist\u00f3bal Ascencio<\/a><\/div>
Crist\u00f3bal Olivares<\/div>
\tMapuche People: the Eternity of Tomorrow<\/a><\/div>
Cristopher Rogel Blanquet<\/div>
\tThe field no Longer Smells of Flowers<\/a><\/div>
Cynthia Santos Briones<\/div>
\tNotes to make a migrant herbalist<\/a><\/div>
D<\/div>
Dan Agostini<\/div>
\tPalomas: stories of trans women survival\ufffc<\/a><\/div>
Daniela Rea<\/div>
\tA war that is lost to the south and north of the Rio Bravo<\/a><\/div>
Dedee Mandros<\/div>
\tAfroparlantes: a platform for boosting voices<\/a><\/div>
Diana Cano<\/div>
\tEven the walls will shout our rage<\/a><\/div>
Diana Valenzuela<\/div>
\tCannabis: beyond the Plant (and its Laws)<\/a><\/div>
Diego Argote<\/div>
\t“We are more than a virus”<\/a><\/div>
Diego Magaldi<\/div>
\tA class with the neighborhood chemist<\/a><\/div>
Diego Mondaca<\/div>
\tStories that are born from silence<\/a><\/div>
Dra. Weed<\/div>
\tDr. Weed’s kitchen<\/a><\/div>
E<\/div>
Edgar Jim\u00e9nez Mendoza<\/div>
\tI photographed the birthdays of the most powerful Colombian narco.<\/a><\/div>
Edu Le\u00f3n<\/div>
\tIn a Corner of La Mancha Where There is More Cocaine that You Can Imagine<\/a><\/div>
Eduardo Ruiz Sosa<\/div>
\tLearning to Speak<\/a><\/div>
Eric Allende<\/div>
\tMemories in the shadow of a dictatorship<\/a><\/div>
Erika Larsen<\/div>
\tFrom the Amazon to the Arctic, in search of the nature that inhabits me<\/a><\/div>
Eugenia R. Cattaneo<\/div>
\tMarijuana in the drugstore<\/a><\/div>
Eunice Adorno<\/div>
\tEunice Adorno: How to survive in community<\/a><\/div>
Evandro Teixeira<\/div>
\tMemories that the dictatorship could not erase<\/a><\/div>
F<\/div>
Fabiola Cedillo<\/div>
\tBody and maternity: at the limits of desire\ufffc<\/a><\/div>
Fabiola Ferrero<\/div>
\tCoca in Colombia: a peasant family narrates itself<\/a><\/div>
\tFor a migrant gaze of the world<\/a><\/div>
Federico Estol <\/div>
\tFor photography that transforms the system<\/a><\/div>
Federico Estol y Sara Wayra<\/div>
\tA train, a trip, and a workshop<\/a><\/div>
Federico R\u00edos<\/div>
\tColombia: What’s behind the War on Drugs<\/a><\/div>
Felipe Alarc\u00f3n Correa<\/div>
\tMemory, grief, and Forgiveness: Images as a Symbolic Reparation<\/a><\/div>
Felipe Romero Beltr\u00e1n<\/div>
\tOde to slow photography<\/a><\/div>
F\u00e9lix M\u00e1rquez<\/div>
\tWays to photograph murdered journalists in Mexico<\/a><\/div>
Fernanda Garc\u00eda Lao<\/div>
\tWar Addicts<\/a><\/div>
Fernando Bryce and Marcelo Brodsky<\/div>
\tA mural for land defenders<\/a><\/div>
Fernando V\u00edlchez<\/div>
\tSaying what has been kept quiet for too long: cinema and memory to overcome the crisis<\/a><\/div>
Florence Goupil<\/div>
\tAmazon: the Pandemic threatens the wisdom of plants<\/a><\/div>
\tThe Kakataibo’s Battle<\/a><\/div>
Florencia Alcaraz<\/div>
\tTo die as drug mule<\/a><\/div>
Florencia Gomes<\/div>
\tImagining the Fire: Conversations about the African American | Florencia Gomes<\/a><\/div>
Fotos: Leo Lanna \/ Proyecto Mantis<\/div>
\tCross the Amazon Hand in Hand with an Insect<\/a><\/div>
Francesca Brivio<\/div>
\tFran Brivio: Cannabis is also medicine<\/a><\/div>
Francisco Medail<\/div>
\tThe photobook as an artifact for (re)thinking a country<\/a><\/div>
Fred Ramos<\/div>
\tThat absurd thing that is violence<\/a><\/div>
G<\/div>
Gabriela B\u00e1ez<\/div>
\tArt to understand trauma<\/a><\/div>
Gabriela Bil\u00f3<\/div>
\tTwenty cents that shook a country<\/a><\/div>
Gabriela Di Bella<\/div>
\tSaving the planet is a feminist struggle<\/a><\/div>
Gabriela Olivera Hidalgo<\/div>
\tBecoming a Chola again<\/a><\/div>
Gabriela Portilho<\/div>
\tBeekeepers<\/a><\/div>
Gato Negro Ediciones<\/div>
\tEditorial Gato Negro: Small is Beautiful<\/a><\/div>
Gena Steffens<\/div>
\tThe war on drugs also pollutes<\/a><\/div>
Gerardo Suter <\/div>
\tneoTropico: a complete x-ray of Latin American human trafficking<\/a><\/div>
Germ\u00e1n Britos<\/div>
\tHow to appropriate an (appropriate) image with an algorithm<\/a><\/div>
Gianni Bulacio<\/div>
\tEarth likes blood<\/a><\/div>
Giovanna Rivero<\/div>
\tA false mist<\/a><\/div>
Gisela Vol\u00e1<\/div>
\tGisela Vol\u00e1: c\u00f3mo fotografiar el deseo<\/a><\/div>
Gloria Oyarz\u00e1bal<\/div>
\tGloria Oyarz\u00e1bal: The Colonization of the Concept of Woman<\/a><\/div>
Gonzalo Golpe<\/div>
\tGonzalo Golpe: Does “Latin American photography” really exist?<\/a><\/div>
Guadalupe Miles<\/div>
\tGuadalupe Miles: A House in the Midst of the Jungle<\/a><\/div>
Gui Christ<\/div>
\tParais\u00f3polis: Dealing with Covid-19 in the Favela<\/a><\/div>
\tWhen my spiritual world stopped, I took these photos<\/a><\/div>
Guillermina Mongan<\/div>
\tGraphic art spreads like ivy<\/a><\/div>
H<\/div>
Herney Ruiz<\/div>
\tCoca chewing peasants: the dismissal of traditional coca leaf consumption<\/a><\/div>
Hugo Arellanes<\/div>
\tAfro-Mexicans: we are not folklore<\/a><\/div>
I<\/div>
Ian Cheibub<\/div>
\tLife that Remains by the Great Hole<\/a><\/div>
Ina C. <\/div>
\tKnowing the pill you are about to take<\/a><\/div>
In\u00e9s Morales<\/div>
\tImagining the Fire: Conversations on the African American | Episode #1<\/a><\/div>
Inon Sani<\/div>
\tStrip the jungle<\/a><\/div>
Irene Avramelos<\/div>
\tArt as a Crime, Crime as Art<\/a><\/div>
Irina Werning<\/div>
\tIrina and Tam’s journey<\/a><\/div>
Isadora Romero<\/div>
\tPolvo de estrellas<\/a><\/div>
\tSixty days trapped in the ice<\/a><\/div>
Isadora Romero y Michele Gachet<\/div>
\tEcuador: the voices of the strike<\/a><\/div>
Isis Medeiros<\/div>
\tAt the scene of an environmental crime<\/a><\/div>
Ivana Legler<\/div>
\tYoga in Confinement<\/a><\/div>
J<\/div>
Jaime Andr\u00e9s Vinasco<\/div>
\tPalliadelics: The Dignity of Good Dying<\/a><\/div>
Jaime Chirif Watanabe<\/div>
\tMusic to cross the Amazon<\/a><\/div>
Jaime Permuth<\/div>
\tOlmedini el mago<\/a><\/div>
\tThe Archive is a Journey to Other Times<\/a><\/div>
Jaime R\u00e1zuri<\/div>
\tThe heavy backpack of a war photographer<\/a><\/div>
Jer\u00f3nimo Rivero<\/div>
\tObjects that Tell Stories: Archaeologies of Exile<\/a><\/div>
Jo\u00e3o Castilho<\/div>
\tGeophotography and color: images in an expanded field<\/a><\/div>
Johis Alarc\u00f3n<\/div>
\tCimarrona: Free Women, Free Peoples<\/a><\/div>
\tGhetto dreamers, apostando a la vida<\/a><\/div>
Jorge Panchoaga<\/div>
\tDulce y Salada<\/a><\/div>
\tPhotographies to imagine new worlds<\/a><\/div>
Jorge Panchoaga and Yaid Bola\u00f1os<\/div>
\tIpx Kh\u00fc\u00e7x: World\u2019s Disharmonies and Diseases for the Nasa people<\/a><\/div>
Joseph Z\u00e1rate y Andr\u00e9s Cardona<\/div>
\tVoices for Yasun\u00ed<\/a><\/div>
Joseph Z\u00e1rate. Fotos: Musuk Nolte<\/div>
\tJoseph Z\u00e1rate: Why Telling the Jungle Pain<\/a><\/div>
Josu\u00e9 Azor<\/div>
\tThe secret and queer life of the Haitian night<\/a><\/div>
Josu\u00e9 Rivas<\/div>
\tIndigenous Futurism in Photography\ufffc<\/a><\/div>
Juan Arias<\/div>
\tMangrove forests for Buen vivir<\/a><\/div>
Juan C\u00e1rdenas<\/div>
\tFictions for imagining flavorful futures<\/a><\/div>
Juan Manuel Lara<\/div>
\tAn Aleph tailored to your measure | Fresco EP#1<\/a><\/div>
Juan Pablo Barrientos<\/div>
\t(Over)living beyond the outskirts<\/a><\/div>
Juan Pablo Mar\u00edn<\/div>
\t\u00a0Is\u0129m Kh\u0169in: fashion and tradition in indigenous communities\ufffc<\/a><\/div>
Juan Sebasti\u00e1n Zapata y Daniela Rocha<\/div>
\tMisses in the Sierra Nevada de Santa Marta<\/a><\/div>
Juanita Escobar<\/div>
\tJuanita Escobar: The Photographer who Inhabits the Llano<\/a><\/div>
Juanita Solano<\/div>
\tWhat can this fruit tell us about Latin America?<\/a><\/div>
Judith Romero<\/div>
\tI am not a mother, nor do I want to be one<\/a><\/div>
Julia Lled\u00edn y Juan P\u00e1ez<\/div>
\tThe hands that cultivate that forbidden plant<\/a><\/div>
Julia Sbriller<\/div>
\tThe collective body<\/a><\/div>
Juliana G\u00f3mez<\/div>
\tPoetry in my genes<\/a><\/div>
Juliana G\u00f3mez Quijano<\/div>
\tWe and the black void of space<\/a><\/div>
K<\/div>
Karen Toro<\/div>
\tAn offering for my friend Bel\u00e9n<\/a><\/div>
Karina Aguilera Skvirsky<\/div>
\tMy great-grandmother’s dangerous journey<\/a><\/div>
Koral Carballo<\/div>
\tCarnival and photo: we are behind the mask<\/a><\/div>
L<\/div>
Laia Abril<\/div>
\tLaia Abril: a History of Misogyny<\/a><\/div>
Laura V\u00e1squez Roa<\/div>
\tCannabis south and north of the border: a market in the United States and a war in Colombia<\/a><\/div>
Leafhopper: David Simon Martret y Blanca Galindo<\/div>
\tLove in the times of problematic consumption<\/a><\/div>
Le\u00f3n Mu\u00f1oz Santini y Jorge Panchoaga<\/div>
\tGhosts of the Great Depression<\/a><\/div>
Leonardo Barbuy<\/div>
\tDiogenes: photography as the driving force of cinema<\/a><\/div>
Lev Manovich<\/div>
\t“Popular photography is on its way to becoming something different: something between photography and painting.”<\/a><\/div>
Lia Valero<\/div>
\tMigration is a big word<\/a><\/div>
Lilia Cuero<\/div>
\tWhat You Left Me After the Shipwreck<\/a><\/div>
Lina Britto<\/div>
\tMarijuana Boom in Colombia<\/a><\/div>
Liz Tasa<\/div>
\tK\u00e1par: forced sterilization as a crime against Humanity<\/a><\/div>
Lorena Velasco<\/div>
\tLorena Velasco: from intimacy to the collective<\/a><\/div>
Luc\u00eda Herrero<\/div>
\tTribute to La Bata<\/a><\/div>
Luc\u00eda Ledesma<\/div>
\tMy family is that leaf caressed by the sun<\/a><\/div>
Luciana Demichelis<\/div>
\tHow to be young in this limbo and survive in the attempt<\/a><\/div>
Luis Antonio Rojas<\/div>
\tMigration, progress and the intimacies of others: ways to refine (and question) the gaze<\/a><\/div>
Luis Chumbe<\/div>
\tThe Wembler’s, patriarchs of Amazonian cumbia<\/a><\/div>
Luis Enrique Aguilar<\/div>
\tMexico: violence reached the territory of dreams<\/a><\/div>
Luj\u00e1n Agusti<\/div>
\tLuj\u00e1n Agusti and the Ways to Sharpen the Gaze<\/a><\/div>
Luvia Lazo<\/div>
\tFaces that get lost<\/a><\/div>
M<\/div>
Macidiano C\u00e9spedes <\/div>
\tTelling me through others<\/a><\/div>
Ma\u00edra Erlich<\/div>
\tBlossoming at 70 years old<\/a><\/div>
Ma\u00edra Gamarra<\/div>
\tMa\u00edra Gamarra: the power of collective work<\/a><\/div>
\tThe Image Turn, Part I: From the Collective to the Collaborative<\/a><\/div>
\tPhotography and War, a Destructive Relationship<\/a><\/div>
Manne Stoller<\/div>
\tThey seem to dance on the pitch<\/a><\/div>
Manu Melo Franco<\/div>
\tThe time we can’t stop\ufffc<\/a><\/div>
Manuel Seoane<\/div>
\tTiticaca and pollution: what will we do when the lake dies?\ufffc<\/a><\/div>
\tThe Chim\u00e1n people’s film debut<\/a><\/div>
Manuel Seoane y Sergio Mendoza<\/div>
\tThe plundering of Bolivian gold<\/a><\/div>
Mara S\u00e1nchez Renero<\/div>
\tThe Maroons and Their Fandango<\/a><\/div>
Marcela Bonfim<\/div>
\tReflections and potentials: the photography of the black Amazon\ufffc<\/a><\/div>
Marcela Angulo<\/div>
\tSentipensarse Black in Colombia\u00a0<\/a><\/div>
Marcela Vallejo<\/div>
\tCatalina Gil Pinz\u00f3n: traditional narratives and drug policies<\/a><\/div>
\tPhotography and criminal records: from stigma to resistance<\/a><\/div>
\tMalign influences: how to transform the family album<\/a><\/div>
\tLove spells, potions of resistance<\/a><\/div>
\tQuipu: how to produce a collaborative transmedia documentary<\/a><\/div>
Marcela Vallejo y Musuk Nolte<\/div>
\tNever again will indigenous voices be silenced<\/a><\/div>
Marcha.pe<\/div>
\tFaces of Peru’s protests<\/a><\/div>
Marcio Pimenta<\/div>
\tKarokynka: the journey to the last land\ufffc<\/a><\/div>
\tThe Black Faces of the Revolution<\/a><\/div>
Marco Garro<\/div>
\tThe dark side of gold<\/a><\/div>
Marcos Zegers<\/div>
\tHumans, minerals, and the desert<\/a><\/div>
Mar\u00eda Abadd\u00f3n<\/div>
\tApocalypse Now: Mar\u00eda Abadd\u00f3n’s Textile Art<\/a><\/div>
Mar\u00eda Eugenia Cerutti<\/div>
\tWith all death in the air<\/a><\/div>
Mar\u00eda Fernanda Ampuero<\/div>
\tUnder our acacia<\/a><\/div>
Mariceu Erthal<\/div>
\tIn the body of another: photographs to fill absences<\/a><\/div>
Mariela Sancari<\/div>
\tLooking yourself through others<\/a><\/div>
Marilene Ribeiro <\/div>
\tFire-wounded territories<\/a><\/div>
Marina Feldhues<\/div>
\tThe Metamorphosis of the Archive<\/a><\/div>
Mariona Giner<\/div>
\tMiradas con voz: what do they want to say?<\/a><\/div>
Marisol Mendez<\/div>
\tThe oppression is still quite vivid\ufffc<\/a><\/div>
Martin Bollati<\/div>
\tMartin Bollati behind the mirage<\/a><\/div>
Mathieu Asselin<\/div>
\tGlyphosate and Ecological Disaster: in the Footsteps of Monsanto<\/a><\/div>
Mauricio Pokemon<\/div>
\tA river in my backyard<\/a><\/div>
Maya Goded<\/div>
\tThe Women of my Life<\/a><\/div>
Mayeli Villalba<\/div>
\tBeing black in Paraguay<\/a><\/div>
Mayra Da Silva y Pablo Albarenga<\/div>
\tAfro-Uruguayans: In Search of a New Perspective<\/a><\/div>
Mayra Martell<\/div>
\tNarco fashion: beauty as power<\/a><\/div>
Medhin Tewolde Serrano<\/div>
\tImagining the Fire: Conversations on African American | Episode #3<\/a><\/div>
Megafauna - Irene de Hollanda<\/div>
\t200 black female authors in a bookstore showcase\ufffc<\/a><\/div>
M\u00eddia \u00cdndia, Eric Marky<\/div>
\tM\u00eddia \u00cdndia: Indigenous Peoples in First-Person<\/a><\/div>
Miguel Vilela <\/div>
\t“If the right to Mother Earth is negotiated, life is negotiated.”<\/a><\/div>
Misha Vallejo<\/div>
\tThe Wisdom of the People who Defeated the Oil Companies<\/a><\/div>
\tLooking at the world like a Kichwa child<\/a><\/div>
Mitmaq Ediciones<\/div>
\tThis self-publication is also my passport | Fresco #5<\/a><\/div>
Mr. Poper<\/div>
\tBeing fag in Mexican public schools<\/a><\/div>
Musuk Nolte<\/div>
\tMusuk Nolte: water in the desert<\/a><\/div>
\tSeeds of water: planting que\u00f1uas in the Andes\ufffc<\/a><\/div>
\tSpill in Peru: harbingers of slow death\ufffc<\/a><\/div>
\tPortraits of a thirsty country<\/a><\/div>
\tThe war of the Ovayerii is\u00a0still ongoing<\/a><\/div>
\tJos\u00e9 Manuyama: “The western world has expired”<\/a><\/div>
N<\/div>
Nadia Granados <\/div>
\tMachos, Violence, and Propaganda: How to Dynamite the Image of a Narco-Country<\/a><\/div>
Narcos Lab<\/div>
\tBeyond Pablo Escobar<\/a><\/div>
Natalia Ortiz<\/div>
\tThe second life of leaves<\/a><\/div>
Natalia Roca <\/div>
\tAnd in front of us, the forest burned<\/a><\/div>
Nelson Morales<\/div>
\tBeing Muxe: photography as a way of discovering the identity\ufffc<\/a><\/div>
Nicola Okin<\/div>
\tNicola Okin in the Amazon: the Call to Portray a Territory in Resistance<\/a><\/div>
Nicol\u00e1s Amaro<\/div>
\tLandscape intimacy<\/a><\/div>
Nicol\u00e1s Cox<\/div>
\tThe memory of my territory is alive in this decolonial gesture | Fresco EP#4<\/a><\/div>
Nicol\u00e1s Janowski<\/div>
\tThe Secret Life of Cannabis<\/a><\/div>
\tAfro-Argentine, the third root<\/a><\/div>
Nicol\u00e1s Pousthomis<\/div>
\tMasculum Gymnasium: Boys\u2019 Last Ritual<\/a><\/div>
Noelia Ch\u00e1vez. Fotos: Musuk Nolte<\/div>
\tPeru: tiktokers, memes and tear gas<\/a><\/div>
O<\/div>
Olga Manzano y Baltazar Castellano<\/div>
\tAfricamericanos in Mexico: Murals of Memory<\/a><\/div>
Omar G\u00e1mez<\/div>
\tHow to take photos in a place with no light<\/a><\/div>
Orlando Vel\u00e1zquez<\/div>
\tMexico: the desire that corrupts<\/a><\/div>
\u00d3scar Caracora<\/div>
\t\u00d3scar Catacora: Looking and feeling the world from the Andes<\/a><\/div>
P<\/div>
Pablo Albarenga<\/div>
\tWounds in the land (and the bodies) of the Yanomami<\/a><\/div>
Pablo Allison<\/div>
\tAt the heart of the beast<\/a><\/div>
Pablo Corral<\/div>
\tWhere is Latin American photography heading?<\/a><\/div>
Pablo Ortiz Monasterio<\/div>
\tClose to the boom<\/a><\/div>
Pablo Piovano<\/div>
\tThe Human Cost of Agrotoxins<\/a><\/div>
Paco Briones<\/div>
\tMexico: cannabis that heals\u00a0<\/a><\/div>
\tGrow and Consume your Cannabis without Breaking the Law<\/a><\/div>
Paola Lambert\u00edn<\/div>
\tMicrodoses: an inside journey<\/a><\/div>
Paula Balduino de Melo<\/div>
\tImagining the Fire: Conversations about the African American | Season 2 Episode #3<\/a><\/div>
Paula Zuccotti<\/div>
\tEverything we touch in quarantine<\/a><\/div>
Paulina Chamorro<\/div>
\tBetween saving nature and documenting its end<\/a><\/div>
Paulina Flores<\/div>
\tConsumidora<\/a><\/div>
Pedro David<\/div>
\tThe Long Decisive Moment when a World is Put to Death<\/a><\/div>
Pietro Paoloni<\/div>
\tOpen images of Latin America<\/a><\/div>
Proyecto Soma<\/div>
\tSoma: drugs as they are<\/a><\/div>
R<\/div>
Rafael Roncato<\/div>
\tA performance, a knife, and a chroma in the face of media opportunism | Fresco EP#4<\/a><\/div>
Rafael Vilela<\/div>
\tS\u00e3o Paulo: Resist amid the Pandemic<\/a><\/div>
Ram\u00f3n Campos Iriarte<\/div>
\tColombia: how to narrate an ongoing war<\/a><\/div>
Rebeca Lerer<\/div>
\tLove, Family, and Marijuana<\/a><\/div>
\tMarijuana in Brazil: Land, Racism, and Violence<\/a><\/div>
Rember Yahuarcani L\u00f3pez<\/div>
\tThe ancestral avant-garde<\/a><\/div>
Reojo Colectivo<\/div>
\tColombia: the Record of a Historical Outbreak in Real Time<\/a><\/div>
Retratos de memoria<\/div>
\tMemory Portraits<\/a><\/div>
Ricardo B\u00e1ez<\/div>
\tTowards photobook vanguard<\/a><\/div>
Ricardo Miguel Hern\u00e1ndez<\/div>
\tThe Mobility of Images<\/a><\/div>
Ricardo Nagaoka<\/div>
\tTierra colorada<\/a><\/div>
R\u00edo Paran\u00e1<\/div>
\tWhat do they do with our stories, our bodies, and our bones? | Fresco #7: R\u00edo Paran\u00e1<\/a><\/div>
River Claure<\/div>
\tWarawar Wawa: A Little Prince Born in The Andes<\/a><\/div>
Roberto Tondop\u00f3<\/div>
\tPhotography as a way of registering one\u2019s own transformation<\/a><\/div>
Robin Canul<\/div>
\tMayan resistance against agribusiness<\/a><\/div>
Roc\u00edo Cardenas<\/div>
\tBuenos Aires’ true roots<\/a><\/div>
Roc\u00edo Celis<\/div>
\tAll family albums are open wounds<\/a><\/div>
Roc\u00edo Inmensidades<\/div>
\tPeripheral bodies<\/a><\/div>
Rodolfo Palomino - Colectivo Kucha Suto<\/div>
\tKucha Suto<\/a><\/div>
Rodrigo Braga<\/div>
\tRodrigo Braga: the camera that does not shoot<\/a><\/div>
Rodrigo Masina Pinheiro and Gal Cipreste Marinelli<\/div>
\tThose Stones you Threw at Me as a Child do not Hurt me Anymore<\/a><\/div>
Ronald \u201cMalandro\u201d Pizzoferrato<\/div>
\tA street eye in Caracas<\/a><\/div>
Rosemarie Lerner<\/div>
\tProyecto Quipu: voces por la memoria de las esterilizaciones forzadas en Per\u00fa<\/a><\/div>
Rub\u00e9n H. Berm\u00fadez<\/div>
\tAnd You, Why Are You Black?<\/a><\/div>
Ruda Colectiva<\/div>
\tThis is not a chain: Ruda Colectiva’s first joint project<\/a><\/div>
Rueda Fotos<\/div>
\tWhy is it so uncomfortable to see the face of a women’s assassin?<\/a><\/div>
S<\/div>
Sabrina Fidalgo<\/div>
\tGod is a Black Woman\ufffc<\/a><\/div>
Sam Bohorquez<\/div>
\tNTF: Street Photography in the Blockchain<\/a><\/div>
Sandra Rodr\u00edguez - Fotos: Musuk Nolte<\/div>
\tPeru: A Collective Book to Tell the Outrage in Real Time<\/a><\/div>
Santi Garc\u00eda<\/div>
\tSubverting the Everyday<\/a><\/div>
Santiago Barros<\/div>
\tIAbuelas: How to imagine the face of a disappeared person<\/a><\/div>
Santiago Escobar Jaramillo<\/div>
\tExpanded photography is here to stay<\/a><\/div>
Santiago Rueda<\/div>
\tArt and drugs in Colombia: an investigation\ufffc<\/a><\/div>
Sara Aliaga y Ara Goudsmit<\/div>
\t“Cholita you had to be”<\/a><\/div>
Sarah Pabst y Blas Finger<\/div>
\tThere is more than meets the eye<\/a><\/div>
Sebasti\u00e1n Lopez Brach<\/div>
\tWhat Can you Do when your World Burns<\/a><\/div>
Sebasti\u00e1n L\u00f3pez Brach <\/div>
\tLights and shadows of the new white gold<\/a><\/div>
Sergio Galarza<\/div>
\tLocazo<\/a><\/div>
Sergio Lasso<\/div>
\tRewriting imaginaries: the use of text, visuality, and collage<\/a><\/div>
Silvana Trevale<\/div>
\tVenezuelan Youth<\/a><\/div>
Sof\u00eda Ayarzagoitia <\/div>
\tAll the Borders a Photographer Can Cross<\/a><\/div>
Sof\u00eda L\u00f3pez Ma\u00f1an<\/div>
\tNature as construction<\/a><\/div>
\tA winged giant in the city of rage<\/a><\/div>
Sof\u00eda Yala<\/div>
\tSearching (yourself) in the archive<\/a><\/div>
Stephen Ferry<\/div>
\tViolence documents<\/a><\/div>
Sub Cooperativa<\/div>
\tWork in Progress: Marijuana Beyond the Common Place<\/a><\/div>
\tLives not buried by soybeans<\/a><\/div>
Susi Maresca<\/div>
\tSalt, Water, and Police Repression<\/a><\/div>
T<\/div>
Tania Pleitez Vela<\/div>
\tArcheologies<\/a><\/div>
Tatiana Arocha<\/div>
\tThe beauty I found in coca leaves<\/a><\/div>
Text: Emilia Erbetta - Photos: Andr\u00e9s Cardona<\/div>
\tDiary of a Wreck Family<\/a><\/div>
Thiago Dezan<\/div>
\tLatin America is an overcrowded prison<\/a><\/div>
Toni Amengual<\/div>
\tToni Amengual: looking for the limits of photography<\/a><\/div>
Tuane Eggers <\/div>
\tMushrooms poetics<\/a><\/div>
U<\/div>
Uiler Costa-Santos<\/div>
\tSyzygy: landscapes of the exact moment when the moon and the sun are aligned<\/a><\/div>
V<\/div>
Varios autores<\/div>
\tGod is Argentine (and his name is Maradona)<\/a><\/div>
Various authors<\/div>
\tAfricamericanos<\/a><\/div>
\tDrugs, Politics and Violences<\/a><\/div>
\tE.co: Collectives Encounter<\/a><\/div>
Velia Vidal<\/div>
\tImagining the Fire: Conversations on the African-American | EP#4: Velia Vidal<\/a><\/div>
Venuca Evanan<\/div>
\tVenuca Evan\u00e1n: the memory of my desire<\/a><\/div>
Ver\u00f3nica Sanchis<\/div>
\tFoto F\u00e9minas: Community and Representation<\/a><\/div>
Victor Moriyama<\/div>
\tPhotography in the Amazon: The Sound of a Falling Tree<\/a><\/div>
Victor Pe\u00f1a<\/div>
\tA hell that haunts him<\/a><\/div>
Victor Vich<\/div>
\tV\u00edctor Vich: “Art is a courage discourse that is not afraid to show its wounds.”<\/a><\/div>
Victor Vich - Lucero Del Castillo <\/div>
\tAn image that is read, a poem that is seen<\/a><\/div>
V\u00edctor Zea<\/div>
\tCusco: “They stole the gold, but they did not take the sun and that is what I photograph”<\/a><\/div>
Victor Zea<\/div>
\tUnited by the sun | Fresco EP #6<\/a><\/div>
Victoria Razo<\/div>
\tResilience: between documentary and intimacy<\/a><\/div>
Violeta Ayala<\/div>
\tFacing the State from a Wheelchair<\/a><\/div>
VIST<\/div>
\t‘Africamericanos’ in Guatemala: an invitation to reconnect with roots<\/a><\/div>
Vist<\/div>
\tFeed the memory fire<\/a><\/div>
VIST<\/div>
\tWorld Press Photo South America 2023 | VIST Talk with the Winners<\/a><\/div>
Vist Projects<\/div>
\tCreate and Display New Imageries<\/a><\/div>
\tThe Dangerous Job of Being a Fixer in Mexico<\/a><\/div>
\tCracolandia: Inside the Crack Hotels in Brazil<\/a><\/div>
\tThe D-P-V- La guerra fallida exhibition is open<\/a><\/div>
W<\/div>
Wara Vargas<\/div>
\tDreams and Findings of a Bolivian Photographer<\/a><\/div>
\tThe art of registering the aura of plants<\/a><\/div>
Warmi Photo<\/div>
\tA residency for photographers in Bolivia<\/a><\/div>
Wilson Diaz<\/div>
\tThe Artist Gardener and His Coca Plants<\/a><\/div>
X<\/div>
X. Andrade<\/div>
\tMemes, Substances, and Belonging in a Polarized World<\/a><\/div>
Y<\/div>
Yael Mart\u00ednez<\/div>
\tMexico: Fireflies to Illuminate a History of Violence<\/a><\/div>
\tAmapola and resilience in the Mexican mountains<\/a><\/div>
Yann Gross y Argui\u00f1e Escand\u00f3n<\/div>
\tAya: let the jungle reveal itself<\/a><\/div>
Yeison Riascos<\/div>
\tThe Urban Divinities of the Colombian Pacific Coast<\/a><\/div>
Z<\/div>
Zahara G\u00f3mez<\/div>
\tMexico: a cookbook in memory of the missing<\/a><\/div>
Zoraida D\u00edaz<\/div>
\tAll the wars I saw<\/a><\/div>
Zully Sotelo<\/div>
\tAqu\u00ed y all\u00e1: The Photobook as a Reflection<\/a><\/div><\/div>\n\t\t
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\"Exposici\u00f3n<\/div>
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\"\"<\/div>\n\t\t<\/div>[\/et_pb_code][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

Authors A-Z

<\/div>
Ana Mar\u00eda Arevalo Gosen<\/div>
\tThe Eternal Days of Imprisoned Women<\/a><\/div>
Armando Vega<\/div>
\tWatching a glacier die is like watching your mother die<\/a><\/div>
Celeste Rojas M\u00fagica<\/div>
\tLooking for glimpses between the past and present<\/a><\/div>
David Pinz\u00f3n Cadena<\/div>
\tThe music of our photos\ufffc<\/a><\/div>
Guillermo Ospina<\/div>
\tPoppy Relief<\/a><\/div>
Isabella Bernal Vega<\/div>
\tMining in Colombia: cutting down 65,000 trees, moving a river and more than one hundred tons of toxic waste<\/a><\/div>
Javi Vel\u00e1squez<\/div>
\t“A child excited about nature is an ally for life”<\/a><\/div>
Tamara Merino <\/div>
\tAllegory of the cave<\/a><\/div>
A<\/div>
Abilio Est\u00e9vez<\/div>
\tCemetery in Medell\u00edn<\/a><\/div>
Abraham Jim\u00e9nez Enoa<\/div>
\tImagining the Fire: Conversations on African American | Episode #2<\/a><\/div>
Abraham Nah\u00f3n<\/div>
\tA debt to the gazes relegated by history<\/a><\/div>
Adriano Machado<\/div>
\tThe green that inhabits my dreams<\/a><\/div>
Aleix Plademunt<\/div>
\tAleix Plademunt: photography of time and distance<\/a><\/div>
Alejandra Orosco<\/div>
\tA symptom of climate change | Fresco EP#2<\/a><\/div>
Alejandro Cegarra<\/div>
\t“The photo has to be born to dignify”<\/a><\/div>
Alejandro Erbetta<\/div>
\tThe imaginary territory of a migrant artist\ufffc<\/a><\/div>
Alejandro Kirchuk<\/div>
\tLandscapes of an agonizing river<\/a><\/div>
Alejandro Le\u00f3n Cannock<\/div>
\tWho are “The Undisciplined” in Peruvian Photographic Art?<\/a><\/div>
Alexandra McNichols-Torroledo<\/div>
\tTo Tell the Sacred and the Violent, Photos Printed on Coca Leaves<\/a><\/div>
Alfonso Carrera<\/div>
\tImages at the limit of metaphor<\/a><\/div>
\u00c1lvaro Laiz<\/div>
\t\u00c1lvaro Laiz: Looking for the Edge<\/a><\/div>
Ana Cristina Vallejo<\/div>
\tNeuromantic: love addict<\/a><\/div>
Ana Gretel Echaz\u00fa B\u00f6schemeier <\/div>
\tReinventing Ayahuasca<\/a><\/div>
Ana Harff y Sol Etchegaray<\/div>
\tFrom Almod\u00f3var to counter-hegemonic photography: nipples, algorithms and censorship<\/a><\/div>
Ana Nu\u00f1ez Rodr\u00edguez<\/div>
\tGreen spell: life and magic around emeralds<\/a><\/div>
Andr\u00e9 Penteado<\/div>
\tReverberation and subtlety: possible relationships between photography and memory<\/a><\/div>
Andrea J\u00f6sch<\/div>
\tAndrea J\u00f6sch: escape from the unique image, place yourself in the territory<\/a><\/div>
Andr\u00e9s Cardona<\/div>
\tHopefully the Night will Never Come<\/a><\/div>
Andr\u00e9s R\u00edos<\/div>
\t8th House: a street photographer in quarantine<\/a><\/div>
Ang\u00e9lica Dass<\/div>
\tA racist insult on my family album<\/a><\/div>
Animaciones Salvajes<\/div>
\tSteal audio and animate it: that character will tell you the truth<\/a><\/div>
Anita Pouchard Serra<\/div>
\tMigrate: from Fire to Desire<\/a><\/div>
Antonella Fagetti<\/div>
\tA sacred plant has something to tell you<\/a><\/div>
Aquelarre<\/div>
\tAquelarre: design beyond design<\/a><\/div>
Archivo de la Memoria Charr\u00faa<\/div>
\tFollowing the Charr\u00faa family tree<\/a><\/div>
Archivo Nacional Victoria Santa Cruz<\/div>
\tVictoria Santa Cruz: unknown images ot the voice of the Afro-Peruvian woman<\/a><\/div>
Ay\u00fcn fot\u00f3grafas<\/div>
\tAy\u00fcn: Photography to Seek the Light in Others<\/a><\/div>
Alejandro Chaskielberg<\/div>
\tFires in Patagonia: what the Fire Took<\/a><\/div>
B<\/div>
B\u00e1rbara y Benito Medina<\/div>
\tImagining the Fire: Conversations about the African American | Season 2 Episode #2<\/a><\/div>
Baud\u00f3 AP<\/div>
\tBaud\u00f3: an agency to look closely<\/a><\/div>
Bego Ant\u00f3n<\/div>
\tBego Ant\u00f3n: Between Elves and Cha-cha, the Love for Nature<\/a><\/div>
Benedicte Kurzen<\/div>
\tBenedicte Kurzen and the myth of war photographers\ufffc<\/a><\/div>
Bernardo Oyarz\u00fan<\/div>
\tUniversal Indigenousness: The Work of Bernardo Oyarz\u00fan<\/a><\/div>
Bonitka<\/div>
\tAncient beings take my dreams<\/a><\/div>
Boris Kossoy<\/div>
\tPhotography (also) was invented in Brazil<\/a><\/div>
Bruno Morais<\/div>
\tBrazil: Drugs in the Beach where there are no more Tourists<\/a><\/div>
C<\/div>
Camila Falc\u00e3o<\/div>
\tWhen the body no longer feels patriarchy won<\/a><\/div>
Camila Jurado<\/div>
\tA Photographer on the Film Set<\/a><\/div>
Carla Yovane<\/div>
\tGender, sexuality, and inner worlds in Carla Yovane’s work<\/a><\/div>
Carlos del Carmen<\/div>
\tVirtual portraits of a naked mind<\/a><\/div>
Carlos Villal\u00f3n<\/div>
\tThe Sacred, the Banal, the Violent: Variations around Coca<\/a><\/div>
Carolina Aguero<\/div>
\tHow we are supposed to live\ufffc<\/a><\/div>
Carolina Navas<\/div>
\tLook me in the eyes<\/a><\/div>
C\u00e9sar Rodr\u00edguez<\/div>
\tThe Daily Life of Poppy Growers<\/a><\/div>
Cholita Chic<\/div>
\tThe pop art gaze of the mountain ranges<\/a><\/div>
Cindy Mu\u00f1oz S\u00e1nchez<\/div>
\tThe footprints of my mother have not been erased<\/a><\/div>
Colectiva Mamana<\/div>
\tColectiva Mamana: the urgent change of references<\/a><\/div>
Colectivo N\u00f3mada<\/div>
\tColectivo N\u00f3mada: Around the World on a Single Road<\/a><\/div>
Cora Gamarnik<\/div>
\t\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d<\/a><\/div>
COVID LATAM<\/div>
\tHow to take photos of the pandemic<\/a><\/div>
Cristina de Middel<\/div>
\tCristina de Middel: a ventriloquist crosses the street<\/a><\/div>
Cristina de Middel y Bruno Morais<\/div>
\tCrossing the Atlantic from the hand of a spirit<\/a><\/div>
Cristobal Ascencio<\/div>
\tThe artificial memories of Crist\u00f3bal Ascencio<\/a><\/div>
Crist\u00f3bal Olivares<\/div>
\tMapuche People: the Eternity of Tomorrow<\/a><\/div>
Cristopher Rogel Blanquet<\/div>
\tThe field no Longer Smells of Flowers<\/a><\/div>
Cynthia Santos Briones<\/div>
\tNotes to make a migrant herbalist<\/a><\/div>
D<\/div>
Dan Agostini<\/div>
\tPalomas: stories of trans women survival\ufffc<\/a><\/div>
Daniela Rea<\/div>
\tA war that is lost to the south and north of the Rio Bravo<\/a><\/div>
Dedee Mandros<\/div>
\tAfroparlantes: a platform for boosting voices<\/a><\/div>
Diana Cano<\/div>
\tEven the walls will shout our rage<\/a><\/div>
Diana Valenzuela<\/div>
\tCannabis: beyond the Plant (and its Laws)<\/a><\/div>
Diego Argote<\/div>
\t“We are more than a virus”<\/a><\/div>
Diego Magaldi<\/div>
\tA class with the neighborhood chemist<\/a><\/div>
Diego Mondaca<\/div>
\tStories that are born from silence<\/a><\/div>
Dra. Weed<\/div>
\tDr. Weed’s kitchen<\/a><\/div>
E<\/div>
Edgar Jim\u00e9nez Mendoza<\/div>
\tI photographed the birthdays of the most powerful Colombian narco.<\/a><\/div>
Edu Le\u00f3n<\/div>
\tIn a Corner of La Mancha Where There is More Cocaine that You Can Imagine<\/a><\/div>
Eduardo Ruiz Sosa<\/div>
\tLearning to Speak<\/a><\/div>
Eric Allende<\/div>
\tMemories in the shadow of a dictatorship<\/a><\/div>
Erika Larsen<\/div>
\tFrom the Amazon to the Arctic, in search of the nature that inhabits me<\/a><\/div>
Eugenia R. Cattaneo<\/div>
\tMarijuana in the drugstore<\/a><\/div>
Eunice Adorno<\/div>
\tEunice Adorno: How to survive in community<\/a><\/div>
Evandro Teixeira<\/div>
\tMemories that the dictatorship could not erase<\/a><\/div>
F<\/div>
Fabiola Cedillo<\/div>
\tBody and maternity: at the limits of desire\ufffc<\/a><\/div>
Fabiola Ferrero<\/div>
\tCoca in Colombia: a peasant family narrates itself<\/a><\/div>
\tFor a migrant gaze of the world<\/a><\/div>
Federico Estol <\/div>
\tFor photography that transforms the system<\/a><\/div>
Federico Estol y Sara Wayra<\/div>
\tA train, a trip, and a workshop<\/a><\/div>
Federico R\u00edos<\/div>
\tColombia: What’s behind the War on Drugs<\/a><\/div>
Felipe Alarc\u00f3n Correa<\/div>
\tMemory, grief, and Forgiveness: Images as a Symbolic Reparation<\/a><\/div>
Felipe Romero Beltr\u00e1n<\/div>
\tOde to slow photography<\/a><\/div>
F\u00e9lix M\u00e1rquez<\/div>
\tWays to photograph murdered journalists in Mexico<\/a><\/div>
Fernanda Garc\u00eda Lao<\/div>
\tWar Addicts<\/a><\/div>
Fernando Bryce and Marcelo Brodsky<\/div>
\tA mural for land defenders<\/a><\/div>
Fernando V\u00edlchez<\/div>
\tSaying what has been kept quiet for too long: cinema and memory to overcome the crisis<\/a><\/div>
Florence Goupil<\/div>
\tAmazon: the Pandemic threatens the wisdom of plants<\/a><\/div>
\tThe Kakataibo’s Battle<\/a><\/div>
Florencia Alcaraz<\/div>
\tTo die as drug mule<\/a><\/div>
Florencia Gomes<\/div>
\tImagining the Fire: Conversations about the African American | Florencia Gomes<\/a><\/div>
Fotos: Leo Lanna \/ Proyecto Mantis<\/div>
\tCross the Amazon Hand in Hand with an Insect<\/a><\/div>
Francesca Brivio<\/div>
\tFran Brivio: Cannabis is also medicine<\/a><\/div>
Francisco Medail<\/div>
\tThe photobook as an artifact for (re)thinking a country<\/a><\/div>
Fred Ramos<\/div>
\tThat absurd thing that is violence<\/a><\/div>
G<\/div>
Gabriela B\u00e1ez<\/div>
\tArt to understand trauma<\/a><\/div>
Gabriela Bil\u00f3<\/div>
\tTwenty cents that shook a country<\/a><\/div>
Gabriela Di Bella<\/div>
\tSaving the planet is a feminist struggle<\/a><\/div>
Gabriela Olivera Hidalgo<\/div>
\tBecoming a Chola again<\/a><\/div>
Gabriela Portilho<\/div>
\tBeekeepers<\/a><\/div>
Gato Negro Ediciones<\/div>
\tEditorial Gato Negro: Small is Beautiful<\/a><\/div>
Gena Steffens<\/div>
\tThe war on drugs also pollutes<\/a><\/div>
Gerardo Suter <\/div>
\tneoTropico: a complete x-ray of Latin American human trafficking<\/a><\/div>
Germ\u00e1n Britos<\/div>
\tHow to appropriate an (appropriate) image with an algorithm<\/a><\/div>
Gianni Bulacio<\/div>
\tEarth likes blood<\/a><\/div>
Giovanna Rivero<\/div>
\tA false mist<\/a><\/div>
Gisela Vol\u00e1<\/div>
\tGisela Vol\u00e1: c\u00f3mo fotografiar el deseo<\/a><\/div>
Gloria Oyarz\u00e1bal<\/div>
\tGloria Oyarz\u00e1bal: The Colonization of the Concept of Woman<\/a><\/div>
Gonzalo Golpe<\/div>
\tGonzalo Golpe: Does “Latin American photography” really exist?<\/a><\/div>
Guadalupe Miles<\/div>
\tGuadalupe Miles: A House in the Midst of the Jungle<\/a><\/div>
Gui Christ<\/div>
\tParais\u00f3polis: Dealing with Covid-19 in the Favela<\/a><\/div>
\tWhen my spiritual world stopped, I took these photos<\/a><\/div>
Guillermina Mongan<\/div>
\tGraphic art spreads like ivy<\/a><\/div>
H<\/div>
Herney Ruiz<\/div>
\tCoca chewing peasants: the dismissal of traditional coca leaf consumption<\/a><\/div>
Hugo Arellanes<\/div>
\tAfro-Mexicans: we are not folklore<\/a><\/div>
I<\/div>
Ian Cheibub<\/div>
\tLife that Remains by the Great Hole<\/a><\/div>
Ina C. <\/div>
\tKnowing the pill you are about to take<\/a><\/div>
In\u00e9s Morales<\/div>
\tImagining the Fire: Conversations on the African American | Episode #1<\/a><\/div>
Inon Sani<\/div>
\tStrip the jungle<\/a><\/div>
Irene Avramelos<\/div>
\tArt as a Crime, Crime as Art<\/a><\/div>
Irina Werning<\/div>
\tIrina and Tam’s journey<\/a><\/div>
Isadora Romero<\/div>
\tPolvo de estrellas<\/a><\/div>
\tSixty days trapped in the ice<\/a><\/div>
Isadora Romero y Michele Gachet<\/div>
\tEcuador: the voices of the strike<\/a><\/div>
Isis Medeiros<\/div>
\tAt the scene of an environmental crime<\/a><\/div>
Ivana Legler<\/div>
\tYoga in Confinement<\/a><\/div>
J<\/div>
Jaime Andr\u00e9s Vinasco<\/div>
\tPalliadelics: The Dignity of Good Dying<\/a><\/div>
Jaime Chirif Watanabe<\/div>
\tMusic to cross the Amazon<\/a><\/div>
Jaime Permuth<\/div>
\tOlmedini el mago<\/a><\/div>
\tThe Archive is a Journey to Other Times<\/a><\/div>
Jaime R\u00e1zuri<\/div>
\tThe heavy backpack of a war photographer<\/a><\/div>
Jer\u00f3nimo Rivero<\/div>
\tObjects that Tell Stories: Archaeologies of Exile<\/a><\/div>
Jo\u00e3o Castilho<\/div>
\tGeophotography and color: images in an expanded field<\/a><\/div>
Johis Alarc\u00f3n<\/div>
\tCimarrona: Free Women, Free Peoples<\/a><\/div>
\tGhetto dreamers, apostando a la vida<\/a><\/div>
Jorge Panchoaga<\/div>
\tDulce y Salada<\/a><\/div>
\tPhotographies to imagine new worlds<\/a><\/div>
Jorge Panchoaga and Yaid Bola\u00f1os<\/div>
\tIpx Kh\u00fc\u00e7x: World\u2019s Disharmonies and Diseases for the Nasa people<\/a><\/div>
Joseph Z\u00e1rate y Andr\u00e9s Cardona<\/div>
\tVoices for Yasun\u00ed<\/a><\/div>
Joseph Z\u00e1rate. Fotos: Musuk Nolte<\/div>
\tJoseph Z\u00e1rate: Why Telling the Jungle Pain<\/a><\/div>
Josu\u00e9 Azor<\/div>
\tThe secret and queer life of the Haitian night<\/a><\/div>
Josu\u00e9 Rivas<\/div>
\tIndigenous Futurism in Photography\ufffc<\/a><\/div>
Juan Arias<\/div>
\tMangrove forests for Buen vivir<\/a><\/div>
Juan C\u00e1rdenas<\/div>
\tFictions for imagining flavorful futures<\/a><\/div>
Juan Manuel Lara<\/div>
\tAn Aleph tailored to your measure | Fresco EP#1<\/a><\/div>
Juan Pablo Barrientos<\/div>
\t(Over)living beyond the outskirts<\/a><\/div>
Juan Pablo Mar\u00edn<\/div>
\t\u00a0Is\u0129m Kh\u0169in: fashion and tradition in indigenous communities\ufffc<\/a><\/div>
Juan Sebasti\u00e1n Zapata y Daniela Rocha<\/div>
\tMisses in the Sierra Nevada de Santa Marta<\/a><\/div>
Juanita Escobar<\/div>
\tJuanita Escobar: The Photographer who Inhabits the Llano<\/a><\/div>
Juanita Solano<\/div>
\tWhat can this fruit tell us about Latin America?<\/a><\/div>
Judith Romero<\/div>
\tI am not a mother, nor do I want to be one<\/a><\/div>
Julia Lled\u00edn y Juan P\u00e1ez<\/div>
\tThe hands that cultivate that forbidden plant<\/a><\/div>
Julia Sbriller<\/div>
\tThe collective body<\/a><\/div>
Juliana G\u00f3mez<\/div>
\tPoetry in my genes<\/a><\/div>
Juliana G\u00f3mez Quijano<\/div>
\tWe and the black void of space<\/a><\/div>
K<\/div>
Karen Toro<\/div>
\tAn offering for my friend Bel\u00e9n<\/a><\/div>
Karina Aguilera Skvirsky<\/div>
\tMy great-grandmother’s dangerous journey<\/a><\/div>
Koral Carballo<\/div>
\tCarnival and photo: we are behind the mask<\/a><\/div>
L<\/div>
Laia Abril<\/div>
\tLaia Abril: a History of Misogyny<\/a><\/div>
Laura V\u00e1squez Roa<\/div>
\tCannabis south and north of the border: a market in the United States and a war in Colombia<\/a><\/div>
Leafhopper: David Simon Martret y Blanca Galindo<\/div>
\tLove in the times of problematic consumption<\/a><\/div>
Le\u00f3n Mu\u00f1oz Santini y Jorge Panchoaga<\/div>
\tGhosts of the Great Depression<\/a><\/div>
Leonardo Barbuy<\/div>
\tDiogenes: photography as the driving force of cinema<\/a><\/div>
Lev Manovich<\/div>
\t“Popular photography is on its way to becoming something different: something between photography and painting.”<\/a><\/div>
Lia Valero<\/div>
\tMigration is a big word<\/a><\/div>
Lilia Cuero<\/div>
\tWhat You Left Me After the Shipwreck<\/a><\/div>
Lina Britto<\/div>
\tMarijuana Boom in Colombia<\/a><\/div>
Liz Tasa<\/div>
\tK\u00e1par: forced sterilization as a crime against Humanity<\/a><\/div>
Lorena Velasco<\/div>
\tLorena Velasco: from intimacy to the collective<\/a><\/div>
Luc\u00eda Herrero<\/div>
\tTribute to La Bata<\/a><\/div>
Luc\u00eda Ledesma<\/div>
\tMy family is that leaf caressed by the sun<\/a><\/div>
Luciana Demichelis<\/div>
\tHow to be young in this limbo and survive in the attempt<\/a><\/div>
Luis Antonio Rojas<\/div>
\tMigration, progress and the intimacies of others: ways to refine (and question) the gaze<\/a><\/div>
Luis Chumbe<\/div>
\tThe Wembler’s, patriarchs of Amazonian cumbia<\/a><\/div>
Luis Enrique Aguilar<\/div>
\tMexico: violence reached the territory of dreams<\/a><\/div>
Luj\u00e1n Agusti<\/div>
\tLuj\u00e1n Agusti and the Ways to Sharpen the Gaze<\/a><\/div>
Luvia Lazo<\/div>
\tFaces that get lost<\/a><\/div>
M<\/div>
Macidiano C\u00e9spedes <\/div>
\tTelling me through others<\/a><\/div>
Ma\u00edra Erlich<\/div>
\tBlossoming at 70 years old<\/a><\/div>
Ma\u00edra Gamarra<\/div>
\tMa\u00edra Gamarra: the power of collective work<\/a><\/div>
\tThe Image Turn, Part I: From the Collective to the Collaborative<\/a><\/div>
\tPhotography and War, a Destructive Relationship<\/a><\/div>
Manne Stoller<\/div>
\tThey seem to dance on the pitch<\/a><\/div>
Manu Melo Franco<\/div>
\tThe time we can’t stop\ufffc<\/a><\/div>
Manuel Seoane<\/div>
\tTiticaca and pollution: what will we do when the lake dies?\ufffc<\/a><\/div>
\tThe Chim\u00e1n people’s film debut<\/a><\/div>
Manuel Seoane y Sergio Mendoza<\/div>
\tThe plundering of Bolivian gold<\/a><\/div>
Mara S\u00e1nchez Renero<\/div>
\tThe Maroons and Their Fandango<\/a><\/div>
Marcela Bonfim<\/div>
\tReflections and potentials: the photography of the black Amazon\ufffc<\/a><\/div>
Marcela Angulo<\/div>
\tSentipensarse Black in Colombia\u00a0<\/a><\/div>
Marcela Vallejo<\/div>
\tCatalina Gil Pinz\u00f3n: traditional narratives and drug policies<\/a><\/div>
\tPhotography and criminal records: from stigma to resistance<\/a><\/div>
\tMalign influences: how to transform the family album<\/a><\/div>
\tLove spells, potions of resistance<\/a><\/div>
\tQuipu: how to produce a collaborative transmedia documentary<\/a><\/div>
Marcela Vallejo y Musuk Nolte<\/div>
\tNever again will indigenous voices be silenced<\/a><\/div>
Marcha.pe<\/div>
\tFaces of Peru’s protests<\/a><\/div>
Marcio Pimenta<\/div>
\tKarokynka: the journey to the last land\ufffc<\/a><\/div>
\tThe Black Faces of the Revolution<\/a><\/div>
Marco Garro<\/div>
\tThe dark side of gold<\/a><\/div>
Marcos Zegers<\/div>
\tHumans, minerals, and the desert<\/a><\/div>
Mar\u00eda Abadd\u00f3n<\/div>
\tApocalypse Now: Mar\u00eda Abadd\u00f3n’s Textile Art<\/a><\/div>
Mar\u00eda Eugenia Cerutti<\/div>
\tWith all death in the air<\/a><\/div>
Mar\u00eda Fernanda Ampuero<\/div>
\tUnder our acacia<\/a><\/div>
Mariceu Erthal<\/div>
\tIn the body of another: photographs to fill absences<\/a><\/div>
Mariela Sancari<\/div>
\tLooking yourself through others<\/a><\/div>
Marilene Ribeiro <\/div>
\tFire-wounded territories<\/a><\/div>
Marina Feldhues<\/div>
\tThe Metamorphosis of the Archive<\/a><\/div>
Mariona Giner<\/div>
\tMiradas con voz: what do they want to say?<\/a><\/div>
Marisol Mendez<\/div>
\tThe oppression is still quite vivid\ufffc<\/a><\/div>
Martin Bollati<\/div>
\tMartin Bollati behind the mirage<\/a><\/div>
Mathieu Asselin<\/div>
\tGlyphosate and Ecological Disaster: in the Footsteps of Monsanto<\/a><\/div>
Mauricio Pokemon<\/div>
\tA river in my backyard<\/a><\/div>
Maya Goded<\/div>
\tThe Women of my Life<\/a><\/div>
Mayeli Villalba<\/div>
\tBeing black in Paraguay<\/a><\/div>
Mayra Da Silva y Pablo Albarenga<\/div>
\tAfro-Uruguayans: In Search of a New Perspective<\/a><\/div>
Mayra Martell<\/div>
\tNarco fashion: beauty as power<\/a><\/div>
Medhin Tewolde Serrano<\/div>
\tImagining the Fire: Conversations on African American | Episode #3<\/a><\/div>
Megafauna - Irene de Hollanda<\/div>
\t200 black female authors in a bookstore showcase\ufffc<\/a><\/div>
M\u00eddia \u00cdndia, Eric Marky<\/div>
\tM\u00eddia \u00cdndia: Indigenous Peoples in First-Person<\/a><\/div>
Miguel Vilela <\/div>
\t“If the right to Mother Earth is negotiated, life is negotiated.”<\/a><\/div>
Misha Vallejo<\/div>
\tThe Wisdom of the People who Defeated the Oil Companies<\/a><\/div>
\tLooking at the world like a Kichwa child<\/a><\/div>
Mitmaq Ediciones<\/div>
\tThis self-publication is also my passport | Fresco #5<\/a><\/div>
Mr. Poper<\/div>
\tBeing fag in Mexican public schools<\/a><\/div>
Musuk Nolte<\/div>
\tMusuk Nolte: water in the desert<\/a><\/div>
\tSeeds of water: planting que\u00f1uas in the Andes\ufffc<\/a><\/div>
\tSpill in Peru: harbingers of slow death\ufffc<\/a><\/div>
\tPortraits of a thirsty country<\/a><\/div>
\tThe war of the Ovayerii is\u00a0still ongoing<\/a><\/div>
\tJos\u00e9 Manuyama: “The western world has expired”<\/a><\/div>
N<\/div>
Nadia Granados <\/div>
\tMachos, Violence, and Propaganda: How to Dynamite the Image of a Narco-Country<\/a><\/div>
Narcos Lab<\/div>
\tBeyond Pablo Escobar<\/a><\/div>
Natalia Ortiz<\/div>
\tThe second life of leaves<\/a><\/div>
Natalia Roca <\/div>
\tAnd in front of us, the forest burned<\/a><\/div>
Nelson Morales<\/div>
\tBeing Muxe: photography as a way of discovering the identity\ufffc<\/a><\/div>
Nicola Okin<\/div>
\tNicola Okin in the Amazon: the Call to Portray a Territory in Resistance<\/a><\/div>
Nicol\u00e1s Amaro<\/div>
\tLandscape intimacy<\/a><\/div>
Nicol\u00e1s Cox<\/div>
\tThe memory of my territory is alive in this decolonial gesture | Fresco EP#4<\/a><\/div>
Nicol\u00e1s Janowski<\/div>
\tThe Secret Life of Cannabis<\/a><\/div>
\tAfro-Argentine, the third root<\/a><\/div>
Nicol\u00e1s Pousthomis<\/div>
\tMasculum Gymnasium: Boys\u2019 Last Ritual<\/a><\/div>
Noelia Ch\u00e1vez. Fotos: Musuk Nolte<\/div>
\tPeru: tiktokers, memes and tear gas<\/a><\/div>
O<\/div>
Olga Manzano y Baltazar Castellano<\/div>
\tAfricamericanos in Mexico: Murals of Memory<\/a><\/div>
Omar G\u00e1mez<\/div>
\tHow to take photos in a place with no light<\/a><\/div>
Orlando Vel\u00e1zquez<\/div>
\tMexico: the desire that corrupts<\/a><\/div>
\u00d3scar Caracora<\/div>
\t\u00d3scar Catacora: Looking and feeling the world from the Andes<\/a><\/div>
P<\/div>
Pablo Albarenga<\/div>
\tWounds in the land (and the bodies) of the Yanomami<\/a><\/div>
Pablo Allison<\/div>
\tAt the heart of the beast<\/a><\/div>
Pablo Corral<\/div>
\tWhere is Latin American photography heading?<\/a><\/div>
Pablo Ortiz Monasterio<\/div>
\tClose to the boom<\/a><\/div>
Pablo Piovano<\/div>
\tThe Human Cost of Agrotoxins<\/a><\/div>
Paco Briones<\/div>
\tMexico: cannabis that heals\u00a0<\/a><\/div>
\tGrow and Consume your Cannabis without Breaking the Law<\/a><\/div>
Paola Lambert\u00edn<\/div>
\tMicrodoses: an inside journey<\/a><\/div>
Paula Balduino de Melo<\/div>
\tImagining the Fire: Conversations about the African American | Season 2 Episode #3<\/a><\/div>
Paula Zuccotti<\/div>
\tEverything we touch in quarantine<\/a><\/div>
Paulina Chamorro<\/div>
\tBetween saving nature and documenting its end<\/a><\/div>
Paulina Flores<\/div>
\tConsumidora<\/a><\/div>
Pedro David<\/div>
\tThe Long Decisive Moment when a World is Put to Death<\/a><\/div>
Pietro Paoloni<\/div>
\tOpen images of Latin America<\/a><\/div>
Proyecto Soma<\/div>
\tSoma: drugs as they are<\/a><\/div>
R<\/div>
Rafael Roncato<\/div>
\tA performance, a knife, and a chroma in the face of media opportunism | Fresco EP#4<\/a><\/div>
Rafael Vilela<\/div>
\tS\u00e3o Paulo: Resist amid the Pandemic<\/a><\/div>
Ram\u00f3n Campos Iriarte<\/div>
\tColombia: how to narrate an ongoing war<\/a><\/div>
Rebeca Lerer<\/div>
\tLove, Family, and Marijuana<\/a><\/div>
\tMarijuana in Brazil: Land, Racism, and Violence<\/a><\/div>
Rember Yahuarcani L\u00f3pez<\/div>
\tThe ancestral avant-garde<\/a><\/div>
Reojo Colectivo<\/div>
\tColombia: the Record of a Historical Outbreak in Real Time<\/a><\/div>
Retratos de memoria<\/div>
\tMemory Portraits<\/a><\/div>
Ricardo B\u00e1ez<\/div>
\tTowards photobook vanguard<\/a><\/div>
Ricardo Miguel Hern\u00e1ndez<\/div>
\tThe Mobility of Images<\/a><\/div>
Ricardo Nagaoka<\/div>
\tTierra colorada<\/a><\/div>
R\u00edo Paran\u00e1<\/div>
\tWhat do they do with our stories, our bodies, and our bones? | Fresco #7: R\u00edo Paran\u00e1<\/a><\/div>
River Claure<\/div>
\tWarawar Wawa: A Little Prince Born in The Andes<\/a><\/div>
Roberto Tondop\u00f3<\/div>
\tPhotography as a way of registering one\u2019s own transformation<\/a><\/div>
Robin Canul<\/div>
\tMayan resistance against agribusiness<\/a><\/div>
Roc\u00edo Cardenas<\/div>
\tBuenos Aires’ true roots<\/a><\/div>
Roc\u00edo Celis<\/div>
\tAll family albums are open wounds<\/a><\/div>
Roc\u00edo Inmensidades<\/div>
\tPeripheral bodies<\/a><\/div>
Rodolfo Palomino - Colectivo Kucha Suto<\/div>
\tKucha Suto<\/a><\/div>
Rodrigo Braga<\/div>
\tRodrigo Braga: the camera that does not shoot<\/a><\/div>
Rodrigo Masina Pinheiro and Gal Cipreste Marinelli<\/div>
\tThose Stones you Threw at Me as a Child do not Hurt me Anymore<\/a><\/div>
Ronald \u201cMalandro\u201d Pizzoferrato<\/div>
\tA street eye in Caracas<\/a><\/div>
Rosemarie Lerner<\/div>
\tProyecto Quipu: voces por la memoria de las esterilizaciones forzadas en Per\u00fa<\/a><\/div>
Rub\u00e9n H. Berm\u00fadez<\/div>
\tAnd You, Why Are You Black?<\/a><\/div>
Ruda Colectiva<\/div>
\tThis is not a chain: Ruda Colectiva’s first joint project<\/a><\/div>
Rueda Fotos<\/div>
\tWhy is it so uncomfortable to see the face of a women’s assassin?<\/a><\/div>
S<\/div>
Sabrina Fidalgo<\/div>
\tGod is a Black Woman\ufffc<\/a><\/div>
Sam Bohorquez<\/div>
\tNTF: Street Photography in the Blockchain<\/a><\/div>
Sandra Rodr\u00edguez - Fotos: Musuk Nolte<\/div>
\tPeru: A Collective Book to Tell the Outrage in Real Time<\/a><\/div>
Santi Garc\u00eda<\/div>
\tSubverting the Everyday<\/a><\/div>
Santiago Barros<\/div>
\tIAbuelas: How to imagine the face of a disappeared person<\/a><\/div>
Santiago Escobar Jaramillo<\/div>
\tExpanded photography is here to stay<\/a><\/div>
Santiago Rueda<\/div>
\tArt and drugs in Colombia: an investigation\ufffc<\/a><\/div>
Sara Aliaga y Ara Goudsmit<\/div>
\t“Cholita you had to be”<\/a><\/div>
Sarah Pabst y Blas Finger<\/div>
\tThere is more than meets the eye<\/a><\/div>
Sebasti\u00e1n Lopez Brach<\/div>
\tWhat Can you Do when your World Burns<\/a><\/div>
Sebasti\u00e1n L\u00f3pez Brach <\/div>
\tLights and shadows of the new white gold<\/a><\/div>
Sergio Galarza<\/div>
\tLocazo<\/a><\/div>
Sergio Lasso<\/div>
\tRewriting imaginaries: the use of text, visuality, and collage<\/a><\/div>
Silvana Trevale<\/div>
\tVenezuelan Youth<\/a><\/div>
Sof\u00eda Ayarzagoitia <\/div>
\tAll the Borders a Photographer Can Cross<\/a><\/div>
Sof\u00eda L\u00f3pez Ma\u00f1an<\/div>
\tNature as construction<\/a><\/div>
\tA winged giant in the city of rage<\/a><\/div>
Sof\u00eda Yala<\/div>
\tSearching (yourself) in the archive<\/a><\/div>
Stephen Ferry<\/div>
\tViolence documents<\/a><\/div>
Sub Cooperativa<\/div>
\tWork in Progress: Marijuana Beyond the Common Place<\/a><\/div>
\tLives not buried by soybeans<\/a><\/div>
Susi Maresca<\/div>
\tSalt, Water, and Police Repression<\/a><\/div>
T<\/div>
Tania Pleitez Vela<\/div>
\tArcheologies<\/a><\/div>
Tatiana Arocha<\/div>
\tThe beauty I found in coca leaves<\/a><\/div>
Text: Emilia Erbetta - Photos: Andr\u00e9s Cardona<\/div>
\tDiary of a Wreck Family<\/a><\/div>
Thiago Dezan<\/div>
\tLatin America is an overcrowded prison<\/a><\/div>
Toni Amengual<\/div>
\tToni Amengual: looking for the limits of photography<\/a><\/div>
Tuane Eggers <\/div>
\tMushrooms poetics<\/a><\/div>
U<\/div>
Uiler Costa-Santos<\/div>
\tSyzygy: landscapes of the exact moment when the moon and the sun are aligned<\/a><\/div>
V<\/div>
Varios autores<\/div>
\tGod is Argentine (and his name is Maradona)<\/a><\/div>
Various authors<\/div>
\tAfricamericanos<\/a><\/div>
\tDrugs, Politics and Violences<\/a><\/div>
\tE.co: Collectives Encounter<\/a><\/div>
Velia Vidal<\/div>
\tImagining the Fire: Conversations on the African-American | EP#4: Velia Vidal<\/a><\/div>
Venuca Evanan<\/div>
\tVenuca Evan\u00e1n: the memory of my desire<\/a><\/div>
Ver\u00f3nica Sanchis<\/div>
\tFoto F\u00e9minas: Community and Representation<\/a><\/div>
Victor Moriyama<\/div>
\tPhotography in the Amazon: The Sound of a Falling Tree<\/a><\/div>
Victor Pe\u00f1a<\/div>
\tA hell that haunts him<\/a><\/div>
Victor Vich<\/div>
\tV\u00edctor Vich: “Art is a courage discourse that is not afraid to show its wounds.”<\/a><\/div>
Victor Vich - Lucero Del Castillo <\/div>
\tAn image that is read, a poem that is seen<\/a><\/div>
V\u00edctor Zea<\/div>
\tCusco: “They stole the gold, but they did not take the sun and that is what I photograph”<\/a><\/div>
Victor Zea<\/div>
\tUnited by the sun | Fresco EP #6<\/a><\/div>
Victoria Razo<\/div>
\tResilience: between documentary and intimacy<\/a><\/div>
Violeta Ayala<\/div>
\tFacing the State from a Wheelchair<\/a><\/div>
VIST<\/div>
\t‘Africamericanos’ in Guatemala: an invitation to reconnect with roots<\/a><\/div>
Vist<\/div>
\tFeed the memory fire<\/a><\/div>
VIST<\/div>
\tWorld Press Photo South America 2023 | VIST Talk with the Winners<\/a><\/div>
Vist Projects<\/div>
\tCreate and Display New Imageries<\/a><\/div>
\tThe Dangerous Job of Being a Fixer in Mexico<\/a><\/div>
\tCracolandia: Inside the Crack Hotels in Brazil<\/a><\/div>
\tThe D-P-V- La guerra fallida exhibition is open<\/a><\/div>
W<\/div>
Wara Vargas<\/div>
\tDreams and Findings of a Bolivian Photographer<\/a><\/div>
\tThe art of registering the aura of plants<\/a><\/div>
Warmi Photo<\/div>
\tA residency for photographers in Bolivia<\/a><\/div>
Wilson Diaz<\/div>
\tThe Artist Gardener and His Coca Plants<\/a><\/div>
X<\/div>
X. Andrade<\/div>
\tMemes, Substances, and Belonging in a Polarized World<\/a><\/div>
Y<\/div>
Yael Mart\u00ednez<\/div>
\tMexico: Fireflies to Illuminate a History of Violence<\/a><\/div>
\tAmapola and resilience in the Mexican mountains<\/a><\/div>
Yann Gross y Argui\u00f1e Escand\u00f3n<\/div>
\tAya: let the jungle reveal itself<\/a><\/div>
Yeison Riascos<\/div>
\tThe Urban Divinities of the Colombian Pacific Coast<\/a><\/div>
Z<\/div>
Zahara G\u00f3mez<\/div>
\tMexico: a cookbook in memory of the missing<\/a><\/div>
Zoraida D\u00edaz<\/div>
\tAll the wars I saw<\/a><\/div>
Zully Sotelo<\/div>
\tAqu\u00ed y all\u00e1: The Photobook as a Reflection<\/a><\/div><\/div>\n\t\t
\n\t\t\t
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