{"id":2840,"date":"2023-09-02T10:32:23","date_gmt":"2023-09-02T15:32:23","guid":{"rendered":"https:\/\/vistprojects.com\/en\/?p=2840"},"modified":"2023-09-02T10:32:38","modified_gmt":"2023-09-02T15:32:38","slug":"there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable","status":"publish","type":"post","link":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/","title":{"rendered":"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d"},"content":{"rendered":"

[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|tablet” module_class=”vst-tm-entrevista” _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”100%” module_alignment=”center” min_height=”100vh” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”100px|0px|100px|0px|true|false” custom_padding_tablet=”70px||||false|false” custom_padding_phone=”” collapsed=”off” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-intro” _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|phone” custom_padding=”0px|50px|0px|50px|false|true” custom_padding_tablet=”0px|25px||25px|false|true” custom_padding_phone=”0px|20px|0px|20px|false|true” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.15″ _module_preset=”default” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_code admin_label=”Imagen post espa\u00f1ol” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” module_alignment=”center” global_colors_info=”{}”]\"\"[\/et_pb_code][et_pb_text admin_label=”Pie de foto” _builder_version=”4.15″ _dynamic_attributes=”content” _module_preset=”default” text_text_color=”#6e6e6e” text_font_size=”13px” text_letter_spacing=”0.16px” text_orientation=”right” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”10px|0px|15px|0px|false|false” custom_padding_tablet=”||10px||false|false” custom_padding_phone=”|20px|5px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”font-weight:400;” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfX3BpZV9mb3RvX3ByaW5jaXBhbCIsInNldHRpbmdzIjp7ImJlZm9yZSI6IiIsImFmdGVyIjoiIiwiZW5hYmxlX2h0bWwiOiJvZmYifX0=@[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-titulo” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_code admin_label=”Cat” module_class=”vst-post-cat-lbl” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]Interviews[\/et_pb_code][et_pb_text admin_label=”Autor” module_class=”vps-autor” _builder_version=”4.15″ _dynamic_attributes=”content” _module_preset=”default” text_font_size=”15px” text_letter_spacing=”0.18px” text_font_size_tablet=”” text_font_size_phone=”13.5px” text_font_size_last_edited=”on|phone” text_letter_spacing_tablet=”” text_letter_spacing_phone=”0.16px” text_letter_spacing_last_edited=”on|phone” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfX3Byb3llY3RvX2F1dG9yIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJlbmFibGVfaHRtbCI6Im9mZiJ9fQ==@[\/et_pb_text][et_pb_text admin_label=”Regi\u00f3n” module_class=”vsp-region-fecha” _builder_version=”4.15″ _dynamic_attributes=”content” _module_preset=”default” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfX3Byb3llY3RvX3BhaXMiLCJzZXR0aW5ncyI6eyJiZWZvcmUiOiIiLCJhZnRlciI6IiAtICIsImVuYWJsZV9odG1sIjoib2ZmIn19@[\/et_pb_text][et_pb_text admin_label=”Fecha” module_class=”vsp-region-fecha” _builder_version=”4.15″ _dynamic_attributes=”content” _module_preset=”default” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9kYXRlIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJkYXRlX2Zvcm1hdCI6IkYgZCwgWSIsImN1c3RvbV9kYXRlX2Zvcm1hdCI6IiJ9fQ==@[\/et_pb_text][et_pb_divider color=”#000000″ divider_weight=”1.5px” _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”100%” min_height=”2px” height=”2px” max_height=”2px” custom_padding=”15px||15px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_code admin_label=”Social” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\t\n\t\t\n\t<\/g>\n\t<\/svg><\/a>[\/et_pb_code][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text admin_label=”T\u00edtulo” module_class=”vsp-titulo-top” _builder_version=”4.15″ _dynamic_attributes=”content” _module_preset=”default” height=”100%” custom_padding_tablet=”50px|0px||0px|false|false” custom_padding_phone=”40px|0px||0px|false|false” custom_padding_last_edited=”on|tablet” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF90aXRsZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IjxoMT4iLCJhZnRlciI6IjwvaDE+In19@[\/et_pb_text][et_pb_text _builder_version=”4.15.1″ _module_preset=”default” text_font_size=”23px” text_line_height=”28px” custom_padding=”50px||50px||false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

On World Photography Day and in commemoration of the 40th anniversary of the return to democracy in Argentina, Cora Gamarnik reflects on the current state of photojournalism, revisiting topics she has studied extensively\u2014the relationship between documentary imagery and the state of democracy\u2014and venturing into other timely issues, such as the impact of artificial intelligence on the language of photojournalism.<\/p>\n

By Alonso Almenara<\/span><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||50px||false|false” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

In August 2020, a photo posted on Instagram by Argentine photojournalist Jorge S\u00e1enz, a correspondent for the AP in Paraguay, achieved what seemed impossible for the residents of the small town of Limpio: the closure of the Waltrading company. This tannery had been polluting the Cerro lagoon for years, ultimately destroying all life in it. For Argentine researcher Cora Gamarnik, it’s a striking case of what a photographic image can accomplish. Still, it also serves as a model for understanding her vision of the documentary.
Gamarnik vividly remembers the news. The lagoon was divided by a dike: on one side, the water had radically changed color, turning magenta, while on the other side, it remained green. On the magenta side, there was nothing alive. Using a drone, S\u00e1enz took a photo that, in a beautiful geometric composition, simply and powerfully, and through striking colors, conveyed the conflict and pollution. “The magenta color grabs your attention, makes an impact, adds mystery to the image,” says Gamarnik. “You see it, and it produces curiosity, a sensory jolt.”<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular 10-90″ _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:10%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:90%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}” custom_css_main_element_last_edited=”on|tablet” custom_css_main_element_tablet=”width:100%!important;” custom_css_main_element_phone=”width:100%!important;”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][et_pb_text admin_label=”Pie de foto” _builder_version=”4.15″ _module_preset=”default” text_text_color=”#6e6e6e” text_font_size=”13px” text_letter_spacing=”0.16px” text_orientation=”right” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”10px|0px|15px|0px|false|false” custom_padding_tablet=”||10px||false|false” custom_padding_phone=”|20px|5px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”font-weight:400;” global_colors_info=”{}”]Jorge Saenz @jorgesaenzpy[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” module_alignment=”center” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|phone” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|50px|60px|25px|false|false” custom_padding_phone=”0px|20px|60px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

“But the photographer was just one link in a chain where there was a group of women demanding the closure of the tannery, where there were many social actors, media, including actor Leonardo DiCaprio, who posted Jorge’s photo and gave visibility to that image so that it would be known all over the world that a tannery was polluting the lagoon. In other words, photographs can be technically brilliant, artistically impactful, politically significant, but there must be social actors who can sustain them.”
Gamarnik is a social communicator, a doctor in Social Sciences, a teacher, and the coordinator of the Photography Studies area at the Faculty of Social Sciences of the University of Buenos Aires. She has written numerous articles and exhibitions related to the history of photojournalism in Argentina, mainly studying this discipline’s social and political relevance in historical events such as the Falklands War and the last military dictatorship.
S\u00e1enz’s photo reminds her of a quote from Mexican researcher Roxana Reguillo, with which she deeply identifies: “Not only is the visual constructed socially, but the social is constructed visually.” Gamarnik adds, “Faced with the dangers that surround us, we must make room for poetry, denunciation, metaphor, documentation, everything we can. As Deleuze says, we must make a cry heard in visible things.”
World Photography Day is an excellent opportunity to talk to Gamarnik about the fate of photojournalism, especially in the context of the 40th anniversary of the return to democracy in Argentina. The conversation touched on topics such as the crisis of traditional media, the possibilities opened up by artificial intelligence, the role of agencies and photojournalism competitions, and the diversification of perspectives from women, indigenous peoples, and sexual diversities contributed. <\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” admin_label=”Img full” module_class=”vst-cnt-img-x1″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|0px|0px|0px|false|false” custom_padding_tablet=”” custom_padding_phone=”” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][et_pb_text admin_label=”Pie de foto” _builder_version=”4.15.1″ _module_preset=”default” text_text_color=”#6e6e6e” text_font_size=”13px” text_letter_spacing=”0.16px” text_orientation=”right” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”10px|0px|15px|0px|false|false” custom_padding_tablet=”||10px||false|false” custom_padding_phone=”|20px|5px||false|false” custom_padding_last_edited=”on|desktop” hover_enabled=”0″ custom_css_main_element=”font-weight:400;” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Tom\u00e1s Cuesta (photo included in the 33rd Annual Argentine Photojournalism Exhibition, 2022)<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

How do you see photojournalism’s current state in the region, specifically in Argentina?<\/span><\/strong><\/p>\n

On the one hand, I see an enormous diversity of actors practicing the profession and an expansion of creativity, professionalism, and thematic diversity. This is thanks partly to the work of photojournalists in the media and collectives and freelance photographers who take on self-driven assignments. What’s happening is very encouraging regarding thematic variety, image quality, and the breadth of documented territory. However, simultaneously, there’s a huge precariousness in the profession among those working in the media, a reduction in stable photographer positions, and a loss of labor rights. It’s challenging for photographers to work as photojournalists; they practice the profession but can’t make a living from it. Many work independently, against the current of the media, due to political or personal convictions while holding down other jobs.<\/span><\/p>\n

Many of them use social media to showcase their work. What concerns me is that these images get lost in the virtual space’s whirlwind. They impact public discourse and daily events, but unlike work published in the media, these photos aren’t accessible in manageable archives. So, it’s increasingly challenging to access archives of the present, archives of urgency. Photojournalists cover some topics but only circulate via social media.<\/span><\/p>\n

On the other hand, there’s, at least in Argentina, a significant tradition dating back to the military dictatorship of photographers self-organizing to showcase their work. In Argentina, there’s the Annual Exhibition of Graphic Journalism<\/a>. It’s an event where a selection of photos curated by photojournalists are presented to the public. The exhibition draws thousands of visitors, not only in Buenos Aires but also in other cities in the country, and gives significant visibility to these works. They are included in a printed catalog and carefully archived in the Photographic Library of the Association of Graphic Reporters of the Argentine Republic. It’s a valuable source where the best of Argentine photojournalism is duly cataloged and preserved.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|desktop” admin_label=”Fila quote” module_class=”vst-cnt-img-x2″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”|25px||25px|false|false” custom_padding_phone=”|20px||20px|false|false” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-quote” _builder_version=”4.15.1″ _module_preset=”default” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”||||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

“Here, we’ve experienced real ‘psychological action’ campaigns against the population, designed to deceive and manipulate. Images play a crucial role there because they’re being used to create fake news<\/em>. We have cases of false images, taken out of context, captured in one situation and published as if they were obtained in another, shared by politically prominent figures in Argentina with concrete electoral prospects.”<\/span><\/strong><\/p>\n

<\/b><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” admin_label=”Img full” module_class=”vst-cnt-img-x1″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|0px|0px|0px|false|false” custom_padding_tablet=”” custom_padding_phone=”” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][et_pb_text admin_label=”Pie de foto” _builder_version=”4.15″ _module_preset=”default” text_text_color=”#6e6e6e” text_font_size=”13px” text_letter_spacing=”0.16px” text_orientation=”right” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”10px|0px|15px|0px|false|false” custom_padding_tablet=”||10px||false|false” custom_padding_phone=”|20px|5px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”font-weight:400;” global_colors_info=”{}”]<\/p>\n

Sue\u00f1a, by Wara Vargas (Marr\u00f3n collective)<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” module_alignment=”center” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|phone” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|50px|60px|25px|false|false” custom_padding_phone=”0px|20px|60px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

You mentioned the economic difficulties of the media and the precariousness of photojournalism. What impact do they have on democracy?<\/span><\/strong><\/p>\n

We live in a moment of transition and reconfiguration of traditional media and their role in public discourse. Here in Argentina, for example, some media outlets have transformed into biased platforms: they are no longer journalistic outlets but serve economic interests\u2014agricultural or financial interests\u2014and use journalistic channels to advance their economic plans and political agendas. In this sense, democracy is increasingly at risk because we often don’t know or can’t verify which information is trustworthy and which is false, created to serve specific interests. Genuine campaigns attempt to deceive the population, push specific issues onto the agenda, spread deliberate lies, and launch attacks on public figures.<\/span><\/p>\n

Images play a crucial role because they are used to create fake news. We have cases of false pictures taken out of context, captured in one situation and published as if obtained in another, shared by politically prominent figures in Argentina with concrete electoral prospects. Here, we’ve experienced campaigns of what is often called “psychological action” against the population, designed to deceive and manipulate. And from the broader public perspective, we still lack effective tools to defend against this. On the other hand, there is the segmentation of audiences. Younger demographics no longer watch television, read newspapers, or listen to the radio. They “switch off” from information, disconnect, or rely solely on what appears on their Instagram through their network of friends. This creates very closed niches without dialogue or communication with other sectors. I believe that, on the one hand, this phenomenon is a form of self-defense against lies. Still, it is also grave for the construction of democracy because it greatly restricts access to information for these segmented audiences.<\/span><\/p>\n

Are you concerned about the use of artificial intelligence in photojournalism? I was thinking about this when you talked about fake news. But I’m also curious to know if you are optimistic about these technologies’ impact on the evolution of photojournalistic language.<\/span><\/strong><\/p>\n

By definition, I don’t believe in apocalyptic or integrated discourses to borrow Umberto Eco’s expression. I believe that the use of any technology, including artificial intelligence, depends largely on the balance of power in the political arena. These tensions can favor certain uses of technologies that promote equality, social rights, justice, and denunciations of ecological destruction, or they can have the opposite effect. It all depends on social forces, political forces, and the organization we can build as those who believe that the world can still be better than it is and that we have a responsibility in that regard.<\/span><\/p>\n

Images created with artificial intelligence won’t bring about an apocalypse, but they won’t save the planet. They are new tools we have to learn to deal with, to think with, and to learn how to use them. Nevertheless, I believe there is something irreplaceable in the human work behind the cameras. I see photographers covering various social issues, ecological problems, grassroots cooperatives’ work, life in Argentina’s wetlands, and self-organization for housing construction. There are all sorts of projects, but they are also at risk. Many people invest their time, work, intelligence, and creativity to inform us about what is happening in these territories that we haven’t seen before. The images take on various aesthetics, styles, and techniques. What is needed is more support, whether public, private, or mixed, to allow these projects to be sustained over time.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Video-vimeo 10-90″ _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:10%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” custom_css_main_element=”width:90%!important;” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}” custom_css_main_element_last_edited=”on|tablet” custom_css_main_element_tablet=”width:100%!important;” custom_css_main_element_phone=”width:100%!important;”][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=AyzWq6MA_GM&t=28s” module_class=”vst-video-vimeo” _builder_version=”4.15.1″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|25px|0px|25px|false|false” custom_padding_phone=”0px|20px|0px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

I would like to talk about the contribution of women, indigenous peoples, and sexual diversities to photojournalism in recent decades. To what extent has the diversification of perspectives and places of enunciation transformed the language of photojournalism?<\/span><\/strong><\/p>\n

For me, there is a turning point in Argentina related to the conquest of numerous social rights and those related to sexual diversities, such as equal marriage and the legalization of voluntary pregnancy termination. These achievements resulted from a sustained, massive, and cross-sectional struggle over time. There is also a lot of work being done to break ethnic stereotypes. Today, much more awareness and collectives are working on these issues. Including women in photojournalism took decades; forty years ago, there were only a handful. Women were slowly incorporated into the profession, and they expanded perspectives, subjects to photograph, and ways of working, and succeeded in challenging and making visible the sexism in newsrooms. There was a skewed distribution of themes, issues women could cover, and coverage reserved for men, not to mention diversity. There have been significant democratizing advances in all of this. However, this is at risk now due to the advance of far-right sectors.<\/span><\/p>\n

I also believe that many photographic collectives are engaged in important reflections on how to represent themselves, to stop being narrated by others, and to combat stereotypes, discrimination, and the stigma with which they have historically been portrayed. There are very interesting debates in this regard, such as how indigenous peoples were portrayed, how “slums” were shown, how young people from marginalized sectors were depicted… and how they want to be represented in the first person. These debates are encouraged by the LGBT+ community. They assert pride in the face of what tried to be depicted as shameful, visibility against concealment. This community took to the streets, showed themselves in public spaces, represented themselves, and said: “We are proud of who we are, of what we do, of the decisions we make about our bodies.” This struggle also takes place in the realm of images. Gay pride marches are celebrations of color, shapes, bodies, and images, and photographs capture that.<\/span><\/p>\n

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

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|desktop” admin_label=”Fila quote” module_class=”vst-cnt-img-x2″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|50px|0px|50px|false|false” custom_padding_tablet=”|25px||25px|false|false” custom_padding_phone=”|20px||20px|false|false” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-quote” _builder_version=”4.15.1″ _module_preset=”default” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”||||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

“Photojournalism is always a contextualized practice. If there is a government that represses, as happened here during the military dictatorship or the Macri government, poetry, visual experimentation, and metaphor lose space because urgency gives way to photos that document that violence. Both things can be done, but if rubber bullets and tear gas are being fired at you, you can take a certain type of photo.”<\/span><\/strong><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” module_alignment=”center” custom_margin=”0px|auto|2px|auto|false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|phone” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|50px|60px|25px|false|false” custom_padding_phone=”0px|20px|60px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

In Argentina, other collectives like\u00a0<\/span>Identidad Marr\u00f3n<\/span><\/a>\u00a0and\u00a0<\/span>La Garganta Poderosa<\/span><\/a>\u00a0exist. Their photographic work also involves self-representation, challenging dominant and discriminatory visibility. The young people killed by trigger-happy police officers are brown. They bring this to the forefront. They expose it. The trans collective in Argentina has achieved the creation of the Trans Memory Archive, an unprecedented experience in Latin America. They share their photos, hold exhibitions, publish books, tell their stories, and denounce the repression they have faced. I believe it is very important that a collective that was so battered, repressed, and humiliated comes out not only to say, ‘we are alive and standing,’ but also to show their images, to tell that they could also be happy, that they could be who they wanted to be.<\/span><\/p>\n

In all these aspects, we have taken significant steps in Argentina. These advancements will also need to be defended vigorously because, to put it simply, neo-fascist elements are trying to attack these hard-won rights.<\/span><\/p>\n

I would like us to talk about the style of current photojournalism. Some time ago, I interviewed a specialist who told me, for example, that almost all the winning stories in a significant Latin American photography contest had something subjective about them. He saw a shift towards dreamlike or magical images mixed with more realistic ones. Do you see any of that as well?<\/span><\/strong><\/p>\n

I think that photojournalism is always a contextualized practice. By this, I mean that if there is a government that represses, as happened here during the military dictatorship or the Macri government, poetry, visual experimentation, and metaphor lose space because urgency gives way to photos that document that violence. Both things can be done, but if rubber bullets and tear gas are being fired at you, you can take a certain type of photo. That also happened in Chile, Colombia, and Ecuador. Photographers turned to documenting social protests and repression. And that was what was needed at that moment. In Argentina, a great photographer like\u00a0<\/span>\u00a0Pablo Piovano<\/span><\/a>, who creates long-range works with highly poetic images, ended up with his whole body covered in<\/span>\u00a0rubber bullet<\/span><\/a>\u00a0wounds during a protest against the Macri government. There are photos of him, bloodied but still holding his camera high. Poetry sometimes has its space, and violence can also be documented with poetic angles. But it’s not always like that, and if it’s not, you have to document what is happening, no matter how harsh it may be.<\/span><\/p>\n

On the other hand, it’s essential to make a distinction between photojournalism as such and the images awarded in photojournalism competitions. This shift towards subjectivity is probably related to a bias in the competitions, where the most surprising, spectacular, visual trend of the moment or the combination of subjectivity and politics is rewarded. Some perspectives have to do with what happens with the juries at that moment or with photographs that can be easily understood in any political context, so symbolic and understandable images are chosen, whether here or in China. That’s also a problem: the homogenization of the type of images that are awarded.<\/span><\/p>\n

I want to say something, though. You cannot be a photojournalist without having an artistic view of reality. The photojournalist must transform a lived experience into an image; from the events scene, they make decisions about urgency, achieve visual syntheses, and condense an event into an image. And this, in turn, if it’s for a particular medium, is influenced by editorial lines. They need to know what the media will want to publish. They have to do it quickly, sometimes without the time they need. Photojournalism is a practice that demands being on the scene of events and having a privileged and acute perspective on what’s happening. But at the same time, those who practice it are often in a subsidiary position regarding their control over their images. The images become mediated by the media’s discourses for which the photojournalists work. There is a constant tension in that sense. As an additional element, what’s happening now is that photographers use their own networks, exhibition spaces, and, when possible, publications to showcase their photos.<\/span><\/p>\n

You mentioned the biases in photojournalism competitions. What role do these contests ultimately play in the development of the profession?<\/span><\/strong><\/p>\n

I think there’s a kind of vicious circle there. For example, World Press Photo rewards a certain type of images in such a way that some photographers, thinking that it’s the greatest honor they can achieve in their work, build their photos with those award-winning photos as a model, stretching their artistic talents, their aesthetic skills, based on what is usually rewarded as informative or testimonial value or as narrative forms of events. As I mentioned, the danger is that the images become homogenized, local particularities are lost, the surprising is used, the focus is on dramatism, and there is less visibility of long-range social constructs that are more difficult to photograph and take time.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” admin_label=”Img full” module_class=”vst-cnt-img-x1″ _builder_version=”4.15″ _module_preset=”default” width=”100%” max_width=”1920px” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”0px|0px|0px|0px|false|false” custom_padding_tablet=”” custom_padding_phone=”” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|0px|0px|0px|false|false” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_code admin_label=”Imagen Esp” module_class=”vst-cnt-img” _builder_version=”4.15″ _module_preset=”default” global_colors_info=”{}”]\"\"[\/et_pb_code][et_pb_text admin_label=”Pie de foto” _builder_version=”4.15.1″ _module_preset=”default” text_text_color=”#6e6e6e” text_font_size=”13px” text_letter_spacing=”0.16px” text_orientation=”right” custom_margin=”0px|0px|0px|0px|false|false” custom_padding=”10px|0px|15px|0px|false|false” custom_padding_tablet=”||10px||false|false” custom_padding_phone=”|20px|5px||false|false” custom_padding_last_edited=”on|desktop” hover_enabled=”0″ custom_css_main_element=”font-weight:400;” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Federico R\u00edos Escobar (Colombia). Poy Latam – Winner Ibero-American Photojournalist of the Year 2023.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”on|phone” admin_label=”Fila-regular” _builder_version=”4.15″ _module_preset=”default” background_color=”RGBA(0,0,0,0)” width=”100%” max_width=”1920px” module_alignment=”center” custom_margin=”0px||0px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|phone” custom_padding=”0px|50px|60px|50px|false|false” custom_padding_tablet=”0px|50px|60px|25px|false|false” custom_padding_phone=”0px|20px|60px|20px|false|false” border_radii=”off||||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.15″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||0px||false|false” custom_padding_tablet=”” custom_padding_phone=”” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.15″ _module_preset=”default” custom_padding=”0px|11.5vw|0px|10%|false|false” custom_padding_tablet=”|0px||0px|false|false” custom_padding_phone=”0px||0px||false|false” custom_padding_last_edited=”on|desktop” pac_dcm_carousel_specific_module_num=”0″ global_colors_info=”{}”][et_pb_text module_class=”vst-p” _builder_version=”4.15.1″ _module_preset=”default” custom_padding=”50px||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Does the same thing happen with news agencies or with NatGeo?<\/span><\/strong><\/p>\n

I don’t know how Nat Geo is working now. I know many criticisms and academic studies showed the ‘exoticization’ of our countries in the images they used to publish. But I haven’t studied what’s happening now with their photos. However, in relation to that, the Argentine photographer Rodrigo Abd told me about something that happened to him when he went to cover the war in Ukraine. Since there were limitations on accessing the front lines, especially after the deaths of several journalists, the Ukrainian government decided to restrict or outright prevent access to conflict zones. Instead, they organized a kind of press tour. They provided buses to take journalists, camerapersons, and photographers to the places where the Ukrainian government considered there was news or what they wanted to show. What happened is that these places became saturated with journalists; everyone was in the same square meter. This generated a homogenization of information. When Rodrigo Abd arrived, he found himself among 200 photographers from the world’s major photojournalistic agencies \u2014 James Nachtwey was right next to him, for example \u2014 and each photographer knew what photo they needed to take for their agency. Understanding the limitations imposed by war and the political and military interests at play, the question remains: What is the photographer’s freedom in these conditions?<\/span><\/p>\n

Understanding the production conditions of the images is necessary to understand what happens with photojournalism in these cases. In this case, Rodrigo and the AP (Associated Press) photographers’ team won the\u00a0<\/span>Pulitzer Prize\u00a0<\/span><\/a>for that coverage. Under those conditions, they provided highly professional coverage, and Rodrigo, in particular, took it upon himself to share many of his photos on his social media with lengthy captions explaining what he could about the situation, what they experienced, and the stories of those who appeared in his photos. In other words, in some way, trying to overcome the limitations of work confined in time and space.<\/span><\/p>\n

Finally, I wanted to ask you what makes a great photo, or in any case, what makes a photo go down in history? What sets it apart from the sea of images we see in the press and social media daily?<\/span><\/strong><\/p>\n

Of course, some formal characteristics of images relate to the photo’s inherent strength, the fact that when you look at a photograph, there’s a story inside that doesn’t need words to be understood or that words enhance it, help it expand. But I think that photographs, on their own, don’t tell the story. Photographs need the social actors who push, support or make them visible. In a beautiful text, Judith Butler says something like this: Photographs portray and construct events. They reiterate them, make them persist, and continue. It becomes crucial for their production, readability, unreadability, and their status as reality itself. She says, ‘Thanks to photographs, an event never ceases to happen.’ You look at a photograph, and the event happens again; the loved one looks at you again, and you are back in that place where you once were. That’s why photography relates so well to history and memory. Bredekamp, a German researcher, talks about ‘image acts,’ that is, the ability of photographs to act on political and historical events to influence history concretely. And a Chilean author, Andrea Soto Calder\u00f3n, talks about the performativity of images. These are all fundamental and valuable concepts. In any case, social actions are needed to sustain photographs. A good picture alone is not enough.<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\n\t<\/svg><\/a>\n\t\n\t\n\t\n\t\t\n\t\t\n\t<\/g>\n\t<\/svg><\/a>On World Photography Day and in commemoration of the 40th anniversary of the return to democracy in Argentina, Cora Gamarnik reflects on the current state of photojournalism, revisiting topics she has studied extensively\u2014the relationship between documentary imagery and the state of democracy\u2014and venturing into other timely issues, such as the impact of artificial intelligence on […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"[et_pb_section fb_built=\"1\" custom_padding_last_edited=\"on|tablet\" module_class=\"vst-tm-entrevista\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"100%\" module_alignment=\"center\" min_height=\"100vh\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"100px|0px|100px|0px|true|false\" custom_padding_tablet=\"70px||||false|false\" custom_padding_phone=\"\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_row use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-intro\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|0px|50px|false|true\" custom_padding_tablet=\"0px|25px||25px|false|true\" custom_padding_phone=\"0px|20px|0px|20px|false|true\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"4_4\" _builder_version=\"4.15\" _module_preset=\"default\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen post espa\u00f1ol\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\" module_alignment=\"center\"][vist_img_post_intro][\/et_pb_code][et_pb_text admin_label=\"Pie de foto\" _builder_version=\"4.15\" _dynamic_attributes=\"content\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfX3BpZV9mb3RvX3ByaW5jaXBhbCIsInNldHRpbmdzIjp7ImJlZm9yZSI6IiIsImFmdGVyIjoiIiwiZW5hYmxlX2h0bWwiOiJvZmYifX0=@[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-titulo\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Cat\" module_class=\"vst-post-cat-lbl\" _builder_version=\"4.15\" _module_preset=\"default\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][vist_cat_post][\/et_pb_code][et_pb_text admin_label=\"Autor\" module_class=\"vps-autor\" _builder_version=\"4.15\" _dynamic_attributes=\"content\" _module_preset=\"default\" text_font_size=\"15px\" text_letter_spacing=\"0.18px\" text_font_size_tablet=\"\" text_font_size_phone=\"13.5px\" text_font_size_last_edited=\"on|phone\" text_letter_spacing_tablet=\"\" text_letter_spacing_phone=\"0.16px\" text_letter_spacing_last_edited=\"on|phone\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfX3Byb3llY3RvX2F1dG9yIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJlbmFibGVfaHRtbCI6Im9mZiJ9fQ==@[\/et_pb_text][et_pb_text admin_label=\"Regi\u00f3n\" module_class=\"vsp-region-fecha\" _builder_version=\"4.15\" _dynamic_attributes=\"content\" _module_preset=\"default\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfX3Byb3llY3RvX3BhaXMiLCJzZXR0aW5ncyI6eyJiZWZvcmUiOiIiLCJhZnRlciI6IiAtICIsImVuYWJsZV9odG1sIjoib2ZmIn19@[\/et_pb_text][et_pb_text admin_label=\"Fecha\" module_class=\"vsp-region-fecha\" _builder_version=\"4.15\" _dynamic_attributes=\"content\" _module_preset=\"default\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9kYXRlIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJkYXRlX2Zvcm1hdCI6IkYgZCwgWSIsImN1c3RvbV9kYXRlX2Zvcm1hdCI6IiJ9fQ==@[\/et_pb_text][et_pb_divider color=\"#000000\" divider_weight=\"1.5px\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"100%\" min_height=\"2px\" height=\"2px\" max_height=\"2px\" custom_padding=\"15px||15px||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_divider][et_pb_code admin_label=\"Social\" _builder_version=\"4.15\" _module_preset=\"default\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][vist_social_buttons][\/et_pb_code][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text admin_label=\"T\u00edtulo\" module_class=\"vsp-titulo-top\" _builder_version=\"4.15\" _dynamic_attributes=\"content\" _module_preset=\"default\" height=\"100%\" custom_padding_tablet=\"50px|0px||0px|false|false\" custom_padding_phone=\"40px|0px||0px|false|false\" custom_padding_last_edited=\"on|tablet\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF90aXRsZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IjxoMT4iLCJhZnRlciI6IjwvaDE+In19@[\/et_pb_text][et_pb_text _builder_version=\"4.15.1\" _module_preset=\"default\" text_font_size=\"23px\" text_line_height=\"28px\" custom_padding=\"50px||50px||false|false\" locked=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nEn el D\u00eda Mundial de la Fotograf\u00eda, y en conmemoraci\u00f3n del 40 aniversario del retorno a la democracia en Argentina, Cora Gamarnik reflexiona sobre la situaci\u00f3n actual del fotoperiodismo, volviendo sobre temas que ha estudiado largamente \u2014la relaci\u00f3n entre la imagen documental y el estado de la democracia\u2014 y aventur\u00e1ndose, tambi\u00e9n, en otros de punzante actualidad, como el impacto de la inteligencia artificial en el lenguaje fotoperiod\u00edstico.\n\nPor Alonso Almenara<\/span>\n\n[\/et_pb_text][et_pb_text _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||50px||false|false\" locked=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nEn agosto de 2020, una foto publicada en Instagram por el fotoperiodista argentino Jorge S\u00e1enz, corresponsal de la agencia AP en Paraguay, consigui\u00f3 lo que parec\u00eda imposible para los habitantes de la peque\u00f1a localidad de Limpio: que la empresa Waltrading, una curtiembre que llevaba a\u00f1os contaminando la laguna Cerro hasta acabar con la vida que hay en ella, fuera clausurada definitivamente por las autoridades. Es, para la investigadora argentina Cora Gamarnik, un caso impactante de lo que puede conseguir una imagen fotogr\u00e1fica; pero es tambi\u00e9n un modelo para entender su propia visi\u00f3n de lo documental.<\/span>\n\nGamarnik recuerda vivamente la noticia. La laguna estaba atravesada por un terrapl\u00e9n: de un lado, el agua hab\u00eda cambiado radicalmente de color, torn\u00e1ndose magenta, mientras que del otro lado segu\u00eda verde. En el lado de color magenta no quedaba nada vivo. Con el uso de un dron, S\u00e1enz tom\u00f3 una foto que mostraba en una bella composici\u00f3n geom\u00e9trica, de modo simple y contundente, y a trav\u00e9s de llamativos colores el conflicto, la contaminaci\u00f3n. \u201cEl color magenta llama la atenci\u00f3n, impacta, le da misterio a la imagen\u201d, dice Gamarnik. \u201cLa ves y te produce una curiosidad, una sacudida sensorial\u201d.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular 10-90\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:10%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:90%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|tablet\" custom_css_main_element_tablet=\"width:100%!important;\" custom_css_main_element_phone=\"width:100%!important;\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"20543\"][\/et_pb_code][et_pb_text admin_label=\"Pie de foto\" _builder_version=\"4.15\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nJorge Saenz @jorgesaenzpy\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\"Pero el fot\u00f3grafo fue un eslab\u00f3n m\u00e1s de una cadena donde hab\u00eda un grupo de vecinas reclamando que cierren la curtiembre, donde hubo muchos actores sociales, medios de prensa, inclusive el actor Leonardo DiCaprio, que postearon la foto de Jorge y le dieron visibilidad a esa imagen para que se sepa en todos los rincones del mundo que una curtiembre estaba contaminando la laguna. Dicho de otro modo, las fotograf\u00edas pueden ser t\u00e9cnicamente brillantes, art\u00edsticamente impactantes, pol\u00edticamente significativas, pero tiene que haber actores sociales que las puedan sostener\u201d. <\/span>\n\nGamarnik es comunicadora social, doctora en Ciencias Sociales, docente y coordinadora del \u00e1rea de Estudios sobre Fotograf\u00eda de la Facultad de Ciencias Sociales de la Universidad de Buenos Aires. Ha realizado numerosos art\u00edculos y exposiciones relacionados con la historia del fotoperiodismo en Argentina, estudiando, en particular, la relevancia social y pol\u00edtica de esta disciplina en sucesos hist\u00f3ricos como la guerra de las Malvinas y la \u00faltima dictadura militar. <\/span>\n\nLa foto de S\u00e1enz le recuerda una frase de la investigadora mexicana Roxana Reguillo con la que se siente profundamente identificada: \u201cNo s\u00f3lo lo visual se construye socialmente sino que lo social se construye visualmente\u201d. Y a\u00f1ade Gamarnik: \u201cFrente a los peligros que nos acechan hay que hacer lugar a la poes\u00eda, a la denuncia, a la met\u00e1fora, al documento, a todo lo que podamos. Como dice Deleuze, hay que hacer que se oiga un grito en las cosas visibles\u201d.<\/span>\n\nEl D\u00eda Mundial de la Fotograf\u00eda es, desde luego, una ocasi\u00f3n inmejorable para conversar con Gamarnik sobre el destino del fotoperiodismo, sobre todo en el contexto del 40 aniversario del retorno a la democracia en Argentina. La charla toc\u00f3 temas como la crisis de los medios de comunicaci\u00f3n tradicionales, las posibilidades que abren las inteligencias artificiales, el papel de las agencias y los concursos de fotoperiodismo, y lo que ha aportado la diversificaci\u00f3n de las miradas de las mujeres, los pueblos ind\u00edgenas y las diversidades sexuales.  <\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=\"on|phone\" admin_label=\"Img full\" module_class=\"vst-cnt-img-x1\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|0px|0px|0px|false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"4_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"20534\"][\/et_pb_code][et_pb_text admin_label=\"Pie de foto\" _builder_version=\"4.15\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nTom\u00e1s Cuesta (foto incluida en la 33\u00b0 Muestra Anual de Fotoperiodismo Argentino, 2022)\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\u00bfC\u00f3mo ves la situaci\u00f3n actual del fotoperiodismo en la regi\u00f3n y, espec\u00edficamente, en Argentina?<\/b>\n\nVeo, por un lado, una diversidad enorme de actores que ejercen la profesi\u00f3n y una expansi\u00f3n de la creatividad, el profesionalismo, la diversidad tem\u00e1tica. Gracias, en parte, al trabajo de fotoperiodistas de medios pero tambi\u00e9n de colectivos y de fot\u00f3grafos freelance que ponen sobre sus hombros coberturas con agenda propia. En t\u00e9rminos de variedad tem\u00e1tica, de calidad de im\u00e1genes, de amplitud de territorio documentado es muy alentador lo que est\u00e1 sucediendo. Pero, al mismo tiempo, hay una precarizaci\u00f3n laboral enorme de quienes ejercen la profesi\u00f3n en los medios de comunicaci\u00f3n, una reducci\u00f3n de los planteles estables de fot\u00f3grafos, p\u00e9rdidas de derechos laborales. A los fot\u00f3grafos y a las fot\u00f3grafas les cuesta trabajar como fotoperiodistas; ejercen la profesi\u00f3n pero no pueden vivir de ella. Muchos la ejercen a contramano de los medios, por cuenta propia, por convicciones pol\u00edticas o personales mientras trabajan de otras cosas.<\/span>\n\nVeo tambi\u00e9n que much\u00edsimos de ellos y ellas utilizan las redes sociales para mostrar sus trabajos. Lo que me preocupa es que esas im\u00e1genes se pierden en la vor\u00e1gine del espacio virtual. Tienen una incidencia en el debate p\u00fablico, en el acontecer diario, pero, a diferencia del trabajo que se publica en medios de comunicaci\u00f3n, esas fotos no permanecen en archivos abordables. De modo que cada vez es m\u00e1s dif\u00edcil tener acceso a archivos del presente, archivos de la urgencia. Hay temas que son cubiertos por fotoperiodistas, pero s\u00f3lo circulan v\u00eda redes sociales.<\/span>\n\nPor otro lado existe, al menos en Argentina, una tradici\u00f3n muy importante que viene desde la dictadura militar, de la autoorganizaci\u00f3n de los fot\u00f3grafos y fot\u00f3grafas para mostrar sus trabajos. En Argentina existe la<\/span> muestra anual de periodismo gr\u00e1fico<\/span><\/a>. Es un acontecimiento en el que se presenta al p\u00fablico una selecci\u00f3n de fotos curada por los propios fotorreporteros. La muestra tiene miles de visitantes, no solo en Buenos Aires sino tambi\u00e9n en otras ciudades del pa\u00eds, y le da una visibilidad muy importante a estos trabajos, que son incluidos en un cat\u00e1logo impreso y quedan guardados en el archivo de la Fototeca de la Asociaci\u00f3n de Reporteros Gr\u00e1ficos de la Rep\u00fablica Argentina. Es una fuente muy valiosa donde se encuentra debidamente catalogado y cuidado lo mejor del fotoperiodismo argentino.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|desktop\" admin_label=\"Fila quote\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-quote\" _builder_version=\"4.15\" _module_preset=\"default\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"||||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|phone\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\u201cAc\u00e1 hemos vivido verdaderas campa\u00f1as de \u2018acci\u00f3n psicol\u00f3gica\u2019 contra la poblaci\u00f3n, campa\u00f1as dise\u00f1adas para enga\u00f1ar, manipular. Las im\u00e1genes tienen ah\u00ed un papel crucial porque est\u00e1n siendo usadas para crear <\/b>fake news<\/i><\/b>. Tenemos casos de im\u00e1genes falsas, sacadas de contexto, tomadas en una situaci\u00f3n y publicadas como si fueran obtenidas en otra, compartidas por pol\u00edticos de gran relevancia en Argentina, con posibilidades electorales concretas\u201d.<\/b>\n\n<\/b>\n\n[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=\"on|phone\" admin_label=\"Img full\" module_class=\"vst-cnt-img-x1\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|0px|0px|0px|false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"4_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"20537\"][\/et_pb_code][et_pb_text admin_label=\"Pie de foto\" _builder_version=\"4.15\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nSue\u00f1a, por Wara Vargas (Colectivo Marr\u00f3n)\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nMencionabas las dificultades econ\u00f3micas de los medios de comunicaci\u00f3n y la precarizaci\u00f3n del fotoperiodismo. \u00bfQu\u00e9 impacto tienen en la democracia?<\/b>\n\nEstamos viviendo un momento de transici\u00f3n y de reconfiguraci\u00f3n de los medios de comunicaci\u00f3n tradicionales y del lugar que ocupan en el debate p\u00fablico. Ac\u00e1 en Argentina, por ejemplo, hay medios que se transformaron directamente en medios facciosos: ya no son medios period\u00edsticos, sino medios que responden a intereses econ\u00f3micos \u2014intereses agropecuarios o vinculados a las finanzas\u2014 y que tienen adem\u00e1s medios period\u00edsticos para favorecer sus planes econ\u00f3micos y sus proyectos pol\u00edticos. En ese sentido, la democracia est\u00e1 cada vez en m\u00e1s riesgo, porque muchas veces no sabemos o no podemos verificar cu\u00e1les son las informaciones fidedignas y cu\u00e1les son las informaciones falsas creadas a fin de favorecer determinados intereses. Hay verdaderas campa\u00f1as de intentos de enga\u00f1o a la poblaci\u00f3n. Instalaci\u00f3n de temas de agenda, mentiras deliberadas, ataques a personajes p\u00fablicos.<\/span>\n\nLas im\u00e1genes tienen ah\u00ed un papel crucial porque est\u00e1n siendo usadas para la creaci\u00f3n de <\/span>fake news<\/span><\/i>. Tenemos casos de im\u00e1genes falsas, sacadas de contexto, tomadas en una situaci\u00f3n y publicadas como si fueran obtenidas en otra, compartidas por pol\u00edticos de gran relevancia en Argentina, con posibilidades electorales concretas. Ac\u00e1 hemos vivido verdaderas campa\u00f1as de lo que se suele llamar \u201cacci\u00f3n psicol\u00f3gica\u201d contra la poblaci\u00f3n, campa\u00f1as dise\u00f1adas para enga\u00f1ar, manipular. Y desde el amplio campo popular todav\u00eda no tenemos buenas herramientas para defendernos de eso. Por otro lado est\u00e1 la segmentaci\u00f3n de las audiencias. Hay sectores juveniles que ya no ven televisi\u00f3n, no leen diarios, no escuchan radios. Se \u2018apagan\u2019 respecto de la informaci\u00f3n, se desconectan o se informan s\u00f3lo con lo que aparece en su Instagram a trav\u00e9s de su red de amigos y amigas. Eso genera nichos muy cerrados en donde no se dan di\u00e1logos o vasos comunicantes con otros sectores. Creo que por un lado ese fen\u00f3meno es una autodefensa frente a la mentira, pero tambi\u00e9n es grav\u00edsimo para la construcci\u00f3n de una democracia, porque reduce mucho el acceso a la informaci\u00f3n de esos p\u00fablicos tan segmentados.<\/span>\n\n\u00bfTe preocupa el uso de la inteligencia artificial en el fotoperiodismo? Pensaba en esto cuando hablabas de las <\/b>fake news<\/i><\/b>. Pero tambi\u00e9n me interesa saber si es que te genera alguna curiosidad u optimismo el impacto que puedan tener estas tecnolog\u00edas en la evoluci\u00f3n del lenguaje fotoperiod\u00edstico.<\/b>\n\nPor definici\u00f3n no creo en los discursos apocal\u00edpticos ni en los discursos integrados, para retomar la expresi\u00f3n de Umberto Eco. Creo que el uso de toda tecnolog\u00eda, y esto incluye a la inteligencia artificial, depende en gran medida de la correlaci\u00f3n de fuerzas en el escenario pol\u00edtico. Esas tensiones pueden favorecer determinados usos de las tecnolog\u00edas que permitan profundizar la igualdad, los derechos sociales, la justicia, las denuncias por la destrucci\u00f3n ecol\u00f3gica del planeta; o todo lo contrario. Todo depende de las fuerzas sociales, de las fuerzas pol\u00edticas, de la organizaci\u00f3n que podamos darnos aquellos que creemos que a\u00fan el mundo puede ser mejor de lo que es y de que nosotrxs tenemos una responsabilidad frente a ello.<\/span>\n\nLas im\u00e1genes hechas con inteligencias artificiales no van a crear un Apocal\u00edpsis pero tampoco van a salvar el planeta. Son nuevas herramientas con las que tenemos que aprender a lidiar, a pensar, que tenemos que aprender a usar. De todas formas creo que hay algo en el trabajo humano detr\u00e1s de las c\u00e1maras que es irremplazable. Yo estoy viendo fot\u00f3grafos y fot\u00f3grafas que hacen coberturas sobre diversas problem\u00e1ticas sociales, problemas ecol\u00f3gicos, trabajos de cooperativas populares, la vida en los humedales en Argentina, la auto-organizaci\u00f3n para la construcci\u00f3n de viviendas\u2026 Hay trabajos de todo tipo pero que tambi\u00e9n est\u00e1n en riesgo. Much\u00edsima gente que pone su tiempo, su trabajo, su inteligencia, su creatividad, para informarnos sobre lo que est\u00e1 pasando en esos territorios que antes no ve\u00edamos. Y las im\u00e1genes son de diversas est\u00e9ticas, estilos, t\u00e9cnicas. Lo que hace falta es m\u00e1s apoyos, ya sea p\u00fablicos, privados o mixtos, que permitan que esos trabajos se sostengan en el tiempo.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Video-vimeo 10-90\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:10%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"width:90%!important;\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|tablet\" custom_css_main_element_tablet=\"width:100%!important;\" custom_css_main_element_phone=\"width:100%!important;\" theme_builder_area=\"post_content\"][et_pb_video src=\"https:\/\/www.youtube.com\/watch?v=AyzWq6MA_GM&t=28s\" module_class=\"vst-video-vimeo\" _builder_version=\"4.15.1\" _module_preset=\"default\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|25px|0px|25px|false|false\" custom_padding_phone=\"0px|20px|0px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nMe gustar\u00eda hablar ahora del aporte de las mujeres, los pueblos originarios y las diversidades sexuales al fotoperiodismo en las \u00faltimas d\u00e9cadas. \u00bfHasta qu\u00e9 punto la diversificaci\u00f3n de perspectivas y lugares de enunciaci\u00f3n ha transformado el lenguaje fotoperiod\u00edstico?<\/b>\n\nPara m\u00ed hay un punto de inflexi\u00f3n en Argentina que tiene que ver con la conquista de numerosos derechos sociales y vinculados a las diversidades sexuales, como el matrimonio igualitario y la legalizaci\u00f3n de la interrupci\u00f3n voluntaria del embarazo. Esas conquistas se dieron gracias a una lucha sostenida en el tiempo, masiva, transversal. Tambi\u00e9n hay mucho trabajo para romper los estereotipos \u00e9tnicos. Hoy hay mucha m\u00e1s conciencia y muchos m\u00e1s colectivos trabajando en esas tem\u00e1ticas. La incorporaci\u00f3n de las mujeres a la profesi\u00f3n del fotoperiodismo tard\u00f3 d\u00e9cadas, hace cuarenta a\u00f1os eran contadas con los dedos de una mano. Muy lentamente se fueron incorporando a la profesi\u00f3n decenas y decenas de mujeres que ampliaron las miradas, los objetos a fotografiar, las formas de trabajo, y lograron disputar y visibilizar el machismo en las propias redacciones period\u00edsticas. Hab\u00eda una distribuci\u00f3n tem\u00e1tica sesgada, temas que pod\u00edan sacar las mujeres y coberturas que eran para hombres. Ni qu\u00e9 hablar de diversidades. En todo eso hubo avances democratizadores, significativos. Pero todo eso est\u00e1 en riesgo ahora por el avance de sectores de ultraderecha.<\/span>\n\nTambi\u00e9n me parece que<\/span> hay una reflexi\u00f3n muy importante de muchos colectivos fotogr\u00e1ficos en torno al problema de c\u00f3mo representarse a s\u00ed mismos, de dejar de ser narrados por otros y por otras, de combatir estereotipos, la discriminaci\u00f3n y el estigma con el que fueron narrados y mostrados hist\u00f3ricamente. Ah\u00ed hay debates muy interesantes sobre, por ejemplo, c\u00f3mo fueron mostrados los pueblos originarios, c\u00f3mo fueron mostradas las \u2018villas miserias\u2019, los j\u00f3venes de sectores populares... y c\u00f3mo quieren ser mostrados ellos y ellas, en primera persona.<\/span> Debates propiciados por la comunidad LGBT+. Esgrimir el orgullo frente a lo que trat\u00f3 de ser mostrado como vergonzante, la visibilidad frente al ocultamiento. Esta comunidad sali\u00f3 a ocupar el espacio p\u00fablico, a mostrarse en las calles, a auto representarse y a decir: estamos orgullosos, orgullosas de ser quienes somos, de hacer lo que hacemos, de tener sobre nuestros cuerpos las decisiones que tenemos. Y ese combate tambi\u00e9n se da en el territorio de las im\u00e1genes. Las marchas por el orgullo gay son fiestas de color, de formas y de cuerpos, de im\u00e1genes y las fotograf\u00edas registran eso.<\/span>\n\n<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|desktop\" admin_label=\"Fila quote\" module_class=\"vst-cnt-img-x2\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|50px|0px|50px|false|false\" custom_padding_tablet=\"|25px||25px|false|false\" custom_padding_phone=\"|20px||20px|false|false\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-quote\" _builder_version=\"4.15\" _module_preset=\"default\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|desktop\" custom_padding=\"||||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|phone\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\u201cEl fotoperiodismo es siempre una pr\u00e1ctica contextualizada. Si hay un gobierno que reprime, como sucedi\u00f3 ac\u00e1 durante la dictadura militar o durante el gobierno de Macri, la poes\u00eda, la experimentaci\u00f3n visual, la met\u00e1fora pierden espacio porque la urgencia deja paso a las fotos que registran esa violencia. Se pueden hacer las dos cosas, pero si te est\u00e1n tirando con balas de goma y gases lacrim\u00f3genos pod\u00e9s sacar un tipo de fotos\u201d.<\/b>\n\n[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px|auto|2px|auto|false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nEn Argentina hay otros colectivos como<\/span> Identidad Marr\u00f3n<\/span><\/a>, como <\/span>La Garganta Poderosa<\/span><\/a>. Sus trabajos fotogr\u00e1ficos tambi\u00e9n tienen que ver con la autorrepresentaci\u00f3n, con la disputa con una visibilidad dominante y discriminadora. Los chicos asesinados por gatillo f\u00e1cil son marrones. Ellxs ponen eso sobre la mesa. Lo desnudan. El colectivo trans en Argentina ha logrado la creaci\u00f3n del<\/span> Archivo de la Memoria Trans<\/span><\/a>, una experiencia in\u00e9dita en Am\u00e9rica Latina. Ellas difunden sus fotos, hacen exposiciones, publican libros, cuentan sus historias, denuncian la represi\u00f3n de la que fueron v\u00edctimas. Creo que es muy importante que un colectivo que fue tan golpeado, tan reprimido, tan humillado, salga a decir no solo: \u201cestamos vivas y seguimos en pie\u201d, sino que salgan a mostrar sus im\u00e1genes, a contar que tambi\u00e9n pudieron ser felices, que pudieron ser quienes quisieron ser.<\/span>\n\nEn todos esos aspectos hemos dado grandes pasos en Argentina. Son avances que tambi\u00e9n va a haber que defender con u\u00f1as y dientes porque hay sectores por decirlo simplificadamente \u2018neofascitas\u2019 que intentan atacar esos derechos conquistados.<\/span>\n\nMe gustar\u00eda que hablemos del estilo del fotoperiodismo actual. Hace un tiempo entrevist\u00e9 a un especialista que me dec\u00eda por ejemplo que casi todas las historias ganadoras de un importante concurso latinoamericano de fotograf\u00eda ten\u00edan algo de subjetivo. \u00c9l ve\u00eda un giro hacia im\u00e1genes de ensue\u00f1o o m\u00e1gicas, mezcladas con im\u00e1genes m\u00e1s realistas. \u00bfVes algo de eso tambi\u00e9n?<\/b>\n\nMe parece que el fotoperiodismo es siempre una pr\u00e1ctica contextualizada. Con esto quiero decir que si hay un gobierno que reprime, como sucedi\u00f3 ac\u00e1 durante la dictadura militar o durante el gobierno de Macri, la poes\u00eda, la experimentaci\u00f3n visual, la met\u00e1fora pierden espacio porque la urgencia deja paso a las fotos que registran esa violencia. Se pueden hacer las dos cosas, pero si te est\u00e1n tirando con balas de goma y gases lacrim\u00f3genos pod\u00e9s sacar un tipo de fotos. Eso pas\u00f3 tambi\u00e9n en Chile, Colombia, Ecuador. Lxs fot\u00f3grafxs se volcaron a registrar la protesta social y la represi\u00f3n. Y era lo que se necesitaba en ese momento. En Argentina un gran fot\u00f3grafo como<\/span> Pablo Piovano<\/span><\/a>, que hace trabajos de largo alcance con im\u00e1genes sumamente po\u00e9ticas, en una marcha contra el gobierno de Macri termin\u00f3 con todo su cuerpo<\/span> baleado con balas de goma<\/span><\/a>. Y est\u00e1n las fotos de \u00e9l ensangrentado con la c\u00e1mara levantada. La poes\u00eda tiene a veces un espacio; y por supuesto que es posible registrar la violencia con \u00e1ngulos po\u00e9ticos. Pero no siempre es as\u00ed, y si no lo es, hay que registrar lo que est\u00e1 ocurriendo, por m\u00e1s crudo que sea.<\/span>\n\nPor otro lado, me parece importante hacer una distinci\u00f3n entre el fotoperiodismo como tal y las im\u00e1genes premiadas en concursos de fotoperiodismo. Ese giro hacia lo subjetivo tiene que ver, probablemente, con un sesgo tambi\u00e9n de los propios concursos, donde se premia lo m\u00e1s sorprendente, lo espectacular, la moda visual del momento o la combinaci\u00f3n entre lo subjetivo y lo pol\u00edtico. Hay miradas que tienen que ver con lo que pase con los jurados de ese momento, o tambi\u00e9n con fotograf\u00edas que se puedan entender f\u00e1cilmente en cualquier contexto pol\u00edtico, entonces se eligen fotograf\u00edas simb\u00f3licas comprensibles ac\u00e1 o en la China. Ese es un problema tambi\u00e9n: la homogeneizaci\u00f3n del tipo de im\u00e1genes premiadas. <\/span>\n\nQuiero decir algo, igual. <\/span>No se puede ser fotoperiodista sin tener una mirada art\u00edstica de la realidad. El o la fotoperiodista tienen que transformar una experiencia vivida en una imagen, desde el lugar de los hechos resuelven sobre la urgencia, logran s\u00edntesis visuales, condensan en una imagen un acontecimiento. Y eso a su vez, si es para un medio en particular, atravesado por las l\u00edneas editoriales. Tienen que saber qu\u00e9 va a querer publicar el medio. Hacerlo a velocidad, a veces sin el tiempo que se necesita. El fotoperiodismo es una pr\u00e1ctica que exige estar en el lugar de los hechos y tener una mirada privilegiada y aguda sobre los acontecimientos, pero al mismo tiempo quienes lo practican quedan la mayor\u00eda de las veces en un lugar subsidiario respecto del control que tienen sobre sus im\u00e1genes. Las im\u00e1genes pasan a estar mediadas por los discursos de los medios para los que los fotoperiodistas trabajan. Hay una tensi\u00f3n permanente en ese sentido. Ah\u00ed me parece que el plus actual es que fot\u00f3grafos y fot\u00f3grafas usan sus propias redes, espacios de exhibici\u00f3n, cuando pueden de publicaci\u00f3n, para exponer sus propias fotos.<\/span>\n\nMencionabas los sesgos de los concursos de fotoperiodismo. \u00bfQu\u00e9 rol cumplen finalmente estos cert\u00e1menes en el desarrollo de la profesi\u00f3n?<\/b>\n\nMe parece que hay ah\u00ed una suerte de c\u00edrculo vicioso. World Press Photo, por ejemplo, recompensa un tipo determinado de im\u00e1genes, de tal modo que algunos fot\u00f3grafos y fot\u00f3grafas, pensando que ese es el mayor honor que pueden tener en su trabajo, construyen sus fotos teniendo esas fotos premiadas como modelo, tensionando sus talentos, sus habilidades est\u00e9ticas, en funci\u00f3n de lo que suele ser premiado como valor informativo o testimonial o como formas narrativas de los acontecimientos. El peligro, como dec\u00eda, es que se homogeneizan las im\u00e1genes, se pierden las particularidades locales, se utiliza lo sorprendente, se hace foco en el dramatismo y hay menos visibilidad de las construcciones sociales de largo alcance que son m\u00e1s dif\u00edciles de fotografiar y llevan tiempo.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=\"on|phone\" admin_label=\"Img full\" module_class=\"vst-cnt-img-x1\" _builder_version=\"4.15\" _module_preset=\"default\" width=\"100%\" max_width=\"1920px\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"0px|0px|0px|0px|false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"4_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|0px|false|false\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_code admin_label=\"Imagen Esp\" module_class=\"vst-cnt-img\" _builder_version=\"4.9.4\" _module_preset=\"default\"][imagen_nota id=\"20533\"][\/et_pb_code][et_pb_text admin_label=\"Pie de foto\" _builder_version=\"4.15\" _module_preset=\"default\" text_text_color=\"#6e6e6e\" text_font_size=\"13px\" text_letter_spacing=\"0.16px\" text_orientation=\"right\" custom_margin=\"0px|0px|0px|0px|false|false\" custom_padding=\"10px|0px|15px|0px|false|false\" custom_padding_tablet=\"||10px||false|false\" custom_padding_phone=\"|20px|5px||false|false\" custom_padding_last_edited=\"on|desktop\" custom_css_main_element=\"font-weight:400;\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\nFederico R\u00edos Escobar (Colombia). Poy Latam - Ganador Categor\u00eda Fotoperiodista Iberoamericano del A\u00f1o 2023.\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_4,3_4\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila-regular\" _builder_version=\"4.15\" _module_preset=\"default\" background_color=\"RGBA(0,0,0,0)\" width=\"100%\" max_width=\"1920px\" module_alignment=\"center\" custom_margin=\"0px||0px||false|false\" custom_margin_tablet=\"\" custom_margin_phone=\"\" custom_margin_last_edited=\"on|phone\" custom_padding=\"0px|50px|60px|50px|false|false\" custom_padding_tablet=\"0px|50px|60px|25px|false|false\" custom_padding_phone=\"0px|20px|60px|20px|false|false\" border_radii=\"off||||\" collapsed=\"off\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_column type=\"1_4\" _builder_version=\"4.15\" _module_preset=\"default\" background_enable_color=\"off\" custom_padding=\"0px||0px||false|false\" custom_padding_tablet=\"\" custom_padding_phone=\"\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][\/et_pb_column][et_pb_column type=\"3_4\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|11.5vw|0px|10%|false|false\" custom_padding_tablet=\"|0px||0px|false|false\" custom_padding_phone=\"0px||0px||false|false\" custom_padding_last_edited=\"on|desktop\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"][et_pb_text module_class=\"vst-p\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"50px||||false|false\" global_colors_info=\"{}\" theme_builder_area=\"post_content\"]\n\n\u00bfPasa lo mismo con las agencias de noticias o con NatGeo, por ejemplo?<\/b>\n\nYo no s\u00e9 c\u00f3mo est\u00e1n trabajando ahora en Nat Geo. S\u00e9 que hubo muchas cr\u00edticas y estudios acad\u00e9micos que mostraban la \u2018exotizaci\u00f3n\u2019 de nuestros pa\u00edses en las im\u00e1genes que sol\u00edan publicar. Pero no estudi\u00e9 lo que est\u00e1 pasando ahora con sus fotos. Pero en relaci\u00f3n con eso, el fot\u00f3grafo argentino Rodrigo Abd me cont\u00f3 algo que le ocurri\u00f3 cuando fue a cubrir la guerra de Ucrania. Como hab\u00eda limitaciones para acceder al frente de batalla, sobre todo despu\u00e9s de la muerte de varios periodistas, el gobierno ucraniano decidi\u00f3 restringir el acceso o directamente impedir el acceso a las zonas de conflicto. En cambio organiz\u00f3 una especie de <\/span>tours<\/span><\/i> de prensa. Pon\u00edan colectivos para llevar a lxs periodistas, camar\u00f3grafxs y fot\u00f3grafxs a los lugares donde el gobierno ucraniano consideraba que estaba la noticia, o lo quer\u00eda que se muestre. Lo que sucedi\u00f3 es que en esos lugares se gener\u00f3 una saturaci\u00f3n de periodistas, todos estaban en el mismo metro cuadrado. Eso generaba una homogeneizaci\u00f3n de la informaci\u00f3n. Cuando Rodrigo Abd lleg\u00f3 se encontr\u00f3 con 200 fot\u00f3grafos de las principales agencias fotoperiod\u00edsticas del mundo \u2014estaba James Nachtwey al lado de \u00e9l, por ejemplo\u2014, y cada fot\u00f3grafx sab\u00eda qu\u00e9 foto hab\u00eda que sacar para su propia agencia. Entendiendo las limitaciones que genera una guerra y los intereses pol\u00edticos y militares en juego, la pregunta igual es \u00bfcu\u00e1l es la libertad del fot\u00f3grafo en esas condiciones? <\/span>\n\nEs necesario conocer las condiciones de producci\u00f3n de las im\u00e1genes para entender lo que ocurre con el fotoperiodismo en esos casos. Quiero agregar que en este caso Rodrigo junto con el equipo de fot\u00f3grafos de AP (<\/span>Associated Press<\/span><\/i>) <\/span>gan\u00f3 el premio Pulitzer<\/span><\/a> por esa cobertura. Bajo esas condiciones hicieron una cobertura sumamente profesional y Rodrigo, por su parte, se encarg\u00f3 de difundir en sus redes muchas de sus fotos con largos ep\u00edgrafes contando lo que pod\u00eda de la situaci\u00f3n, de lo vivido, de las historias de quienes aparec\u00edan en sus fotos. O sea, de alguna manera tratando de ir contra las limitaciones de un trabajo acotado en el tiempo y en el espacio.<\/span>\n\nPara terminar, quer\u00eda preguntarte qu\u00e9 es lo que hace para ti una gran foto o, en todo caso, qu\u00e9 es lo que hace que una foto quede en la historia, qu\u00e9 es lo que la diferencia del mar de fotos que vemos en la prensa y las redes sociales a diario.<\/b>\n\nPor supuesto, hay algunas caracter\u00edsticas formales de las im\u00e1genes que tienen que ver con la fortaleza intr\u00ednseca de la foto, el hecho de que vos mires una fotograf\u00eda y haya una historia ah\u00ed adentro que no necesite de las palabras para ser entendida o que las palabras la potencien, la ayuden a expandirse. Pero me parece que las fotograf\u00edas, por s\u00ed solas, no hacen la historia. Las fotograf\u00edas necesitan de los actores sociales que las empujen, o que las sostengan, o que las hagan visibles. Judith Butler en un texto muy bello dice algo as\u00ed: las fotograf\u00edas no solo retratan sino que construyen los acontecimientos. Los reiteran, los hacen permanecer, continuar. Se torna crucial para su producci\u00f3n, su legibilidad, su ilegibilidad y su estatus mismo como realidad. Ella dice \u201cgracias a las fotograf\u00edas un acontecimiento no deja de ocurrir\u201d. Mir\u00e1s una fotograf\u00eda y el acontecimiento vuelve a suceder, el ser querido te vuelve a mirar, volv\u00e9s a estar en ese lugar que estuviste. Por eso la fotograf\u00eda se relaciona tan bien con la historia y con la memoria. Bredekamp, un investigador alem\u00e1n, por su parte, habla de \u2018actos de imagen\u2019, esto es, la capacidad de las fotograf\u00edas para actuar sobre hechos pol\u00edticos e hist\u00f3ricos, incidir en la historia concretamente. Y una autora chilena, Andrea Soto Calder\u00f3n, habla de la performatividad de las im\u00e1genes. Todos conceptos muy importantes, muy valiosos. En cualquier caso se necesita de acciones sociales para sostener las fotograf\u00edas. No alcanza solo con una buena fotograf\u00eda.<\/span>\n\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]","_et_gb_content_width":""},"categories":[3,272,11,280,279,285,278],"tags":[12,500,46,210,306,691],"acf":[],"yoast_head":"\n\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d - Vist Projects<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d - Vist Projects\" \/>\n<meta property=\"og:url\" content=\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/\" \/>\n<meta property=\"og:site_name\" content=\"Vist Projects\" \/>\n<meta property=\"article:published_time\" content=\"2023-09-02T15:32:23+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-02T15:32:38+00:00\" \/>\n<meta name=\"author\" content=\"mvallejoq\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:description\" content=\"[vist_img_post_intro]\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"mvallejoq\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"35 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/\",\"url\":\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/\",\"name\":\"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d - Vist Projects\",\"isPartOf\":{\"@id\":\"https:\/\/vistprojects.com\/en\/#website\"},\"datePublished\":\"2023-09-02T15:32:23+00:00\",\"dateModified\":\"2023-09-02T15:32:38+00:00\",\"author\":{\"@id\":\"https:\/\/vistprojects.com\/en\/#\/schema\/person\/f528fb699453952f67070df600a512a0\"},\"breadcrumb\":{\"@id\":\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/vistprojects.com\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/vistprojects.com\/en\/#website\",\"url\":\"https:\/\/vistprojects.com\/en\/\",\"name\":\"Vist Projects\",\"description\":\"Laboratorio de contenidos multiplataforma dedicado a la investigaci\u00f3n, el dise\u00f1o y el desarrollo de narrativas visuales contempor\u00e1neas en torno a tem\u00e1ticas sociales y culturales.\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/vistprojects.com\/en\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/vistprojects.com\/en\/#\/schema\/person\/f528fb699453952f67070df600a512a0\",\"name\":\"mvallejoq\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/vistprojects.com\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/3bf92e6f1d97adfaddd39066d3386807?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/3bf92e6f1d97adfaddd39066d3386807?s=96&d=mm&r=g\",\"caption\":\"mvallejoq\"},\"url\":\"https:\/\/vistprojects.com\/en\/author\/mvallejoq\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d - Vist Projects","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/","og_locale":"en_US","og_type":"article","og_title":"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d - Vist Projects","og_url":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/","og_site_name":"Vist Projects","article_published_time":"2023-09-02T15:32:23+00:00","article_modified_time":"2023-09-02T15:32:38+00:00","author":"mvallejoq","twitter_card":"summary_large_image","twitter_description":"[vist_img_post_intro]","twitter_misc":{"Written by":"mvallejoq","Est. reading time":"35 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/","url":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/","name":"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d - Vist Projects","isPartOf":{"@id":"https:\/\/vistprojects.com\/en\/#website"},"datePublished":"2023-09-02T15:32:23+00:00","dateModified":"2023-09-02T15:32:38+00:00","author":{"@id":"https:\/\/vistprojects.com\/en\/#\/schema\/person\/f528fb699453952f67070df600a512a0"},"breadcrumb":{"@id":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/vistprojects.com\/en\/there-is-something-in-the-human-work-behind-the-cameras-that-is-irreplaceable\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/vistprojects.com\/en\/"},{"@type":"ListItem","position":2,"name":"\u201cThere is something in the human work behind the cameras that is irreplaceable.\u201d"}]},{"@type":"WebSite","@id":"https:\/\/vistprojects.com\/en\/#website","url":"https:\/\/vistprojects.com\/en\/","name":"Vist Projects","description":"Laboratorio de contenidos multiplataforma dedicado a la investigaci\u00f3n, el dise\u00f1o y el desarrollo de narrativas visuales contempor\u00e1neas en torno a tem\u00e1ticas sociales y culturales.","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/vistprojects.com\/en\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/vistprojects.com\/en\/#\/schema\/person\/f528fb699453952f67070df600a512a0","name":"mvallejoq","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/vistprojects.com\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/3bf92e6f1d97adfaddd39066d3386807?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/3bf92e6f1d97adfaddd39066d3386807?s=96&d=mm&r=g","caption":"mvallejoq"},"url":"https:\/\/vistprojects.com\/en\/author\/mvallejoq\/"}]}},"_links":{"self":[{"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/posts\/2840"}],"collection":[{"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/comments?post=2840"}],"version-history":[{"count":6,"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/posts\/2840\/revisions"}],"predecessor-version":[{"id":2847,"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/posts\/2840\/revisions\/2847"}],"wp:attachment":[{"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/media?parent=2840"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/categories?post=2840"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vistprojects.com\/en\/wp-json\/wp\/v2\/tags?post=2840"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}