{"id":2888,"date":"2023-09-16T10:51:38","date_gmt":"2023-09-16T15:51:38","guid":{"rendered":"https:\/\/vistprojects.com\/en\/?p=2888"},"modified":"2023-09-16T10:51:38","modified_gmt":"2023-09-16T15:51:38","slug":"the-photobook-as-an-artifact-for-rethinking-a-country","status":"publish","type":"post","link":"https:\/\/vistprojects.com\/en\/the-photobook-as-an-artifact-for-rethinking-a-country\/","title":{"rendered":"The photobook as an artifact for (re)thinking a country"},"content":{"rendered":"

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The exhibition “Imagen Impresa” explores the production of photography books in Argentina from the mid-20th century to the present. Curated by researcher Francisco Medail, it is an ambitious work that invites us to consider the photobook as a multifaceted device linked to the history of art and politics, science, and popular culture.<\/span><\/p>\n

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

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Francisco Medail points out that for many years, the photobook in Argentina was not seen as an artist’s book or a vehicle for an authorial vision. It was a popular product consumed by broad segments of society. A title like “Buenos Aires y su gente,” published in 1960 with photographs by Sameer Makarius, had a print run of 63,000 copies\u2014something that seems unthinkable today. One of the most widely circulated books in the country did not focus on an artist’s production but one that simply served as propaganda: “Argentina 78,” about the World Cup.<\/span><\/p>\n

“The Monumental stadium of River Plate, the largest stadium in Argentina, is located very close to the ESMA, where people were tortured,” notes the researcher. The dictatorship organized the event to improve the country’s image since there were significant international accusations of crimes against humanity. The book includes photos of the matches and a prologue by Rafael Videla. “Furthermore, in the first and last pages, ‘Argentina 78’ portrays the country as a natural paradise, where white doves of peace fly. The intention is evident.”<\/span><\/p>\n

Medail coordinates the collection of theoretical books on photography called ”\u00a0<\/span>Pret\u00e9ritos Imperfectos<\/span><\/a>,” published by the ArtexArte Foundation. The exhibition “Imagen Impresa: Fotograf\u00eda & Libros en Argentina” emerged from this experience and was inaugurated on August 26 at the foundation’s premises. The collection comprises over 130 books ranging from scientific publications from the 1930s to contemporary artist photobooks.<\/span><\/p>\n

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It is structured around three major conceptual axes: a first core investigates the use of the photography book as a means of political propaganda, in contrast to artistic projects that used this device to reflect on political and social events in the country. Secondly, it explores how the Argentine territory has been represented in photobooks, highlighting the imbalance between the centrality of Buenos Aires and the rest of the provinces and the essentialist attempts to depict the country as a whole. Finally, the exhibition recovers the relationship between the photography book and other artistic disciplines, such as literature, painting, music, and photography.
“The exhibition is not about creating a ranking of books or saying which ones are the best, but rather, starting from certain problems, thinking about the function of the photography book,” says Medail. “What interests us is to show how the photobook was functional to the multiple characters of the photographic device. In many cases, these publications have a very different functionality from what we understand today as a photobook.”
On the other hand, the exhibition draws interesting dialogues between historical books and contemporary books. The oldest title included is “Misiones y cataratas del Iguaz\u00fa,” published in 1930 by Gaston Bourquin, a photographer specializing in postcards. This title is placed next to one by contemporary photographer Jose Nicolini, titled “Las que vencen,” which documents her two-year journey on a motorcycle through the Argentine coast while interviewing women. For Medail, these juxtapositions help us think about the photobook differently and suggest new directions for current creators.<\/p>\n

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How did the idea for this exhibition come about?<\/span><\/strong><\/p>\n

The exhibition emerged from an invitation from the ArtexArte Foundation, where I coordinated a collection of theoretical books on photography called “Pret\u00e9ritos Imperfectos.” In mid-2021, Marisol Miguel, the executive producer of the Foundation, proposed that I create an exhibition related to photobooks. Initially, we considered a project about the photobook phenomenon in Latin America, but it seemed too vast. Ultimately, we decided to focus on Argentina. One reason is that, although there has been a wide range of editorial production in the country throughout the 20th century, no research has been conducted on the topic. For example, research on this subject has been carried out in countries like Chile and Venezuela. The exhibition is ultimately a crossover: on the one hand, it is a non-chronological, problematic journey through photography books made in Argentina. On the other hand, there are a series of virtual and in-person activities in which we seek to problematize the photobook at the Latin American level. We have guests from abroad and organized dialogues with Peru, Chile, Mexico, and Spain.<\/span><\/p>\n

I’d like to start by discussing the political themes addressed in the exhibition. The journey consists of three parts, and the first part is called “Problems of the State.”<\/span><\/strong><\/p>\n

This axis occupies the lower floor of the exhibition. It proposes a cross between books produced by the Argentine state, mostly propaganda books, both official or ideological and tourist-oriented, and more authorial books that work on projects related to political, social, or economic events in the country’s history. For example, one of the books included is “Argentina 78,” the famous book about the World Cup. You know that the largest stadium in Argentina, the Monumental of River Plate, is located very close to the ESMA, the main detention center of the dictatorship. So, the event had been organized somewhat to improve the country’s image because there were already significant international accusations of crimes against humanity. The book includes photos of the matches and a prologue by Rafael Videla. Moreover, in the first and last pages, “Argentina 78” portrays the country as a natural paradise, where white doves of peace fly, etc. The intention is evident in that book.<\/span><\/p>\n

Another interesting book is “Tucum\u00e1n: Cuna de la Independencia, Sepulcro de la sSubversi\u00f3n,” edited by the dictatorship. In terms of design resources and more, it is a brilliant publication. However, it is a book that legitimizes the extermination of left-wing militants in Tucum\u00e1n. It is a narrative about how the subversives sowed panic in society, and the military entered the jungle and got rid of them to restore order. That table, for example, dialogues with one that brings together photographic essays about the disappeared published from the 1990s onwards.<\/span><\/p>\n

Another table includes all the books published by different ministries or tourism secretaries about Argentina. This shows how, during the dictatorship and in the 1990s, the country was portrayed as a natural paradise, with many images of lakes and mountains. The same did not happen during governments like Per\u00f3n’s or N\u00e9stor Kirchner’s, which promoted Argentina as a developing power, an economy in industrialization, etc. This is a very interesting starting point because it shows that the photobook is not something innocent but has a background, an ideological connotation, or a specific objective.<\/span><\/p>\n

 <\/p>\n

You mentioned some publications that present what we could call “official views” of Argentine geography. I would like us to discuss this further. It’s something that the exhibition explores in the second axis of the journey, called “Representations of the Territory.<\/span><\/strong>“<\/span><\/p>\n

The second axis is divided into three sections. The section dedicated to Buenos Aires is the largest, occupying 25 linear meters of wall space. Buenos Aires is overrepresented in the history of the photobook in Argentina and is depicted as a modern city, the city most similar to Europe, unlike the rest of the country. In the second section, we examine photobooks dedicated to other regions, and we see that the emphasis is always on natural resources, geography, and tourism.<\/span><\/p>\n

A third section explores photobooks that aim to represent the entire country: books titled Argentina, mostly coffee table books. These books, for me, are problematic because how do you represent an entire country? How can such a vast country as Argentina fit into a book? Each of these editorial pieces has an underlying discourse that presents a certain image of Argentina depending on the target audience of the publishing house. But here, we establish a dialogue with books by artists who have thought of Argentina as a kind of metonymy, books titled Argentina but which focus on something very specific about the country. The word “Argentina” becomes a rhetorical figure, a good way to escape the attempt to cover everything because it is truly impossible.<\/span><\/p>\n

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Today, propaganda books and tourist books are still being published, but the photobook as a niche is more anchored in the artist’s book or the photographer’s book as an author. And from that standpoint, having a broader view of the format also allows for taking resources and developing new possibilities.<\/strong><\/p>\n

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

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The exhibition’s third part, “Art in Books,” examines the relationship between the photography book and other arts. What elements do you highlight in that dialogue<\/span><\/strong>?<\/span><\/p>\n

There are four quite large tables there. One is dedicated to the relationship between photography and literature: on the one hand, publications by writers include photos, and on the other hand, books by photographers who create portraits of writers. Another table focuses on the dialogue of photography with painting, music, and dance. It’s interesting because, in reality, every art book is mediated by photography. There, you can see the first major books on Argentine art history that had impeccable reproductions of paintings in color, made possible by excellent photographers and high-quality printing.<\/span><\/p>\n

A third table is dedicated to books that seek to promote local photography production. For example, there are some books called “Fotograf\u00eda Actual,” two volumes published in the 90s that, when they came out, aimed to showcase the future of Argentine photography. It’s funny because you wouldn’t know half of those people if you read them today.<\/span><\/p>\n

The last part of the exhibition, perhaps the most arbitrary or heterogeneous, is one where I try to highlight some new practices related to books and art through photography. It’s a small potpourri of the photobook in contemporary times. On the one hand, we see photographers editing their publications and zines; on the other hand, there are many works dedicated to found archives, as well as books on historical recoveries, publications about photographers who were unknown until yesterday but are now rediscovered and brought into circulation through these editorial pieces.<\/span><\/p>\n

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

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The local crisis, however, impacts the production of photobooks, doesn’t it?<\/span><\/strong><\/p>\n

We are in a very challenging context. Juli\u00e1n Bar\u00f3n says, in the case of Spain, that moments of crisis are when the best photobooks appear. I would like to have the same optimistic view for the Argentine case, but financing these kinds of projects is becoming increasingly difficult. Publishers no longer produce the same number of photobooks as they did five or six years ago. Nevertheless, I believe that Argentina has a very rich material production and a highly interesting pool of artists. We are accustomed to having few resources, and sometimes, the particularity of Argentina is that with very little, we manage to create very good works.<\/span><\/p>\n

Is what’s happening in Argentina very different from what’s happening in other Latin American countries?<\/span><\/strong><\/p>\n

There are some commonalities, especially with Venezuela, which has a wide production of photography books produced by the state and oil companies. Some countries had very active periods with governments interested in producing propaganda books. Today, the situation in Venezuela is very different. Fortunately, Ricardo B\u00e1ez, one of the most well-known photo book designers today, is doing excellent work from Venezuela, even working remotely for other publishing houses.<\/span><\/p>\n

Then I think about Chile, which had a rich production in the 70s and 80s, linked to resistance against the coup d’\u00e9tat. Something that is very much in line with what happened in Argentina. I believe there is a fairly similar publishing activity in Mexico and Peru, as well as in Uruguay, with the Center of Photography, which has revitalized the photographic scene.<\/span><\/p>\n

What is needed is for us to look more at each other. And I say this also as the editor of a collection of theoretical books that I would love to be read in other countries, but it is very difficult to distribute. Venezuelan books, for example, do not reach here, and it’s the same situation in Mexico.<\/span><\/p>\n

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To conclude, what does this kind of reflection on the history of the photobook contribute to photographers’ perspectives?<\/span><\/strong><\/p>\n

That is the guiding thread of the next book in the Pret\u00e9rito Imperfecto collection, titled “<\/span>El Hechizo Roto<\/span><\/em>.” Something I mention in the introduction is that I find it interesting to consider the role of the photobook in understanding the multifaceted nature of the photographic medium: to understand how photography occupied various spaces, not only in the artistic field but also in the scientific, cultural, political, etc. I am interested in thinking about photography in a more interdisciplinary sense. That’s why I depart from the logic of a book like\u00a0<\/span>Horacio Fern\u00e1ndez’s<\/span><\/a>, which is a compilation of the best photobooks in the region. Instead, I reflect on the book’s various functionalities and analyze how all its elements, from the photos to the design and editing, are subordinated to that function.<\/span><\/p>\n

Today, propaganda books and tourist books continue to be published, but the photobook as a niche is more rooted in the artist’s book or the photographer’s book as an author. And I believe that from that perspective, having a broader view of the format also allows for using resources and developing new possibilities.<\/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>The exhibition “Imagen Impresa” explores the production of photography books in Argentina from the mid-20th century to the present. Curated by researcher Francisco Medail, it is an ambitious work that invites us to consider the photobook as a multifaceted device linked to the history of art and politics, science, and popular culture. By Alonso Almenara  […]<\/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\" 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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\nLa exposici\u00f3n<\/span> Imagen impresa<\/span><\/i> indaga en la producci\u00f3n de libros de fotograf\u00eda en Argentina desde mediados del siglo XX hasta la actualidad. Curada por el investigador Francisco Medail, es un trabajo ambicioso que nos invita a pensar el fotolibro como un dispositivo m\u00faltiple, vinculado no solo con la historia del arte, sino con la pol\u00edtica, la ciencia y la cultura popular.<\/span>\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\nA Francisco Medail le gusta observar que durante muchos a\u00f1os el fotolibro no fue visto en Argentina como un libro de artista o como un veh\u00edculo para una visi\u00f3n autoral. Era un producto popular, consumido por amplios sectores de la sociedad. Un t\u00edtulo como <\/span>Buenos Aires y su gente<\/span><\/i>, editado en 1960, con fotograf\u00edas de Sameer Makarius, tuvo un tiraje de 63.000 ejemplares \u2014algo que hoy parece impensable. De hecho, otro de los libros de mayor circulaci\u00f3n en el pa\u00eds no fue uno que se centraba en la producci\u00f3n de un artista, sino uno que funcionaba llanamente como propaganda: <\/span>Argentina 78<\/span><\/i>, sobre el Mundial de f\u00fatbol. <\/span>\n\n\u201cEl Monumental de River Plate, el estadio m\u00e1s grande de Argentina, est\u00e1 ubicado muy cerca de la ESMA, donde se torturaba gente\u201d, anota el investigador. El evento fue organizado por la dictadura para lavar la imagen del pa\u00eds, ya que empezaba a haber denuncias bastante grandes sobre delitos de lesa humanidad por parte de organismos internacionales. El libro, en tanto, viene con fotos de los partidos y con un pr\u00f3logo de Rafael Videla. \u201cAdem\u00e1s, en las primeras p\u00e1ginas y las \u00faltimas, <\/span>Argentina 78 <\/span><\/i>retrata el pa\u00eds como un para\u00edso natural, donde vuelan palomas blancas de la paz. Es muy clara la intenci\u00f3n\u201d.<\/span>\n\nMedail coordina la colecci\u00f3n de libros te\u00f3ricos sobre fotograf\u00eda <\/span>Pret\u00e9ritos Imperfectos<\/span><\/a>, editada por la fundaci\u00f3n ArtexArte. De esa experiencia surgi\u00f3 la muestra <\/span>Imagen Impresa: fotograf\u00eda & libros en Argentina<\/span><\/i>, inaugurada el 26 de agosto en las instalaciones de la fundaci\u00f3n. La exhibici\u00f3n est\u00e1 compuesta por m\u00e1s de 130 libros que van desde publicaciones cient\u00edficas de la d\u00e9cada de 1930 hasta fotolibros de artistas contempor\u00e1neos. <\/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=\"\"][\/et_pb_code][\/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\nSe estructura en tres grandes ejes conceptuales: un primer n\u00facleo indaga sobre el uso del libro de fotograf\u00eda como medio de propaganda pol\u00edtica, en contraste con proyectos art\u00edsticos que usaron este dispositivo para reflexionar sobre acontecimientos pol\u00edticos y sociales del pa\u00eds. En segundo lugar, se exploran los modos en que el territorio argentino ha sido representado en los fotolibros, resaltando el desequilibrio entre el centralismo de Buenos Aires y el resto de las provincias, adem\u00e1s de los intentos esencialistas por mostrar al pa\u00eds como una totalidad. Por \u00faltimo, la exhibici\u00f3n recupera la relaci\u00f3n entre el libro de fotograf\u00eda y otras disciplinas art\u00edsticas, como la literatura, la pintura, la m\u00fasica y la fotograf\u00eda misma.<\/span>\n\n\u201cLa muestra no trata de armar un ranking de libros, o decir cu\u00e1les son los mejores, sino, a partir de ciertos problemas, pensar la funci\u00f3n del libro de fotograf\u00eda\u201d, dice Medail. \u201cLo que nos interesa es mostrar c\u00f3mo el fotolibro fue funcional al car\u00e1cter m\u00faltiple del dispositivo fotogr\u00e1fico. En muchos casos, son publicaciones que tienen una funcionalidad muy distinta de lo que hoy entendemos por fotolibro\u201d. <\/span>\n\nPor otro lado, la exhibici\u00f3n traza interesantes di\u00e1logos entre libros hist\u00f3ricos y libros contempor\u00e1neos. El t\u00edtulo m\u00e1s antiguo incluido es <\/span>Misiones y cataratas del Iguaz\u00fa<\/span><\/i>, publicado en 1930 por Gaston Bourquin, un fot\u00f3grafo especializado en tarjetas postales. Ese t\u00edtulo est\u00e1 puesto al lado de uno de la fot\u00f3grafa contempor\u00e1nea Jose Nicolini, llamado <\/span>Las que vencen<\/span><\/i>, que recoge la experiencia que ella tuvo durante dos a\u00f1os en los que se dedic\u00f3 a recorrer en moto el litoral argentino entrevistando a mujeres. Para Medail, esta clase de yuxtaposiciones no solo son \u00fatiles para pensar el fotolibro de una manera distinta, sino que sugiere nuevas direcciones a los creadores actuales.<\/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=\"\"][\/et_pb_code][\/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\u00bfC\u00f3mo naci\u00f3 la idea de esta exposici\u00f3n?<\/b>\n\nLa exhibici\u00f3n surgi\u00f3 de una invitaci\u00f3n de la Fundaci\u00f3n ArtexArte, en la que coordino una colecci\u00f3n de libros te\u00f3ricos de fotograf\u00eda que se llama Pret\u00e9ritos Imperfectos. A mediados de 2021 Marisol Miguel, la productora ejecutiva de la Fundaci\u00f3n, me propuso hacer una muestra vinculada a fotolibros. Inicialmente nos planteamos hacer un proyecto sobre el fen\u00f3meno del fotolibro en Latinoam\u00e9rica, pero nos pareci\u00f3 inabarcable. Finalmente decidimos enfocarnos en Argentina. Una raz\u00f3n es que, si bien hay una producci\u00f3n editorial muy amplia en el pa\u00eds durante todo siglo 20, no se hab\u00eda hecho ninguna investigaci\u00f3n al respecto. Esas investigaciones s\u00ed se han hecho en Chile y en Venezuela, por ejemplo. La muestra finalmente es un cruce: por un lado, es un recorrido no cronol\u00f3gico, problem\u00e1tico, sobre los libros de fotograf\u00eda hechos en Argentina. Y por otro lado hay una serie de actividades virtuales y presenciales en las que buscamos problematizar el fotolibro a nivel latinoamericano. Hay invitados de afuera, di\u00e1logos con Per\u00fa, Chile, M\u00e9xico, Espa\u00f1a. <\/span>\n\nMe gustar\u00eda empezar hablando de los temas pol\u00edticos que toca la muestra. El recorrido tiene tres partes, y la primera parte se llama \u201cProblemas de estado\u201d.<\/b>\n\nEse eje ocupa la planta baja de la exhibici\u00f3n. Y lo que propone es un cruce entre libros producidos por el Estado argentino, en su gran mayor\u00eda libros de propaganda, tanto oficial o ideol\u00f3gica como tur\u00edstica; y libros de corte m\u00e1s autoral que trabajan proyectos vinculados a hechos pol\u00edticos, sociales o econ\u00f3micos de la historia del pa\u00eds. Por ejemplo, uno de los libros incluidos es <\/span>Argentina 78<\/span><\/i>, el famoso libro sobre el Mundial de f\u00fatbol. Sabes que el estadio m\u00e1s grande de Argentina, el Monumental de River Plate, est\u00e1 ubicado muy cerca de la ESMA, el principal centro de detenci\u00f3n de la dictadura. Entonces el evento hab\u00eda sido organizado un poco para lavar la imagen del pa\u00eds, porque ya empezaba a haber denuncias bastante grandes por parte de organismos internacionales. El libro viene con fotos de los partidos y con un pr\u00f3logo de Rafael Videla. Y adem\u00e1s es una ocasi\u00f3n para retratar a Argentina como un para\u00edso natural, donde vuelan palomas blancas de la paz, etc. Es muy claro ese libro. <\/span>\n\nOtro libro interesante es <\/span>Tucum\u00e1n: Cuna de la Independencia, sepulcro de la subversi\u00f3n<\/span><\/i>, tambi\u00e9n editado por la dictadura. En t\u00e9rminos de recursos de dise\u00f1o y dem\u00e1s, es una publicaci\u00f3n brillante. Pero es un libro que se dedica a legitimar el exterminio de militantes de izquierda en Tucum\u00e1n. Es una narraci\u00f3n sobre c\u00f3mo los subversivos sembraron el p\u00e1nico en la sociedad y los militares ingresaron a la selva y se deshicieron de ellos para poder restablecer el orden. Esa mesa, por ejemplo, dialoga con una que re\u00fane ensayos fotogr\u00e1ficos sobre los desaparecidos publicaron a partir de los a\u00f1os 90. <\/span>\n\nEn otra mesa aparecen todos libros editados por los diferentes ministerios o secretar\u00edas de Turismo sobre Argentina. As\u00ed puedes ver c\u00f3mo, tanto en la dictadura como en los 90, se mostraba el pa\u00eds como un para\u00edso natural, con muchas im\u00e1genes de lagos y monta\u00f1as. No ocurri\u00f3 lo mismo durante gobiernos como el de Per\u00f3n o el de N\u00e9stor Kirchner, que promocionaron a Argentina como una potencia en desarrollo, una econom\u00eda en proceso de industrializaci\u00f3n, etc. Para m\u00ed es un piso s\u00faper interesante porque muestra que el fotolibro no es algo inocente, sino que tiene un trasfondo, una connotaci\u00f3n ideol\u00f3gica o un objetivo preciso. <\/span>\n\nMencionaste algunas publicaciones que presentan lo que podr\u00edamos llamar \u201cvisiones oficiales\u201d de la geograf\u00eda argentina. Me gustar\u00eda que conversemos un poco m\u00e1s sobre eso. Es algo que la muestra desarrolla en el segundo eje del recorrido, que se llama \u201cRepresentaciones del territorio\u201d.   <\/b>\n\nEl segundo eje est\u00e1 divido en tres secciones. La secci\u00f3n dedicada a Buenos Aires es de lejos la m\u00e1s grande: ocupa 25 metros lineales de pared. Buenos Aires est\u00e1 sobrerrepresentada en la historia del fotolibro en Argentina, y es mostrada como una ciudad moderna, como la ciudad m\u00e1s parecida a Europa. A diferencia de lo que ocurre con el resto del pa\u00eds. En la segunda secci\u00f3n examinamos los fotolibros dedicados a otras regiones, y vemos que el \u00e9nfasis siempre est\u00e1 puesto en los recursos naturales, en la geograf\u00eda, en el turismo. <\/span>\n\nUna tercera secci\u00f3n explora los fotolibros que se propusieron representar el pa\u00eds en su totalidad: libros que se llaman <\/span>Argentina<\/span><\/i> y que en su gran mayor\u00eda son <\/span>coffee table books<\/span><\/i>. Estos libros para m\u00ed son problem\u00e1ticos, porque \u00bfc\u00f3mo represent\u00e1s a un pa\u00eds en su totalidad? \u00bfC\u00f3mo un pa\u00eds tan amplio como Argentina puede entrar en un libro? Obviamente, cada una de esas piezas editoriales tiene un discurso latente que presenta una cierta imagen de Argentina seg\u00fan el p\u00fablico al que se orienta el sello editorial. Pero aqu\u00ed trazamos un di\u00e1logo con libros de artistas que han pensado Argentina como una suerte de metonimia, libros que se llaman <\/span>Argentina<\/span><\/i> pero que en realidad se centran en algo muy espec\u00edfico del pa\u00eds. La palabra \u201cArgentina\u201d se convierte en una figura ret\u00f3rica, lo que me parece que es una buena manera de escapar de ese intento de contarlo todo, porque realmente es imposible. <\/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|phone\" admin_label=\"Fila 50-50\" 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|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|desktop\" 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=\"\"][\/et_pb_code][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|10px|false|false\" custom_padding_tablet=\"|||5px|false|false\" custom_padding_phone=\"|||0px|false|false\" custom_padding_last_edited=\"on|tablet\" 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=\"\"][\/et_pb_code][\/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\"Hoy se siguen editando libros de propaganda y libros tur\u00edsticos, pero el fotolibro como nicho est\u00e1 m\u00e1s anclado en el libro de artista, o en el libro de fot\u00f3grafo como autor. Y creo que desde ese lugar tener una visi\u00f3n m\u00e1s amplia del formato permite tambi\u00e9n tomar recursos y elaborar nuevas posibilidades.\"<\/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 column_structure=\"1_2,1_2\" use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"on|phone\" admin_label=\"Fila 50-50\" 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|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|desktop\" 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=\"\"][\/et_pb_code][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|10px|false|false\" custom_padding_tablet=\"|||5px|false|false\" custom_padding_phone=\"|||0px|false|false\" custom_padding_last_edited=\"on|tablet\" 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=\"\"][\/et_pb_code][\/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\nLa tercera parte de la muestra, que se llama \u201cArte en libros\u201d, examina la relaci\u00f3n del libro de fotograf\u00eda con el resto de las artes. \u00bfQu\u00e9 elementos resaltas en ese di\u00e1logo?<\/b>\n\nAh\u00ed hay cuatro mesas bastante grandes. Una est\u00e1 dedicada a la relaci\u00f3n de la fotograf\u00eda con la literatura: por un lado, publicaciones de escritores que incluyen fotos, y por otro lado libros de fot\u00f3grafos que hacen retratos de escritores. Otra mesa es sobre el di\u00e1logo de la fotograf\u00eda con la pintura, la m\u00fasica y la danza. Es interesante porque en realidad todo libro de arte est\u00e1 mediado por la fotograf\u00eda. Ah\u00ed puedes ver los primeros grandes libros de historia del arte argentino que ten\u00edan unas reproducciones impecables de pinturas a color, y que fueron posibles gracias, por un lado, a muy buenos fot\u00f3grafos, y por otro lado a una muy buena calidad de impresi\u00f3n. <\/span>\n\nUna tercera mesa est\u00e1 dedicada a libros que intentan promocionar la producci\u00f3n de fotograf\u00eda local. Por ejemplo, hay unos libros llamados <\/span>Fotograf\u00eda actual<\/span><\/i>, dos vol\u00famenes publicados en los 90 que cuando salieron ten\u00edan la ambici\u00f3n de mostrar lo que iba a ser el futuro de la fotograf\u00eda argentina. Es un poco gracioso, porque hoy los lees y no sabes qui\u00e9nes son la mitad de esas personas. <\/span>\n\nY la \u00faltima parte de la muestra, que es tal vez la m\u00e1s arbitraria o heterog\u00e9nea, es una en la que trato de se\u00f1alar algunas nuevas pr\u00e1cticas vinculadas al libro y al arte desde la fotograf\u00eda. Es un peque\u00f1o popurr\u00ed del fotolibro en la actualidad. Por un lado, vemos fot\u00f3grafos que editan sus propias publicaciones y fanzines; por otro lado, hay muchos trabajos dedicados al archivo encontrado, y tambi\u00e9n libros sobre recuperaciones hist\u00f3ricas, publicaciones sobre fot\u00f3grafos que hasta ayer eran desconocidos, y que gracias a estas piezas editoriales son recuperados y entran en circulaci\u00f3n.  <\/span>\n\n<\/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=\"{}\" 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=\"\"][\/et_pb_code][\/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\nLa crisis local tiene, sin embargo, un impacto en la producci\u00f3n de fotolibros, \u00bfno es as\u00ed?<\/b>\n\nEstamos en un contexto muy dif\u00edcil. Juli\u00e1n Bar\u00f3n dice en relaci\u00f3n a Espa\u00f1a que los momentos de crisis son los momentos en los que aparecen los mejores fotolibros. Me gustar\u00eda tener la misma mirada optimista para el caso argentino, pero lo que veo es que se  hace cada vez m\u00e1s dif\u00edcil financiar esta clase de proyectos. Los sellos ya no editan la misma cantidad de fotolibros que hace cinco o seis a\u00f1os. De todos modos me parece que Argentina tiene una producci\u00f3n muy rica en t\u00e9rminos de materiales y tiene un caudal de artistas muy interesante. Estamos acostumbrados a tener pocos recursos y a veces lo particular de Argentina es que con muy poco logramos construir muy buenas obras. <\/span>\n\n\u00bfEs muy diferente lo que ocurre en Argentina de lo que ocurre en otros pa\u00edses de Latinoam\u00e9rica?<\/b>\n\nHay algunos puntos en com\u00fan, especialmente con Venezuela que tiene una producci\u00f3n muy amplia de libros de fotograf\u00eda hechos por el Estado y por empresas petroleras. Hay pa\u00edses que tuvieron momentos muy activos, con gobiernos que estaban interesados en producir libros de propaganda. Hoy la situaci\u00f3n en Venezuela es muy distinta. Por suerte est\u00e1 <\/span>Ricardo B\u00e1ez<\/span><\/a>, uno de los dise\u00f1adores de fotolibros m\u00e1s conocidos de la actualidad, que est\u00e1 haciendo un muy buen trabajo desde Venezuela, inclusive trabajando a distancia para otros sellos editoriales. <\/span>\n\nLuego pienso en Chile que tuvo una producci\u00f3n muy rica en los a\u00f1os 70 y 80, vinculada a la resistencia contra el golpe de Estado. Algo que est\u00e1 muy en sinton\u00eda con lo que ocurri\u00f3 en Argentina. Y en la actualidad creo que hay una actividad editorial bastante similar en M\u00e9xico y en Per\u00fa, tambi\u00e9n en Uruguay con el Centro de la Fotograf\u00eda que ha dinamizado mucho el circuito fotogr\u00e1fico. <\/span>\n\nLo que hace falta es mirarnos un poco m\u00e1s entre nosotros. Y lo digo tambi\u00e9n como editor de una colecci\u00f3n de libros te\u00f3ricos que me encantar\u00eda que se lean en otros pa\u00edses, pero es muy dif\u00edcil en t\u00e9rminos de distribuci\u00f3n. Aqu\u00ed tampoco llegan los libros de Venezuela, M\u00e9xico <\/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|phone\" admin_label=\"Fila 50-50\" 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|10px|0px|0px|false|false\" custom_padding_tablet=\"|5px|||false|false\" custom_padding_phone=\"|0px|||false|false\" custom_padding_last_edited=\"on|phone\" pac_dcm_carousel_specific_module_num=\"0\" global_colors_info=\"{}\" custom_css_main_element_last_edited=\"on|desktop\" 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=\"\"][\/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\"][\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_2\" _builder_version=\"4.15\" _module_preset=\"default\" custom_padding=\"0px|0px|0px|10px|false|false\" custom_padding_tablet=\"|||5px|false|false\" custom_padding_phone=\"|||0px|false|false\" custom_padding_last_edited=\"on|tablet\" 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=\"\"][\/et_pb_code][\/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=\"\"][\/et_pb_code][\/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\nPara terminar: \u00bfqu\u00e9 aporta a la mirada de los fot\u00f3grafos este tipo de reflexi\u00f3n sobre la historia del fotolibro?<\/b>\n\nEse es un poco el hilo conductor del pr\u00f3ximo libro de la colecci\u00f3n Pret\u00e9rito Imperfecto, que se va a llamar <\/span>El hechizo roto<\/span><\/i>. Algo que menciono en la introducci\u00f3n es que me parece interesante pensar el rol del libro de fotograf\u00eda para entender el car\u00e1cter m\u00faltiple del medio fotogr\u00e1fico: para entender c\u00f3mo la fotograf\u00eda ocup\u00f3 diversos espacios, no solo en el campo art\u00edstico sino en el cient\u00edfico, el cultural, el pol\u00edtico etc. Me interesa pensar la fotograf\u00eda en un sentido m\u00e1s interdisciplinario. Por eso me alejo de la l\u00f3gica de un libro como el de <\/span>Horacio Fern\u00e1ndez<\/span><\/a>, que es una compilaci\u00f3n de los mejores fotolibros de la regi\u00f3n. Lo que hago, m\u00e1s bien, es reflexionar sobre las distintas funcionalidades del libro y analizar c\u00f3mo todos sus elementos, desde las fotos hasta el dise\u00f1o y la edici\u00f3n, est\u00e1n subordinados a esa funci\u00f3n.<\/span>\n\nHoy se siguen editando libros de propaganda y libros tur\u00edsticos, pero el fotolibro como nicho est\u00e1 m\u00e1s anclado en el libro de artista, o en el libro de fot\u00f3grafo como autor. Y creo que desde ese lugar tener una visi\u00f3n m\u00e1s amplia del formato permite tambi\u00e9n tomar recursos y elaborar nuevas posibilidades.<\/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":[500,46,416,83],"acf":[],"yoast_head":"\nThe photobook as an artifact for (re)thinking a country - 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\/the-photobook-as-an-artifact-for-rethinking-a-country\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The photobook as an artifact for (re)thinking a country - Vist Projects\" \/>\n<meta property=\"og:url\" content=\"https:\/\/vistprojects.com\/en\/the-photobook-as-an-artifact-for-rethinking-a-country\/\" \/>\n<meta property=\"og:site_name\" content=\"Vist Projects\" \/>\n<meta property=\"article:published_time\" content=\"2023-09-16T15:51:38+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=\"29 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/vistprojects.com\/en\/the-photobook-as-an-artifact-for-rethinking-a-country\/\",\"url\":\"https:\/\/vistprojects.com\/en\/the-photobook-as-an-artifact-for-rethinking-a-country\/\",\"name\":\"The photobook as an artifact for (re)thinking a country - 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