The main characters in his photographs are the weak, the disowned and all of those who struggle on a daily basis to survive. This book brings together images of workers breaking up boats, abandoned refugees, amateur boxers, garbage collectors in dumps and members of armed gangs among other subjects. Since 2006 Javier Arcenillas has been working on an essay about violence in Central America. His photographs document pain, desperation, impotence and fear. His first works to gain recognition were Sicarios ("Hitmen") and Nota roja ("Red note"), both installments of his trilogy about death in El Salvador, Mexico, Honduras and Guatemala, followed by Latidoame rica, its final part, the focus of which shifts to the tales of the victims of the indiscriminate violence prevalent in Honduran society. A number of these photographs have appeared in these countries' newspapers. The group of photographs included in this book goes a long way to define Arcenillas's work: striking images with a precise narrative discourse stir powerful emotions in the viewer.Shooting in black and white, making use of the close-up to introduce his scenes and playing with only partially focused subjects he arrives at his individual and feisty vision.
Since 1983, photographer Miguel Bergasa (born 1951) has made 27 trips to Latin America, undertaking an in-depth exploration of the various cultures of each country in which he chooses to work. This PHotoBolsillo volume introduces his work.
The collective began taking shape round about 2004 when a series of meetings were organized, with an open and diverse set of guidelines, in which a number of photographers exhibited their work, sharing a common vision on photography and creation. Shortly thereafter the members of the core group decided to make a joint effort to create an "unconventional" agency which would rely on no external bodies but rather be rigorously autonomous, creating a platform of its own. From that point onwards the collective has grown, proving that more than an agency NOPHOTO is an "attitude". This book brings together a series of photographs by its current members but also by those who were part of the collective at some point, before carrying on with their solo careers: Jorquera, Paco Go mez, Eva Sala, Juan Santos, Juan Valbuena, Carlos Sanva, Juan Milla s, Tanit Plana, MartaSoul, Mati as Costa, Jona s Bel, Rafael Trapiello, Carlos Luja n, Eduardo Nave and In aki Domingo.
Over the course of his life, Argentine photographer Tito Caula (1926-78) built an oeuvre of several thousand portraits, landscapes, film stills and more, in a variety of formats. This issue of PHotoBolsillo attests to the artist's interest in research, innovation and technology.
This PHotoBolsillo reviews the work of one of the greatest figures of Latin American photography, Alberto Korda. Cardinal figure in the history of Cuban art, Korda is much more than the author of the famous photograph of Che Guevara reproduced countless times all over the world. If the collective epic Cubans lived in the sixties has been identified worldwide through a universe of images of inescapable singularity, this was due to the tact, perseverance and talent of artists like him, who learned to build the visuality of this revolution. This volume shows some of his lesser known facets, such as his portraits of women and his underwater photography series
Le photographe argentin Marcos López (né en 1958) met en scène ses modèles dans des photographies grand format aux couleurs vives qui parodient et critiquent avec humour la société (principalement la société argentine). Ce volume donne un aperçu des trois décennies de photographie extravagante et acerbe de ce photographe autodidacte.
Spanish photographer Aitor Lara (born 1975) addresses sociocultural values and identity, working in such countries as Africa, India, Uzbekistan and Spain. This issue celebrates his black-and-white portraits of different communities, ranging from indigenous peoples around the world to impoverished neighborhoods in southern Spain.
Female sexuality is the central theme in the photographs of the Catalan Laia Abril. With their warm feel of a family documentary, her images dislocate viewers, who find themselves suddenly trapped in the intimacy of others and required to take a stance on uncomfortable realities that remain veiled in society. Abril combines photography with other multimedia tools, such as video and graphic design, in a work in progress which La Fábrica attests to in its PHotoBolsillo collection.
Jean Marie del Moral started his career in the 1970s, when he photographed the social movements that were taking place in France and the Carnation Revolution in Portugal for left-wing newspapers. After, he started capturing the studios of famous artists beginning with Joan Miró's in Palma (Spain) in 1978. From then on, he would follow the imagery of countless Spanish and international artists. His work has been published in prestigious international magazines. His first solo exhibitions took place in 1987 and 1988. He has also directed documentaries on Pablo Picasso and Miquel Barceló.
Cette édition de la série de La Fábrica PHotoBolsillo célèbre le réalisateur de la collection - journaliste et photographe espagnol Chema Conesa (né en 1952). Conesa a travaillé pour El País et El Mundo , les journaux les plus importants d'Espagne, mais il privilégie l'art du portrait.
