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101. Aging
Author:Pedro Meyer
    As we welcome the year 2011, it seems we are almost in the world of tomorrow, and still so many things have a thread to how we have always been.   Of course we have the internet which wasn't in our lives just a few years ago, and of course we have social networks that also were not present in our lives earlier, nothing to say of being able to speak long distance to all my friends across the globe almost for free.   However, aging has not changed at all. Maybe these days we wither a bit later, but withering none-the-less is part of our existence. Be that with nature around us, or ourselves. Yes, plants seem to be moving along with climate changes into uncharted territory, but they don't last forever, just as they didn't before.   It used to be that I kept all my correspondence in folders, that is, in the analog era, I am talking about. All the letters from friends and family have been kept neatly stacked, over the years.   I have to admit that the volume of correspondence increased exponentially in the digital era, but what I though at some point was a very simple solution, that of keeping the archives for later retrieval, just as I did with my analog era correspondence, has proven to be an exercise in wishful thinking.   My digital files of the late nineties, are just about lost. With word processors having been superseded with new generations and functionalities, the files became unreadable. I am sure that some high tech outfit could find a way to unlock that information, but at what cost?   Along the years as I changed and moved from one computer to another, what I thought was a simple solution, like moving furniture from one place to another, as when you need to change residence, this turned out to be a less than stellar performance. OK, I was able to move the desk, but alas, where did the drawers I had in the desk and their content land? they seem to have gone to another world.   These days, moving between computers, and between programs, and now between these and social networks, I can't even recall if the message I sent was over FaceBook, email, gmail, ichat, or what have you. I don't remember if I responded from my cell phone, from my iPad, my lap top, or my desk top computer. It all seems to have gone into a world of dispersion. I do hope that soon enough we can concentrate all that information again, on a cloud, be that the message was originated on what ever machine I had at hand at any given moment. Control-F, might become handy at such a juncture once again.   In that sense, aging is a good thing, in that any process needs to mature before it can reach a stage of becoming more efficient or practical. As Charles De Gaulle would write: "Nothing lasts unless it is incessantly renewed".   I strongly believe that aging is precisely that, the need to renew everything. We tend to look upon aging as this need to hold onto something, probably life. When in fact life, flourishes precisely when we don't hold on to it, but renewed constantly.   Probably the contradiction comes from the fact that I might have to lose, for someone else to gain someplace, and we don't look fondly on the idea of loosing. Since this is going to happen, regardless of my better opinion, I believe we might as well not waste precious moments, chasing after false hopes, that somehow will not materialize, but instead concentrate on the constructive nature of aging as seen from a wider perspective than just the I, as an individual.   If I manage to view myself in the larger construct of the world at large, I might not even have the feeling of being subject to a loosing proposition, but rather the opposite. My fate is tied to a universal nature, as the yogi said to the hot dog vendor: "Make me one with everything".   Pedro Meyer Coyoacán, Mexico City December 2010    
Monday, 03 January 2011
Author:knoth, Robert, De Jong, Antoinette
Thursday, 09 December 2010 | Read more
103. Angst
Author:Weinstock, Daniel
Wednesday, 08 December 2010 | Read more
Author:Jennifer Clement
    I On a visit to the United States last autumn, I decided to go and visit the NRA (National Rifle Association) in Washington D.C., as I knew that the organization had built a museum, The National Firearms Museum, at their headquarters. The NRA is the most powerful lobby in the USA with 4.3 million members. On their website the NRA states that, while no absolute count is available, it is closely estimated that there are 60-65 million gun owners in the United States, 30-35 million of whom own handguns. According to survey research, at least 45% of American households own firearms. At the museum one word came to my mind: fetish, a word that literally means, "something irrationally revered". For a large part of the US population, guns are objects that are irrationally revered. The museum is a place of adoration that proclaims that a gun is equal to freedom. This museum is a “Church of Gun”.   The museum contains more than 2,000 guns from the year 1350 to the present. There are guns that have been used in Hollywood movies and that belonged to people like John Wayne or Charlton Heston; there is a policeman’s gun that was found half-melted left from the rubble of the Twin Towers that fell on 9/11; and guns that belonged to US presidents.   The museum is divided into galleries. One of these portrays a “typical” boy’s room from the 1950’s. The bedroom is covered with gun motifs and contains a red flannel bed spread with pistol patterns on it, comic books showing rifles, and brown and black toy guns and rifles. There is a gallery devoted to hunting rifles, which honor the guns used by game hunters in Africa.   The support for guns is tied to the Second Amendment (Amendment II) of the United States Constitution, which is a part of the United States Bill of Rights that protects the right to keep and bear arms. It states, “A well regulated militia being necessary to the security of a free State, the right of the People to keep and bear arms shall not be infringed”. In the practice of this holy reverence for the gun from the National Rifle Association, the museum, and also in the discourse of right wing politicians and the Christian Far Right, no one talks about the business and moneymaking behind the sale of guns. What, for example, is the yearly profit on guns sold in Mexico to the army, the police, and the cartels? Who are the shareholders?   On the web page for the Brady Campaign to Prevent Gun Violence, one of the most active anti-gun groups in the USA, there is an ongoing ticker that keeps track of people shot dead in the United States. For this year the number is 79,898. For today, September 24, 2010 as I write this piece, 89 people have been shot. However, as I wrote this last sentence it rose to 99! An average of 81 people die a day from gunshots and many, many more are wounded. Every few years, the Brady Campaign to Prevent Gun Violence updates the statistics for gun deaths from around the world. For the year 2007 guns murdered 17 people in Finland, 35 in Australia, 39 in England and Wales, 60 in Spain, 194 in Germany, 200 in Canada, and 9,484 in the United States.     II   When I look at the pictures of the Earth taken from space I always expect to see the borderlines of each country cut into the very land. Although the boundaries may not be seen, we know the deep cuts that have slashed our world into pieces and, in our minds, we draw them in. One line I always imagine is that terrain where Mexico and the United States meet. The border's total length is 3,169 km, according to figures given by the US International Boundary and Water Commission and is the most frequently crossed international border in the world. One estimate is that 250 million people cross between these two countries every year. Drugs cross this border. Guns cross this border. In November 2008 one of the largest weapons seizures in Mexican history occurred in a safe house in Reynosa, Tamaulipas. The army found 540 assault rifles, more than 500,000 rounds of ammunition, 14 cartridges of dynamite, 98 fragmentation grenades, 67 bullet-proof vests, seven Barrett .50-caliber sniper rifles and a LAW rocket. The Barrett .50-caliber rifle is an incredibly powerful and accurate military weapon capable of piercing even the heaviest body armor, punching through lightly armored vehicles, and even taking down the rotary-wing aircraft often used by the Mexican government in counter narcotics operations.   On the arid borderlands on the United States side of the US/Mexican border there are thousands of gun shops. The estimate is that there are at least 6,600 licensed dealers who are selling guns. The “Church of Gun” also does not have a gallery on the deaths from US guns incurred off of USA soil. There is no “gallery” on Mexico where it is estimated that over 90 percent of the weapons there have been smuggled in from the United States. In Mexico so many guns are confiscated by the Mexican government that they are used as road filler around army barracks. AK47s, pistols, rifle barrels, hook triggers, scopes and crushed magazines are buried beneath the black, oily asphalt: under the jacaranda trees, under the pepper trees, under my feet, the roads are bone yards of past crimes.   From the Earth Google website I examine what the USA/ Mexico border looks like from space. One the site I manipulate the photographs and see the countries from the farthest satellite position. I think that Mexico has a strange and beautiful shape like a curled up body lying on one arm. The shape changes as I move in closer and closer until Google Earth allows me to zoom in on Cuidad Juarez. From this his aerial view on my computer, I can see the city blocks, the main square and the cathedral to one side. This is the city where mothers paint crosses on cement light posts in remembrance of their missing or dead daughters.   As I move the curser I can actually see the border between Mexico and the United States. I can see the river and bridges. On the Mexican side there many large buildings that I know are warehouses. On the US side I know those rows of roofs tops that look like homes are really thousands of gun shops that line the border, row after row, mile after mile, highway after highway, “from sea to shining sea”.   III   At the “Church of Gun” there was no reference to the massacre of students at the Columbine high school in Colorado when two students killed 12 fellow students and a teacher before killing themselves. There is no reference to the Virginia Tech massacre when Cho Seung-hui killed 32 people and wounded many more at the Virginia Tech College in Blacksburg, Virginia. At the “Church of Gun” there are no galleries devoted to the huge number of women in relationships with a history of domestic violence who have been killed with guns owned by their husbands or lovers. There are no “galleries” to honor all the accidental deaths of children who have access to guns in their homes.   The National Firearms Museum also ignores the death of journalists. The Reporters Without Borders’ 2009 Mission Report (on Mexico and the violence against journalists) concludes with the following statement: The press freedom organization is nonetheless convinced that a solution to the tragedy is impossible unless the United States imposes controls on firearms. Mexico’s journalists have to work in a country that practices the most perfect form of censorship: assassination.   Jennifer Clement (Presidente del PEN Club de México)
Monday, 06 December 2010
105. Lost Child
Author:Lieberman, Ilán
Wednesday, 01 December 2010 | Read more
106. Mum
Author:Newberry, Nancy
Thursday, 25 November 2010 | Read more
Author:Six Nahua Glances In A Single Eye
Thursday, 25 November 2010 | Read more
Author:Ulises Castellanos
  As I write, there is a shoot-out in Matamoros that has been going on for hours and has already claimed the life of another local reporter. At the same time, they have blockaded the roads from Morelia and in the south, in Acapulco, they have unearthed another 18 bodies in a clandestine grave. This is not Iraq or Central Africa or the Balkans, it is 21st century Mexico.   I never imagined that in my country, we would descend into this everyday hell. When I began working as a photographer, in the 1990s, I had to use my passport and leave the country to portray pain and death in cities struck by civil war or a large-scale conflict. Today, all you have to do is drive along a highway in any direction and there it is: the highest expression of violence.   Over the past 5 years, this has got totally out of control, and is a somber reflection of earlier times. We have shifted from decapitated persons in Acapulco in 2006 through kidnappings and extortion, El Pozolero, Barbie and the Zetas to stories of criminals that leave their cells at night, with permission to kill and go back to bed as if nothing had happened.   And who is taking photographs? Where are they being published? When will this nightmare end?   What goes through the minds of corrupt, rogue policemen who kill at the slightest provocation? Where are the politicians and the authorities? What was President Calderón thinking when he dreamed up this adventure? Did his advisors know what would happen or has it all been improvised?   As you read me, we will probably have crossed 30,000 mark of those killed in 4 years: 10,000 in the first 10 months of this year alone. Do all those characters that now enjoy impunity and will die tomorrow have any idea of what Pac Man's little yellow face is like? Don’t they realize that no matter how many levels they advance, in the end they will always be eaten up by ghosts and that the “Game Over” sign will flash? Is it worth it? They will have a few years of money, jewels, women and cars before a photographer walks up to them and takes their final mug shot. That way they will know that they are dead.   And what are photographers doing to document what is happening to our society? Do we have a choice? Hardly. In a war, at least there are uniformed men, rules, territories and borders. You know who to talk to and what safe-conduct passes you need. You go in and come out with your photos and that's it. But what are the rules here? Who are the good guys and who are the bad guys? Who offers guarantees? Can we go beyond the current role of simply being witnesses to the last narco-message?   Just over a year ago, a couple of weeks before he was murdered in El Salvador, Christian Poveda, a French photographer and the author of “La Vida Loca” asked in San Luis Potosí, “Why haven’t Mexican photographers tackled the subject of drug trafficking?” The answer never came…   It is impossible to explore, because it is essential to their survival Blending in with society is part of the game and the deception. Why use uniforms when mufti is perfect? In Juárez, a small army of women carrying babies extorted money from over 100 small shops. They just collected. Who is going to photograph that? No-one.   At the moment, Fernando Brito from Culiacán and Guillermo Arias in Tijuana are a couple of brave photographers who have won prizes as a result of the last chapter in this perverse game. The executed. But we haven’t gone beyond that. And won’t.   The closest a modern photographer has got to drug traffickers is Julio Scherer with his now famous interview with Mayo Zambada, although the photos were taken by one of the drug smuggler’s bodyguards with his cell phone. They obviously don’t want photographers. That’s the way things are. So in the short term, we don’t expect to see any more images than those we have seen so far.   This is certainly not intended as a criticism. I know that some of my colleagues in the Mexican provinces risk their lives every day. I know that they work under constant threat and in many cases, their employers don’t even provide them with bullet-proof vests. So unless we assume that this is already “war coverage,” it won’t be done properly. Nowadays, Mexican journalists are war correspondents in their own country. Let’s look at it like that, assume that that’s the way things are. There are no two ways about it.   The dead are the only ones that will see the end of this war.   This “game,” like Pac Man, will come to an end, regardless of how many levels we go past. This will stop when someone stops putting coins into the machine and ghosts eat you up. GAME OVER.    
Wednesday, 24 November 2010
Author:Ele de Lauk
    I did not regard it as an affront to women. On the contrary, I was filled with a sense of joyful celebration, a feeling of exultant sisterhood. I thought it was wonderful that she, the wise, rigorous philosopher, should reveal herself naked to the photographer who captured this amusing gesture of the body, the hands creating the usual chignon, the high heels giving the photo a naughty, transgressive air. There are no mysteries, none of the mysteries men insist on creating in order to reduce women to mere objects, as she said. Thus, with no embarrassment, beautiful in her imperfect nudity, with the attraction born of self-assurance, Simone shows us the possibility of enjoyment without explanations or moral scruples, combining the model of a thinking woman with that of a sensual, daring woman who does not hesitate to be in command of her own life.        
Wednesday, 24 November 2010
Author:Alejandro Malo
      It is discouraging to read the figures about deaths, shoot-outs, arrestees and people that have been mutilated as a result of drug violence in Mexico. But it is even worse to constantly find images of corpses or body parts lying in pools of blood that look barely human or to listen to the news against a background of shooting and gun smoke.   We could try to put events into perspective. We could use figures to show that wars are much more violent, that the number of deaths counted are always in addition to a vague number of missing persons and an increase in poverty due to the countless people that have had to move. However, one could say that the homicide rates are higher in Brazil, Colombia, Venezuela and many other Latin American countries or that drug trafficking is much more serious in the United States and Europe. However, it is impossible to get rid of the perception of constant danger and easy to give in to fear. But above all, it is worth stopping for a minute to wonder: Who profits from our fear and what role can photography play in this issue?   The main winner is obviously crime, whether organized or disorganized. A fearful community will always have less capacity for response in the face of intimidation and any authority will always find more arguments to give into corruption by using risk to justify themselves, even though they did not have to justify themselves before. The next winners are opportunistic politicians, of all stripes and even from different countries. Violence in Mexico has served, as it has in the United States, to question governments of various levels, demand funds, win votes or distract attention from the economic crisis. It has promoted less supportive attitudes in our societies and dragged the political debate down to sometimes embarrassing levels. Last and by no means least, there is the military industry, which has managed to exchange its increasingly unpopular antiterrorist struggle for the international struggle against drug trafficking with numerous consumers applauding the fight against traffickers providing it is beyond their borders.   The fight against drug trafficking is obviously a war of hypocrisy, in which we all run the risk of losing. To prevent this from happening, what could the role of photography be? I am not going to attempt to reply to what can only be an invitation to reflect and participate. It is important to consider several aspects from various points of view. Does an editor who decides to illustrate a front-page report with a picture of a dead body feel that this is necessary to provide information? When the media discuss the possibility of regulating themselves without establishing editorial policies for this, are they giving profits preference over human dignity? Are newspapers and magazines with their gory covers denouncing or glorifying brutality? Does the omnipresence of executed bodies on the Internet make us less sensitive to the value of human life? We can add several questions to this. After all, if we all consume pictures of violence, what is our perception of it and how does it affect our attitude to this issue?   Over the next few weeks, we will be publishing some galleries with complementary perspectives on the issue, whereby we hope to encourage the reflection and debate we feel is crucial at the moment. As with the lottery, the only way to win is by buying a ticket.  
Sunday, 14 November 2010
Author:Valeria Vega
  PDF download Photo Editing by Valeria Vega, Elisa Rugo Text by Valeria Vega   Seventeen years have elapsed since Carlota Duarte created the Photographic Project in Chiapas, “to facilitate indigenous people’s access to photographic implements and materials by helping them to acquire skills in the use of the camera and dark room procedures.” (Duarte, 1998: 8). More recently, the Guelatao Photographic Workshop was set up in Oaxaca in 1998, directed since its inception by Mariana Rosenberg. In addition to teaching attendees to use a manual camera, use chemicals, develop film and print photographs in black and white, it offered sessions on the criticism and editing of images. Although these efforts are and will continue to be a compulsory reference for the history of ethnic photography and those of us who attempt to train young indigenous photographers, nowadays, different objectives are required, since both ethnic groups and their situations have changed considerably. On the one hand, the growing phenomenon of migration and exchange with other cultures has meant that young indigenous people are increasingly familiar with the use of digital cameras or VCRs, cell phones and computers. On the other hand, technological advances have virtually done away with dark rooms and paved the way for digital procedures, in which the Internet and growing social networks have become so popular that sooner or later, they were bound to involve indigenous groups. In short, as an inevitable result of these processes, we are witnesses to the speed at which the frontiers of otherness are erased.  
Sunday, 14 November 2010
Author:Brito, Fernando
Friday, 12 November 2010 | Read more
Author:Pedro Meyer
    Are too many people taking photographs? I have been asked many times what I think about the fact that nowadays almost everyone takes pictures. The question of course, has a sort of hidden agenda. It suggest that photography has become so common place so as to render photography into a commodity, taking away from it, it's aura of sophistication, uniqueness and or the merit of being seen as some form of art, after all most people make pictures that are quite bad.   All along my answer has been consistently the same. I more than welcome the fact that so many more people today take pictures in comparison to, lets say, just ten years ago. Let me explain: if we were having this debate over the written word, probably no one would object that a nation make all the needed efforts to achieve total literacy. As a matter of fact, all over the world there is a strong awareness of how important it is for its population to become literate, at least in the dominant language of the country in question.   No one in their right mind, would expect someone to jump from not being able to read and write to becoming a laureate poet. Yet somehow the expectations that are being upheld for photography are a bit like that. We expect photos taken by people who yesterday did not even have a camera, to come up with at least good images, and if it does not happen then we should somehow be disappointed.   Let us look at this more in detail. To be visually illiterate is the equivalent to not knowing how read and write. However, as cameras have become more ubiquitous, and the price of the instrument coming down considerably, and the cost of taking a picture near zero , the number of pictures taken have increased exponentially. In other words, more and more visually illiterate people are making pictures because they can, not because they acquired a great visual culture before making their pictures.   Add to that, the fact that all the new technologies we have available today, have created cameras that are so intelligent that they make most of the decisions for the photographer with regard to the exposure and sometimes even the framing, allowing our new found photographer to obtain results that reward the efforts of pressing the shutter button. It's almost the equivalent of someone speaking to a microphone and the computer translating the sound of the voice, into a written text. We would not say that this person had in fact learned how to write. Well much the same happens when a camera takes a picture that is acceptable even though the person behind the lens has no knowledge of photography what so ever.   So we have that the entry cost has come down so much that it has made the picture making process a lot more democratic. Add to that, the technology has empowered everyone to have some kind of satisfactory result. This would suggest that although pictures are being made, they apparently are not the outcome of a deliberate decision making process as when you really know what you are doing. After all security cameras register images and we would not call such results as being provided by a photographer.   Having said this, we have to wonder how accurate such thoughts really are. After all how can one say that someone does not know at all what they are doing. Maybe what is happening today has to be viewed in a completely different light ( no pun intended). Consider how any teenager sending pictures to all his or her friends, with regard to their latest adventures, would certainly fall into the realm of autobiographical expression, even though such a category might be far removed from any conscious decision making process. In fact I would think that this tidal wave of images, has left the intellectual community confronted with new challenges to understand and see photography in a "new light". Certainly the concept of "bad photography" is taking hold as a new concept that has to be dealt with. Has "bad photography" liberated "good photography" from becoming something else?   As I see it, with so many millions of people, the world over, having now explored making images, their curiosity for doing something different and new to their previous results will probably lead many to a new era of acquiring more and more visual literacy and technological know how, and leave the curatorial world scratching their heads as to what to make of it all. How could anyone dealing with photography in the XXI century, dismiss as trivial the shear volume of photographs that have been created. The collective document that has been produced world wide, documenting so much of our daily life in this period, will surely become a fundamental piece of information for generations to come. If this was it's sole merit, that alone would already give importance to all that has been photographed.   This opens up the field of photography in the realm of education and publishing in ways that will probably explode in the years to come.   The entry cost to participate in the creative world has come down so much that we can truly say that if you want to make a film, record a disc, make photographs, publish a book, and so on, it's not something that is beyond your means, as it was not too long ago. It has finally come down to the most meaningful part of the act of creating, and that is that you have something meaningful to share. And if you don't know what to say then don't worry, then at least have a lot of fun doing what ever strikes your fancy, that also counts as contributing in some degree to the well being of all those around you, after all happiness is contagious, and who knows, maybe without you knowing it, are changing the face of photography for ever.   I am personally very gratified to see so many people in the world engaged in creative activities that we could hardly believe possible not too long ago.   Pedro Meyer Coyoacán, Mexico City November 2010    
Thursday, 11 November 2010
  6th edition - November 20 to 27 2010 SIEM REAP – CAMBODIA For the festival’s 2o1o program, 11o photographers, including 5o Asian photographers, will present their works photographed around the world. This is consistent with the festival’s mission of highlighting emerging Southeast Asian photographers. These works are curated by two well-known figures in photography, Yumi Goto and Antoine d’Agata, as well as by Françoise Callier (Program Director of the Angkor Photo Festival).      
Tuesday, 09 November 2010
  All you have to is spend a few minutes in any social network such as Facebook or an instant messaging system such as Messenger to realize that portraits and self-portraits have taken over a central position in photography through avatars. At the same time, faced with this vast universe of faces, it is difficult not to perceive fertile terrain for fiction where, from one moment to the next, we nearly all represent some form of fantasy. A glamorous gesture, an incidental scene or the play of expressionistic lights transforms us into the lead player of our hopes and fears. It is as though photography itself mocked the testimonial value that many have imposed on it and demanded, with the complicity of imaginative avatars, a form of freedom that had been delayed for a long time.   Alejandro Malo Read More...     Galleries                         From our Archive                         Magazine   sandraSAN by Sandra Valenzuela Author: Sol Henaro Joy Goldkind Author: Anna Holtzman The Jackson Twins are voices of fantastic reason Author: Blacklash  
Friday, 05 November 2010
  ADN México Concurso de Fotografía de Retrato ¿Qué nos hace ser mexicanos? Picnic, en su constante búsqueda de propuestas frescas, diferentes e innovadoras, lanza esta convocatoria y te invita a realizar un retrato fotográfico cuya finalidad es la búsqueda de aquello que nos distingue y caracteriza como mexicanos en la segunda década del siglo XXI.   Uno de los principales objetivos de la revista Picnic es invitar a la lectura y a la reflexión de lo que sucede en la realidad cultural contemporánea, mostrando propuestas consolidadas y emergentes. Existe un especial interés en publicar lo que sucede en México, así como servir de plataforma para el talento jóven.   Mas información:    
Thursday, 04 November 2010
    The contest is open to all amateur and professional photographers, hobbyists, and photo enthusiasts. We will be offering the following prizes to our top winners: Grand Prize: 20x24 Gallery Wrapped Canvas Print and $1000 Visa Gift Card, 1st Runner Up: 20x24 Gallery Wrapped Canvas Print and $200 Visa Gift Card, 2nd Runner Up: 20x24 Gallery Wrapped Canvas Print and $100 Visa Gift Card.   Follow us! Twitter: Facebook:  
Wednesday, 03 November 2010
Author:Cruz, Rodrigo
Tuesday, 02 November 2010 | Read more
Author:Sosa, Marion
Wednesday, 27 October 2010 | Read more
    Explore New York City like you've never seen it before. Forty-eight unique aerial vistas of Manhattan from award winning aerial photographer Cameron Davidson. This collection of his favorite aerials of Manhattan will show you the city like you've rarely seen it before: from helicopters flying over the city at 300 to 1500 feet.   Aerial New York City by Cameron Davidson    
Thursday, 21 October 2010
121. Baptism
Author:Hudson, Jennifer
Thursday, 14 October 2010 | Read more
Author:Elisa Rugo
    CITIES THROUGH THE LENS: CB RICHARD ELLIS LAUNCHES ANNUAL PHOTOGRAPHY COMPETITION   Largest competition of its kind searches for Urban Photographer of the Year 2010   11 October 2010 – CB Richard Ellis (CBRE) today launched its third annual Urban Photographer of the Year competition across Europe, the Middle East and Africa (EMEA), one of the largest competitions of its kind in the world. The hotly contested prize, which last year saw over 6,000 entries flood in, is designed to explore and capture the essence of urban life and is open to all amateur and professional photographers across the EMEA region.   The competition sets a brief for photographers to explore working life in towns and cities at any time during a 24-hour day. There is a prize for the best photograph representing each hour of the day, as well as overall Grand Prizes to be won and one winner to be crowned Urban Photographer of the Year 2010. Entrants can submit up to 24 images under the ‘Cities at Work’ theme. This year, there will also be a number of additional country-level sub-competitions and prizes.   Past winners have drawn inspiration from a vast spectrum of city sights, from London commuters, to gondoliers enjoying a well-earned break in Venice, an urban desert storm in Riyadh, Saudi Arabia, to a city fireworks display in Budapest, Hungary. Last year’s overall winning image for EMEA was taken by Ralf Pascual from Madrid, Spain.   The competition is now open to entries online and entrants have until 31 January 2011 to submit their snapshots of urban life. The full list of winners, including the overall Urban Photographer of the Year 2010, will be announced in March 2011. The first prize for the 2010 CBRE Urban Photographer of the Year Award is a photography safari for two to Turkey (including accommodation and flights) and will give the winner the opportunity to photograph some of the world’s finest locations of ancient and modern history.   CB Richard Ellis, the world’s largest real estate services firm, created the competition to provide a new forum for urban photography and explore what makes towns and cities tick. Simon Rhodes, Executive Director of Marketing for the EMEA region at CB Richard Ellis, commented: “The success of our Urban Photographer of the Year competition since its launch in 2007 has been remarkable, having become the largest competition of its kind in the world and last year receiving entries from more than 80 different countries.   “With over half the world now living in cities for the first time in history, the urban environment – a specialist area of expertise for CB Richard Ellis – is immensely relevant and clearly provides amazing scope as the subject matter of this competition. We look forward to welcoming this year’s entries and to further exploring the essence of working life in towns and cities all across Europe, the Middle East and Africa.”   - ENDS -   Find CBRE’s Urban Photographer of the Year online: Website: Facebook: CB Richard Ellis Urban Photographer of the Year Awards Twitter: CBREPhoto   ** About CB Richard Ellis CB Richard Ellis Group, Inc. (NYSE:CBG), a Fortune 500 and S&P 500 company headquartered in Los Angeles, is the world’s largest commercial real estate services firm (in terms of 2009 revenue). The Company has approximately 29,000 employees (excluding affiliates), and serves real estate owners, investors and occupiers through more than 300 offices (excluding affiliates) worldwide. CB Richard Ellis offers strategic advice and execution for property sales and leasing; corporate services; property, facilities and project management; mortgage banking; appraisal and valuation; development services; investment management; and research and consulting. Please visit our website at  
Wednesday, 13 October 2010
Author:Álvarez Montero, Carlos
Wednesday, 13 October 2010 | Read more
Author:Veronique Ricardoni
    On Feburary 2011, Enrique Metinides will turn seventy-seven. Fifty of those years have been dedicated to what is called in Mexico “red note” photography. Sensational images of the tabloid press, images of accidents, deaths, disasters.   Metinides’ images capture exquisite and compelling moments from such tragic events. His photographs a complex dynamic which both attract and repel; photographs which become engraved in our imagination through the power of the aesthetic experience.   The contemplation of an accident, a body, or a catastrophe, produces for the viewer ambivalent emotions: we first shield our eyes, but once this moment passes, the shock gives way to the gaze, the chance to see and face the brutality of the moment in all its power. Metinides a devotee of cinema, would seek out in the thousands of cases he photographed, the most cinematographic angle, the most dramatic moment, his images document and yet create a scene, a single image, becoming a narrative often closer to cinema than photography.     What is unique to the Boy Metinides (El Niño Metinides), as he was known in his world of the red Note newspaper is how his images often show the panaroma, the scene, the victim and the spectator. The bigger picture; we the viewer, in turn engage in the dance, the game of mirrors, viewing those viewing the incident, the drama; the game with mirrors or the mirror game? Metinides sees simultaneously from both points of view; one side, frozen in the instance, where time is suspended, through the stillness of the corpse which filters on to everything close to it, and on the other side the duplicity of the intruder whose gaze looks on in a hypnotic trance, a spell of fascination, that morbid dance of the proximity of fragility and denial.   In this exhibition, “In the place of coincidence”, we invite our audience to engage with the images as enigmas, to absorb each image as a narrative, peeling back the layers as the viewer becomes more absorbed in the image in order to understand it better and so in turn, “see it clearer”, as the art historian Michel Arasse would say.   “In the place of coincidence” is both a survey show of the life work of Enrique Metinides, and will incorporate a film shot by Metinides, as well as newerand unknown works, documentation and ephemera.   This exhibition will also include, his iconic images as “Adela Rivas Legorreta atropellada por un Datsun”, “Los novios de Chapultepec” and “El Hotel Regis”, etc.   Enrique Metinides is an avid collector: ambulance and fire engine collection, and his recent work is nourished by his passion, taking a more surreal quality once removed from reality and interpreted by the photographer.   The intention is that this show will both give a representative sample of the color period of the career of Metinides, but also take the viewer into his world where the fictional scenes become part of his reality. As the philosopher, Paul Virilio writes, “where the accident is its own museography.”     ** Curated by Véronique Ricardoni who has worked with Metinides intimately over the last six years, “In the place of coincidence” will open the 21 of October 2010 at Garash Gallery in Mexico City.      
Monday, 11 October 2010
Monday, 11 October 2010

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