Gerardo Nigenda

A retrospective Gerardo Nigenda
by Domingo Valdivieso
August 2010


Gerardo Nigenda approached photography in the late 1990s out of curiosity, as happens with most photographers, and as a result of circumstances. I do not think it was accidental. Someone came up with the idea of putting photographers and blind persons together in the same place: an 18th century house in Murguía Street in Oaxaca.

 

Gerardo’s curiosity turned into research on non-visual perception, which he gradually refined through the practice of photography. Gerardo was convinced that approaching photography and the photographic act should not only be done with technical instruments but by using all our senses.

 

He photographed the people closest to him, the blind people with whom he spent days at the Jorge Luis Borges library, the photographers with whom he shared his curiosity about photography at the Manuel Álvarez Bravo Photographic Center. Then he hit on the idea of following moments in the life of Sergio, a blind person who, because of the degree of trust that existed between them, decided to write an essay on a trip to see his family in his home town. And so Gerardo created a series of portraits that were formally well produced.

 

For me, the selection of photos comprising this gallery in Zone Zero are a conversation, like many of those we held, in relation to the things that that concerned him, the images that surprised him, the images of those that surrounded him, the friends and people with whom he shared important moments, the children with whom he worked in his DIF office in Oaxaca, the immensity of the landscapes, the beach, mountains as well as the naked female body.

 

Gerardo Nigenda shared his images with the people he portrayed and with the viewers and photographers who accepted the fact that a blind man could make and take photos. He also shared them with blind people through the braille inscriptions he did of them.

 

The procedure for selecting Nigenda's photos was to talk about them. We would develop his rolls and print contact sheets. Then I would describe the photos to remind him of the moment when he had taken them. We would carry out an analysis of the image and the situation that had led to the photo and on the basis of that, we would choose. He would then write about the impressions he remembered of that moment or a thought, in Braille. When I was near him, that was how we used to work.

 

Although I was never brave enough to take any of his workshops or to cope with the momentary loss of vision in order to see how my other senses worked, through his attitude towards life and by sharing his images with me, Gerardo Nigenda let me see more than what I allowed myself to.

 

**

Visit Gerardo Nigenda: Photographing the Invisible (1968-2010) by Joanne Trujillo

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    1/19 | Against the tide. In search of development, he emigrates to the city.

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    2/19 | The challenge begins. Good morning!

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    3/19 | A photo together.

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    4/19 | Sea is to sand as a mother is to her children. Puerto Escondido, Oaxaca. August, 2004.

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    5/19 | Trialogue. Puerto Escondido, Oaxaca. August, 2004.

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    6/19 | Waiting to be seen. Oaxaca, Oaxaca. September, 2007.

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    7/19 | The subtlety of the outline takes precedence over impetuosity. Oaxaca, Oaxaca. September, 2007.

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    8/19 | The fragility of the initial referent creates a sensual evocation. Oaxaca, Oaxaca. September, 2007.

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    9/19 | The image…the shape…the meeting, building through touch, making contact. Oaxaca, Oaxaca. September, 2007.

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    10/19 | Looking at unusual things. Oaxaca, Oaxaca. September, 2007.

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    11/19 | Multiple glances in the ascent of the body. Oaxaca, Oaxaca. September, 2007.

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    12/19 | …Between the invisible and the tangible…arriving at emotional homeostasis. Oaxaca, Oaxaca. September, 2007.

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    13/19 | Silky, docile coincidence of sensations. Oaxaca, Oaxaca. September, 2007.

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    14/19 | Untitled

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    15/19 | The cordiality of the mountains is derived from their waves. Montebello, Chiapas. July, 2000.

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    16/19 | A window of light can illuminate the universe. Montebello, Chiapas. July, 2000.

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    17/19 | Living with a natural border subjugated by the wind. Montebello, Chiapas. July, 2000.

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    18/19 | The movement of the waves destroys the immutable silence. Montebello, Chiapas. July, 2000.

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    19/19 | El equilibrio del cielo y el mar semejan el riesgo y la calma.
    El equilibrio de un cuerpo a flote semeja la estabilidad del alma. Puerto Escondido, Oaxaca. Agosto 2004.

stop play

statement

"A retrospective Gerardo Nigenda" Curated by Domingo Valdivieso.
Copyright © 2010 by Zonezero. Web design: Elisa Rugo. Picture Editor: Nadia Baram. Webmaster: Alejandro Malo


Comments (2)
  • Mir Vir  - ninguno
    ola t komento k soy una persona con discapacidad visual y si estoy de acuerdo con lo k dices de todo lo k podremos lograr. pues pienso ke seria mas facil k personas k enseñaan cono hacer no nmo tu dejaran de etiketarnos como discapacitados y ver k tenemos las mismas oportunidedes y todos lo podemos hacer y no hacerloent con o sin discapacidad.
    sabes la perssona k la tomo fue uno de los mejores fotografos solo por k le apasiomaba su trabejo
  • mariana muñoz  - excelente
    no soy conocedora de la fotografía, pero sí de la educación especial.
    esto nos muestra que existen espectativas para las personas con discapacidad y más aún para las que no lo cren posible!


    excelente =)
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