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Balkan in memoriam
Diez años de historia de la conflictiva crisis de los Balcanes vista y vivida por la periodista y fotógrafa Sandra Balsells. Un testimonio emocionado sobre la evolución de la antigua Yugoslavia, desde la desintegración del país en 1991 hasta la caída de Milosevic en el 2000. Con textos en castellano, catalán, serbocroata e inglés.
Mined lives. 25 years
"[...] A heartfelt cry against terrible injustice and daily tragedy: how the everlasting physical injuries that severed their bodies affect these wounded people". An ongoing project of the most current photojournalism, like the infinite aftereffects caused by antipersonnel mines. Gervasio Sánchez has been working with victims of this scourge since September 1995, a job that has been running through most of his professional life. The devastation the mines cause is lifelong. The eleven victims in this project were selected randomly in African countries such as Angola and Mozambique; in Asian countries like Cambodia, Afghanistan, and Iraq; El Salvador, Nicaragua, and Colombia in Latin America; and European countries such as Bosnia-Herzegovina. "Gervasio knows we need the wounded voices if we hope to write the complete history. And to do so, it is vital to advocate, faced with the hate that mines, the courage that observes." Irene Vallejo (Foreword)
Gervasio Sanchez: PHotoBolsillo
This title offers monographs on the most important Spanish, African and Latin American photographers. "The PhotoBolsillo" series is dedicated to publishing monographs on the most notable Spanish, African, and Latin American photographers of the recent past. Each small-format paperback features full-page, full-colour and black-and-white photographs representing the best of the artist's portfolio - each of which is captioned with title and year. Additionally there is a Chronology, plus lists of exhibitions and collections in which the photographer's work has been/is displayed, plus a brief appreciation of the artist by a "PhotoBolsillo" editor. Language - English and Spanish
Anthology
Una larga travesía por 25 años de obstinado trabajo en numerosos escenarios bélicos y posbélicos de América Latina, Europa, Asia y África; lugares que desvelan la crudeza de nuestro tiempo y en los que languidecen, injustamente olvidadas, las víctimas de la barbarie. Un contundente legado histórico para que en el futuro no se pueda dudar del pasado. Forjada con infatigable coraje, el fotógrafo se sumerge en realidades desoladoras que muchos preferirían ignorar. Una innegable aportación a la fotografía de reportaje y una constatación de cómo a través de ella puede dignificarse a las víctimas retratadas con una mirada que enaltece los mejores valores del fotoperiodismo. Corpus fotográfico resultado de una infatigable dedicación al seguimiento de la actualidad internacional y a la elaboración de proyectos documentales más reflexivos y minuciosos, desarrollados a largo plazo.
Goya, Chronicler of War : the Disasters and War Photography
"In the prints of The Disasters Goya compliled a collection of the horrors of the Spanish Peninsular War again Napoleon's troops (1808-14). But his condemnation is impartial, alternately critical of the cruelty on both sides, and this is why his etchings have become a pacifist discourse that is timeless in its scope. These images are the artist's first banging on the table in protest, and they speak directly to our consciences. The way Goya represented war is far removed from any idea of heroism and has few precedents in the history of art. His vehemence is certainly unique, however, Goya placed his genius in the service of a cause which had no impact on the society of his time. His opinions, full of intelligent doubts and mixed feelings, remained etched on those prints like a condemnation of war. The object of this exhibition is to project Goya's condemnation forward to our time. And his indignation has been best captured by certain war photographers. Through their dangerous work many of them have constructed a discourse which echoes Goya's view as applied to our own shameful conflicts.' ... p. 17
Zona
Un affresco omerico in cui si mescolano carnefici e vittime, eroi e perfetti sconosciuti, deportati o vittime di genocidio, mercenari e testimoni, pittori e letterati, evangelisti e martiri... Se un’immagine dovesse rappresentare la violenza di un intero secolo, l’ultimo trascorso, sarebbe probabilmente un convoglio, un trasporto di armi, truppe, uomini in cammino verso un’opera di morte. In una notte decisiva, un viaggiatore carico di segreti prende il treno da Milano a Roma, armato di un prezioso viatico che deve vendere l’indomani a un rappresentante del Vaticano per poi – se tutto va bene – cambiare vita. Quindici anni di attività come agente dei servizi segreti nella sua Zo...
En branco e negro
Sara Martí, a protagonista de En branco e negro, é unha xornalista que se nega a aceptar a realidade tal como é. Así o manifesta nos seus artigos de opinión en Coses Nostres. A través de vivencias propias e alleas, Sara vai tecendo unha historia salpicada de recordos amargos: o exterminio nazi, unha violación, a guerra dos Balcáns, o asasinato dun ser querido, as represalias do réxime ditatorial na Guinea Ecuatorial despois da súa independencia, o desacougo dun amor frustrado... Mais non todo é negro na vida de Sara, pois, como di un dos personaxes, recordando as palabras de Ernesto Sábato: “O mundo está cheo de horrores, de traizóns, de envexas; desamparos, tortura e xenocidios. Pero tamén de paxaros que levantan o meu ánimo cando escoito os seus cantos, na alborada; ou cando a miña vella gata adormece sobre os meus xeonllos; ou cando vexo a cor das flores, ás veces tan minúsculas que hai que observalas desde ben cerca”.
No serà fàcil
Jordi Rovira retrata la carrera d'èxit de Joana Biarnés, la primera dona fotoperiodista del territori espanyol. La vida de Joana Biarnés (1935-2018), la primera fotoperiodista del país, plena d'experiències extraordinàries i desconegudes, va ser la vida d'una pionera que va vèncer tots els prejudicis d'una època. Les seves imatges van captar una etapa clau del segle XX: els anys del Franquisme, amb una Espanya trista i empobrida, i els inicis de la democràcia, les seves aspiracions de llibertat i la il·lusió pel canvi. La mirada de Joana Biarnés va saber captar una societat efervescent i també va recollir el testimoni de catàstrofes, esdeveniments esportius i esdeveniments socials. Davant de la seva càmera van desfilar, retratats d'una manera propera i natural, personatges clau de l'art nacional com Dalí, Buñuel, Lola Flores, Rocío Durcal, Rocío Jurado, Marisol, Massiel, Joan Manuel Serrat o Raphael, i també es van rendir al seu carisma artistes internacionals com Orson Welles, Jack Lemmon, Yul Brinner, Roman Polanski, Clint Eastwood o els Beatles.
