A partir de su conformación como país, en los albores del siglo XIX, la necesidad de cohesionar a la población de un territorio diverso y complejo llevó a sus clases dirigentes a desarrollar una noción específica para la cultura mexicana. Sin embargo, a doscientos años de su fundación nacional, no existe una identidad de lo mexicano, sino muchos mundos que conviven bajo dicha noción, los cuales, conforme pasa el tiempo, van cambiando de perspectiva y emplazamiento, abarcando, incluso, territorios e imaginarios ajenos. Esta es la idea que subyace a la muestra del trabajo de 25 artistas, pertenecientes a distintas generaciones, y cuya edición representa, en alguna medida, la diversidad de temáticas y estilos vigentes en la fotografía en México en los años recientes.
“Mundos mexicanos: 25 fotógrafos contemporáneos”
Garry Winogrand
“I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.” ~ Garry Winogrand
Garry Winogrand was born in New York in 1928 and grew up in the then predominantly Jewish working-class area of the Bronx, where his father was a leather worker. As a youth he found the closeness and lack of privacy of his crowded family home difficult to bear and would spend long hours walking the city streets; it was a need that was to be present for most or all of his life.
Robert Frank – quotes
My photographs are not planned or composed in advance and I do not anticipate that the onlooker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind–something has been accomplished. -
I’ve never been successful at making films, really. I’ve never been able to do it right. And there’s something terrific about that. There’s something good about being a failure–it keeps you going.
Robert Frank
“When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice.” Robert Frank, LIFE (26 November 1951), p. 21
“Quality doesn’t mean deep blacks and whatever tonal range. That’s not quality, that’s a kind of quality. The pictures of Robert Frank might strike someone as being sloppy – the tone range isn’t right and things like that – but they’re far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he’s doing, what his mind is. It’s not balancing out the sky to the sand and so forth. It’s got to do with intention.” (Elliott Erwitt)