La camara gira

Genaro photographic work Sántiz, Abraham Gomez and Marco Giron

based on the historical work of Vicente Kramsky

The Gallery is very very happy to invite the public to enjoy this photographic exhibition Genaro Sántiz, Abraham Gomez and Marco Giron, looking to work legendary photographer Vicente Kramsky looking at indigenous peoples of Chiapas.

The three projects are the selection of images of V. Kramsky, to form a thematic project in the hands of each artist, by juxtaposing or combining his own work, inviting reflection on transitions and reinforcement of the culture of their peoples origin: Sántiz and Gomez on San Juan Chamula, and Giron on Tenejapa.

We compared the movement of this exposure to a “Möbius band”:

We traveled from present to past, present and future reaching. Typically, the selected work of Kramsky back to the years between 1950 and 1970. The work of artists of Chamula and Tenejapa is contemporary, and “multiautorial” collages impact us by his play over time, leading to the consideration of future of the Mayan peoples of the Chiapas highlands.

The camera rotates in the spectator person is drawn to look through the “window” of the photographic picture, to see dramatized, subtle but strongly Guided by the artist and his own physical, emotional, and moral positioning issues. The creativity of the artist puts to rotate the view, foreign to the indigenous people, indigenous watching his people, the other, or yourself.

Maya artist may have taken the photo, you may have selected the picture of the body of Kramsky for their purposes, may be merged photos from different periods, different points of view, to create a composite of looks that speaks of cultural identity in movement, based on current memory and creativity.

Projects exhibition The House Tour:

“Transition” The draft Genaro Sántiz part of a reflection on the foot, form, function and contact with the earth, its beautification. Reflects on the huaraches, that shoe, which becomes becomes boot; and what it says about redefining gender, gender relations, about power, poverty, spirituality.

“Mirrors Carnival” The project of Marco Giron revolves around the infinite expression of the face, the solemn portrait of the person of authority in the people, freedom of the smile, the possibility of equal respect gender not dreamed of cultures of Western capitalism. And the oppression of power systems of gender and class; particularly in the context of the celebration of Carnival.

“The same look” Abraham Gómez The project explores public party and the private market and the home and privacy of the couple. Finally, the process of renewal of the identity of indigenous young people who are re-created by multiculturalism, while intrigued and delivered to ancient people is his distant or direct inheritance claim.

The four photographers reveal the ancient Mayan culture that imposes itself with great dignity captured in the faces, landscapes, and the same people’s homes. Poverty is confronted, causing consternation, and sometimes disappears to serve as background for the superior simplicity of life as usual active.

In this exhibition the curatorial function is dispersed among the authors of the three projects and between John Burstein and Genaro Sántiz, such as co-curators of the exhibition. Emilia Kramsky and his family contributed to the conceptualization of the project with its historical element; and they made available to the work of Mr. Kramsky for this exhibition. Jessica Luna ( “Lola Laser”), Mexico City, made the impression with its beautifully calibrated eye. We also appreciate the logistical support of Rufino Sántiz and Joshua Gomez VERY Gallery.

As a final note, it is important to note that the photographic work of Vicente Kramsky was analog format and subsequently digitized; contemporary photographers used digital cameras.

Genaro Sántiz

Genaro Sántiz (Cruzton, Chamula, 1979): formalist experimenter, seeks beauty in the simple and forceful. He learned photographic technique Young in San Cristobal de Las Casas in a draft free expression sociocultural (Indigenous Photography Archive of Chiapas) and transformed his practice experimenting with semi-abstract images, mixing themes of nature and culture. They have published the book Pox (2005) and has exhibited his work in Mexico, the United States and Europe.

[Write Sántiz:]

Historical photographs and contemporary transmitted dreams, thoughts flowing from the inside out. They are incorporated from the same beat in our veins.

My photographic work interacts with the works of photographer Diffuse San Cristobal de Las Casas, Vicente Kramsky. Thanks to him and his family, along with my work, we can enter a world, we relocated visually evoking the transition to the past of the grandpas and grandmas.

With the black of the images, in contrast to the world in which we live full of colors and white, I look for an energy of clutter in very different ways.

I try, through my eyes, causing introduce another perspective sensitivity, aesthetic freedom in these times have been changing society of native peoples. The images I selected Kramsky’s work, which I created myself, and I composed picture of the two of us, whose theme feet, one of the most important parts of the body. This mainly by its support function and allow the man the gift of movement. Thanks to toe jump, we dance, we run. I saw human strength before and now through the movements of the feet.

Other element that emphasize in this project is mixed with western dress. This argument of the transition does not lose the origin of the people, that dignity is maintained within each.

These interpretations of the work combining the reality of the present and the past, is an interface that causes its own magical moments. Visual creation never has an end, because, if that were not enough, can be printed and displayed in many different ways and offer technical as well and can be interpreted in many ways. An image depicting a moment that is not always a representative but always manifests as social, philosophical, psychological, poetic, religious, political image.

Art is an emotional nourishment that is born in the heart and in thought, from relationships transmitted messages such as happiness, sadness, anger, loneliness, bitterness, melancholy.

All art is a light that provides its own value; It creates a bond of harmony, which enriches the sense of living.

Marco Giron

Marco Giron (Tenejapa, 1983), colorist great humanist sensitivity, aims to reshape the visual culture based on their traditions. Professional science / art of multicultural communication, member of the group of photographers Tragameluz, founder of the first gallery Tenejapa, Xojobal Sit-elewil. Connoisseur and scholar of photography of non-Tenejapanecos the famous Carnival of his people, uses this information in this project. Giron has shown his photograph in Chiapas, Veracruz, and other parts of Mexico.

Tajimal k’in, which in Castilian means Day game days prevailing laughter, jokes, puns among participants of the carnival of Tenejapa.

In the small valley the sound of the flute, drum and trumpet, also the singers humming to the rhythm of music, this becomes apparent arrival of the carnival, the thirteenth day of jokes and laughter is heard.

On the one hand the solemnity, respect for charges look Vicente Kramsky presents, on the other joy, the essence of carnival laughing, laughter, an attitude of mockery hard life, to the rulers who have disappointed to town. It is in these moments where time accomplice of encounters between two views presented to dialogue becomes.

Exploration of the change of status of women, is an opportunity to make room for laughter, joy and jokes.

Marco Giron Semblanza:

Born in Tenejapa, Chiapas; 1983.

Education: Computer Technician and Bachelor of Intercultural Communication (Universidad Tecnológica de la Selva and Intercultural University of Chiapas, respectively).

Nature photographer, photography Collective member Tragameluz (San Cristobal de Las Casas, Chiapas). He has participated in group exhibitions under the Tragameluz photography festival for seven consecutive years.

He has had solo and group exhibitions in Tenejapa, had a collaboration around nature photography in the gallery very, participated as an art critic in the photographic exhibition “Photographic Interactions Chiapas” featuring the installation of images on textures of nature .

Works at El Colegio de la Frontera Sur, Department of Broadcasting and Communication as Head of Audiovisual Media, carrying out the project Photographic Archive ECOSUR and as a photographer of the different research projects in southeast Mexico where ECOSUR is present.

Marco Giron is a cultural promoter of the people taking the initiative to use technology tools to save the common good.

He currently serves as director of the first gallery in Tenejapa “Sit-elawil Xojobal” A project arises from the need to maintain the collective memory of this place in the highlands of Chiapas.

Took the initiative of a photographic archive Tenejapa arising in 1999 by a personal need to keep family memory, which over the years, this need became more general, then Tenejapa needs to keep the collective memory through its priceless images historical.

Abraham Gómez

[Abraham Gómez (San Juan Chamula, 1977), conceptual artist innovative technique, seeks truth in the multicultural reality. He took in his hands a camera professionally for the first time in the diploma Gymnasium Chiapas Art (2012), followed the Art Center San Agustin (CASA) in Oaxaca, Center image in Mexico City (2013). Since then their images (still and video) contained in exhibitions Indomitable (in the City of New York) and in the book Unmasking and Detonate: Contemporary Photography in Mexico (2015) presented in Madrid, Spain and Mexico City].

The same look

Since I was a child, my grandmother and grandparents of my community commented me how were their lives, their homes, landscapes, and festivals. I always imagined what it was last and I wondered how much he had changed from the present, and wanted to find those moments. I started with my own constructions of images in my head to recreate the story of my grandmother.

Now I find in photographs of a kaxlan Vicente Kramsky the present-past of my grandmother and grandparents of my community. With these images I know a part of how the daily life of my ancestors.

My works show a part of the current daily life and thus dialogue with the works of Kramsky in a very intimate and public space at a time. His gaze and mine merge with images to build a glance that tell the everyday, suffering, collectivism, transformation and the history of the village of San Juan Chamula.

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