I was a terrible child, who the teachers could hardly teach. I especially liked technology and reading. One day a branch damaged my left eye, and I was unable to predict the great calamity which had been forewarned. For months, I observed the world with just one eye, until one day a mine detonator damaged my right eye as well. I didn't become blind immediately but little by little, it went on for months, as if it were a long farewell to light. So all the time I had to quickly capture the most beautiful things, images of books, colors and celestial phenomena, and to take them with me on a voyage of no return.

In the midst of so many superimposed Macondos there's another that rises up: that of the Dutch photographer Hannes Wallrafen, which could well be the most probable of all Macondos in this world because it's backed up by the conclusive documentation of some splendid photographs. I was strangely moved when in the soporific March heat of a ramshackle office in Cartagena de Indias, Hannes first showed them to me. I did not find any images equivalent to those which in some sense underpin my novels, and yet the poetic quality was the same.

Gabriel Gracía Marquez

(30 color photographs)

Voyeurism used to be a bad word, suggesting a furtive pursuit at once desperate and prurient, if not outright pathetic.
Now it has become a national pastime [USA]. We are a nation of Peeping Toms, sometimes reluctant, usually insatiable. The lone pair of eyes at the parlor window has been replaced by a massive gape shared by a hundred million viewers.

The work in this exhibit represent selections from two bodies of work, Ephemeral Beings and A Dark Eros.

Ephemeral Beings deals with the transient evanescent nature of our physical existence while the other explores eroticism and sensuality.

(20 black and white photographs)

This project is an attempt to understand by way of the photographic image the influence of migration, be it temporal or permanent, from the countryside to the city, of important sectors of Mazahua Indians who live in rural communities in the State of Mexico, Mexico; as well as appraising the influence this migration to Mexico City has on the ways of life and cultural traits of the women, men and young people belonging to this Mexican ethnic group.

(18 black and white photographs)

In this context it could prove anachronistic to cast one's eyes back to primitive processes such as pinhole photography (photography without a lens), but it turns out that, paradoxically, this form of expression now has hundreds of followers throughout the world.
For me, one of the advantages of this process is that of being able to choose and create my own formats without having to comply with the conventional ones. On the other hand my work would not be possible without the use of modern materials such as film and paper. However I try to carry on being an alchemist's apprentice, as for me, photography, amid all its meanings, is a purely magical creation.

Trained nowhere. My "creative path" is a painful chaos full of irregularities, contradictions, repetitions and inconsistencies, I neither know why nor can I argue why it is so. Lashing out wildly and with very questionable information on the contemporary cultural tendencies and forms of expression, I present an increasingly confused creation, which is the result on the one hand of my unstable character, which is often sour, and on the other of the inconsistency of my expressive proposals.

Jorge Rueda

(14 color photographs)

Clarín is Argentina's most important newspaper and the Spanish language one with the largest circulation. In 1999, just as almost every press media of the world did, they decided to celebrate the arrival of the new millennium with a special journalistic production. In most cases this consisted in taking stock of the century and the millennium and in pointing out the most relevant events and personages. Clarín chose to pay homage to the generation of Argentineans who were about to cross that virtual border, trying to show who they were and what they were like. It wanted to leave a testimony for the future generations, a document which would tell them: we were there and this is how we were.

  (45 color photographs)

(20 color photographs)

"These are pictures about people who feel free and at liberty to express themselves. Some of these expressions are subtle, almost happenstance; others are extreme, especially in the case of the photographs of impersonators. These people indulge their love for celebrities by assuming the outward appearance and mannerisms of their most favored famous person; you'll find Elvis Presley and Elizabeth Taylor look-alikes. I feel that the strength of the statements made by these impersonators does a lot to inform our understanding of the rest of us and our dreams."

  (20 color photographs)

"Objects which resist being discarded. Be they useful or useless, new or old, purchased, inherited, found or stolen, they have acquired a life of their own. By way of an imperceptible relation of values with their owner, they have managed to acquire from him or her the utmost protection, thus surviving house moves, general clean-outs, depressions and fights between spouses."

  (44 black and white photographs)

"The Nostalgia for Atlantis" takes the form of an imaginary photographic exploration of Atlantis as if made from a satellite. This form of "photography" would eliminate the skyline - the basis of the code of image interpretation in art - and at the same time eliminates perspective in the depiction of space."

  (10 color photographs)

"This story begins when I was three years old. It was then that my father died as a result of a long illness. Three is also the age my daughter is when I take these pictures. Illness strikes my family once again. This time my wife is the afflicted one".

  (32 color photographs)