Héctor Mendez Caratini
Vieques Cronicles from the Calvary

During the period of time (April, 1999  to May, 2000) when  civil disobedience camps were established within the Navy's restricted areas in Vieques, Puerto Rico,  there was a marked improvement in Nature's greens,  evident nesting of species in danger of extintion and ever present feelings of unity and spirituality among human beings.

Héctor Méndez Caratini

(48 black and white photographs)

Guillaume Zuili
Berlin 1999

Berlin 1999 is a central part of an ongoing project about memory in Europe, namely in citie,s like Moscow London and Paris. Berlin, being a unique city, was both actor and witness of major events in the last century that changed the map of Europe.

Guillaume ZUILI.

(18 black and white photographs)

Effie Fotaki
Invisible City

Another guiding element in this sequence of images is the absence of the human factor; or to put it in other words, the replacement of the human factor by human representations.

A comment is made on how identity is now defined by the gears and buildings that surround us; it is a critique of the urban sprawl.

Effie Fotaki

(12 black and white photographs)

Joe Rodriguez

Smoke and ash billow into the sky after the last of the two Twin Towers of the WTC collapses into rubble after being rammed by two hijacked jetliners in a terrorist attack on the United States.

Joe Rodriguez

(62 black and white photographs)

Héctor García

Héctor García’s work as a photojournalist acquired great significance at the time because of his unwavering desire to express his ideology through images. Unlike the majority of his colleagues, García managed to combine a feel for information with the distinctive thought of an age where the identity of Mexican culture was a constant preoccupation of writers and artist.

Alejandro Castellanos.

(23 black and white photographs)

Jens Görlich
CA/FL

I can still recall the impression I had when I visited California for the first time:
It seemed to me that up until that moment I had expected to come to the Garden of Eden, which had been somehow promised by glamorous pictures created in Hollywood.

Jens Görlich.

(18 color photographs)

Mario García Joya
(Mayito)

I will keep these pictures to myself because at the moment I am thinking of our collective memory convinced that I was there ( in revolutionary Cuba) by accident, that these photographs do not really belong to me, that they belong to my country and its memories. However I will keep them until history can be told just as it happened or until, like now at ZoneZero, I am invited to exhibit my photographs together with my own discourse.

Mayito

(33 black and white photographs)

A few years ago, midway through 1994, I had the idea of organizing an exhibition that would show the incursions into the world of photography of Picasso, Miró, Dalí and Tàpies, to my mind the four most important Spanish artists of this century.

Joan Fontcuberta

(63 color and b/w photographs)

As a photographer, I have worked in many parts of the world and in an array of circumstances that would lead me to capture images of “the other” facing situations all the way from birth to death. I felt it a matter of integrity on my part that my camera should be capable of grasping images of my own family as much as I would photograph the lives of those who I had never met before.

Pedro Meyer

To me photography is a medium. A medium that allows me to speak when I cannot find the words. A medium through which I explore my subconscious, bringing to the surface contents, hidden feelings. A medium that allows me to create objects containing subtle values intelligible to others. A medium that lets me breathe my freedom.

Rafael Navarro

(41 black and white photographs)

Joel-Peter Witkinhas been called ‘part Hieronymous Bosch, part Chainsaw Massacre.’ His photographic tableaux, carefully arranged and painstakingly printed, offer us the chance to transcend subject matter, and enter what Witkin calls a world of love and redemption’.

Parental or teacher guidance for viewers
under 18.

(13 black and white photographs)

Let's begin, safely, with an idea. An idea about a cataclysmic fuck, Mexico's big bang. Half a century ago, Octavio Paz wrote of the "masks" Mexicans have crafted over time, mythic identities whose function is to hide the trauma of "la chingada " (from the verb chingar, "to fuck," literally and figuratively), that is, the Conquest, which was essentially a sexual act -the rape of native by conquistador, from which modern Mexico's mestizo identity was born.

When the minimum resources necessary to survival are denied to mankind, even in precarious conditions, when isolated over great territorial areas, desertlike or suffering little influence from urban centers or a more modern administrative power which would bring order to the context as a whole, these populations take on, due to abandonment which is very often secular, a form of resistance with characteristics of mysticism, religiosity, and unshakeable fervor. The cyclical pilgrimages are the heartbeat of the coming together again of these lost populations in the immense vastness of Brazil's Northeast.

(20 black and white photographs)

This project is about childhood experiences and identity. When we leave childhood something dies within us. First and foremost the immediate fantasy, the gift of seeing the world in an irrational way, but also the gift of shifting rapidly from sorrow to happiness.