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Christian Poveda
"La Vida Loca"

"In San Salvador, two gangs, The Mara Salvatrucha and the Mara 18, have been confronting each other for years on a war without end.

Over 14,000, long forgotten, young men express their rebelliousness through tattooing their bodies and swearing complete devotion to their clan, a group that substitues family.

Sons of violence; they are the heirs of the gangs that first originated in the US during the 80's and were conformed by immigrant Salvadoreños who had fled the civil war.

Born in the Los Angeles ghetto, the legend of the Maras gains strength in Central America with the return of the refugees and illegal deported aliens."

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(40 black & white photographs)

Cisco Dietz
"Digital Bouquet"

"The images presented here are from a continuing series of digitally scanned flowers from the gardens of Cisco. Cisco began the digital investigation of the colorful flowers when he first purchased a scanner in late 1998.

For him the scanner represented a new way to view the world in a finely detailed fashion without the use of traditional cameras. The lens of the scanner is a large flat surface with limited depth of field ideal for the investigation of the delicate nature of the colorful and varied forms of flowers"

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(10 color photographs)


Jason Horowitz

"Jason Horowitz's provocative large-scale photographs have stopped people in their tracks in DC, Miami, New York, and Portland. Working at the intersection of landscape and anonymous portraiture, Horowitz finds new ground to explore about the human body, not an easy task in our image-saturated society. Horowitz plays with the tension between attraction and repulsion. By exploding scale, he reveals not only the fascinating visual terrain of the body but also challenges our own hidden or unspoken biases about beauty, ugliness, body-image, race, sexuality, aging, and the thresholds of exhibitionism."

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(29 color photographs)

James Henkel

"Drawing is often at the heart of these photographs, though the materials are not usual. The SPILLS pictures use milk, sand, salt or sugar to draw their own vessels or explore the appropriateness of their function. The photographs humorously explore ideas about the container and the contained and suggest the beauty of the accident and the poetry in the objects."

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(17 black & white photographs)


Georg Küttinger
"Landscapes: Remixed"

The pictures assembled from single photos tell a tale and describe not only the landscapes they represent in a densified and compressed manner - they are also vehicles for mental voyages."

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(29 color photographs)

Perian Flaherty
"Still Life"

"In the beginning, I imagined an alphabet of bones.

Only to begin another journey, since bones are often still clothed in the particularities of a life: fur, feather, skin, scale.

To get down to the bone is it’s own journey. A certain kind of work."

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(17 color photographs)


Lisa M. Robinson

"For the past five years, I have been making photographs in the snow and ice. I am interested in metaphor, and have sought to comprehend our human place in this world.

On the surface, these images are quite beautiful. They appear elegantly simple and accessible, evoking, perhaps, the silent tranquility that one might feel after a fresh snowfall. Beneath the surface, however, there is a subtle tension."

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(50 color photographs)

Iata Cannabrava
"The Other City"

"The images presented were produced between the years 2000 and 2008 in the photographer´s walks through the outskirts of Latin America Cities. The process is much more closer to a poetic and political chronic than to the traditional report of poverty and misery, so common to the eyes of contemporary photography.

Using colored photography for support, the project intends to be the portrait of “another” city, that looks nothing like the Cities we think we know."

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(28 color photographs)


André Cypriano
"Rocinha, an Orphan's Town"

"Rocinha is the largest “favela”, or shantytown in Brazil. It spreads from the top to the bottom of a mountain. Ironically, it is surrounded by wealth. Because the 2,500 residents of this neighborhood have been neglected by the government, they have set up their own survival system, one ruled by drug-trafficking. What makes this community so captivating to document is how clearly this criminal system both terrorizes and supports the people of the slum."

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(37 black & white photographs)

Lori Nix
"Small Dangers"

"Lori Nix’s photographs, saturated with color and infused with a dark sense of humor, turn the notion of the traditional landscape on it head. Painstakingly created in miniature, her constructed scenes depict a detailed world where all is not as it seems. Public spaces dedicated to history and science (and a few intimate spaces) lie deteriorating and neglected while nature slowly takes them back.

In her series, “The City” as well as her previous works, Nix emotes the clash between catastrophe and beauty to depict their codependence. She gives the viewer an incidental advantage by offering fenced in tragedies that inherently raise awareness and inspire reflection on our everyday actions and means of survival."


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(31 color photographs)


Tian Taiquan
"Cultural Revolution"

"During the ten-year Cultural Revolution, 1966 to 1968 is the particular period when the unbelievable violence among the different Red Guards was the most terrific.

Tian Taiquan’s photography is originated from the only well-preserved Red Guard graveyard, which lies in a park of Chongqing. It covers 3,000 square meters (about 4.5 mu) with 113 tombs. Over 500 members of No. 815 Red Guard died in the dust were buried here. Among them, the youngest five persons were only at their ages of 14 while the oldest was 60."

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(20 color photographs)

Chunsoo Kim

"I have always been interested in the anonymous nature of online-communities. The title of this piece comes from a Korean web site. ‘Motel Tour’ is a membership only online club for Korean young couples that want to go to a Love hotel for their sexual-relationship. (In Korea, most of young people live with their families.) In the website, users upload information (text and photos) about the love hotels that they've been to.

Traditionally in Korean culture, a prenuptial sexual-relationship is Taboo. But younger generations don't accept this any more. Younger people are much more frank and liberal than older generations. Young people had long been suppressed by Korean-family culture. Today they express their hidden desires through the internet and Love hotels


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(21 color photographs)


Tiago Santana
"The Blessed Ones"

"I was born in a very particular region in Brazil. The northeast. The Brazilian semiarid hinterland, the so-called sertão. This dry region is one of the poorest ones in my homeland. Since I was born in this region, my photographic work has always focused the men who face such hard reality.

BENDITOS (Editora Tempo d’Imagem, 2000), addresses the town that is a reference of popular religiosity in northeastern Brazil. Juazeiro do Norte, home town of Father Cícero, a non-official saint of the Catholic church, although revered by people. Every year thousands of pilgrims from all the northeastern states go to Juazeiro to make or pay vows in the hope that they will get a better life, more health, more land, and more water."

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(30 black & white photographs)

Susan Bank
"Cuba, Campo Adentro"

"The “Campo Adentro” project began in March 2002 as an accident. What I intended to be a weekend retreat from the hustle of Havana became a deeply intense personal journey, returning again and again for the next five years to barrio Cuajaní, in the Valley of Viñales, Pinar del Río Province.

Landing in Havana, that illusive, mythical citadel of contradictions and juxtapositions, one feels catapulted back in time to the 1950’s. To know Pinar del Río, is to feel gently pulled back another fifty years."


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(48 black & white photographs)


Grenville Charles
"Tribes of West Papua"

“The seeing eye is an organ of tradition”
-Frans Boas

"West Papua, formerly Irian Jaya is home to more than 300 tribes. They have inhabited the island for more than 40,000 years. Despite the encroachment of modernity, and attempts by the Indonesian government to westernize them, many have staunchly maintained their traditions.

The Dani tribe are by far the most populous and probably the best known ethnic group in Papua. They inhabit the Baliem valley in the highlands, which is relativly easy for tourists to reach these days, but many Dani in the more remote highlands retain their traditional dress and customs."

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(37 black & white photographs)


Daniel Santiago Salguero
"The Adventures of Daniel and Santiago in the Quest of the Fiction's Ending"

"The work that Daniel Santiago did on this occasion, The Adventures of Daniel and Santiago in Search of the End of the Story was achieved using both digital and manual post-production techniques. In this story, which adopts the form of a book, the author-photographer tells of the events in a special way, as his heteronyms (two twin brothers created based on the author himself). They decide to undertake a journey in search of their creator (Daniel Santiago). A dialogue ensues between the author himself and his characters, putting the dimension of fiction into the real dimension and vice versa.

Since several years ago, Daniel Santiago has worked on series based on his creation The Twin Brothers Daniel Miope and Santiago Chapeu. On another occasion, the artist created a series of portraits that Daniel Miope made by photographing his brother, in the same way that Santiago Chapeu did with Daniel Miope, generating as a result the display of the work of the twin brothers that portray one another with opposite photographic techniques."

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(23 black & white photographs)

Marcos Camargo

"This is a plain text, way to simple to define Marcos Camargo's work, which brings in the uncovered unsettling head humus that elevates itself in the traffic of photographic creation. Not the true one, the one that hidding inside itself reveals as reproductive of an evident reality; but the other one, the one that distant from a mechanic and true portrait, cuts itself in pieces of dust, ideals and thoughts linked at random with no hurry, to premeditated meetings symbolicly built in nights of dreams and nightmares, interwined to pieces of memorie, scraps of conspirations refering to sacred, profane and oniric feelings."

Walter Firmo

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(15 color photographs)


Johan Rosenmunthe
"Imagine Remembering"

"The pictures in this project are about personal and common impressions of growing up; the developing identity and sexuality as a child and teenager; and the process of learning how to live ones life. Primarily we remember the positive things in our lives, but the embarrassing, lonely and intense memories are still an important part of us. That is what we carry with us, and in “Imagine Remembering” it often appears as the feeling of being trapped in the situation or time we were in."

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(27 color photographs)

Dirceu Maues
"Feito poeira ao vento"
( dust in the wind...)

"The video '...feito poeira ao vento...' ( dust in the wind...), was made from 991 pictures, originally captured from 38 pinhole matchbox cameras in just one action (four hours of duration). It shows, in 3.5 minutes, the transmutation/movement of Ver-O-Peso Market in 360 degrees. It starts in the frenetic movement in the first hours of the morning, and keeps capturing pictures until the end of day in the market"

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(color photographs)


Bill Wittliff
"La Vida Brinca"

"Over the past decade Bill Wittliff has replaced the lenses of some 100 cameras with simple pinholes, returning to photography’s roots in search of ways to render the enduring realities of light and time. Always evocative, often revelatory, the resulting vignettes—which he calls tragaluces (“light swallowers”)—open keyhole views onto an intimate world, with subjects that seem to exist outside the moment in their own private spaces. Celebrating Wittliff’s book with the University of Texas Press, this online exhibition features 44 of his more than 100 hand-toned silver-gelatin photographs. Iconic images of Hispanic life predominate the tragaluz photographs in La Vida Brinca (“Life Jumps”), which was published in 2006."

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(44 black & white photographs)

Galleries that are part of the Heresies project,
a Retrospective by Pedro Meyer

Curated by Jonathan Green

"All photography is “instantly posthumous,” Susan Sontag once said. This aphorism seems to beat in each honest scene from life expressed in I Photograph to Remember, which is one of the most significant and key projects Pedro Meyer has undertaken in his entire career.

Jonathan Green explains the history of this work and brings to memory his intimate story. He tells how at the end of the 1990s, he saw Pedro’s material for the first time and was struck by his enthusiasm to transfer it to cd-rom, “a format that was just starting to have an impact in the new world of multimedia.” Meyer was also beginning to do digital photography —when most photographers in Mexico were still unfamiliar with it or were rejecting it— and therefore, as Green notes, I Photograph to Remember “is a conceptual bridge between his analog work and the digital work that followed,” where “the expressive and panoramic image of his father flying” invites the metaphor of this transition.”"

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(84 black & white photographs)


"Pedro Meyer’s"

Curated by Vesta Mónica Herrerías

"Throughout his life, Pedro Meyer has been creating an album with images of himself. That act of capturing each instant of his own existence, before seeming banal or egocentric, triggers a series of reflections in terms of the diverse readings that his self-portraits offer.

On that track, the curator finds the vocabulary and syntax of the photographerphotographing himself. The fictitious or real situation; the credible, which is always found in the photographic image more than the fidelity to appearance of the subject portrayed; the element of how to remember an “I myself” in ongoing change and with all of his expressions, gestures, masks; the notion of identity and what this implies, the recognition of his own search."

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(108 black & white and color photographs)

A Small Step for Meyer . . .

Curated by Gustavo Prado

" . . . a giant leap for mankind,” continues the celebrated phrase from July 20, 1969, uttered by Neil Armstrong when he touched down on the lunar surface. Why did curator Gustavo Prado resort to this as the title for his text on the world of entertainment captured by Pedro Meyer?

Although the most direct response may be found at the end of his lines—alluding to Pedro’s pioneering work, which gave rise to the use of the digital medium for photographic creation, the reference is also pertinent for the spectacular quality of those lunar images that, just as the actions or scenes staged in front of Meyer’s camera “were made to be seen.”"

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(92 black & white and color photographs)


"Religious Imagery"
Culminating Moments of Existence

Curated by Elizabeth Ferrer

"Beyond the comfortable frontiers of portraits of friends and family,” as a young photographer at the end of the 1950s, Pedro Meyer began to capture religious festivals and rituals in Mexico.

Although his archive includes pictures of religious activities in other parts of the world —such as Europe, China, India, the United States, and Israel— above all else, he is “one of the great photographers of Catholic ritual in Mexico,” comments Elizabeth Ferrer.

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(111 black & white and color photographs)

"Latin America"
Politics of the Image:
Meyer and Latin America

Curated by Alejandro Castellanos

"When Pedro Meyer left behind his industrial activities in 1974 to devote himself fulltime to photography, it took him only three years to become a founding member and president of the Mexican Council of Photography and to organize the First Latin American Photography Colloquium.

Since that time, “his greatest contribution has taken place thanks to the balance that he has kept between reflection and practice . . ." because “Meyer’s ideas have triggered some of the major debates on images in Mexico and Latin America.” Alejandro Castellanos recalls the controversy."

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(120 black & white and color photographs)


"The United States"
The States of Pedro Meyer

Curated by Fernando Castro

"Pedro first got to know the United States more than fifty years ago. Since that time, when he was a student at Babson College in Massachusetts, he has visited the American union some twenty times and has amassed a collection of more than 55,000 images. What is peculiar about this work, other than its range and the fact it covers more than half a century? In his curatorial text, Fernando Castro answers that question.

He begins by reflecting on the permeable divisions between the genres of this iconographic complex."

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(197 black & white and color photographs)

"Cuba Imagined"
Marginal Notes on Cuban Photography

Curated by Juan Antonio Molina

"The possibility of relating the work of the wellknown Mexican photographer Pedro Meyer, with contemporary Cuban photography” is what Juan Antonio Molina offers us by finding those connections—the most representative ones—in a vast universe of over 5,000 images shot by Meyer during his trips to Cuba between 1978 and 1986.

In four concise notes, the curator gets to the root of that possibility: first he reflects on and proposes that the definition “Cuban photography” should be understood as “the Cuban element in photography” or the construction of its imagery; in this way, Pedro Meyer can “enter and exit” with a dynamic passport."

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(91 black & white and color photographs)


"Mexico 68"
October 2, is not Forgotten!

Curated by Rogelio Villarreal

"In the 1960s, young people in many parts of the world expressed their inconformity against the prevailing order and sought new freedom and ways of being. Although the student rebellion broke out in a peculiar way in Mexico, it managed to consolidate itself as a true movement. A year synonymous with the student movement, 1968 in Mexico was a time of protest marches, rock music, placards, the army and special police forces, the granaderos, the supposed communist threat, the 19th Olympics, the massacre at Tlatelolco, society’s response, political prisoners and the missing, the rallying cry of “October 2, Is Not Forgotten!”"

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(31 black & white photographs)

"Nicaragua, 1978-1984"

Curated by Wendy Watriss

"On November 4, 1978, the Saturday supplement of the Mexican newspaper Unomásuno devoted pages to Pedro Meyer’s coverage entitled “Ernesto Cardenal on the Gospel amidst M-1 Rifles.” The newspaper continued to give Meyer “a daily platform to report on the war” in Nicaragua, at a time it was covered “only superficially by the mass media” in Mexico.

Recalling those times, Pedro commented to curator Wendy Watriss: I went there when I was 39 years old. I had just begun to devote myself fulltime to photography, and I had never worked or published anything in a newspaper. I had never done that type of professional photojournalism . . . Why Nicaragua? It was an important political story, a revolution or insurrection. I wasn’t convinced that the photographers who were covering it were doing a good job, so I decided to face the challenge myself. Of course, this was connected with my own ideas. If I had lacked any political consciousness about what was happening there, I would never have gone to Nicaragua."

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(134 black & withe and color photographs)



Curated by Néstor García Canclini

"From the almost 5,000 images that Pedro Meyer accumulated from the early 1980s to 2006, curator Néstor García Canclini selected 50 scenes on “a variety of emblematic situations” revolving around Mexican migrants in the United States; he organized the material into five narratives.

The points of access to reach California, Arizona, Texas, or New York are documented not only in photos of the desert paths, but also in those displaying “the means of legitimating or legalizing the presence of foreigners.” They include, for example, shots of storefronts offering “immediate marriage” or “amnesty.” And since access also implies being able to work and live, Meyer went into Mexican barrios to witness their existence."

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(50 black & withe and color photographs)


Curated by Martin Lister

"The entire collection of images tells a story. But when it is composed of 28,000 scenes taken in fourteen European countries over the course of more than fifty years, it multiplies the narrative possibilities. This is the starting point for Martin Lister’s text with the “wide-angle” story that Pedro Meyer tells in his “photos of travel” throughout Europe.

Without forgetting the classic tourist shots (attractions, restaurants, friends...), here the professional photographer sets himself apart; whether in Berlin after World War II, captured in 35-mm transparencies where we can still see “the characteristic, clear blue sky produced by Kodachrome,” or whether “in a globalized Europe driven by consumerism.”"

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(117 black & withe and color photographs)



Curated by Elizabeth Ferrer

"A large part of Pedro Meyer’s photography has been shot in Mexico, his home since he arrived from Spain with his parents at the age of two. So it is not surprising that this collection numbers more than 80,000 images (for the moment) of a Mexico lived for more than half a century, reflecting Meyer’s professional development and that of photography as a medium. The historicity of this iconographic complex is undeniable, whether seen diachronically or synchronically. It is in the shots of Mexico City and several regions of the country; from Pedro’s initial experiments in the mid 1950s to the most recent; in black and white, color, or digital images."

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(72 black & white and color photographs)


Through the People of Rain

Curated by Deborah Dorotinsky

"For several months in 1991, Pedro Meyer traveled through the Mixteca Alta, in the state of Oaxaca, to prepare a photographic piece for the magazine National Geographic. When the project was canceled, the more than 14,000 color slides were put away, and although a small part appeared in Truths and Fictions in 1993, most remain unpublished.

Obviously, its worth goes beyond its numbers. It contains what Pedro chose to see in the life of the Mixtec people."

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(36 black & white and color photographs)


Once There Was a Face
Attached to a Body

Curated by Pablo Ortiz Monasterio

"The abundance of digital and analog photos that Pedro Meyer has created throughout his career revolves around one major theme: the human being. The human subject appears in any group of his images, whether classified by country or by specific project, but formally speaking the representation of such a complex nature concerns the genre of portraiture. That is where curator Pablo Ortiz Monasterio reveals a constellation of intimate, public, and everyday realities..."

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(118 black & withe and color photographs)

"Miguel de la Madrid"
The Gaze of a Presidential Campaign

Curated by Álvaro Vázquez Mantecón

"The great “libretto” to contextualize Pedro Meyer’s photojournalistic coverage of Miguel de la Madrid’s presidential campaign shows a country governed by the same political organization for 71 years (1929-2000). It even inspired Peruvian writer Mario Vargas Llosa to describe Mexico as “the perfect dictatorship.”

De la Madrid was the second before the last president in this ironclad dynasty in power, so that his 1981 campaign did not seek electoral votes, but rather recognition of his investiture."

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(184 black & withe and color photographs)


"Avándaro, 1971"

Curated by Rogelio Villarreal

"Three years after the 1968 student movement, there was still no official response from the Mexican government to October 2 or demands for the democratization of public education. These were the reasons for the student march of June 10, 1971, which were again violently repressed.

“The government continued its war against young people,” observed curator Rogelio Villarreal. Then how could a rock festival like the one held in Woodstock (1969) have taken place only three months after June 10? Given the radicalization of one part of those young people, who formed Marxist guerrilla groups in response to the repression, and the naiveté of others barely out of adolescence and coveting a wish to be revolutionaries, without any clear ideological or political program, authorities perhaps agreed to the idea of the festival to ease social and political tensions."

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(27 black & withe photographs)

"1985 Earthquake"
Events that Shape History

Curated by Mariana Gruener

"On September 19, 1985, at 7:19 am, an earthquake measuring 8.1 on the Richter scale shook Mexico City for two long minutes. Pedro Meyer was in New York, serving on a grant panel for the Eugene Smith Foundation, but when he heard the news, he immediately returned to Mexico. He arrived on Friday, September 20, shortly after the second aftershock. “After making sure that his loved ones were safe, he went out to photograph the city’s devastated streets,” producing a body of almost 2,000 images."

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(74 black & wihte and color photographs)


"Commissioned Work"
Sad Visual Universes

Curated by José Antonio Rodríguez

"Since some fifty years ago, Pedro Meyer has been doing photographic work for a wide range of clients: companies and industries with different commercial interests: banks, publishers, museums, public institutions and parastatal ones, such as the government’s oil company Petróleos Mexicanos.

In 1957, hired by Black Star, he documented the devastation of the earthquake in Mexico City. Many other projects followed; two from 1977 exemplify this phase: the photo series that served as magazine covers for Sucesos para Todos —whose allure blended Pedro’s disturbing scenes with phrases like “Beauty contest or slave trade?”— and shots of industrial installations for the rubber company Negromex, “as if a human subject, as a model with which images are created” —wrote Meyer in July of that year..."

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(41 black & witHe and color photographs)


Celebrating Oil

Curated by Alfonso Morales

"Based on the notion of time as a social institution, Alfonso Morales proposes the existence of a “Mexican time”, whose calendar has more memorable days to honor saints and virgins as well as national heroes, compadres [godparents], mothers, and even tacos; in other words, to commemorate collective identity.

After this initial chapter, what follow are aimed at a historical review of the oil industry in Mexico. They go from the first years of the twentieth century —with its exploitation in the hands of foreign companies— to the nationalizationof petroleum, decreed by President Lázaro Cárdenas in 1938, that gave rise to the stateowned Petróleos Mexicanos (Pemex). The curator’s well-documented text recalls political scenarios and the social atmosphere of those years to then contextualize the fiftieth anniversary of Pemex and how it came to be that Pedro Meyer —hired in 1987 to do a photo exhibition and a book (entitled Los cohetes duraron todo el día [The Skyrockets Lasted All Day])— built an iconographic discourse “loath to facile or demagogic enthusiasm” that, together with “the anti-Cardenist obsession of the president-elect,” led to the disappearance of the publication."

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(91 black & white and color photographs)

Another Theory of Relativity:
"Truths and Fictions"

Curated by Jonathan Green

"“By the end of 1990, Photoshop was in Pedro’s computer, a 40-MHz Macintosh IIfx, the most powerful at that time. With the help of scanners... in addition to the recently developed illustration software Fractal Design Painter, Meyer’s journey from analog to digital began”: Jonathan Green recalls at the beginning of his text. This was the birth of Truths and Fictions in 1993, resulting in the first important exhibition of digital photography and the first cd-rom catalogue. Meyer hailed a new course for photography; another aesthetic, although linked to the documentary, would also be articulated with idioms from painting and film. “The computer was... an extension of [his] camera, a simpler darkroom” to manipulate his shots and “to create a series of iconic instants that... are closer to memory than instantaneous experience.”"

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(80 black & white and color photographs)


"Explorations of the Image"
The Explorer

Curated by Vicki Goldberg

"Pedro Meyer has passed through this milieu of constant enquiry: “Meyer’s ‘explorations’, as he refers to his digitally manipulated photos, could well be images accompanying stories of lost texts... fairy tales for adults” that “reconfigure the world” in an appropriate way for this time, whose visual interactive quality makes ordinary life seem abore. Therefore, many of Pedro’s explorations are “the everyday search and seeing what is ours” (such as the photo of the man who looks out behind spectacles that seem to have been erased by light); in finding the decisive moments, but also in creating them to make their “fictions” more real. So at times “his work is strange because it is not strange enough,” and consequently, he poses almost ontological questions: “how close is this to reality?” and “can we trust our eyes?"

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(83 black & white and color photographs)

"Traveling in the Digital Age"

Curated by Patricia Mendoza

"Like awakening to another day is a “predictable meeting with the unpredictable,” Patricia Mendoza’s text is a Lewis Carroll-style journey, in which she is Alice seduced by fate and the risk that—as in a Paul Auster story—awaits her behind her computer screen.

Therefore, far from undertaking an analysis or a technical description of the website <>, the curator puts herself in the place of a traveler and she records her expedition. Despite initial difficulties in handling the navigation tools, she knows how to go —and she takes us— on an itinerary in a different form of transport in the digital age."

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(73 black & white and color photographs)


"Zone Zero"
From to Analog to Digital

Curated by Mark Hawoorth-Booth

"On January 23, 1996, Pedro Meyer published the first issue of ZoneZero on the Internet. “He thought that directing an online magazine, on the one hand, would offer a bridge between analog and digital photography, and on the other, that it would keep him up-to-date due to the constant flow of technical innovations in the digital era.”

Eleven years later, Mark Haworth-Booth brings to mind what ZoneZero has been since then: Meyer’s desire to fuel the field of photography and his mission to question our notion of “truth” as a representation of reality, which he has achieved worldwide with his thousands of pages in English and Spanish. In 2006 alone, this online publication received 156,575,334 hits. What museum or book could reach such a huge audience? And so, it is no surprise that ZoneZero won an internet award from Encyclopedia Britannica, for example."

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