Modern Photography in Argentina Julieta Pestarino - Brazil: Costa y Rodrigues da Silva ([1995] 2004); Costa (2015); Meister (2021). - México: González Flores (2005; 2015; 2018a); Gabara (2008, 2018). - Argentina: González (2011a, 2011b, 2018); Uslenghi (2015, 2021). Latin American Photographic Modernities - Process that integrated to traditional elements new experimental, compositional, and thematic resources, together with new practices and dynamics. - Took place through a gradual and complex cumulative process between the 1930s and 1950s in which this group played a fundamental role and contributed to the understanding of photography as a specialized local medium. - It was a progressive establishment of a new way of seeing and modern attitude. Modernisms in Latin American Photography Errant Modernism Modernity is not understood as the destruction of difference, the result of global homogenization, nor as a phenomenon that occurred only in the economic centers, but as the tension produced by a series of critical, historical and aesthetic interventions. Photography embodies the key tropes of modernity in Latin American movements. Esther Gabara (2008) Imaginary or Conceptual Modernity Marked by an erratic oscillation between contradictory qualities. Laura González Flores (2015) Argentine Modernity The originality of local modern photography lay in a patient accumulation of frictions between tradition and modernity, characterized by a less intense, but more extensive rhythm than in other parts of the world. Valeria González (2018) Latin American Photographic Modernities Wonders of our Indigenous Plants - Published in Buenos Aires in 1935 - By the German botanist, andinist, and writer Ilse von Rentzell - With the photographs taken by the Russian photographer Anatole Saderman - a book of scientific research on native plants from different areas of Argentina that included artistic photographs in order to broaden its reach to a general public Maravillas de nuestras plantas indígenas - Was born in Germany in 1893 - Moved to Latin America in her childhood, she grew up in a German community in the Argentinean Chaco - A prominent figure in the history of Argentine climbing and exploration, a pioneer of female mountaineering Ilse von Retzell - Was born in Moscow, Russia in 1904 - He completed his secondary studies in Berlin, Germany. - In 1926, at the age of 22, he emigrated to Latin America. - After some years in Uruguay, Paraguay and northern Argentina, he settled permanently in Buenos Aires in 1932. Anatole Saderman Portrait of Gómez Cornet (bromuro) 1937 Portrait of Dorival (cloro-bromuro) 1937 - 1953-1959 - Buenos Aires, Argentina - Group of photographers - Involved with the construction of Argentine photographic modernity. - The group is a crucial instance to look at, review and analyze the period. La Carpeta de los Diez [The Folder of Ten] Members Country of birth Eduardo Colombo (Argentina) Pinélides A. Fusco (Argentina) Max Jacoby (Germany) Annemarie Heinrich (Germany) Hans Mann (Germany) Ilse Mayer (Germany) Juan Di Sandro (Italy) Giuseppe Malandrino (Italy) George Friedman (Hungary) Alex Klein (Hungary) Augusto Vallmitjana (Spain) Anatole Saderman (Russia) Fred Schiffer (Austria) Boleslaw Senderowicz (Poland) La Carpeta de los Diez [The Folder of Ten] Folders Folders with photographs by each member circulated among them, on which the photographers would leave written critical comments. Exhibitions -1953: "Picasso" bookstore -1954: Kraft Hall [Salón Kraft] -1956: Siam Hall [Salón Siam] -1957: Harrod's White Hall -1958: Office of Foreign Affairs of the OAS / I Argentine Congress of Photography -1959: Opera Theater - La Carpeta de los Diez was foundational to the development of Argentine photographic modernity in the 1950s and contributed to the understanding of photography as a specialized local medium. - Particular process that integrated to traditional elements experimental, compositional, and thematic resources, together with new practices and dynamics. - Progressive establishment of a new way of seeing and modern attitude. Photographic Modernity in Argentina Institutions - Foto Club Argentino (1936) - Association of Professional Photographers (1938) - Association of Argentine Photojournalists (1942) - Foto Club Buenos Aires (1945) - Argentine Federation of Photography (c.1950) Mutual participation in these events cemented the international network of photoclubs, with a strong cohesion at the Latin American level. Latin American Photoclub Network Foto Club de Rosario (1934) Foto Club Argentino (1936) Club Fotográfico de Chile (1937) Foto Clube Bandeirante en Brasil (1939) Club Fotográfico de Cuba (1939) Club Fotográfico Uruguayo (1940) Foto Club Buenos Aires (1945) Club Fotográfico de México (1949) Club Fotográfico de Medellín (1955) Club Fotográfico de Guatemala (1957) Foto Club Cusco (1961) 1945 - 9th Annual International Exhibition Foto Club Argentino 1945 – Interamerican Photographic Salon Foto Club Buenos Aires Journals and Magazines 1954: "Picasso" bookstore 1956: Siam Hall 1956: Siam Hall George Friedman “I saw her like this” “I saw her like this” Fred Schiffer Annemarie Heinrich Alex Klein 1958: I Argentine Congress of Photography Annemarie Heinrich Annemarie Heinrich’s notebook - Was born in Germany in 1912 - In 1926, when she was fourteen, her family relocated to Argentina to escape the economic crisis of the 1920s - She worked as a celebrity portrait photographer for many Argentine magazines - She specialized in performing arts photography, specifically dance photography Annemarie Heinrich Capricho dividido en cuatro, Anita Grimm (ca. 1936) Double profile, Florence Marly (1942) Berta Singerman Hans (1950) Savia (1953)Elsa Daniel (1953) Thank you!