is now The Inmigrants


After four years of visiting Pinta in London, I am thrilled to announce for the first time, an exhibition dedicated to photography. Pinta Photo is a photography Tertulia and it promises an electric, eclectic mix linking visual conversations. My role as Curator seems fitting after my long relationship with Latin American music and my strong connections with its photography.



Dafna Talmor. Caracas, Venezuela.
Tontxi Vazquez. Puerto Rican New York.
Gustavo Espinosa. Calí, Colombia.
Fecundo de Zuviría. Buenos Aires, Argentina.
Rosario Lopez. Bogotá, Colombia.
Michael Nyman. Mexico City via London.
Lehie Talmor. Caracas, Venezuela.
Carlos Sarrìa. Malaga, Spain.
Eugenia Ivanissevich. Buenos Aires, Argentina.
Luisa Dorr. Sao Paulo, Brasil.
Maria José Garcia Piaggio. Lima, Peru.

Pinta Photo is designed as a dazzle of images in a salon and constructed to create an overview of Latin American photography today. There is no theme here but the selection is aimed at stirring ideas and exploring possibly mysterious and surprising subjects. Photographic processes and technologies being experimented on by these diverse artists, also link up cultural histories, memories and identities.

The photographs in the collection are drawn from the Latin American continent, the diaspora cities from New York to San Juan, Havana to Miami, and Madrid and Lisbon and the ever expanding population of Latino photographers in London. For Dafna Talmor (Caracas) her work with collage, involves layering selected images including the bucolic landscapes of Venezuela calculated to stir reminiscences of her travelling life.

The internationalism here reflects the entire Pinta London, of course, and with that, it reveals within the photography corner, the dissolution of boundaries between different media and the constant transformation, shifts between the materiality of works and the swing from photography to painting, sculpture and film. Some of the abstract series by Gustavo Espinosa (Bogotá) convincingly resembles abstract paintings while others return to conventional processes and suggested narrative themes. 

Black and white prints have a strong presence in this Pinta London, and are being preserved in several documentary narratives. They are an appropriate medium for the diary-like imagery of Tontxi Vazquez (Nuyorican – Puerto Rican New Yorker). He shifts from the currently topical intrusion of a print's surface by physical damage or introducing new elements into a portrait (see Lakota, 2012)and contrasts with Argentina's celebrated photojournalist Adriana Lestido (Buenos Aires) who uses monochrome with her sensitive series Madres e Hijas / Mothers & Daughters. In spite of their beauty, she injects an underlying tension.

Also from Argentina is the marvellous contribution of black and white prints loaned from the Argentine Embassy, rare works by Horacio Coppola (1930s) and late 20th century views by Facundo Zuviría. Their street scenes, architectural details and street life offer a fascinating span of contrasting decades.

One surprising person placed in Pinta Photo is Britain's renowned composer, Michael Nyman, (Mexico City and the world). After many years of living in Mexico City, he developed a passion for its photographic history and the sights surrounding him which inspire his own work. With the Cine Opera series, he documented the crumbling opera house and that contrasts strongly with his digital street scenes – not just in Mexico but wherever he lands to perform music.

The presentation of In Conversation: Michael Nyman with Sue Steward will be followed by a panel discussion and this whole event will lay a trail for the expansive Pinta Photo 2015.