Barroco Tropical: Herencias Generacionales is a photographic series composed of more than 40 portraits of families that have inherited an occupation of generation in generation. After an investigation developed between Colombia and Mexico, the photographs inquire about the inheritances that are transmitted in an intergenerational way and that continue alive in Latin America, unique and exclusive trades in certain regions.
Susan Sontag, About Photography
The arrival of the baroque in America can be seen almost as another conquest by Europeans in indigenous territory. This exuberant aesthetics of the privileged and religious classes, was commissioned to enter into the deepest of indigenous spirituality and thought, its ostentatious and overflowing nature in architecture, music, literature and sculpture, it was the perfect bridge to enrich much more its origin, giving a new cultural identity to Latin America. The sixteenth century, known as the "Century of the Colonies", opens the way to a modernization of ideas, leaving classical ideals aside. From the fascination for irregular and inaccurate beauty was born the rebellious spirit of the baroque.
Starting from this brief context, Barroco Tropical, is a photographic exhibition where Liliana Correa is responsible for merging two concepts that, through research, the historical and traditional processes of objects, ethnography and portrait, shape an assessment of the image, a story is told that is told from intergenerational trades between families, such as the farmers, the drivers of chivas, the butchers in San Jerónimo, Antioquia; the municipal band of the Mafla brothers in Riosucio, Caldas; the Kamëntsá community, in the Sibundoy, Putumayo, with the artisans of chaquiras; the silleteros of Santa Elena; the bakers of San Cristóbal and the traditional doctors of Valparaíso, Antioquia. This rich panorama frames an entire iconography that tells its history, objects and tools that try to create the narrative of an inherited work, turned into intangible heritage and that modern society clearly threatens to extinguish them to make way for a capitalism controlled by the economy. This exhibition is responsible for making a rigorous, but pertinent research through photography, to connect with generational work in Latin America.
Curator Museum of Contemporary Art of Bogotá
The Jaibaná, who yesterday was the cacique, today the wisdom has given him a halo of old man, of tonguero or curandero of the Embera Chamí indigenous people.
A conventional look at the world of crafts rests on the reiteration of certain tropes. Tradition and authenticity are the first. Anthropology has contributed substantively to the reification of them beyond history, a company that has been maximized by the heritage machinery. The consequences of this type of operation are obvious: look for authenticity and essences despite the fact that the nature of "the popular" emphasizes precisely on appropriation, change and repetition.
This photographic project by Liliana Correa R. gives an account of a different approach as part of a direct intervention on the forms of representation of certain forms of work that persist, thanks, precisely, to their ability to adapt to the logic of late capitalism. The families portrayed express a clearly defined work ethos, which starts from their immediate connection with the production system of certain objects or links with agriculture that lies centrally in the activation of kinship relationships. Being enraptured by digital reproduction technologies, these new forms of family files, account for the mutations and tensions that certain trades are faced with on a daily basis. At the same time, digital is used creatively through the infinite capacity of duplication
In a world in which we live daily with copies, this project dignifies the subjects portrayed through the reproducibility of the forms generated with their own hands, instruments and technologies. Instead of appealing to nostalgia for virtually vanished forms -such as, for example, retouched photography- the digital intervention constructed as a kaleidoscopic replica illustrates the multiple possibilities that open up to honor lives and families in whose work repose commercial, exchange practices and negotiation of value in one or another company.
This project is a powerful argument about the auratic possibilities of the digital while at the same time allowing to honor the subjects portrayed in Mexico and Colombia when trying to penetrate the complexity of their lives and the aesthetics that this photographic series contains. The portraits are transformed before our eyes into sensual objects.
Ángel, Juan Manuel and Javier Bobadilla have been leading for more than 20 years one of the most traditional burning of Judas in Mexico City: that of the Barrio del Niño Jesús, in the Tlalpan Center.
Rámirez Gómez Family
Ramón Ramírez López and his family opened the doors of their house and their hearts to let me know a memorable tradition discovered up to now for me. He and his family have maintained the tradition and popularity of flaked wax with nearly 150 years in Salamanca, Guanajuato; There are already four generations of persistence in the wax trade.
Shimizu K. Family
The collection of this museum has been compiled by the architect ROBERTO and his family around the country and the world, as well as receiving contributions from private collectors; It began during the childhood of the architect in the fifties, and has developed to this day in the Colony Doctors, where he has spent his whole life.
El Bibis left his legacy to his son, and today his family lives in the traveling circus of KIKO, a show full of laughter, juggling, illusion and audacity.