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.


Photographing is appropriating the photographed. It means establishing with the world a certain relationship that seems knowledge, and therefore power.
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.


Juan David Quintero Arbeláez
Curator Museum of Contemporary Art of Bogotá
Londoño Family
This family of the path Barro Blanco of the township of Santa Elena, has carried on its slopes its sowing of songs for more than six decades.
Tascón Family

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.

Gallego Family
The white tents adorned the park with their silver and red scales, the flaps of flesh detached like rays almost always for the poorest. And as in bloody fighting, the daggers were fused with the call to seven mass.
Cano Family
When the sugary smells of life come from the street, the people of San Cristóbal prepare to savor the story of the Álvarez: a kind of sweet tooth that sticks to the soul and round off life with unforgettable syrups that were left for always in the settlers of the hamlet.
Mafla Family
The music in Riosucio is part of daily life, it is normal to be a musician or teacher of the word, after all they will be the same. The mountains inspire in the midst of the mix of cultures that gave birth to the Carnival.
Arias Osorio Family
Juan Pablo remembers with nostalgia the green of the field and is still amazed by the eternal colors of the heras. Is that his father, Arturo Arias taught him on any day to decipher the forms of nature between seeds and tomatoes.
Chindoy Juagibioy Family
Faithful to her tradition, grandmother Concepcion Juagibioy takes the accounts between her tireless hands and with a gesture of thanksgiving, she gives Dolores, her eldest daughter an inheritance that is part of the history of the times, the same that has been told with yarns and colored nuggets that have been part of the skins of men and women.
Zapata Bedoya Family
Mr. Emiliano Zapata: -The first time I rode a goat, I swore that I would never get out of it. It was because I was caught by those festive colors and by each advance of the wagon, the baskets and utensils seemed to me the most beautiful songs in the world...

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.

Xavier Andrade
Visual Anthropologist
Servín Barriga Family
Teófila has embroidered her life and stitch after stitch tells her story on a cotton blanket.
Salazar Family
Antonio Salazar Gómez is internationally known as Tony Salazar, made his debut at the Plaza de Toros la Aurora in Ciudad Nezahualcoyotl in 1965 and is the founder of a gladiatorial dynasty that, like others, goes in the second generation but already has a great contribution to the school. imaginary of the Mexican wrestling, the Salazar Dynasty also composed by his sons Ulysses Jr. and Magnus, who followed his father's footsteps on the ring canvas in a natural way, everyone in the middle of the fight knows about the wisdom of the Master Tony, in charge of the gymnasium and the main trainings at the Arena Mexico for several decades, there, Salazar has taken part of the responsibility of training as well as his own children, mainly the most outstanding stars of that arena, his most outstanding students have shone in the international arena: his nephew Carístico (First wrestler who played Mystic, Sin Cara and also belonging to another dynasty: Karonte-Carístico) and Sarah Stock, Dark Angel, both with labor leagues given their moment with the giant of the world fight, WWE. In the Salazar Dynasty we could mention that part of the whole tradition, history, and renovation that I have mentioned here about Mexican wrestling also comes together, since in the film Tony Salazar also participated in some classic movies of wrestlers: Huracán Ramírez against the Black Monjita (Director: Joselito Rodríguez, México, 1973), Los Vampiros de Coyoacán (Director: Arturo Martínez, México, 1974) and Santo and Butter Naples in the Revenge of the Llorona (Director: Miguel M. Delgado, México, 1973).


Bobadilla Family

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. 

Santiago Family
The origin of the word "barbecue" will always be a matter of discussion, although it seems more accurate, according to Hispanists, to be a loan from the indigenous languages ​​of America, since the most accepted origin would come from the Caribbean voice "Barabicu". A Mayan origin has also been proposed: Baalbak'Kaab "meat covered with earth".

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.

Velásquez Guzmán Family
In each location we observe the presence of women selling, but also men, brothers, children, nephews, employees, who are there fulfilling not only the task of sellers but also managers and cultural producers. In this sense, La Merced is constituted as a community where families, through several generations, are a nucleus for the organization of fair and solidary commerce.

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.


Morales Family 

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. 

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