Foto Féminas is a platform established by Verónica Sanchis Bencomo to promote the work of female photographers working in Latin America and the Caribbean. Foto Féminas has exhibited in GuatePhoto Festival (Guatemala); Pingyao International Photography Festival (China); Parque de las Mujeres Argentinas (Argentina); Instituto Cultural Peruano Norteamericano (Peru); Paseo de las Artes (Mexico) and Estación Mapocho (Chile).
In addition, Foto Féminas has had a number of installations in Argentina, Chile, India, France, Italy, United States, Uruguay and Venezuela. Foto Féminas' library has displayed at Taipei Art Book Fair, HK Photobook Fair, Hong Kong Zine & Print, Booked: Tai Kwun Contemporary’s Hong Kong Art Book Fair and Singapore Art Book Fair, amongst others.
Click here to read our Q&A with Foto Féminas
Tune in this February for a talk hosted by Foto Féminas in conversation with Erika Morillo and Fabiola Cedillo.
Por Maniobras de un Terceto
“It's about the mother, and how Clara puts herself before her parents. Clara shows the father, or the man, but is outside the home space. The diagrams add a certain mystery, there is a duel, that means a dead person, just as the use of body is remarkable, from cows to people. Nature plays another role as the protagonist, there is a certain strangeness that makes it attractive and a circular narrative, that means a world that repeats itself, the snake that bites its tail. A closed world, the idea of a space that you can't leave, whether it be a mental or physical space. The world is carried inside.” – Luis González Palma.
Publisher: Clara de Tezanos
Artist(s): Clara de Tezanos
Contributor(s): Edited and Staged by Alejandro Cartagena; Designed by Clara de Tezanos and Alejandro Cartagena; Production by Julie Galicia; Diagramming by Xouse Studio and Kenny Siliezar
Publication Date: 2019
Dimensions: 6.5 x 8.5 inches
TO PURCHASE: claradetezanos.com/portafolio/por-maniobras-del-terceto-publicacion-2019
Clara de Tezanos is a Guatemalan artist and cultural manager. She studied at an early age at Speos School of Photography and PARSONS in Paris. She was an assistant to Marie Claire and Cosmopolitan magazines for a year in 2006, as well as to important French fashion photographers.
In 2009, upon her return to Guatemala, she co-founded alongside Juan José Estrada, the school of Photography La Fototeca and the GuatePhoto Festival. As Project Director, she has curated international exhibitions, directed editorial projects, designed the academic programming of the Fototeca School and has been a teacher since the beginning of the project.
As a curator she has also worked on all editions of the GuatePhoto Festival, the Fototropía Gallery, Espacio Satélite among others. For her cultural background she was awarded and received a fellowship as the Guatemalan Entrepreneur Woman of 2015 and the Ambassador of Culture to U.S. government programs. Since 2009 her work has been included in group and individual exhibitions on a local and international scale.
Her series Todas Somos Marías was published in The New York Times in 2018 and she published the book Piedra-Padre, Universo, a visual poem that collects 10 years of photographic archives. She has received numerous awards from renowned competitions within the international media. She is currently working on the Luciara publishing project, aiming to promote and strengthen the production of photobooks in Guatemala.
“Umbral, by photographer Erika Morillo, is an extremely intimate book in content and in format. The case unfolds as a letter or as a present to the viewer. Behind the book, we can see the image of her son Amaru with arms opened amongst the dandelions as if emulating the flaps of the envelope in a symmetrical communion of the forms. The book is landscape format, with a square spine, hardcover and cloth bound.
“Only a few lines of text are shown in the cover to guide the reader in their viewing of these photographs. The book has two readings, or what can be seen as one reading in two chapters. Seeing Erika’s previous work All of Them, made me figure out how these images, besides having a strong female perspective, sought to represent absence. In her first book it is her father’s absence and in this second book, her experience as a single mother.” – Faride Mereb
Publisher: Erika Morillo
Artist(s): Erika Morillo
Publication Date: 2019
Dimensions: 14 × 21 cm
TO PURCHASE: erikamorillo.com/umbral-photobook
Erika Morillo is a Dominican freelance photographer and artist based in New York City. Her work focuses on the issues of family, inner-city life and the finding of identity. Her photographs have been published and exhibited nationally and internationally. Her photobooks are in the collections of New York based institutions the Whitney Museum of American Art Library and The International Center of Photography Library.
erikamorillo.com | Instagram
Los Mundos de TITA (The Worlds of TITA)
Fabiola Cedillo's Los Mundos de TITA is part loving homage, part fever dream. The series follows her older sister Tita, who was diagnosed with a rare brain disorder as a child. Now in her thirties, Tita remains in a childlike state, in need of her family’s full-time care and attention. The series sets fragments of girlhood alongside surreal visions. In one image, stickers dance along the wall of a brightly lit bedroom awash in pink. In another, a grown man crouches naked and wet in a plastic wash basin far too small to hold him. Cedillo presents the series in diptychs.
Communication is a challenge for Tita and her family. Punctuated by dense shadow and the absence of information, Los Mundos de TITA conveys Cedillo’s frustration and longing to connect with her sister. Cedillo made the important choice to include her sister’s drawings in the work.
Los Mundos de TITA is a nuanced portrayal of someone who faces communication barriers, but whose expression is limitless. With tenderness, it also maps the relationship between sisters who, despite speaking disparate languages, are inextricably connected.
Below is an excerpt written by Cedillo’s father about the book.
Tita is my first daughter; she is now 30 years old. A few days after her birth, she presented no common symptoms; she clenched her fists, bowed her head, and suddenly, her body lost strength. These symptoms were repeated several times a day, so we decided to take her to the doctor. As parents, we lived this time in a state of shock and we were not able to digest a reality that we did not understand and it overwhelmed us.
Multiple tests concluded that Tita suffered from West syndrome, which consists of a serious and rare brain disorder that generates short axial muscle contractions. Tita would need much medication for her entire life, and rigorous full time attention.
Tita’s condition truncated many of our life projects. However, two years later we decided to have Fabiola. These two girls grew up together until Fabiola turned five years old. By then, who was the younger sister became the oldest. Mentally Tita stayed at the same age; she will always be our child.
Publisher: Fabiola Cedillo
Artist(s): Fabiola Cedillo
Publication Date: 2016
Dimensions: 21 x 21 cm
TO PURCHASE: fabiolacedillo.com/los-mundos-de-tita/book
Fabiola Cedillo is interested in the human condition. In 2017, Cedillo created AULA, the first analogue laboratory and photography school in Cuenca, Ecuador. She is the co-founder of FOTO-ALBUM, a platform for photography promotion in Ecuador. Cedillo has been nominated to attend Joop Swart Masterclass in 2018 by World Press Photo, awarded Premio Pampa Energia Fola FO4CM in 2018, the New Generation Prize in 2017, and had her work featured in the British Journal of Photography Portrait of Britain competition in 2016. Her work has been featured in various international festivals, including Copenhagen Photo Festival; SAN JOSÉ PHOTO (Uruguay); PA-TA-TA Festival (Spain); and Encontros da Imagem (Portugal). In 2016, Cedillo self-published her first photobook, titled Los mundos de TITA, which was shortlisted for the Latin American Photobook Award; the Lucie Photo Book Prize; and the Kassel Dummy Award.
A Thousand Ancestors
A Thousand Ancestors is the culmination of a long-standing collaboration between photographer Michelle Arcila and musician Eivind Opsvik. Hailing from Costa Rica and Norway, two different countries with distinct cultural traditions and folklore, the two artists explore family history and the continuing influence of ancestral narratives.
The project is a limited edition box set (numbered edition of 500) designed by Espen Friberg containing a 10 track vinyl LP (plus a CD and download card) that’s released by Brooklyn based record label, Loyal Label, 10 photographic prints, each of which correspond to a track on the record, and a poster. The artists aim to slow time for the observer, and allow them to perhaps uncover distant, buried memories of their own during the encounter. A beautiful example of this can be experienced in A Strange Gratitude, the second track and print on A Thousand Ancestors. It pairs a steady, escalating tension of bass strings with a slightly ominous, dreamlike image of two silver-haired figures obscured by a thin veil of dying tree branches in the foreground, hazy snow-covered mountains stretching behind.
Publisher: Loyal Label
Artist(s): Michelle Arcila and Eivind Opsvik
Contributor(s): Designed by Espen Friberg
Publication Date: 2014
Dimensions: 13 x 13 inches
Pages: 10-track vinyl LP (plus a CD and download card), 10 photographic prints, each of which correspond to a track on the record, and a poster
TO PURCHASE: michellearcila.net/a-thousand-ancestors (or connect directly with Michelle Arcila)
Michelle Arcila has been described as “a storyteller who uses very few words.” Arcila was born in New York and has a BFA in photography from the School of Visual Arts. Her images have been exhibited at international venues, including Maison d’Art Bernard Anthonioz in Paris, the National Arts Club, and Jen Bekman Gallery in New York City. She has also photographed and served as art director for several album covers. Publications featuring Arcila’s work include Vogue Korea, Time Out NY, Metro Pop, Les Inrockuptibles and DownBeat. Her work appears in a number of private collections. She currently works in Brooklyn, Norway and Costa Rica.
Eivind Opsvik is a Norwegian bassist/musician living in New York. His main projects are his band Overseas, the instrumental chamber-pop duo Opsvik & Jennings, and his solo music, which appears on A Thousand Ancestors. Opsvik also mixes, composes and produces music, and runs the Loyal Label record label. He played his first solo show at the Copenhagen Jazz Festival in 2008 and has also performed solo at the Kennedy Center in Washington D.C.
Donde No Puedas Verme / Where Your Gaze Can't Reach Me
Between text and image, this photobook builds the complex history of three generations of women in the author’s life. The mother’s house, full of mascots, dolls and peculiar objects, becomes a metaphor for the photographer, who approaches the space with a lens of half fiction and half reality. Donde No Puedas Verme is the construction of a fantasy refuge.
Artist(s): Saraí Ojeda
Contributor(s): Printed by Offset Santiago; Project supported by FONCA, México
Publication Date: 2018
Binding: Handmade intervention on the cover by the author
Dimensions: 13.5 x 19.5 x 1 cm
TO PURCHASE: saraiojeda.com (or connect directly with Saraí Ojeda)
Born in Veracruz, Mexico, Ojeda is a photographer and artist exploring a variety of media. Ojeda’s images deal with the concepts of fear, pain, grief, absence and matriarchy.
A Fellow of Sistema Nacional de Creadores de Arte FONCA, (2019 to 2022), she graduated from the Contemporary Photography Seminar of the Image Center in 2014 and gained a Master degree of Arts with Honorable Mention by the Autonomous University of Morelos. She obtained the First Place (ACQUISITION AWARD) at the INTERNATIONAL IMAGE FESTIVAL. In 2018 she published the photobook Donde No Puedas Verme with the publisher Inframundo in Mexico City, which was presented at Paris Photo, Policopies and Unseen festivals.
Her work has been exhibited at the National Photo Museum of INAH in 2012, which is already part of the collection and participated in more than 30 collective shows.
Her work was selected in the third Biennial of Veracruz, o, the second Biennial of Contemporary Ceramics in Tijuana, the sixth International Biennial of University Art in Toluca, the first Biennial of Art of Veracruz, the seventh Biennial of Puebla and the first Biennial of Graphic Arts of Oaxaca.
saraiojeda.com | Instagram