The only difference is that the Peruvian is a professional trained photographer with evident aesthetic skills he is not a casual photographer and his photos are not vernacular and wild examples of domestic photography. In Chambi we see professional photographs taken by an Inca images where the author has always been part of the scene and not a curious external voyeur. Martín Chambi reveals to us an indigenous purpose of revaluation and memory and not an indigenist one of condolence and misery. MartinChambi Martín always walks with One foot here and one there. This is how we could describe Chambi's artistic career always straddling two worlds.
Between the urban world and that of landscapes e-commerce photo editing and ancient architecture. Between two languages Spanish and Quechua the mother tongue. Between two classes the bourgeoisie of the powerful and wealthy eager to be immortalized by his eye and the servants and workers who he immortalizes for free. Between the white settlers who covet his images and the Indians and mestizos whose images he covets. Between the powerful and the most disadvantaged and marginalized groups in remote and primitive villages.
Chambi in search of the lost identity Martín it he put aside his language clothing customs conversations. In more than one sense he had to assume a new investiture that of an apprentice photographer in order to get rid of his original peasant clothing. self portrait on train Martin Chambi. Chambi's photographs are not only a portrait of a society now mestizo now indigenous. His self portraits of her are an inquiry about her own identity and origin. Chambi's constant interest in portraying herself both inside and outside the studio seems to reflect an abiding awareness of her own acculturation process as well as her confidence and pleasure in visually representing herself over the years.
發表於 2022-9-24 13:46:33
