Outside of the exhibitions in the Fototeca de Nuevo León –which are their obligation– any other in an official or private gallery, cultural center, alternative or emerging, in municipal or state houses of culture, moves me to wait, or better yet, to wish that we finally have a space dedicated exclusively to photography.
Why do I insist so much on that? Because I believe that by having more or in addition to a constant reference, the Photo Library, the public would become accustomed to seeing this type of exhibitions, fostering the formation of a specialized public and eventually, a market and collecting, along with a photographic culture. that would vitalize the entire process, ensuring a more or less permanent life like painting or graphic arts, for example.
On the 11th of this month the exhibition was inaugurated Passerby, street impressions, in the Galería Regia, dependent on the municipality of Monterrey. 10 photographers participate in it with three works each with the same format (twenty-something by thirty-many cms.), The same in black and white as in color (if I am not mistaken there are only three photographers who participate with color works; the same if not I’m wrong, this is the second or third time that a photography exhibition has been presented under the same concept and even title).
Probably the so-called street or street photography is the most practiced genre today. All of us, thanks to smartphones, have taken one or more photographs on the street. Street photography offers us an endless scene of motives, characters and circumstances, of lights, movements, tragedies, injustices, games and hopes, it is the political platform par excellence, and at night it seems to transform into a very different one, the same as who inhabit it when the sun goes down and the public lighting is turned on.
All the great photographers have done this type of photography, from Cartier-Bresson to Martin Parr, from Elliot Erwitt to Joel Meyerowits, or from Stephen Shore to Daido Moriyama, from Rodrigo Moya to Aristeo Jiménez, however, if we approach it more carefully to their works, we will come across big differences between them and that is that this type of photography quickly and easily drifts into other genres, equally important and valuable, but which are no longer part of that other. Press photography, documentaries, photo reports and even tourism photography, candid, accidental and even experimental photography are part of that other contingent of genres that coexist closely with street photography.
The above, far from detracting from this type of photography, makes the genre something richer, but that must be reasoned, studied, planned, so that it is not confused with any other or are more a product of chance and dynamics. the city itself as an intention or search for the photographer.
The Galería Regia, with its individual spaces that allow three or four individual exhibitions to be held simultaneously, one that occupies all of its rooms, or any combination of them, seems to me to have been equipped with dignity, in addition to being a privileged space in the center itself. from the city, in the Old Quarter. Perhaps for the exhibition that motivates these lines I would have preferred another type of museography or rather a museum script.
Of the exhibitors there is little that can be said, with only three works it is difficult to know, read, exactly what they are looking for with their photographs. On the other hand, unfortunately if we stick to these works, the evaluation would be negative, since in no case is it seen that there is a special care for the printing of their works and although I suppose the printing was done by the municipality, that is, There were no greater resources to invest in this area, it is not a justification for presenting a bad job.
I add that the same can be said from the content point of view, it is not the same to carry a camera and wander around the city to see what I find to go for a specific topic, work on it, decant it, study it, get involved with it, and so on. And this becomes more evident when we read the lines that they were asked to present themselves with, in that sense I only find congruence between what was said and what was done in Tere G.
Beyond the latter and the discussions that may arise around the exhibition, which, among other things, they are for, I still hope that this space, at least one of its rooms, is permanently dedicated to photography.
Xavier Moyssén L.