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Sueño de la Razón
Sueño de la razón (Dreams of Reason) is the title of this magazine and it represents the collective spirit that animates this thoughtful new publication. A project that roils with desire to talk about the photography we produce in South America.
We convened a group of photographers, those people who move photography ahead in our giant neighborhood, to publish a regional magazine. Because you are reading this, an important part of this dream has come to pass.
The Simón I. Patino Cultural Center of Santa Cruz, Bolivia, promotes various areas of cultural activity, including cultural research. In this case it is supporting the publication of a magazine that explores photography as a cultural interpretation of the societies where it is created. The work is carried out across the South American countries with editors from the photographic communities of Argentina, Bolivia, Brazil, Chile, Ecuador, Paraguay, Uruguay, and Venezuela, all meeting in the geographical center, in Santa Cruz.
Proposed in Chile, designed in Argentina, published and printed in Bolivia, and uploaded to the Internet in Ecuador, sueño de la razón is a photography magazine distributed free to artistic and social sciences organizations as well as public libraries in the region.
The editorial committee of sueño de la razón was conceived as a working group to publish two issues per year, drawing from across the photographic community in South America. We intend to establish a narrative of text and images that explore photographic work around themes. The co-editors are active members of their communities of origin, which is essential to presenting the work in first person: sueño de la razón is a publication built out of images, interviews, essays, and investigative work.
The biggest challenge is to present this work to an audience larger than just photographers; we must seduce readers with the journeys taken by these photographers and writers to be able to share their understanding of the social, cultural, or artistic practices of the region.
We are already thriving in fertile ground, but we welcome your comments. They can only enrich this work. Until next time!
Andrea Josch & Luis Weinstein (Editors in Chief)
Note: There is no English translation of Sueño de la Razón’ articles.
Born in the Amazonas region but a long-time resident of northeastern Brazil, the artist Rodrigo Braga uses physical and symbolic nature to address largely autobiographical questions with his photographic work.
The photographs that I care about are those that change us, leave a mark, and cause openings (even small ones). The others decorate, flatter the vanity of the photographer, show the intelligence of the author, but they just do not touch me.
Since 2005 I have explored technical and conceptual implications of digital photography in relation to traditional photography. Technology change has created new content and new possibilities for the form.
When Jorge Saenz first came to Paraguay to cover the coup that ousted the dictator Alfredo Stroessner he fell in love with the light in the country.
The wedding of two old residents of Pampahasi, a neighborhood in the city of La Paz, Bolivia. They met just a few days earlier, but Cupid’s arrow pierced their weathered skin. They have no money. Their hopes have been gone for many years. But today everything is good.
When we met recently in Santa Cruz, the photo collective Cia de Foto proposed a very interesting concept, re-signifying the photographs of Claudia Andujar, returning to them with a different perspective.
Claudi Carrera (Barcelona, 1973) is a photographer, curator, researcher, and critic. Between his native Catalonia and his adopted Latin America it is difficult for him to stay in one country for even a month at a time. His project “Labyrinth of Views” covers the region.
AIWIN photography workshops (meaning: an image produced by shadow, the shadow of the dead or the image in a mirror), aims to speak about and to introduce a contemporary ethno-photography as a social document, legitimizing the image as a strategic system.
What we are experiencing is a radical democratization of photography. The digital revolution has enabled millions of people to have access to a camera. An amateur can achieve a similar technical quality to the finest professionals.
In January 2006 the discovery of an archive of the photographer Aurelio Gonzalez’s work, which remained hidden for nearly 33 years, contributed thousands of images to the contemporary history of Uruguay.
The nonprofit Nelson Garrido Organization (ONG) is a place for convergence and tolerance, a collective of Venezuelan photographers who act as a sounding board for underrepresented minorities.
