The A-Z of Spanish Photographers FROM THE XIX TO THE XXI CENTURY Introduction 005 Photographers 008 — 629 Artists 631 — 641 Index 645 — 651 Bibliography 652 — 655 Credits 656 — 657 A Tribute This volume constitutes the first exhaustive work of reference of Spanish photographers to Photography published in our country. An illustrated bibliographical dictionary with a significant amount of images, representative both of the variety of authors and of Spanish photography as a whole. A list of over 500 authors that spans the full spectrum of photography and OLIVA MARÍA RUBIO that seeks to bear witness to its plurality. From classic to contemporary photography, from ARTISTIC DIRECTOR OF reportage and street photography to fashion and advertising, from stock photography to LA FÁBRICA press photography and portraiture, from architecture to landscape. We have also included a list of more than 50 artists who use photography, even if they combine it with other media, such as painting, video, or installations, or if they use it, for instance, as a means to publicize their performances. We might not be able to define them as photographers, but we do think it is important to make reference to them. Similarly, we wanted the A-Z of Spanish Photographers to embrace the history of Spanish photography as a whole, from its beginnings to the present. Hence, we have included a large number of authors from the XIX century. From that period, we have taken into account a series of foreign photographers, particularly French and British, who traveled to our country and photographed it, due to the important role they played in promoting our country, to the fact that some of their works were the first known, and also because some of their pieces are the most remarkable produced in Spain in the XIX century; some of them even came and opened their photo studios here. In terms of the XX century, the long list of authors included is a reflection of the different moments in Spanish photography: late pictorialism, the Civil War, the renovation undergone during the ’50s and the ’60s, the rise of the documentary, photographic essays and fictional photography in the ’70s and ’80s, and the new documentalism of the last decades. We have also included some young photographers whom we believe will gain relevance in the future. Coming from the world of conservation of archives and libraries, from universities, and from different spheres within photography, a series of historians, curators, conservators, researchers, photographers scattered across the entire country, have given their input providing both their opinions and their lists of names for this project. Thus, when it came to producing the final selection of authors, we have profited from the invaluable collaboration of a panel of professionals: Antonio Ansón, David Balsells, Alejandro Castellote, Chema Conesa, Enrique Corrales, Ramón Esparza, Horacio Fernández, Pepe Font de Mora, José Gómez Isla, Juan Naranjo, Jorge Ribalta, Bernardo Riego, Paco Salinas, Manuel Sendón, Jordi Serchs, Laura Terré, and Valentín Vallhonrat. This way we sought to avoid excessive centralization, enabling us to include a series of photographer who otherwise might have been overlooked. Nevertheless, there are still some omissions in the book, derived, a minimal number of them, from the express wishes of the authors themselves who asked to be omitted from the dictionary, and others from the absence of sufficient and reliable biographical records. Nevertheless, we have given ample representation to all aspects of photography with a healthy amount of authors. For the task of writing the biographies, most of which have been endorsed by the authors, their heirs or managers of their archives, we have engaged researchers and professionals from the academic scene. The group of authors included provides an enviable overview. Both established authors with great notoriety and those who are less known play their part in giving national and international relevance to Spanish photography, which despite boasting in many respects the same level of quality as that from other countries, wants the recognition it deserves. Through these pages, I wish to express my sincerest gratefulness to every one of our collaborators, and also to Isabel Ortega and Gerardo F. Kurtz for their valuable help, as well as to all the photographers who agreed to take part in this project and who have offered us their inestimable assistance. Without your enthusiasm and contributions, this A-Z of Spanish Photographers would not have been possible. Photographers 009 ABAITUA, EULALIA — A Eulalia Abaitua She is regarded as the first photographer on re- language, can today be considered a rigorous ac- cord in the Basque country. Born into a well-to-do count of the reality of her time. family, she went to school at the Sagrado Corazón As evidenced in the archive of over 2,500 im- BILBAO, 1853 — 1943 de Jesús de Sarriá in Barcelona and when she was ages preserved by the Basque Museum of Bilbao, 18 years old moved with her family to Liverpool, her favorite material was glass stereoscopic plates, where she discovered photography. Back in Biscay both positive and negative, in 4.7 x 10.7 cm format and married to the civil engineer Juan Narciso de and dry plate emulsion, although she did work with Olano, the couple settled at the Palacio del Pino, lo- other formats. Between 1991 and 2005 the Basque cated next to the sanctuary of the Virgin of Begoña Museum of Bilbao organized five exhibitions of the in Bilbao. She set up her photo lab in the cellar of collection with their respective catalogs. this mansion. — LA Her work can be split into three major themes: private life, images of costumbrismo, and travels. Selected works The first group features friends and family at La Ría. Imágenes de otro tiempo (La Ría. Images the Palacio del Pino as its main characters; the from a different time). Bilbao: EAEKM-MAEHV, second one consists of snapshots that record the 1991; La familia (The family). Bilbao: EAEKM-MAE- environment of her town and its surroundings; HV, 1994; Mujeres vascas de ayer (Barque women the third one includes photos of her travels. Most of yesteryear). Bilbao: EAEKM-MAEHV, 1997; Mi- of her work is in black and white, although she radas del pasado (Regards from the past). Bilbao: also produced some color photography, the so- eaekm-maehv, 1998; Begoña 1900: República y called Autochrome Lumière. The complete collec- Santuario (Begoña 1900: Republic and sanctuary), tion is a depiction of the urban and rural landscape Bilbao: EAEKM-MAEHV, 2005; Ochoa de Alda, M. of Biscay at the turn of the XX century. Hence, Jiménez. La fotógrafa Eulalia Abaitua (1853-1943). her photographic work, carried out with a direct Bilbao: BBK, 2010. 1 2 3 1 — Women by the river. Biscay, ca. 1905. 2 — Concha Olano. Begoña, Bilbao, 1902. 3 — Hauling fish. Portugalete, Biscay, ca. 1903. A — ABRIL, LAIA 010 011 ADLER, BÈLA & FRESNEDA, SALVADOR — A Laia Abril She completed her undergraduate degree in jour- tional Festival Sarajevo “Sarajevo Winter 2012.” At Bèla Adler & This pair of Catalan photographers specializes in pair and their ability to adapt to the requirements nalism from the Universitat Ramon Llull of Barce- OjodePez Photo Meeting Barcelona 2012 she pre- Salvador Fresneda fashion and advertising, working as a team since of the commission can best be appreciated. While lona, and studied photography at the International sented Thinspiration, a deep reflection about the the early ’90s. Bèla studied history and fine arts their fashion photographs possess a characteristic BARCELONA, 1986 Center of Photography in New York. Her first steps negative consequences of photography and social at the University of Barcelona and graduated style in terms of the staging, their advertising im- in the world of reportage came in 2008, when she media on young people with eating disorders. with a degree in graphic design. He worked in the ages reveal technical and aesthetic solutions that traveled to the Balkans to cover the thirteenth Her work has been published in Le Monde, The BBAÈLRAC EALDOLNEAR, 1959 graphic department of the International Center of combine hours of work with the models, the codes anniversary of the Srebrenica massacre or the Sunday Times Magazine, Vanity Fair, and OjodePez. Photography of New York, where he furthered his of fashion and the most elaborate production and declaration of independence of Kosovo, first for the Thinspiration was recently featured in the group SALVADOR FRESNEDA education. Salvador is self-taught, although he car- postproduction techniques. Spanish non-governmental organization Trenkalòs exhibition From Here On, held at Arts Santa Mònica BARCELONA, 1957 ried out training in graphic design and photography They have worked for the most prestigious and then for the press. That same year she was the of Barcelona in 2013. The previous year, this same in Barcelona. From the moment they met they have magazines, such as Vogue, Elle, Marie Claire, Yo coordinator of the World Press Photo 08 exhibi- series placed Laia Abril among the finalists of the worked together in all their productions, which gen- Dona, Telva, Glamour, Matador, El País Semanal, tion in Barcelona (Photographic Social Vision and competition Magnum Foundation: Burn Emerg- erally take place between Barcelona and New York. and GQ. Their advertising work has merited them A bad day 02. Edinburgh, 2010. Centre de Cultura Contemporània de Barcelona). ing Photography Fund, and merited her the 2013 Among their clients feature brands such as Gap, the European Design Annual award (1999); the In 2009 she was the recipient of the scholarship Project Launch Grant by the Juror’s Choice of the Elizabeth Arden, Nordstrom, or Martha Stewart. Gran Premio of the Festival of Advertising of San FABRICA, awarded by the communications and Center of Santa Fe (New Mexico, USA). In 2012 she Boasting a knack for lighting and building Sebastián (2003); the silver prize of the Festival research center of Benetton, and she went on to was selected as emerging reportage photographer spaces, they absolutely control the creative de Gráficos Sol de San Sebastián (2004); and the become photography associate editor at Colors by Getty Images and by the III LUMIX Festival for process given that they both direct the totality of Golden Laus Prize for their campaign for the fight Magazine, for which she also works as a blogger Young Photojournalism in Hannover. the production, from localization to postproduc- against drugs (2006). and photographer. — AGM tion. They work in the fields of editorial, fashion, — PPF She combines photography with other multi- portrait and advertising photography, although media tools, such as video and graphic design. Her Selected works it is in the latter where the creative power of the www.adlerfresneda.com most recent work presents, in a very direct and As author/editor, Thinspiration Book. 2012; From close way, problems that affect women. The multi- Here On. Barcelona: Editorial RM and Arts Santa media work, A Bad Day (2010), which tells the daily Mònica, 2013. life of a young bulimic girl, was exhibited at the New York Photo Festival in 2011 and at the Interna- www.laiaabril.com 1 2 1 — Barcelona, 2003. 2 — New York, 2009. A — AFAL 012 013 AFAL — A Afal The Agrupación Fotográfica Almeriense (Photog- Maspons, Xavier Miserachs, Francisco Ontañón, raphy Association of Almería, Afal) was a collec- Carlos Pérez Siquier, Alberto Schommer, and tive of Spanish photographers created in 1950 in Ricard Terré. Heterogeneous in its approaches to order to disseminate photography and rejuvenate photography, the group was united by its concern photographic language. Local in its scope, it pro- for humanism and social reportage as forms of gressively broadened its horizons until it became expression. Afal soon became the mouthpiece of international. In 1955, under the chairmanship of the new documentary realism. José María Artero García and with Carlos Pérez The first issue of the magazine Afal, Revista Siquier as secretary, new goals were promoted, Bimestral de Fotografía y Cine (Afal, bimonthly which sought to break with the pictorial tradition photography and film magazine) was launched in firmly established in photographic societies. One January 1956. It first emerged as a social bulletin of its aims was to edit a magazine which from styled to resemble the ones published by the Royal 1956 became its primary form of expression. The Society of Photography of Madrid, but in its fourth photographers who were part of Afal include Paco issue the editorial profile was changed. Critical of Gómez, Gabriel Cualladó, Ramón Masats, Oriol pictorialism and geared toward documentary and humanist photography, it revealed a concern for the image as an instrument of culture and com- munication. Thirty-six issues were published up to 1963, although not always continuously. Each number devoted a portfolio to a photographer or a group, and brought together articles and contribu- tions from abroad. It made the work of European and American masters available to Spanish pho- tographers and disseminated the work of the latter outside the country, which led Edward Steichen, curator of The Museum of Modern Art of New York, to invite a number of the members of the group to take part in the exhibition The Family of Man, which took place in the American museum in 1959. In 2006 the Contemporary Andalusian Art Center hosted the show Afal. El grupo fotográfico 1956-1963 (Afal. The photography group 1956-1963). — MMN 2 Photography According to Afal always seen as being faithful to oneself, taking a sincere attitude when LAURA TERRÉ faced with falsehood, artifice and sophistication […] All Afal photographers recognized the importance of abstraction, which One cannot define the tendency of the Afal group as anything but a invited them into a new way of seeing reality. That was the root of their traffic of ideas among its members, a flowing energy that from a historical knowledge of the exhibitions Subjektive Fotografie by Otto Steinert and of point of view tends to be formed in theory. As it is such a varied group other manifestations of abstract photography, such as the The Contemporary in which different photographic approaches coexist and even fight, Afal Photographers, The Sense of Abstraction exhibition at the MoMA, which was does not speak of a tendency as dogma accepted by all of its members. held in June-August 1960. The abstract approach opened a contemporary Its defining character is the flow, the interchange of ideas, the effect of dimension in photography, helping it to definitively move away from being which may result in agreement or dissent. But seen in historical terms, in an imitation of XIX century painting. But the authentically photographic the Afal group, beyond confrontation, there was consensus. The group’s and modern gaze was the natural gaze, which sought to eliminate the aim was to spark a common position, dialogue and participation. As a repetition of stylistic elements from the images. What united all Afal space for interchange, it distilled a series of shared agreements, but it also photographers was an awareness of the danger that lay in formalism as the crystallized differences and rivalries on the unattended edges of human origin of new salon-type exhibitions. relations as an announcing of the breaking up of the group […] The Afal photographer sought new settings of the beautiful, constantly The ethical concern, the problems in solidifying a social function for the questioning the classic conception of beauty. But the work had to contain photographer and photography, was the main nucleus of connection the originality and novelty of a new product, without smacking of imitation between the several different personalities of the photographers. “Taking of style or subjects, no matter how modern these might be. He sought a to the street,” was a slogan they repeated in their letters and articles, as balance between the intentional and the accidental, aware of the banality of a flight from the photographic circles and a commitment to everyday the casual photo and the easyness of the prepared photo. A balance between 1 — Front cover of the magazine of the group Afal, life. The search for a functional photography, one that was necessary for subjectivism and reality, trying to avoid out-and-out reportage, in which the number 6, November-December, 1956. people, in a constant struggle against photography as art. And within expression of the author had no place. — 2 — Members of Afal (from left to right): Ramón Masats, Carlos Pérez Siquier, Ricard Terré, Gabriel Cualladó, Paco this functional aspect, to centre their work on being a witness, with the Gómez, Oriol Maspons, Alberto Schommer, and José María constant involvement of the photographer with his time, always avoiding “La fotografía según Afal” (Photography according to Afal), by Laura Artero. Ontañón and Miserachs are not pictured because exoticism, local color and decoration. The prime motivation of an Afal Terré. Historia del grupo fotográfico Afal, 1956-1963, (History of the they were abroad. San José, Níjar, Almería. June 1991. photographer lay in a deep ethos which arose from a pact with the Truth, photographic group Afal, 1956-1963). Seville: Photovisión, 2006. 1 A — AGUAYO, JOSÉ F. 014 015 AGUAYO, JOSÉ F. — A José F. Aguayo The son of bullfight photographer Baldomero Neville, and El extraño viaje (1964) by Fernando Poem Fernández Raigón, Aguayo first came to photogra- Fernán-Gómez. He worked together with Luis Bu- PACO RABAL phy when he was nine years old, as his father’s as- ñuel in Viridiana (1961) and Tristana (1970), two of MADRID, 1911 — 1999 sistant. During his adolescence he became a pro- the great masterworks of the film director. The first fessional bullfighter, giving up in 1933. Ever since of them, in which Aguayo produced excellent realist that moment, which coincided with the arrival of photography in black and white, won the Palm d’Or For his father Baldomero talkies to Spanish cinemas, he started working as at the Cannes Festival. And the second one, based a great bullfight photographer a specialized graphic reporter in bullfights. In 1935, on the work by Benito Pérez Galdós, was perfectly he grew devoted to the cameras he carried out a feature about the filming of Currito in synch with the general tone of the story thanks helping him in his trade. de la Cruz by Fernando Delgado, which would lead to the use of sepia color and chiaroscuro, which to him being employed as stills photographer by enabled him to efficiently narrate the peculiar rela- But the bull attracted him cameraman Enrique Guerner, who would become tions of the main characters of the movie. and in farms and estates his mentor. During the Spanish Civil War he worked In 1987, he received the Goya award in Cin- he dreamed of wonderful matches in republican newsreels. Later he devoted his time ematographic Arts and Sciences, and in 1996 the and delirious passes. to film direction and teaching at the Official School Gold Medal for Merit in Fine Arts. Three years prior of Cinematography (between 1958 and 1976). to his death, the exhibition and film José F. Aguayo: Eighty times he killed Through close to 50 years of work, he took part imágenes del cine español (José F. Aguayo: images with neatness and style in over 100 Spanish films as director of photogra- of Spanish cinema, Cultural Center Conde Duque, eighty tough young bulls phy. He made his debut in 1945 with Castañuela, Madrid) paid a last tribute to the Spanish director without getting up in the stirrup. directed by Romón Torrado, and collaborated with of photography. Juan de Orduña in some of the great hits of post- — LA And our great little bullfighter war Spain, such as Lola se va a los puertos (1947), small in stature Locura de amor (1948) and El último cuplé (1957). Selected work but great in heart He also worked in other successful films, such as José F. Aguayo: imágenes del cine español (José had to leave his place, Maribel y la extraña familia (1960) by José María F. Aguayo: images of Spanish cinema). Madrid: because even with great worth Forqué; Mi calle, the last film by director Edgar Ayuntamiento de Madrid, 1996. he could not reach the nape. Were for his fierceness He’d have been a phenomenon. But he went with the photo into rings and sports halls portraying the real and putting that living character of a creator that gave gleam to his camera. From Eduardo Maroto to Buñuel the magnificent this daring bullfighter put his light and talent; because for me José Fernández Aguayo, I say, on top of his glories was a bullfighter for a book, he plays with the shadows, with his different colours, putting banderillas on the most conflicting shot. I, who have had the good luck, besides being his friend, of being illuminated by him, well depicted and well shown, today give thanks and applaud this heartfelt homage 2 which is for and gives grace to someone called Novillo. Documentaries, bullfights, notorious films, your nobility, your figure, that grows great in the infinite, make Pepito embrace you with extreme fondness. “Poema,” by Paco Rabal. José F. Aguayo. Imágenes del cine español (José F. Aguayo: 1 — Rally of the Socialist Association of Madrid. images of the Spanish cinema). Madrid: Ayuntamiento de Madrid, 1995. 2 — The mascot of the Asturias regiment. Madrid. 1 A — AIRES, CARLOS 016 017 AJA, BERNARDO — A Carlos Aires He completed his undergraduate degree and PhD imbue the spectator in an uncomfortable reality Bernardo Aja He read photography at the University of Santa to this end sketches drawn by him prior to taking in fine arts from the Alonso Cano Faculty in Gra- with multiple interpretations. Monica (California, USA) and worked as an as- each photograph. This series does not seek to fall nada, also attaining a master in European arts and His pieces have featured in exhibitions organ- sistant to photographers for two years in New into social critique, but rather intends to serve as RONDA, MÁLAGA, 1974 cultures from Leicester University and the Fontys ized by institutions and museums such as BOZAR SANTANDER, 1973 York. Between 1997 and 1999 he was the official witness to a time that is disappearing. Academy of Tilburg (UK and the Netherlands, in Brussels (2005), Artium in Vitoria-Gasteiz photographer to Peru’s former president, Alberto Baja Pictures collaborates with Vogue and with 1997-2000) and earning a scholarship from the (2010), the International Museum of Modern Art Fujimori. He has collaborated with major agencies magazines and specialized publishing houses in atelier of the Museum De Pont in Tilburg (2000- (MIAC) in Lanzarote (2011), the Belvedere Palace in such as EFE, Reuters and Agence France Press Mexico City. Among Aja’s latest exhibitions feature 01), where he worked as an exhibition organizer Vienna (2012), Domus Artium in Salamanca (2013), (AFP), as well as with the Spanish Royal House, his presence in the group show Madrid, ¡oh cielos! and assistant to Dutch sculptor Guido Geelen. and the art center Maison Particulière in Brussels and he founded the company Baja Pictures, which (Madrid, oh heavens! Rooftop terrace of the Círculo From 2001 to 2003 he pursued further studies at (2013), among others. produces advertising commissions. Having worked de Bellas Artes, Madrid, 2010) and his solo exhibi- HISK in Antwerp (Belgium), and the following year His work has merited him the Primer Premio as a reporter in South America, he presently con- tion Entre Muros (Museum of Tlatelolco, Mexico he moved to Columbus (Ohio, USA) to enroll in the Jóvenes Creadores Malagueños (1998), the Manuel ducts his trade in Madrid and México, combining City, 2012). In 2011, Entre Muros earned him the Untitled. From the series Y fueron felices master in photography from Ohio State University. Rivera scholarship from the Diputación de Granada Doña Rosita and her family at the photojournalism with advertising and portraiture. fourth prize, the Lorenzo il Magnifico Medal, and (And they lived happily). Antwerp, 2005. Aires is a visual artist whose work hinges on (2000), the De Pont Foundation prize (2001), Caja home of Los Almendros. Roma Of note from his personal production is the an honorable mention by the jury at the Biennale photography and video, even though his origins San Fernando’s Joven Autor Andaluz award (2001), community, Mexico City, 2011. project Entre muros (Between walls), a series of por- d’Arte Contemporanea of Florence. as a sculptor become evident from the way he a Fulbright scholarship (2003), the Premio Jóvenes traits of the most distinguished Peruvian, Mexican — AGM presents his exhibitions. His provocative works Creadores Andaluces from the Instituto Andaluz de and Philippine bourgeoisie. Interested in learning the conceal an element of drama beneath their beauty, la Juventud (2004), the Prix de la Jeune Peinture intimacy of his characters, the space that defines Selected works the pain mirrored in a smile. Love is in the air Belge (2005) and the first prize in Caja Madrid’s them and in which they live, Bernardo Aja builds for El señor de los milagros (The miracle man). Madrid: (2007) falls squarely within this notion, with Generaciones award in 2008. His work is included these portraits theatrical stages in which everything Fundación Telefónica, 2003; Madrid, ¡oh cielos! silhouettes taken from images of violent or tragic in the permanent collections of Artium in Vitoria, is contemplated and nothing is left to chance, using (Madrid, oh heavens!). Madrid: CBA, 2010. content cut over vinyl records or engraved on the Instituto Andaluz de la Juventud, the Contem- kitchen knives which come in direct confrontation porary Art Center of Málaga, the National Belgium with the very name of the installation or the titles Bank, the arter museum in Istanbul, and the MAK of the albums used. And the installation Open- museum in Vienna. ing Night (2012), comprising 2,500 small lamps — JFP stamped with photographs that focus on this very theme or similar ones, which intermittently illumi- Selected work nate the exhibition hall. Marked by an ambiguous Carlos Aires. Opening Night. Málaga: CAC, 2012. aesthetic derived from the artist’s analysis of the commonplace and the cultural context, both works www.carlosaires.com A — ALAS, LUIS DE LAS 018 019 ALBAJAR & ALTARRIBA — A Luis de las Alas Fully devoted to professional photography since luna del siglo XXI, Fuera de Serie, Magazine, La Albajar & Altarriba They have been working together since 1988. Pilar tor’s interpretation they depict an imaginary world the end of the 1980s, Luis de las Alas is part of Revista by El Mundo, El Dominical, and El País Albajar, a graduate in filosofía y letras (philosophy in their photographs, built from prejudices, fears the founding members of the magazine Matador, Semanal, as well as the magazines Match and Quo, and humanities), is a photographer, while Antonio and obsessions. Hence, one of their most recent MADRID, 1964 directed by Alberto Anaut, which on a yearly basis for which he has photographed major figures in the PILAR ALBAJAR Altarriba is a French literature academic at the Uni- series, Tiranías (Tyrannies), deals with concepts HUESCA, 1948 provides a unique perspective on contemporary artistic and cultural scenes. versity of the Basque Country, as well as a writer, such as consumerism, money, or fashion, which culture, and he was a contributor to the magazine Featured in PHotoEspaña 1999 with his series ANTONIO ALTARRIBA scriptwriter and researcher. are dramatized by animals, while Vida salvaje (Wild El canto de la tripulación, founded by Alberto Rapaces (Rapacious, Sala Fotosíntesis, Madrid), ZARAGOZA, 1952 The creative process of the two consists in the life) presents ordinary situations experienced by García-Alix in 1989. A freelance photojournalist, he also took part in 2008 in the project-exhibition distribution of tasks and is similar to film produc- humans living in the midst of nature. he collaborates with Cinco Días, El País, ABC, and Retrátate-Mírate (Picture yourself-look at yourself), tion. Between them, they choose the subjects, In 2007 the Montehermosos Cultural Center of Expansión, with the magazine Big bob together held at the Canal de Isabel II (Madrid) as part of and Altarriba, acting as a scriptwriter, designs the Vitoria-Gasteiz presented a retrospective of the with Miguel Trillo, and he teaches professional the same festival and in which regular citizens photographs, proposing their shape and distribu- artists from 1988 to 2006. Nine series of digital portraiture at the EFTI academy in Madrid. were asked to pose for famous photographers tion. Albajar is in charge of the realization. Through images treated as a collage of sorts were selected, 1 — David Lynch. Paris, 2008. He has covered almost every genre in photog- and to partake in the subsequent exhibition. He surrealist photomontages that target the specta- exploring and expressing with a good dose of irony 2 — Chinese invasion of Africa. Sudan, 2010. raphy, from industrial photography (gastronomy, was awarded the FotoPres prize in the category of and humor concepts such as sex, loneliness, death, hotels, wineries, corporate…) to landscape pho- “Portrait” in 1990. or sins. Previously, they had taken part in Fotofest tography and reportage, standing out above all in — MMN (Houston, Texas, USA, 1992 and 1996) and Paris editorial portraiture (magazines, fashion and album Photo 1999. More recently, their work has been ex- covers). In his own words, his portraits constitute Selected work hibited at Les Rencontres de photographie d’Arles a visual interview of his models; he needs to get Luis de las Alas. PHotoBolsillo. Madrid: 2011 (France) and at the MIA Fair 2013 (Milan, to know them beforehand in order to be able to La Fábrica, 2013. Italy). Some of their work can be found at Artium capture their personality. In this regard, especially (Vitoria-Gasteiz), the Photography Center Isla de notorious are his covers for the supplements La www.luisdelasalas.com Tenerife, the Fondation Regards de Provence (Mar- seille, France), and the National Fine Arts Museum of Buenos Aires, among other collections. — AGM Selected works Manufacturas (Craftworks). Vitoria-Gasteiz: Depar- tamento de Cultura, Juventud y Deportes, 2004; El elefante rubio: fotografías de 1988 a 2006 (The blond elephant. Photographs from 1988 to 2006). Vitoria-Gasteiz: Ayuntamiento de Vitoria-Gasteiz, 2007; Vida salvaje (Wild life). Zaragoza: Prensas de la Universidad de Zaragoza, 2008. www.altarribalbajar.com 1 2 1 — Power, censorship, fashion. From the series Tiranías (Tyrannies). Vitoria, 2012. 2 — The parting, the idea, spring. From the series Irrupciones (Irruptions). Vitoria, 2006. 1 2