"Stendhal’s famous definition of the novel—a mirror carried along a road—could well apply to The Last City. But Ortiz Monasterio's is a selective mirror, precise and implacable, which retains only that which is worth preserving." —José Emilio Pacheco Mexico City presents a post-apocalyptic paradigm, rivaled only, perhaps, by Los Angeles. It is a metropolis ravaged by immense poverty, crime and the ill-effects of overpopulation. As a street photographer working in the tradition of committed documentary image-making, Pablo Ortiz Monasterio (born 1952) reveals Mexico City’s fragmentation.
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"Stendhal’s famous definition of the novel—a mirror carried along a road—could well apply to The Last City. But Ortiz Monasterio's is a selective mirror, precise and implacable, which retains only that which is worth preserving." —José Emilio Pacheco
Mexico City presents a post-apocalyptic paradigm, rivaled only, perhaps, by Los Angeles. It is a metropolis ravaged by immense poverty, crime and the ill-effects of overpopulation. As a street photographer working in the tradition of committed documentary image-making, Pablo Ortiz Monasterio (born 1952) reveals Mexico City’s fragmentation.
