Published by RM/La Marca Editora/Estudio Madalena/Kaunas Photo Gallery/Ffotogallery. Edited by Ramón Reverté, Pablo Ortíz Monasterio. Text by Anne Tucker, Felipe Ehrenberg.
Argentinian photographer Marcelo Brodsky (born 1954) compiles archival photographs of political movements from Paris to Mexico City in 1968, highlighting details through the addition of color, text and drawing.
Published by Editorial RM. Text by Sandra Lorenzano.
Dialogue allows us to discover what makes us similar, but also what sets us apart. It is the supreme challenge of our capacity to accept, where tension and contradictions, agreements and differences are resolved in a double gaze, in a common quest, begins writer Sandra Lorenzano in her introduction to Correspondence, which presents a volley of images e-mailed between Buenos Aires-based Marcelo Brodsky and Mexico City-based Pablo Ortiz Monasterio. Throughout the project, each photographer responded to the other's last image, poetically, playfully and intuitively combining the chance of a ready-made with the complexity of photographic memory. This volume's bold design reflects the artists' process: the spreads include one image by each artist, with the last image from the previous spread repeated on the first page of the next spread. Seeing each image twice creates an uncanny and suggestive vibe, replicating the instantaneous method in which the photographers worked and causing the viewer to draw unconscious connections.
Published by Hatje Cantz. Edited by Inka Schube. Essays by Martín Caparrós, José Pablo Feinmann and Juan Geiman.
Marcelo Brodsky was 22 years old when a handful of officers led by general Vileda staged a coup that forced Argentina into a cruel military dictatorship that lasted until 1984. The resulting terrors led to the deaths of 2,300 opponents of the regime; at least 30,000 were declared missing. During this period, artist and human rights activist Marcelo Brodsky fled to Barcelona. After the regime ended and Brodsky returned from exile, he created Buena Memoria, a complex and deeply touching study about individual suffering which is featured in the book at hand and gives it its title. Taking as its starting point the graduation photograph of the class of 1967 at Colegio Nacional in Buenos Aires, the work is a multi-faceted biographical research project. In it, photographs from family albums, videos, personal and literary notes, and recent documents that attempt an analysis of the dictatorship are found side by side. The result is an impressive and touching memorial, a collaged reconstruction of Brodsky's friends' biographies and that of his brother RubŞn, who is missing to this day.