Beyond geography and circumstance.

Supported by the Mexican National Council for Culture and Arts and organized by the Centro de la Imagen (Center of the Image), the Fifth Latin American Colloquium of Photography brought together over 670 photographers, historians, curators, critics and philosophers to discuss the state of Latin American photography. The four-day colloquium elicited intense feelings of camaraderie amongst the participants, who, at the end of each day's programming, carried on for hours over dinner and coffee. An array of book signings, workshops and film screenings were offered throughout the week. The city itself was host to an incredible number of exhibitions that received great fanfare and media coverage. The colloquium was the highlight of FotoSeptiembre (Photo September), a "photography month" that filled museums, galleries, educational institutions and alternative spaces (e.g., subway stations) with the art of photography. Begun in 1993, this year's projects encompassed more than 500 exhibitions that took place in Mexico, Peru, Chile, Spain and the United States. Although the colloquium itself had no formal theme, at its conclusion many participants called for a critical understanding of photographic practice through education and dialogue within the Latin American community.

In her opening remarks, Patricia Mendoza, director of the Center of the Image, addressed "the idea of a Latin American identity brought together through geography and circumstances." This idea was discussed in most of the central panels, which included "Modernity in Latin American Photography," "New Historical References in Latin America," "The Experience of Transterritoriality," "Community Work and Education in Photography," "Tendencies and Alternatives for Documentary Photography" and "Different Image Readings." In addition, there were panels and lectures that addressed specialized issues like photography in science, copyright concerns, digital imaging and editorial work. An impressive list of individuals participated in the colloquium, such as Esther Acevedo, Joan Fontcuberta, Paolo Gasparini, Boris Kossoy, Max Kozloff, Susan Meiselas, Jose Pablo Ortiz Monasterio, Carla Stellweg, Antonio Rodriguez, Raquel Tibol and Rafael Tovar y de Teresa.

In a keynote speech, Pedro Meyer unpacked the concept of Latin American photography - its definitions, shifts, conditions and contents. He also addressed photographic manipulation in media, the traditional code of conduct of the photographer, the process of image distribution through the Internet and the need for capable individuals trained in the new technology to bring direction and clarity to the forefront of photography. This technology education, he hoped, would stimulate a collective effort to revitalize photographic activity in Latin America, which he believes is mired in traditional, silver-based practices.

Due to inevitable scheduling conflicts, I chose to cover only specific central panels. The first explored the development of Modernism in various Latin American countries, such as the fascination with indigenous cultures in Brazil. Another panel addressed the need to establish channels for the distribution of writing on Latin American photographic histories. Kossoy, an historian of Brazilian photography, called for the reevaluation of these histories so that they are no longer "a succession of episodic happenings," but are situated in a broader socio-cultural context that sets forth "interpretative references."

As the colloquium progressed into its second day, some panelists voiced concern about foreigners who emphasize the "exotic" and "surreal" in their writings about Latin American photography, thereby expanding an already extensive body of misinformation. Eurocentric notions of Latin American photography were critiqued, particularly its stereotyping of indigenous populations, which has led to a purely anthropocentric understanding of societies. In addition, transterritoriality was addressed as a concept that extends border crossings, both literal and metaphorical, to both the artists and their work. Kathy Vargas, a photographer and curator from the U.S., related transterritoriality to Chicano/a aesthetic expression. She stressed alternative currents that have led many photographers to take their "otherness" as a source of strength and pride.

The prospect of community work and education was taken on by panelists during the third day. Peruvian photographer Susana Pastor spoke about a project organized by photographers and sociologists in which miners and other campesinos (peasants) were given autofocus cameras and taught basic instruction in their use. The resulting photographs were not only exhibited in public spaces but, equally important, gave voice to a social movement coming from repressed sectors of Peruvian society. Alejandro Castellanos, a curator and teacher at the University of Veracruz in Mexico, outlined the real need to broaden education with the critical analysis of photography. Another panel embarked upon the analysis of current documentary activities and their social compromises. By discussing the interpretation of photographs in particular communities and among diverse audiences, the participants highlighted the need for a documentarian collective to take a critical stance towards the images they produce. Gasparini, a photographer who resides in Venezuela, argued that in Latin America there is still little questioning of the function and position of photography in contemporary society. He even questioned his own participation in all of this image world, stating,

It would be of great benefit, for us the photographers of Latin America, to find out if we have been capable of working out and formulating our own coherent discourse, around our own reality and of our chimeras, meaning, of our being in this world. Knowing, with a certain photographic perspective, which is our image or the profile that has taken shape in the view of this world so photographed.

On the last day, the participants of the colloquium were engaged with the idea of photographic interpretation. Felipe Ehrenberg spoke about art and the idea of a shift taking place within its realm, a shift where analogical works evolve into digital ones. He presented his plans to add to and broaden the visual languages available in all media. He asked for artistic disobedience, called forth the metaphorical power of transgression and advocated critical theory as a bridge for artists and their works. Technology and its applications were discussed, especially how they can transform images by loading them with information and signification. According to Ehrenberg, this occurs notwithstanding the intention of those who capture these images, the intention of the people who transmit them or even the intention of those who are in charge of their redistribution. Kozloff pointed out that despite intention, content in images is not always stable nor is it exclusive. He made clear distinctions between a nominal content (here linked to genre interests) and an effective content where a personal response to images takes place. Elizabeth Ferrer followed this with the idea that an appreciation of personal response is linked closely to the role of exhibitions. She brought up the impact of U.S. cultural institutions that have created exhibits that embrace multiculturalism and their subsequent impact on the imaging and understanding of Latin American photography. In the closing of the colloquium, Spanish photographer Fontcuberta provocatively brought forth a range of current work by contemporary photographers from around the world in reference to ethical issues, the idea of a "culture of vision" and the "corruption of experience" that photographic imaging can bring about.

The variety of themes present throughout the colloquium is a sign of the diversity that exists throughout Latin American photography - nevertheless the limited dialogue between panelists and audience was disappointing. The colloquium relied on the power of single lecturers and panel presentations to supply itself with both resonance and variety. This strategy did not contribute to collective understanding; rather, it gave the colloquium a fragmented quality. The colloquium also underscored the lack of a common critical language in which to engage Latin American photography. To this reviewer it is imperative that Latin American photographic communities establish more educational opportunities for the development of critical discourses and practice. These opportunities should go beyond the reading of papers at colloquia to include revitalized curricula in schools, universities, museums and informal education programs. If these educational opportunities are provided, then the idea of a "Latin American identity" can be based on more than geography and circumstances.

SANDRA GLUZGOLD is a Mexican photographer and writer currently living in Rochester, NY.