Casa de América hosts the first exhibition of Carlos Endara outside his native Panama and the exhibition The Louvre and its visitors by Alécio de Andrade
San José School Pupils Performing The Court of Civilization Allegory, 1905. Courtesy: Colección Casa Museo Endara. © Carlos Endara
Casa de América has presented this morning two exhibitions under PHotoEspaña 2011 Official Section: Carlos Endara under Interfaces: Portraiture and Communication, and Alécio de Andrade exhibition as a invited project
The exhibition A Brave New World. Panama Through the Eyes of Carlos Endara includes vintage, as well as new, prints, encased negativesand, illuminated portraits and 150 visiting card
The show of the brazilian photographer Alécio de Andrade join 88 photographs reflecting on the attitudes of Louvre visitors and cataloguing their reactions and social typologies
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TUESDAY, MAY 31, 2011
Casa de América has presented this morning two exhibitions under PHotoEspaña 2011 Official Section, one under the thematic section Interfaces. Portraiture and Communication and the other one as a invited project.
In one hand, the singular work of Carlos Endara leaves Panama for the first time to be shown in a solo gallery exhibition that includes vintage, as well as new, prints, encased negativesand illuminated portraits and 150 visiting cards under the name Brave New World. Panama Through
the Eyes of Carlos Endara. Practically unknown, the work of this pioneer of regional photography endures as a testimony to the history of Panama from the late 19th and first half of the 20th centuries.
Endara has left a portrait of a felicitous Panama. With almost messianic determination, he photographed what he saw as a fortunate (even lucky) society, precisely because the engine of its socioeconomic machine was a hulk of contradictions in a constant state of flux. What distinguishes Endara from the photographers of his time is the range of his human and environmental register. With a frontal, direct, and eloquent style, he photographed the poor, immigrants, families, and couples without confining himself by any means to the wealthy; rather, he photographed people of diverse ethnic and socio-economic backgrounds, thus capturing the diversity of humanity that arrived in Panama in search of a better life.
Carlos Endara (Ecuador, 1867-Panama, 1954) arrived in Panama in 1886 in search of his father, who worked on the construction of the French Canal. He began his professional career as a drawer and later worked with a French photographer, who taught him the craft. After a brief time associated with Epifanio Garay, he founded his own studio which would go on to define the times. His images have appeared in newspapers and magazines in Panama, including Épocas, El País, Panama Mirror, Estampas, and the Sunday supplement Raíces of La Prensa.
In another hand, Casa América presents the exhibition The Louvre and its visitors by Alécio de Andrade. Beginning in 1964 and over the course of nearly thirty-nine ears, Alècio de Andrade walked through the halls of the Louvre museum, taking over 12,000 photographs. Each one, with a language fashioned of humor and tenderness, reveals both the public appropriation of the museum space and the relationships, in some cases unusual, that emerged between the visitors and the artworks.
Without trying to find a chronological sequence, nor attempting to catalogue the transformations that took place in the museum over the years, the exposition collects 88 photographs in which de Andrade’s point of view teases out fortuitous resonances among the images hanging on the walls and the attitudes of visitors. The exhibition also works as a broad catalogue of social types and reactions, from the seasoned and studious, who scrutinize the canvasses at mere centimeters’ remove to the festive indifference of children.
About de Andrade
Photographer and poet, pianist and friend of writers and musicians worldwide, Alècio de Andrade (Brasil, 1938-France, 2003) studied law at university, in his native Rio de Janeiro. Interested in music and poetry from a very young age, he received awards on various occasions for his lyric poetry. In 1964 he moved to Paris, where he would live until his death. He took photos for outlets such as Newsweek and Elle, and he was a member of Magnum Photos. With Henri Cartier-Bresson as a reference point, his work is marked by the use of black and white and a lack of flash and post-production editing.
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XIV International Festival
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