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Image: Paolo Gasparini\u2019s \u201cThis Sky We See Here\u201d (1972).CreditPaolo Gasparini, Collection Leticia and Stanislas Poniatowski<\/em><\/p>\n <\/p>\n Venezuelan Artists:<\/strong><\/p>\n Alfredo Boulton<\/p>\n Paolo Gasparini<\/p>\n Alexander Apost\u00f3l<\/p>\n Daniel Gonz\u00e1lez<\/p>\n Barbara Br\u00e4ndli<\/p>\n Vladimir Sersa<\/p>\n Jorge Vall<\/p>\n Julio Vengoechera<\/p>\n Roberto Fontana<\/p>\n Ricardo Armas<\/p>\n Carlos German Rojas<\/p>\n Luis Molina Pantin<\/p>\n Salvador Valero<\/p>\n Ricardo Jimenez<\/p>\n <\/p>\n From May 16 through September 7, 2014, the International Center of Photography (ICP) presents Urbes Mutantes: Latin American Photography 1944\u20132013, a major survey of photographic movements in Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, and Venezuela.<\/span><\/p>\n Urbes Mutantes (Mutant Cities) takes the dynamic and occasionally chaotic Latin American city as its focus. Spanning seven decades, but focused particularly on works produced from the 1950s to the 1980s, the exhibition offers a revision of how the continent\u2019s cities have been imagined. The exhibition draws primarily on street photography and depictions of public space during periods of political and social upheaval. It is organized into sections that explore the street as a platform for protest, the formation of urban identities, popular street culture, and the public face of poverty.<\/p>\n \u201cAs the 20th century progressed, amidst struggles for social justice and in defense of democracy and freedom, the city became a setting for uprisings and revolutions,\u201d says Guest Curator Alexis Fabry. \u201cImages became as important as the stories covering the events that shaped these Latin American nations. In certain cases, politics and art were inseparable.\u201d<\/p>\n Without attempting to provide an exhaustive account of Latin America\u2019s photographic traditions, the exhibition spotlights alternative views of the region\u2019s urban centers, bringing greater nuance to stock clich\u00e9s or rigidly framed generic stereotypes. One of the challenges posed by this exhibition is to reveal how politically and socially committed visions can be paired with other types of urban documentation. These include formal experiments, such as abstract renderings of architecture and urbanization, or the more ironic and cynical works that emerged in the 1990s, which sought to question the region\u2019s immutable truths and entrenched myths.<\/p>\n<\/div>\n Rejecting arbitrary distinctions between genres of photography\u2014art photography, photojournalism, documentary\u2014Urbes Mutantes highlights the depth, richness, and diversity of the region\u2019s extensive photographic history.<\/p>\n Comprising more than 200 images, the exhibition is drawn from the collection of Leticia and Stanislas Poniatowski, one of the most extensive private archives of Latin American photography. Urbes Mutantes was first shown at the Museo de Arte del Banco de la Rep\u00fablica in Bogot\u00e1 in 2013 and was co-curated with Mar\u00eda Wills.<\/p>\n Urbes Mutantes: Latin American Photography 1944\u20132013 is supported by Quilvest, the ICP Exhibitions Committee, Artworkers Retirement Society, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.<\/p>\n <\/p>\n Alumni Perspectives<\/strong><\/p>\n May 23\u2013August 22 | Fridays | 6:00 pm<\/p>\n Join ICP alumni for conversations about the exhibition Urbes Mutantes: Latin American Photography 1944\u2013 2013. Spanning decades marked by enormous artistic and political upheaval across Latin America, the exhibition focuses on the city, particularly as seen through street photography. Every Friday at 6:00 pm, ICP alumni lead discussions in the exhibition while sharing their personal perspectives as Latin American photographers.<\/p>\n