The festival venues lend themselves to a type of photography which is private or which makes reference to issues of domesticity, a theme we already explored in an earlier edition and which we continue to delve into in 2019. Pamela Singh’s self-portraits taken in the village of Loutolim are the closest we have to Francesca Woodman in India, both photographers sharing a confidence in the expressive capabilities of their own bodies. The Mexican photographer Tania Franco Klein uses the feminine body –including her own- to narrate a different story. Her impeccable and cinematically constructed interiors speak of confinement and dystopia as we are confronted with an American dream gone wrong. Over twelve years, the Swiss artist Anne Golaz depicted the rural farm where she grew up – she will participate in the form of a performed reading with an accompanying projection, Corbeau, to End as Expected.
At first sight, Ricardo Cases’ Dove Into the Air does not appear to be very domestic -as its protagonists spend their time staring at the sky, looking at how their pigeons race against each other. Wait till you see the collection of vintage images he found in the pigeon-keepers’ homes: a male dove pictured next to the trophy that it earned for its owner standing on top of the living room TV is one such image. The interrogation of the very idea of a home – a woman metamorphosed into an itinerant house as in Shivani Gupta’s Girl in a House– or precisely the absence of one, as in Edgar Martins’ What Photography & Incarceration have in Common with an Empty Vase are also explored by the festival. Cecile Smetana presents Diaspora a delicate portrait of the little known African-Mexican community of El Azure, a fishermen’s village on the Costa Chica region.