Author Archives: psv

The environment and social protests, winners at World Press Photo 2020

We already know the winners of the international photojournalism and digital narrative competitions organized by the World Press Photo Foundation, which will be part of the exhibition that can be visited in Barcelona, ​​from November 13 to December 20 at the CCCB, with the support of the Fundació Banc Sabadell.

“Straight Voice” © Yasuyoshi Chiba / AFP

Among the winners, the World Press Photo of the Year to “Straight Voice”, by the Japanese author Yasuyoshi Chiba for Agence France-Presse, and also the World Press Photo Story of the Year, awarded to the work “Kho, the Genesis of a Revolt”, by the French photographer Romain Laurendeau. This award has been given for the second year in the competion and it focuses on long-range narrative works, beyond impact pictures.

By awarding both prizes, the judges have highlighted the important role of youth in promoting change, also highlighting that one of the main topics in 2019 has been social protests. Also the environment has been inspirational for many outstanding works, becoming the predominant topic on a dozen of the award-winning images and stories, which really means a continous trend from the previous edition.

The aim of the World Press Photo Foundation is that its contests presents a look, as plural as possible, to what is happening in the world today. To accomplish that, it carries out campaigns throughout the year in order to attract new photographers from the most varied origins. Sanne Van der Loeff, head of exhibitions in the Netherlands, comments: “In 2019, we organized photography meetings in places like Nairobi, Dar es Salaam, Hanoi, Maputo, Siem Reap and Bangkok, directly contacting different organizations, but also conducting extensive online dissemination campaigns”. In addition, they focused the campaigns on attracting the participation of women and photographers from African and South American countries. Even when the results will be visible in the medium-long term, the organization believes that it is essential to improve the diversity of points of view that it reflects in its competitions.

Spanish photographers at World Press Photo 2020

Ricard Garcia Vilanova

The Barcelona photojournalist Ricard García Vilanova has won the 3rd Prize in the Current Issues – Single Pictures category, with an image about the popular protests in Iraq known as the Tishreen Revolution, started in late 2019. Specialized in areas of conflict and humanitarian crises, and with more than 20 years of career, García Vilanova won, together with the journalist Karlos Zurutuza, the I Photographic Social Vision Scholarship for investigative photojournalism in 2016 with the project “Exodus. Life and death on the Libyan route to Europe”. His pictures have been published in prestigious media such as The New York Times, The Washington Post, The Wall Street Journal, Le Monde, Libération, The Guardian, The Times, Die Welt, and Der Spiegel, among others, and he has collaborated with organizations such as United Nations, also working as a reporter for CNN, BBC or Aljazeera, among others.

Regarding his winning photograph, Ricard García Vilanova tells us that it is part of his work documenting the protests in Iraq, which “with more than 600 dead, went largely unnoticed by The West. The goal was to present a society in need of change after its government extinguished any opportunity to offer work or aspire to a future. Protesters staged protests in October, resulting in tremendous repression. Specifically, this image was taken one day when, like many others, the violent response against protests increased. During the afternoon, there was real fire, in addition to tear gas. I think the injured man was a casualty of the gas. It was all very fast, with just enough time to shoot my camera before he left for the hospital in that vehicle”. The composition of the picture is reminiscent of a pietá and the lighting can refer to Caravaggio. “It is true, it can remind of the Caravaggio’s painting, but it was totally coincidental. Suddenly, the protester vanished and someone put him on top of another, who also seemed to be wounded, and it was the moment in which I took the image”. García Vilanova reveals.

Antonio Pizarro Rodriguez / Diario De Sevilla

For his part, Sevillian photojournalist Antonio Pizarro Rodríguez is the winner of the 3rd Prize in the Nature – Single Pictures category, for an image published in the Diario de Sevilla about the Iberian lynx, the most threatened feline on the planet, in the Doñana National Park. It is a complicated image, very dynamic, with one of the protagonist animals captured in full jump and foreshortening, and the other one remaining vigilant and in a transversal position. Its author explains how he did it: “I have to say that I took it from a distance. I was not present when the animals passed by the camera. I used the infrared barrier technique so as not to disturb and interfere with the behavior of the animals. It was very difficult because I had to invest two months. My daily routine consisted of going at 8 in the morning, putting the camera, going back at 3 in the afternoon, changing the battery, leaving again and going back at 8 at night to see the results and take the camera back because the equipment was not entirely safe in that place. I want to emphasize that in this picture there is no human presence and that in order to obtain this image it was necessary to make an analysis of the behavior of the animal for several years”.

Ramon Espinosa /Associated Press

Lastly, Ramon Espinosa, also from Barcelona, ​​from the Associated Press agency, has won the 3rd Prize in the Current News category, Individual Photographs, for a photograph of the devastation caused by Hurricane Dorian in the Bahamas in September 2019.

We will soon publish full interviews with the three award-winning Spanish photojournalists.

Listado de los principales ganadores del World Press Photo 2020

Concurso fotográfico World Press Photo 2020

  • World Press Photo Of The Year: «Straight Voice», Yasuyoshi Chiba for AFP.
  • World Press Photo Story Of The Year: «Kho, genesis of a revolt», Romain Laurendeau.
  • Winner on Temas Contemporáneos (fotografías Individuales): «Nothing Personal – the Back Office of War» de Nikita Teryoshin.
  • Winner on Temas Contemporáneos (Reportajes): «The Longest War» de Lorenzo Tugnoli.
  • Winner on Medio Ambiente, Fotografías Individuales: «Polar Bear and her Cub» de Esther Horvath.
  • Winner on Medio Ambiente (Reportajes): «The End of Trash – Circular Economy Solutions», de Luca Locatelli.
  • Winner on la categoría Temas de Actualidad (individual): «Straight Voice» de Yasuyoshi Chiba.
  • Winner on la categoría de Temas de Actualidad (Reportajes): «Hong Kong Unrest» de Nicolas Asfouri.
  • Winner on la categoría de Proyecto a Largo Plazo: «Kho, la génesis de una revuelta» de Romain Laurendeau.
  • Winner on categoría Naturaleza (individual): «Final Farewell” de Alain Schroeder.
  • Winner on la categoría Naturaleza (Reportajes): «Saving Orangutans” de Alain Schroeder.
  • Winner on la categoría de Retratos (individual): «Awakening» de Tomek Kaczor.
  • Winner on la categoría de Retratos (Reportajes): «The Haunted» de Adam Ferguson
  • Winner on la categoría de Deportes (Individual): «Kawhi Leonard’s Game 7 Buzzer Beater» de Mark Blinch.
  • Winner on la categoría de Deportes (Reportajes): «Rise from the Ashes» de Wally Skalij.
  • Winner on la categoría de Noticias de Actualidad (Individual): «Clash with the Police During an Anti-Government Demonstration» de Farouk Batiche.
  • Winner on la categoría de Noticias de Actualidad (Reportajes): «Ethiopian Airlines Flight 302 Crash Site» de Mulugeta Ayene.

Digital Narrative Contest 2020

  • World Press Photo Interactive of the Year: «Battleground Poly U» de DJ Clark / China Daily, como .
  • World Press Photo Online Video of the Year: «Scenes from a Dry City» de Francois Verster / Simon Wood / Field of Vision 

And you can also check here the rest of the works featured in World Press Photo 2020.

#WPPBarcelona #WorldPressPhoto2020

World Press Photo 2020 Barcelona is postponed to November

Following the recommendations of the health authorities regarding the COVID-19 pandemic, the Photographic Social Vision Foundation has decided to postpone the World Press Photo 2020 exhibition, postponing it to autumn.

The exhibition, which brings together the authors and winning projects of the World Press Photo 2020, the world’s most prestigious photojournalism contest, can be visited from November 11 to December 13, 2020 at the Centre de Cultura Contemporània de Barcelona (CCCB). UPDATE: finally, November 13th to December 20th. will be the definitive dates.

The winners of the World Press Photo 2020 – Photography Contest and Digital Narrative Contest – will also be announced on April 16, 2020, as scheduled.

The Photographic Social Vision Foundation will continue working and maintaining all its communication channels throughout the time this exceptional situation lasts, updating all the information related to its areas and projects, including the World Press Photo in Barcelona.

The Foundation wishes to thank the support shown by all its collaborators, including its accomplice, the CCCB, and its main collaborator, the Fundació Banc Sabadell.

World Press Photo 2020 Nominees

Three Spanish photographers are among the nominees for the World Press Photo 2020 awards! They are the Ricard García Vilanova and Ramon Espinosa from Barcelona, ​​and Antonio Pizarro Rodríguez from Seville.

We congratulate them effusively from the Photographic Social Vision Foundation, thanks to which Barcelona will once again be one of the first cities in the world to host the exhibition of the winning works of the World Press Photo 2020, from November 13 to December 20 at the CCCB – Center of Contemporary Culture of Barcelona, ​​with the support of the Banc Sabadell Foundation. In the following link, all the information about the exhibition in Barcelona will be updated.

The World Press Photo Foundation announced today, February 25, all the nominees of 2020 both in the photo contest (where the three Spanish authors participate) and in the Digital Narrative contest. Below, we list the most prominent categories, including the 6 images nominated for World Press Photo of the Year. The winners of the World Press 2020 will be known on April 16.

#WPPBarcelona #WorldPressPhoto2020

The Spanish nominees

“Dorian’s Devastation” – © Ramon Espinosa / Associated Press

Volunteers wade along a flooded road in Freeport, Grand Bahama, on 3 September, after Hurricane Dorian hit the island.


“The King of Doñana” © Antonio Pizarro Rodriguez / Diario De Sevilla

Two Iberian lynx take fright after hearing shots from a hunter’s gun, near Aznalcázar, Spain, on 3 January.

“Unconscious Protester during the Tishreen Revolution” © Ricard Garcia Vilanova

A man assists a fellow protester, who became unconscious after government forces fired tear gas and smoke grenades during a protest in Baghdad, Iraq, on 15 November.

The Barcelona photojournalist Ricard García Vilanova is one of the authors nominated in the General News category with a photograph about the popular demonstrations in Iraq known as the Tishreen Revolution, which began in late 2019.

Specialized in conflict zones and humanitarian crises, and with more than 20 years of career, García Vilanova won, together with journalist Karlos Zururuza, the First Photographic Social Vision Scholarship for Research Photojournalism in 2016 with the Exodus project. Life and death on the Libyan route to Europe.

His photographs have been published in prestigious media such as The New York Times, The Washington Post, The Wall Street Journal, Le Monde, Liberation, The Guardian, The Times, Die Welt or Der Spiegel, among others, he has collaborated with organizations such as the United Nations , and as a reporter he has worked with CNN, BBC or Aljazeera, among others.

Also from Barcelona, Ramon Espinosa, from the Associated Press agency, has been nominated in the Spot News – Singles category for a photograph about the devastation caused by Hurricane Dorian in September 2019.

Sevillian photojournalist Antonio Pizarro Rodríguez has been nominated in the Nature – Singles category for a photograph published in the Diario de Sevilla about the Iberian lynx, the most threatened feline on the planet, in the Doñana National Park.

World Press Photo of the Year nominees

Within the Photography Contest, the category that usually gets most of the media attention is the World Press Photo of the Year. The 2020 edition nominees are:

  • Mulugeta Ayene, Ethiopia, Associated Press

“Relative Mourns Flight ET 302 Crash Victim”

A relative of a victim of the crash of Ethiopian Airlines Flight ET302 throws dirt in her face as she grieves at the crash site of Ethiopian Airlines Flight ET302, outside Addis Ababa, Ethiopia, on 14 March 2019.

  • Farouk Batiche, Algeria, Deutsche Presse-Agentur

“Clash with the Police During Anti-Government Demonstration”

Students scuffle with riot police during an anti-government demonstration in Algiers, Algeria, on 21 May.

  • Yasuyoshi Chiba, Japan, Agence France-Presse

“Straight Voice”

A young man, illuminated by mobile phones, recites a poem while protestors chant slogans calling for civilian rule, during a blackout in Khartoum, Sudan, on 19 June.

  • Tomasz Kaczor, Poland, for Gazeta Wyborcza


A 15-year-old Armenian girl who has recently woken from catatonic state brought on by Resignation Syndrome, sits in a wheelchair, flanked by her parents, in a refugee reception center in Podkowa Leśna, Poland.

  • Ivor Prickett, Irland, for The New York Times

“Injured Kurdish Fighter Receives Hospital Visit”

Ahmed Ibrahim (18), a badly burned SDF fighter, is visited by his girlfriend at a hospital in Al-Hasakah, Syria, on 20 October. She had at first been reluctant to enter the room, as she was horrified by his injuries, but a nurse persuaded her to go in to hold Ahmed’s hand and have a short conversation.

  • Nikita Teryoshin, Russia

“Nothing Personal – the Back Office of War”

A businessman locks away a pair of anti-tank grenade launchers at the end of an exhibition day, at the International Defence Exhibition and Conference (IDEX) in Abu Dhabi, United Arab Emirates, on 18 February.

Other featured categories

Also as part of the Photography Contest, stands out the World Press Photo Story of the Year, with the following nominees

  • Nicolas Asfouri, Denmark, Agence France-Presse
    Title: Hong Kong Unrest
  • Mulugeta Ayene, Ethiopia, Associated Press
    Title: Ethiopian Airlines Flight 302 Crash Site
  • Romain Laurendeau, France
    Title: Kho, the Genesis of a Revolt

And at the Digital Storytelling Contest, we select on the one hand the candidates to the World Press Photo Interactive of the Year:

  • Battleground PolyU, DJ Clark/China Daily
  • Common Ground, Darren Emerson/East City Films
  • River of Forgiveness, Helios Design Labs

And also the nominees to World Press Photo Online Video of the Year:

  • ‘It’s Mutilation’: The Police in Chile Are Blinding Protesters, The New York Times
  • A Different Kind of Force – Policing Mental Illness, Ed Ou/Kitra Cahana
  • Scenes From a Dry City, Francois Verster/Simon Wood/Field of Vision

So long to DOCfield

Photographic Social Vision says goodbye to DOCfield to address new social challenges through photography

After a thoughtful evaluation process, DOCfield says goodbye. There have been six valuable editions of the Documentary Photography Festival of Barcelona and it’s been a pride for Photographic Social Vision to have contributed them to the cultural agenda of the city.

In this Foundation we have worked hard and enjoyed carrying out this beloved project and, in the process, we have grown, learned, shared and also struggled to achieve the goal that motivated it: to see the social value of documentary photography recognized and to spread its dissemination among the public of Barcelona, ​​through an extensive program of exhibitions and activities.

However, Photographic Social Vision is in the process of reviewing its lines of action with the firm purpose of redefining the most effective way to continue supporting and strengthening the field of professional visual journalism. In this evaluation exercise, we feel the need to bet on more effective ways to carry out our mission, such as those referring to our Education and Professional areas, which demonstrate greater success and social return than that provided with the organization of an event increasingly less sustainable each year it passed.

There have been six intense years in which we have spread effectively and with care the work of more than 600 authors, organized more than 180 free exhibitions throughout the city and brought to light stories and testimonies that would hardly have reached our media. And all this thanks to the complicity of many agents and exhibition venues in the sector and the trust placed in the human and professional team of our entity.

We close the doors of the Festival, thanks above all to the faithful audience attending each of its editions. Also to the artistic directors Arianna Rinaldo, Jessica Murray, Natasha Christia and Helena Velez Olabarria, whose contribution of experience, professionalism and passion have been key to guarantee a stimulating program, year after year, of the highest photographic quality.

We also appreciate the decisive institutional support received from the Generalitat de Catalunya, and especially the main collaboration of the Banco Sabadell Foundation, as well as the unconditional participation of EGM as technology partner, and the sponsorship of FUJIFILM, in addition to the collaboration of the City Council of Barcelona and from  OXFAM Intermón.

Inspired by the DOCfield spirit, we will continue to create and develop new and stimulating quality projects to enhance the social value of documentary photography and to continue strengthening the development of its professionals.

Exhibition > ‘Mirades de futur’

Now exhibiting the images taken by the girls and boys participating in the new edition of the mentoring and photography project for youth under guardianship, organized by the Punt de Referència association, in which we have participated for the third consecutive year, advising and teaching specific classes from the Education area of ​​Photographic Social Vision.

The exhibition of participatory photography, called “Mirades de futur” (“Perspectives of the future”) that was inaugurated this Tuesday, June 11, can be visited for free until June 25, 2019 in the photo gallery Espai de fotografia Francesc Català-Roca. It is a key moment in the project “GR 16-18: Art per afrontar l’emancipació” (“GR 16-18: Art to face emancipation”), a collective look that draws attention to the story of the tutored youth. This is how the young participants can share their vision of all that worries them the most: the passage of time, uncertainty, fears and illusions in relation to their emancipation process, which are often difficult to express in words.

Presentació de l’exposició ‘Mirades de futur’

A challenge faced with images

For the guarded youth, reaching the legal age is not a dream, but a challenge. When these teens supervised by the administration must emancipate, they do so from a vulnerable position due to their vital experience and because they have to make an over-effort to build a worthy future, preventing the social exclusion they are facing exposed

Addressed to teenagers between 16 and 18 years of age who are housed in residential resources and who are in the last phase of guardianship, the GR 16-18 project provides them with the support of mentors, young volunteers aged 25 to 30 that help them win in confidence, think about their future and make decisions. The goal is to improve their resources, emphasizing the relational competences and those of initiative, self-knowledge, expression of emotions.

In this edition, the participatory photography project began at the end of October 2018 and culminated in June 2019 with the exhibition where they present the work done, representing with images their reflections, doubts, experiences, concerns and dreams in relation to its emancipation process.


Exhibition “Mirades de futur”

Espai de fotografia Francesc Català-Roca (C. de Llança, 21).

Free entrance.

Hours until June 25th, 2019:

Monday, from 5 to 7 p.m.
Wednesday, from 12 a.m. to 2 p.m.
Friday, from 5 to 7 p.m.

Project > ‘Material sensible’ 2019

Photography to recover personal power

A new edition of “Material sensible” (Sensitive Material) was launched on March 2019. It’s the participatory photography project promoted by the Education Area of ​​Photographic Social Vision that, together with the Vicki Bernadet Foundation, accompanies people who suffered sexual abuse in childhood. During this time, the group of participants, all women this time, use photography as a means to reconstruct their stories and are preparing to make public the results in an exhibition that will host a new artistic space in Barcelona, Chiquita Room, and will open next October.

Fotografía de Beatriz Burgos, participante en ‘Material sensible’ 2019

Half of sexual crimes are perpetrated against minors

The figures for sexual abuse in Spain remain terrifying: the first major report from the Ministry of the Interior’s Department of Security, which was made public at the end of last year, reflects an increase of 30% since 2012 -from 9,008 cases to 11,692 in 2017- and throws a chilling fact: 50% of the victims are minors. Catalonia, Andalusia, Madrid, the Valencian Community, Navarra, the Canary Islands and the Balearic Islands lead the list of communities with the highest incidence. A social scourge that, being mostly perpetrated by men, affects mostly women, girls and boys, who are more defenseless. Increased social awareness makes sexual abuse more and more known, since far from reducing the number of cases, are now more talked about and more reported. With urgency, we need laws, policies, education and, above all, take charge as a society, among us all.

The methodology in participatory photography developed during the years by the Education Area of Photographic Social Vision with different vulnerable groups focuses on observing and recognizing to understand, allowing people in situations of risk to reconnect with their personal resources, using photography to reconstruct their own stories and to document them first-hand, to break patterns, live in greater freedom and take charge of their own reality. A reality, that in the group of women who participate in this new edition of “Material sensible”, has as a common axis the repair of their identity: despite the differences between their histories, experiences, origins or social stratum, it is a constant that their innocence as girls was snatched away by the abuse and that fact has marked the rest of their lifes. it can change the way in which they have reconnected with their power and their sexuality, and how they have repaired the damage from which they often found complicit our society. But the devastating breach that opened the abuse towards them is the same. Now it is they who shoot with their cameras.

Throughout these months, the professionals Alice Monteil and Mireia Plans, from our ​​Education Area, together with the psychologist Núria Grau from the Vicki Bernadet Foundation, accompany these women in their recovery, offering them photography as a tool of expression and creative potential to tell their own story and break the loop that places them as victims. Thus, they become protagonists of their own lives to make decisions, accept their right to make mistakes, rectify, and be worthy masters of their own reality. The learning goes through technical issues, but above all through very sensitive psychological and emotional aspects from their own history, since the seriousness of each situation is not marked only by the crime itself but also by how each person lived that experience. Providing the use of photography to people in situations of risk, as a tool to reconstruct their own stories and document them personally remains, 18 years later, a good part of the raison d’être of this Foundation.

ENTREVISTA > John Moore, ganador del World Press Photo del Año

John Moore © Anna Fàbrega

Hablamos con el fotógrafo John Moore, autor de la imagen que ha obtenido el World Press Photo del Año.

Su fotografía para Getty Images titulada “Crying Girl on the Border” (“Niña llorando en la frontera”) ha obtenido no sólo el premio estrella del World Press Photo 2019, si no también el puesto en la categoría Spot News (Noticias de actualidad), que puede sumar a otros galardones recibidos en anteriores ediciones del mismo concurso por su visión de la crisis de vivienda en EE.UU. (2012), del asesinato de Benazir Bhutto en Pakistán (dos premios en 2008) y de la guerra de Irak (2005).

Pero la imagen que encabeza la exposición de 2019 recorrió tan largo camino como sus protagonistas. Antes de ser premiada, ejerció como símbolo del rechazo a la doctrina Trump de “tolerancia cero” con los migrantes. También sirvió de base a un controvertido fotomontaje (que enfrentaba los lloros de la niña con un Donald Trump displicente) en portada de la revista Time. E incluso fue duramente criticada al saberse que Sandra y Yanela Sánchez, la madre e hija que en ella aparecen, no fueron finalmente separadas, como sin embargo sí lo fueron al menos 2000 menores y sus familias, en el curso de tan sólo 6 semanas, hasta que el presidente estadounidense se vio forzado a rectificar en este controvertido asunto.


Tu instantánea de la detención de estas migrantes sufrió muy diversas interpretaciones. ¿Cómo afecta al fotoperiodismo la manipulación ideológica de todo signo?

En el polarizado clima actual, es inevitable que una imagen emocional y potente sea vista desde perspectivas políticas. Como fotoperiodista, creo que es algo que hay que aceptar, aunque tu enfoque haya sido claro y directo. La noche en que tomé la foto, no había forma de saber si madre e hija serían separadas y esa ambigüedad estaba clara en mi pie de foto. Cuando una semana más tarde supe que seguían juntas, me sentí aliviado. Quizás la imagen conmovió a tanta gente por la posibilidad tan real de que fueran separadas, cosa que sí ocurrió a muchos otros inmigrantes.

Crying Girl At The Border © John Moore

En estos tiempos digitales en que la gente suele tomar partido sin antes reflexionar debidamente, parece que muchos aún creen que la fotografía presenta verdades absolutas. ¿Cuál es tu opinión al respecto?

Como fotoperiodistas, si fotografiamos con pasión y, a la hora de poner pies de foto, lo hacemos con precisión y contextualizando, entonces nos hallamos en terreno seguro. En el caso concreto de la imagen que comentábamos, los editores podían ir a la fotografía original, colgada en la web de Getty Images, y ver que su título era preciso y que la instantánea era presentado de una manera clara. No podemos controlar el ciclo de vida de una imagen en las redes sociales, pero podemos controlar el contenido original y presentarlo con precisión.

Lo que sin duda invita a la reflexión es tu libro, “Undocumented: Immigration and the Militarization of the United States-Mexico Border” (“Indocumentados: inmigración y la militarización de la frontera entre Estados Unidos y México”), que abarca nada menos que una década de trabajo, en el que contribuyes a poner cara a las estadísticas sobre migraciones. ¿Cómo logras crear confianza a ambos lados de la frontera, tanto con migrantes como con fuerzas de seguridad?

Efectivamente, siempre he tratado de humanizar estas complejas cuestiones sociales. A lo largo de los años, las agencias fronterizas de EE. UU. me han concedido acceso decenas de veces. Aunque a veces no les gusten algunas de mis imágenes en concreto, saben que mi cobertura es justa y que estoy abierto a mostrar muchos aspectos de estos temas. Si me han seguido dando acceso tras “Crying Girl on the Border” es porque se trata de una imagen veraz y forma parte de un trabajo muy amplio.

También sigo trabajando con confianza en la comunidad de inmigrantes. Por supuesto, resulta útil que yo hable español, y es igual de importante que los trate con respeto y dignidad. Reaccionan de igual forma. Siempre me aseguro de aclarar que soy fotoperiodista y no un fotógrafo que trabaje para ninguna agencia federal. A veces, prefieren que no muestre sus caras y otras que no les fotografíe en absoluto, y por mí no hay problema, es algo que respeto. De hecho, sigo en contacto con varios de los inmigrantes que he fotografiado en los últimos diez años.

¿Qué has aprendido sobre el ser humano en tu interacción con estas personas?

He aprendido que, sin importar qué lado de la historia esté contando, si te acercas a la gente de forma honesta y estableces un nivel básico de confianza, ellos dejan que entres en sus vidas, incluso en momentos complicados. Quiero que la gente sienta que explico sus historias con precisión y me esfuerzo para mantener mi parte de ese trato.

Tu trabajo ha sido premiado numerosas veces por el concurso World Press Photo, pero nunca antes en la categoría más reconocida, la de la foto del año. ¿Cómo asumirías que tu imagen fuera presentada como la mejor entre todas las publicadas en 2018? *

Obviamente, es un inmenso honor tener una imagen mía considerada para World Press Photo del Año. Como ocurria con mis imágenes galardonadas por el concurso en años anteriores, esta muestra un momento dramático en la historia. Y al igual que mis colegas en esta profesión, me aplico a fondo para estar en el lugar correcto en el momento adecuado. Es un privilegio poder contar historias importantes en imágenes.

* Esta entrevista fue realizada antes del 12 de abril de 2019, cuando se entregaron los premios World Press Photo 2019.

Autor de la entrevista: Carlos G.Vela



Pep Escoda will picture you at Utopia Markets Photo!

Christopher Walken by Pep Escoda

Would you like to be portrayed by a high-level professional photographer? Well, the excellent portraitist Pep Escoda, author of many covers for Icon magazine and member of Photographic Social Vision, will be available this weekend at the fourth edition of Utopia Markets Photo, along with other colleagues in the sector, taking personalized portraits as spectacular as these ones!

© Pep Escoda

From May 10 to 12, 2019, will be held this new edition of the event organized by the cultural association Utopia 126 (c/ Cristóbal de Moura, 126), which will gather around sixty photographers who will sell their work straight to the public in three days full of activities. There will be professionals like Maite Caramés (also a member of our Foundation, who will present her work “De Profundis – Marviva”), Ferran Freixa, Fernando Moleres, Toni Riera, Sasha R Gregor, Mario Montero, Marta Más, Helena Aguilar, Nono Arruga, Maria Huerga, Enric Curto, or the also member of Photographic Social Vision, Daniel Loewe, in a magnificent opportunity to discover, speak and buy original or serial work directly from the authors.

There will also be various activities, such as a flamenco photo-concert with photos by Joan Tomás; the screening of “In No Great Hurry” film on Saul Leiter; the exhibition “Col·lecció de col·leccions” by Santiago Garcés; a presentation of pictures by Leopoldo Pomés, together with Karin Leiz, accompanied by Mauricio Villavecchia’s piano… And also installations, workshops, and shows for both children and adults, and the always amazing photocall by Utopia Markets Photo.

ENTREVISTA > Catalina Martin-Chico, premiada en World Press Photo 2019

El reportaje “Colombia, (Re)Birth”, de la franco-española Martin-Chico, ha ganado el 2.º premio de Reportajes gráficos en Temas contemporáneos del World Press Photo 2019.

Catalina Martin-Chico. © Jérome Bonnet

Este extenso documento fotográfico muestra cómo, tras firmarse en 2016 el acuerdo de paz entre el gobierno colombiano y el movimiento rebelde de las FARC, se produce un baby boom entre las antiguas guerrilleras. Hasta entonces, habían tenido que priorizar la lucha y en algunos casos dejaron a sus bebés con familiares o, según se afirma, fueron incluso forzadas a abortar, una acusación que se niega desde las FARC. Se trataba, en todo caso, de un hecho inédito y un cambio radical en las vidas de estas mujeres.

Para conocer mejor este trabajo, hablamos con su autora, Catalina Martin-Chico, nacida en Madrid, pero parísina de adopción. Siendo de las pocas documentalistas habituales en Yemen, su trabajo allí le valio el ICRC Humanitarian Visa d’Or, en su primera edición de 2011, celebrado en el marco del festival Visa Pour l’Image. Fue en esa misma cita francesa donde presentó en 2017 los primeros resultados de su obra sobre exguerrilleras de las FARC, iniciado de forma independiente y que allí obtendría el premio de Canon a la Mejor Fotoperiodista, con el que pudo financiar un desarrollo más extenso de este proyecto.

Fotografía nominada al World Press Photo del Año © Catalina Martin-Chico para la agencia Panos.

¿Cómo encuentras esta historia y qué te empuja a documentarla?

La paz en Colombia era un momento histórico que me interesaba tratar, aún sin saber muy bien cómo. Y creo que fue leyendo un artículo cómo me enteré de que casi el 40% de la guerrilla estaba formada por mujeres y que algunas comenzaban a tener hijos. Así que empecé a investigar, sobre todo en la prensa colombiana, y vi que que mi puerta de entrada podían ser todos esos bebés que de alguna manera llegaban a reemplazar las armas; que.esa pequeña historia humana podía contar la gran historia de la transición colombiana.

El postconflicto es un momento clave para quien ha sufrido la guerra, al que sin embargo apenas se suele dar cobertura en los medios. ¿Querías dotarlo de relevancia?

¡Exactamente! Cuando los medios ya no cubren la actualidad, es ahí donde me parece interesante actuar y empezar a documentar lo que no se documenta habitualmente. Apenas cubierto el inicio del proceso de paz, eso ya parecía ser todo lo que los medios querían contar al respecto. Y a mí me parecía importante contar justamente todas esas historias humanas que están escondidas tras un acuerdo de paz.

© Catalina Martin-Chico para la agencia Panos

Saliendo de una guerra que parecía no tener fin, la maternidad se convierte en el hilo conductor de “Colombia (Re)Birth”. ¿Qué aprendiste acerca de la gestión de secuelas del conflicto y del regreso a la vida cotidiana?

¡Lo aprendí todo! Estas muchachas me contaron cómo entraron en la guerrilla cuando eran niñas, con entre once y catorce años, cómo debieron cortar todo contacto con su familia anterior y crear lazos muy íntimos y hasta entrañables con las armas, que les protegían. Y a lo largo de una o dos décadas, dependiendo de la persona, permanecer invisibles, fuera de la sociedad, viviendo en la selva, casi como animales, dicho sea entre comillas. Y luego, al firmar la paz, ¡tienen que reaprenderlo todo! Primero, volver a conocer a sus familias, que no han visto en veinte años. Enterarse de que a lo mejor sus padres ya murieron o que a los hermanos les mataron los paramilitares. Luego, localizar a los niños que tuvieron que abandonar aquellas que pudieron llevar un embarazo hasta el final… Y aprender todo sobre esta vida diaria que nos parece tan normal a nosotros: gestionar el dinero, buscar un trabajo, comprar comida y ropa, pagar la electricidad… Por eso llamé así al reportaje, porque a través de estos bebés que nacen, sus papás y mamás efectivamente renacen. Dan sus primeros pasos en una nueva vida, algunos sin explicar a nadie la anterior, quienes son ni de dónde vienen. Para ellos es un nuevo reset: renacieron como parte de las FARC, dejando una vida atrás, y al cabo de los años, renacen de nuevo en la sociedad civil.

Teniendo en cuenta la empatía e intimidad que transmite el reportaje, ¿cuál es la importancia que das a ser premiada en un concurso como World Press Photo en relación a lo que pueda aportar, de positivo o negativo, a los protagonistas de esta historia?

Es una buena pregunta. La verdad es que creo que la exposición que los premios pueden dar a sus historias es siempre positiva. Sobre todo porque aporta otro ángulo, da visibilidad a una historia humana dentro de la de las FARC que siempre han sido vista de tantas formas negativas. Es la otra cara de la moneda. Yo la he contado con mucho respeto y mucho tiempo, teniendo en cuenta sempre la dignidad de la gente. En realidad, lo negativo es lo que están viviendo ahora, que la paz en Colombia es mucho más frágil que cuando empecé con este proyecto, porque entonces había más esperanza.

¿Cómo está siendo acogido tu reportaje en la sociedad colombiana?

Aún no lo sé. De momento (*) solo me entrevistaron en una radio colombiana, y si gano algún premio, supongo que habrá más repercusión en la sociedad colombiana. Sí que he tenido algún feedback desde las redes sociales y la verdad es que no ha sido muy positivo. Sé que las FARC han cometido muchos errores y no son ángeles y que por eso hay mucha gente que les tiene rencor y que les odia. De hecho, la población colombiana tiene muchas heridas por todos los lados. Y eso lo entiendo perfectamente. Mi reportaje no tiene intención de dar la razón a nadie, ni de decir quienes son los buenos y quienes los malos. Solo he querido contar una historia sobre gente después de un conflicto, sin por ello querer juzgar a nadie.

* Esta entrevista fue realizada antes del 12 de abril de 2019, cuando se entregaron los premios World Press Photo 2019.

Autores de la entrevista: Helena Velez Olabarria y Carlos G.Vela

#WPPh2019 > Panel with Catalina Martin-Chico and Lula Gómez

Among the free activities of the World Press Photo 2019 exhibition in Barcelona, ​​on May 2nd, 2019, Photographic Social Vision has organized at the CCCB the panel discussion “Living After the War: Colombia, When the Conflict Is No Longer It’s News”.

Marcela Ospina, journalist and director of Public Engagement at Oxfam Intermón, will present as guests the journalist and documentarian Lula Gómez and the photographer and also documentarian Catalina Martin-Chico, nominated for the World Press Photo of the Year and winner of the second prize Graphic Reports in Contemporary Themes with the story “Colombia, (Re)Birth”.

This work by Martin-Chico, reflects how since the signing of a peace agreement between the Colombian government and the FARC rebel movement in 2016, there has been a baby boom among former female guerrillas, many living in the demobilization camps set up to help FARC members in the transition back to everyday life.

Image from “Colombia (Re)Birth” ©Catalina Martin-Chico

Panel discussion #WPPh2019

May 2nd, 6:30pm

Sala Mirador at CCCB (Montalegre, 5. Barcelona)

Free entrance. Limited capacity.


Biographies of the speakers:

Catalina Martin-Chico

© Jérome Bonnet

Born in Madrid but Parisian by adoption, the photographer Catalina Martin-Chico studied at the International Center of Photography in New York. She has worked in the Middle East and especially in Yemen, a country she documented over eight years. This work was recognised with the ICRC Visa d’Or Award at the Visa Pour l’Image International Festival of Photojournalism in 2011. In 2017 she presented the first results of her work with former FARC guerrilla fighters in Colombia at the same festival and received the Canon Female Photojournalist Award, which then allowed her to continue with further work in this project. She has also worked on a regular basis with many French publications including GEO, Le Monde, ELLE, Le Figaro and VSD, as well as with The New York Times, Sunday Times, and Der Spiegel, among others. 


Lula Gómez

© David Maroto

Lula Gómez is a versatile journalist with wide-ranging international experience. She has worked for newspapers like El País and regularly writes for other publications, among them Tintalibre, Público, and Ethic, as well as acting as a consultant for advertising agencies. She coordinates the journalism team at the Porcausa Foundation, and has published the books Condenadas al silencio (Espejo de tinta, 2000), about her experiences in a Lima prison, and Diego Hidalgo, la mirada de un filántropo (Siddarth Metha Ediciones, 2012). In the audio-visual field, she has directed the documentary Mujeres al frente, la ley de las más nobles, about how some Colombian women responded to the fact of being embroiled in a war, in addition to publishing a book with the same title. She has just finished filming a story about women prisoners in Córdoba (Spain) and, moreover, is presently working on another film telling the stories of women and the post-conflict situation in Colombia.



Marcela Ospina

Marcela Ospina Lopez, Director of Public Engagement and a Board member of Oxfam Intermón, has more than fifteen years’ experience as a communications specialist working with cultural and civil society organisations in Spain, France, and Colombia. With a degree in Journalism from Colombia and a master’s degree in Political Science from France, she has successfully led international teams and communication projects concerning cooperation, humanitarian action, inequality, and women’s rights.