Category Archives: noticias @en

EXHIBITION> “TSIGANES” by Jacques Léonard in Canada

For the first time, Jacques Léonard‘s work is exhibited outside of Europe. The exhibition is part of the international festival Rencontres internationales de la photogaphie en Gaspésie, held in Québec (Canada). Until September 30, 2021, the images can be viewed against an exceptional natural background: the Miguasha National Park. Visitors will be able to enjoy in the open air a selection of outstanding images by the author, all gypsy themed, since the title of the exhibition, “Tsiganes”, is one of the terms used in the French language to refer to the Roma people.

Photo Gaspésie is a unique event that has been held for a decade on the Gaspé coast. For this reason, on this occasion, Léonard’s work interacts with an exceptional protected landscape, of wild nature and ancient fossils, between the Appalachian Mountains and the waters of Saint-Laurent. An ideal space and situation to debut on the other side of the Atlantic.

The work of the Jacques Léonard Family Archive, which we represent here at Photographic, is especially popular for its portrayal of the daily life of the gypsies of Barcelona from the mid-50s to the 70s.

And we are very proud that, since the recent exhibitions in the French town of Arles and also in Paris, this artist’s work is experiencing an internationalization. Nice examples of that process are the present Canadian exhibition or this recent interview in English with Santiago Léonard, son of the photographer, about the relationship between his father and the mythical Salvador Dalí.

Rencontres Photo Gaspésie

Miguasha National Park, Quebec, Canada.

Until September 30, 2021.

Buy the photographs of Jacques Léonard.

Jury Star Photobook Dummy Award

We introduce you the jury members who will choose the winning project for our annual Star Photobook Dummy Award.

In this first edition, the jury will be composed of:

  • Javier Aristu, creative director and founder, Aristu & Co.
  • Arianna Rinaldo, independent curator and photography consultant.
  • Lea Tyrallová, production manager, Editorial RM.
  • Juan Valbuena, photographer and founder, Editorial Phree.
  • Helena Velez Olabarria, visual rechearcher and cultural producer.

Organized by Photographic Social Vision Foundation in collaboration with three publishing houses: Phree, Ediciones Posibles and RM, the prize offers the opportunity and the support to publish a photobook on the basis of a dummy in its final stage of design and concept presented via nomination. You can check the updated list of nominators with the latest additions here.

Around fifty dummies have already been submitted; nominations remains open until June 8th.

Winners of the World Press Photo 2021

The World Press Photo of the Year goes to “The First Embrace”, the photograph by Danish Mads Nissen for Politiken / Panos Pictures. In the winning image, Rosa Luzia Lunardi (85) is embraced by nurse Adriana Silva da Costa Souza, at Viva Bem care home, São Paulo, Brazil, on 5 August 2020.

Among the 6 images nominated for Photo of the Year, there was also “Fighting Locust Invasion in East Africa” ​​by Spanish Luis Tato.

The World Press Photo Story of the Year is for “Habibi” (we see an image above these lines), by the Italian Antonio Faccilongo for Getty Reportage.  The winning series chronicles love stories set against the backdrop of one of the longest and most complicated contemporary conflicts, the Israeli-Palestinian war. The story shows the impact of the conflict on Palestinian families, and the difficulties they face in preserving their reproductive rights and human dignity.

Some of the awarded authors will be present in the World Press Photo exhibition in Barcelona, ​​organized by the Photographic Social Vision Foundation with the support of the Banco Sabadell Foundation. The exhibition will take place from November 10 to December 12 at the Centro de Cultura Contemporània de Barcelona (CCCB). Tickets will be on sale in a few months, through the website http://www.photographicsocialvision.org/en/. There, you will also access to the sale of the exhibition catalog, the reservation of guided tours for schools, and exclusive content such as interviews with some of the winning photojournalists.

National authors awarded in various categories

The 1st Prize in Contemporary Issues, singles category, goes to Pablo Tosco, an Argentine who also has Spanish nationality and has lived in Barcelona for years, thanks to the image “Yemen: Hunger, Another War Wound”, which shows Fatima and her son preparing the fishing net in Yemen’s Khor Omeira Bay on February 12, 2020. Despite the devastation of her village, Fatima returned to resume her livelihood, buying a boat with the money she earned selling fish.

In addition, the three outstanding national authors in the nature and environment categories have won their 3rd prizes. The Basque Aitor Garmendia, obtains the third prize in Environment, stories category, with a report entitled “Inside the Spanish Pork Industry: The Pig Factory of Europe”, about the pig industry in Spain -one of the four largest exporters of pork meat in the world – and on the conditions of the animals on farms. Jaime Culebras from Extremadura wins third prize in Nature, singles category, for a photograph titled “New Life”, which shows the eggs of a Wiley’s glass frog, Nymphargus wileyi, hanging from the tip of a leaf in a tropical cloud forest, near the Yanayacu Biological Station, in Napo, Ecuador. And Luis Tato, a Spaniard living in Kenya, takes third prize also in Nature, stories category, for “Fighting Locust Invasion in East Africa”, the same report that earned him the nomination for World Press Photo of the Year.

And the Valencian Claudia Reig Valera receives a mention to the Outstanding Instructive Interactive by “Birth in the 21th century”, an interactive documentary directed by her, together with the interactive media director Àlex Badia. Produced by Barret Cooperativa, Lab RTVE and À Punt Mèdia, speaks about hospital models of care based on respect for women who give birth. This piece was also nominated for the Interactive Project of the Year in the World Press Photo Digital Storytelling Contest.

Finally, within the Digital Storytelling Contest, the World Press Photo Interactive of the Year has been won by “Reconstructing Seven Days of Protests in Minneapolis After George Floyd’s Death” by Holly Bailey (The Washington Post), Matt Daniels and Amelia Wattenberger (The Pudding). And “Calling Back From Wuhan”, by Yang Shenlai / Tang Shiaolan, has won the World Press Photo Online Video of the Year.

Here you will find more information about the main winners in the Photography Contest and in the Digital Narrative Contest.

Here you have the details of the winners in all the other categories in the Photography Contest and in the Digital Narrative Contest.

Star Photobook Dummy Award dedicated to Inés Casals

Inés Casals, our real star. © Amparo Tamarit

In 2021, we are launching the first edition of the Star Photobook Dummy Award an annual prize organized by Photographic Social Vision Foundation in collaboration with three publishing houses: Phree, Ediciones Posibles and RM.

The Award is born as a tribute to Inés Casals (1970-2020), art director, graphic designer, dear friend and colleague, who left us in 2020. With this initiative, launched on 8th april, the day she was born, we want to honor her memory and cherish the legacy of her work, her creativity and her love for photobooks.

DEDICATED TO THE LOVING CREATIVITY OF INÉS CASALS

Inés has been a guiding star for many people, on both a professional and personal level. She was a passionate graphic designer and a photobook lover. Her approach to each project was enthusiastic, curious, optimistic and supportive.

“No te preocupes, yo te ayudo” (don’t worry, I will help you) she would often say to friends or photographers stuck in some sort of dilemma, and she always put the focus on the “I”, meaning that you could count on her. She was there for you.

Her love for beauty, form and color was paramount in her life and work. Her affectionate attention to detail and her empathetic attitude were unique traits together with the originality of her ideas and the love that permeated her creativity.

The Star Photobook Dummy Award wants to honor her legacy by offering a photographer the opportunity to publish a photobook with full support in the final process of optimization and publication. Always with the attention, passion and care that defined Inés in her life and work.

Inés you are a star, and this prize is, first of all, yours.

#StarAward2021
#SigueTuEstrella
#FollowYourStar

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 1.er 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

 

UTOPIA MARKETS > Pep Escoda

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