With the photographic exhibit, «Rastros de lo cotidiano» (Traces of Daily Life), Chilean artists seek to reveal in Morocco the more day-to-day aspects of life in this Latin American country. The exhibition can be viewed throughout the month of April as part of the 14th. National Salon of Photographic Art, to which Chile was invited for the first time.
The exhibition, which includes the works of Chilean photographers such as Antonio Quintana, Álvaro Hoppe, Leonora Vicuña, Paz Errázuriz and Alexis Díaz, among others, was rated highly by the commissar of the event, Patrice Loubon, who underscored the non-commercial nature of the work.
“This selection represents the best of contemporary Chilean documentary photography”, and in it, its authors “speak of their society, of the Chile of today, with great involvement. These are not commercial works, they were done because the artists thought it was important to do so”, he indicated.
Loubon also explains the criteria that were used to select the works, and specifies that two generations of photographers were chosen: “one belonging more to the history of the eighties, such as Hoppe or Vicuña, who confronted the military regime with their cameras, and that of the young people of today, children of the aesthetics of that time”.
The exhibit encompasses a great variety of subjects, such as those of Paz Errázuriz, who presents a photographic essay on Calbuco (a town in the south of Chile) and its inhabitants, from the algae collectors to the mayor, and those of Álvaro Hoppe, whose images show the Chilean flag in different situations and the way in which the people identify with this national symbol.
Other professionals present at the exhibition are Claudio Pérez, Javier Godoy, Miguel Navarro and Rodrigo Gómez. The latter’s work depicts the city of Valparaíso, which is the same theme chosen by Antonio Quintana. Their joint views provide a broad and varied perspective on the subject, as highlighted by Jaâfar Akil, general coordinator of the salon and president of the Moroccan Association of Photographic Art.
“The works make it possible to discover other views and sensibilities that are expressed through photography”, he indicates, adding that “the diversity and richness” of the sample resides in the way each artist “represents reality giving it his/her own personal imprint”. Thus, he feels that the concept of “day-to-day life” should not be taken too literally.
The Chilean photographers also valued the event. According to Hoppe, the sample is an opportunity to exchange reciprocal knowledge, “because in all countries, happiness, pain and hope are universal, and here in Morocco daily life, the identity of the people, is very powerful”.
This rapprochement of the photographic culture of Chile with Morocco will be complemented by an agenda of conferences dealing with a retrospective of this art from the 19th. century up to Quintana, as well as contemporary documentary photography in the country.
Thus, once again Chilean art, in one of its many manifestations, is present at major international scenarios. Previously, in Madrid, one of the collections of the poet and Literature Nobel Prize winner Pablo Neruda was exhibited, and another group of Chilean artists displayed their work at an important exhibition in Paris.