SEBASTIﾃグ
SALGADO
SEBASTIﾃグ
SALGADO
© Beetles+Huxley 3-5 Swallow Street London W1B 4DE 020 7434 4319 gallery@beetlesandhuxley.com www.beetlesandhuxley.com Written By Flora La Thangue, edited by Giles Huxley-Parlour. Colour separation and printing by Geoff Neal Litho Limited. All images © Sebastião Salgado/Amazonas Images/NB Pictures and may not be reproduced without permission.
SEBASTIﾃグ
SALGADO
DESERT HELL, KUWAIT, 1991
INTRODUCTION I don’t know if photography is a passion. Passion is something you can have one day and then the next day it disappears, replaced by another passion, another wish. It could be that it is a way of life. Sebastião Salgado has undoubtedly made photography his way of life. Undertaking projects of vast temporal and geographic scope, he is one of the most celebrated photographers working today. Part of the enduring esteem with which Salgado is held must result from the incomparably global reach of his lens. His oeuvre is astonishing for the epic totality of its documentation of humanity and nature. Whilst inescapably memorable for their beauty, Salgado’s photographs are laden with political purpose – exposing the social and environmental problems facing our planet. Salgado was born on 8 February 1944 on a large cattle farm in Aimorés in the state of Minas Gerais, Brazil, to a middle class family as the sixth of eight children. He has said that his childhood spent on the farm heavily influenced the expansiveness for which his photography is renowned. Salgado moved to a nearby city for school and then to Vitória and São Paulo to study economics. In 1967 he married Lélia Deluiz Wanick who went on to play an integral role in the development of his photographic practice. He considers his work the product of their partnership, and Lélia to be the visionary and guiding force in the planning and execution of his projects. They have two sons and one grandson. Salgado began his career as an economist working for the secretary of finance to the state of São Paulo before moving to Paris to undertake a doctorate. This move was largely the result of his participation in the student protests against Brazil’s military dictatorship that led to the revocation of his Brazilian passport. Exiled for ten years, his passport was only regained after a process of litigation, but the family decided to remain in Europe, partly to ensure the care of one of their sons who was born with Downs syndrome. Salgado started working for the International Coffee Organisation at this time and travelled extensively to Africa for the World Bank. Salgado began photographing in the early 1970s when Lélia bought a camera to use whilst studying architecture. In 1973 he gave up his career as an economist as photography made ‘a total invasion’ of his life. After working for the Sygma and Gamma photo agencies, in 1979 he joined Magnum Photos, the prestigious agency that had been founded by the four fathers of modern photojournalism – Robert Capa, Henri Cartier-Bresson, George Rodger and David ‘Chim’ Seymour. He cemented his reputation as a photojournalist, when he captured the attempted assassination of Ronald Reagan in March 1981. Leaving Magnum in 1994, Salgado set up the photo agency, Amazones Images, in partnership with Lélia to promote his photography. In 1999 the couple also founded the Instituto Terra, a non-profit organisation established to conserve the Atlantic rainforest that surrounded his family home. Taking over the cattle ranch that had been owned by his father, Sebastião and Lélia set about undoing the devastation caused by deforestation and erosion and recreated a forest with the species that had once flourished there.
In order to understand the communities and habitats he photographs, Salgado undertakes prolonged projects, or ‘photo-essays’, that present huge, thrilling dramas of clashing geographical, social and cultural structures. His earlier projects – ‘Workers’ and ‘Migrations’ – centre on the trials of humanity across the globe, taking seven and six years respectively. Consumerism is constantly impinging on the wilderness in these photographs as the ancient and modern come into terrifying proximity. Some of Salgado’s most famous images were taken at the Serra Pelada gold mine in Brazil where he immortalised scenes of medieval horror as tens of thousands of men worked in appalling conditions. Despite the foreboding shadow cast by humanity’s propulsion towards self-destruction, community is constantly at the centre of Salgado’s vision. Displaced, degraded and corrupted, humanity can always be ennobled through the return to community. After photographing brutality and violence across the globe, Salgado’s most recent photo-essay, ‘Genesis’, marked a rekindling of faith in the partnership of humanity and nature. Completed in 2013, the eight-year project is awesome in the truest sense of the word. ‘Genesis’ is about returning to origins – finding nature in its pure, pristine state. It takes us on a journey to the remotest regions of the planet to see five tonne elephant seals in South Georgia, the people of the Dinka tribe herding cattle, thousands of penguins on Zavodovski Island and the Nenets of northern Siberia crossing the ice into the Arctic Circle. As Salgado has said, ‘Genesis’ is a ‘mosaic presented by nature itself ’, but it is not just a romantic contemplation of the sublime, instead, it opens up a discussion about what we have done to the planet and what we must now do to protect it. Rather than dwelling on the consequences of our disregard for the environment with the polemic zeal of his earlier work, ‘Genesis’ is an elegy to the disappearing wonders of the planet. ‘The work is the record of my journey,’ Salgado has said, ‘a visual ode to the majesty and fragility of the Earth. But it is also a warning, I hope, of all that we risk losing.’ As a photo-essay, Genesis is a strangely timeless document, showing the ancient, the present and the future in a colossal nexus of human, nature and planet. More so than any other contemporary photographer, Salgado has come to typify the genre of fine art documentary photography. Renowned for his highly skilled tonality, the chiaroscuro effect of his dramatic black and white images has contributed to the repositioning of photography as ‘high art’. Salgado has won almost every major photography prize and is the recipient of a deservedly long list of honours. He is a UNICEF Goodwill Ambassador and his numerous exhibitions are received to continuous popular and critical acclaim. This success undoubtedly issues from both his political insight and distinctive aesthetic that renders the world both beautiful and humbling. It is this combination of societal critique and aesthetic force that makes it impossible not to respond to Salgado’s photography with thought and comment. Flora La Thangue 2014
PLATES
1
DINKA CATTLE CAMP OF AMAK, SOUTHERN SUDAN, 2006
At the end of the day the herd return to the cattle camp of Amak for the night. This is the most active time at the camp. Several piles of burning cow dung can be seen; the smoke helps to keep insects away.
2
A DINKA CATTLE CAMP OF KEI, SOUTHERN SUDAN, 2006
At the cattle camp of Kei, the Dinkas play a part in shaping the very distinctive horns of their animals, controlling their growth from an early age into a predetermined shape. The child is covering his cow with ash from burnt dung.
3 A HIMBA WOMAN, KAOKOLAND, NAMIBIA, 2005
4 DINKA GIRL AT KOLKUEI CATTLE CAMP, SOUTHERN SUDAN, 2006
5 DINKA MAN, SOUTHERN SUDAN, 2006 Both the peoples’ and animals’ skins are covered with ash obtained from burned cow dung. It sterilizes the skin against insects and parasites.
6 DINKA MAN, SOUTHERN SUDAN, 2006
7 DINKA MAN, SOUTHERN SUDAN, 2006 A young tribesman in the village of Ger, inside a traditional house with a representation of horns carved into the wall.
8
NAMIBIA, 2006
A leopard drinks from a pool in the Barab River Valley, Damaraland, Namibia.
9
AFRICAN BUFFALO HERD IN THE OKAVANGO DELTA, BOTSWANA, 2007
10
KAFUE NATIONAL PARK, ZAMBIA, 2010
11
REFUGEES AT THE KOREM CAMP, ETHIOPIA, 1984
Protected by their covers against the cold morning wind, refugees wait in the Korem camp, Ethiopia, during the terrible famine of 1984-85.
12 MOTHER AND CHILD AT THE KOREM CAMP, ETHIOPIA, 1984 Mothers with starving children wait for assistance amongst 60,000 refugees.
13
MALI, 1985
Nearly one million people were threatened by the drought in Mali during 1985, a country that once prospered from the majestic Niger River and its lakes to export fish throughout the African continent.
14
MALI, 1985
During the drought over 70% of the livestock died, and thousands deserted their villages and formed shantytowns around already crowded cities. There had been no harvest for the previous five years, sandstorms slowly covered villages and the lakes became completely dehydrated.
15
MATA TEA PLANTATION, RWANDA, 1991
A girl covers herself with plastic to protect against the rain. Rwanda is located near the equator, but in the plantation highlands high humidity produces an extremely wet climate.
16
MAPER PAYEM AREA, RUMBEK DISTRICT, SOUTH SUDAN, 2001
The population of the cattle camp of Keny walk towards polio vaccinators as soon as they arrive.
17
TIGRAY, ETHIOPIA, 1985
In the early morning, after a night of walking, refugees hide themselves under the trees to avoid the surveillance of Ethiopian aeroplanes. The government wanted to avoid having the population of Tigray move into Sudan.
18
SERRA PELADA, BRAZIL, 1986
Plates 18-20 are taken from Salgado’s most famous early series photographed at the Serra Pelada gold mine in Brazil – a famously controversial mine that employed thousands of local workers in appalling, perilous conditions. They were published all over the world, and the vertigo-inducing pictures revealed the scale of the Dante-esque hell endured by the miners.
19 SERRA PELADA, BRAZIL, 1986 Every day 50,000 garimperos (gold diggers) descended Serra Pelada’s open top mine, the size of a football field, in the State of Para. The State gave barrancos (concessions) of 65 sq ft of vertical land wells to each owner who had to dig directly downwards. Each well had ten people working on it (diggers, carriers, supervisors), and the carriers hauled sacks of soil for 0.20 US cents per sack. The men struggled over one another’s plots and up ladders to reach the upper edge, where they received a ‘slip’ for their sackload. The mine was open during the dry season from September to January, otherwise the terrain made it impossible to use machinery. The gold diggers were known as ‘mud hogs’ as they waded through dirt and slime. If gold was found, the plot owner paid 10% commission to the cooperative.
20 SERRA PELADA, BRAZIL, 1986 In 1992 the mine was classified a natural historic reserve by the Brazilian government, closing it to gold prospectors. During the peak of the gold rush the mine was known for appalling conditions and violence, whilst the town that grew up beside it was notorious for both murder and prostitution.
21
DESERT HELL, KUWAIT, 1991
More than 500 oil wells spewed out roaring tornadoes of flames into the black sky, two months after the end of the Gulf War. Among the companies trying to quench the disaster were Red Adair Co, Boots and Coots, Wild Well Control from Texas and Safety Boss from Canada.
22
DESERT HELL, KUWAIT, 1991
The Texan companies tried to quell the fires by cooling off their superheated surroundings with jets of water, then blowing out the blaze with explosive charges before capping them with ‘stingers’ to choke the flame. Boots and Coots used a different method, placing cylinders over the flames into which was pumped supercooled liquid nitrogen, which vaporised and suffocated the fire.
23
THE ISTIQLAL MOSQUE, JAKARTA, INDONESIA, 1996
The mosque of Istiqlal, in the centre of Jakarta, is the largest in the world. The ground floor alone can hold more than 10,000 men in its centre. Women are required to remain in the closed-off parts of the mosque and therefore cannot be seen. More than 90% of the population of Indonesia are Muslim.
24
CHURCH GATE STATION, BOMBAY, 1995
Church Gate is the terminus station of the Western Railroad line, which brings 2.7 million commuters into Bombay every day. It is not a large station, but at rush hour trains seem to arrive every 20 seconds. Built by the British, India’s railroad system covers much of the country. But now, even with the addition of numerous commuter lines, population growth has led to dangerous overcrowding
25 PERFORMER AT THE MOUNT HAGEN SING SING FESTIVAL, PAPUA NEW GUINEA, 2006 Every August tribes from all over the country congregate on Mount Hagen. Resplendent in vibrant traditional costumes, they take part in a longstanding festival of singing and dancing that celebrates the many different cultural traditions of Papua New Guinea.
26 PERFORMER AT THE MOUNT HAGEN SING SING FESTIVAL, PAPUA NEW GUINEA, 2006
27
SOUTHERN RIGHT WHALE, PATAGONIA, ARGENTINA, 2004
In the gulfs of Peninsula Valdes the sight of whale tails standing up above the water is a beautiful sight. After several days of close observation one can also predict when a whale will jump – the tail is extended very high out of the water before it is brought down fast, helping to propel the whale forward and up. Alternatively a tail will be standing erect out of the water for ten minutes or more, and one can tell that the whale is then standing completely vertically underwater in a kind of resting position; some local people even say that the whales use their tail as a sail as if to be pushed and directed by the wind.
28
THE RORAIMA TEPUI, VENEZUELA, 2006
The Roraima Tepui, which straddles the borders of southeastern Venezuela, Brazil and Guyana, has a surface of almost 14 square miles and rises to a height of 8,933 feet. Its best-known feature is the so-called ‘prow’, which reaches into Guyana. ‘Tepui’, a Pemon Indian word for mountain, is now commonly used to describe the particular type of flat-topped mountain to be found in this region of South America. Varying in height between 3,300 and 9,800 feet, the mesa or plateaus of the tepuis often have a unique ecosystem characterized by endemic animals and plants.
29
ICEBERG BETWEEN PAULET ISLAND AND THE SHETLAND ISLANDS, ANTARCTICA, 2005
Icebergs are constantly eroded and moulded by the harsh elements to which they are subjected. The visibly smooth surface at the sea level mark shows the cumulative effect of wave impact, and the extraordinary castle-like structure at the top is the result of ice breaking off in sections in strong winds.
30 CHINSTRAP PENGUINS, DECEPTION ISLAND, ANTARCTICA, 2005 In 2005 Salgado travelled to Antarctica on a 120ft icebraking yacht to photograph the continent for his ‘Genesis’ project. He visited Deception Island – a dramatic, almost primeval landscape that is home to one of the world’s largest colonies of penguins, and the site of several active volcanoes.
31
CHINSTRAP PENGUINS ON AN ICEBERG BETWEEN ZAVODOVSKI AND VISOKOI ISLANDS, SOUTH SANDWICH ISLANDS, 2009
32
CHINSTRAP PENGUINS ON AN ICEBERG BETWEEN ZAVODOVSKI AND VISOKOI ISLANDS, SOUTH SANDWICH ISLANDS, 2009
33
SOUTHERN ELEPHANT SEAL CALVES, SAINT ANDREWS BAY, SOUTH GEORGIA, 2009
34
ZAVODOVSKI ISLAND, SOUTH SANDWICH ISLANDS, 2009
Zavodovski Island is the most accessible of the nine tiny volcanic South Sandwich Islands. A 1997 survey estimated that it is home to some 750,000 couples of chinstrap penguins (Pygoscelis antarctica) as well as a large colony of Macaroni penguins (Eudyptes chrysolophus). This island boasts the largest concentration of penguins on Earth. The island’s active volcano is visible in the background.
35
YAMAL PENINSULA, SIBERIA, RUSSIA, 2011
North of the Ob River, about 100 kilometers inside the Yamal Peninsula, fierce winds keep even daytime temperatures low. When the weather is particularly hostile, the Nenets and their reindeer may spend several days in the same place, doing repair work on sledges and reindeer skins to keep busy. The deeper they move into the Arctic Circle, the less vegetation is to be found.
36
YAMAL PENINSULA, SIBERIA, RUSSIA, 2011
37
CROSSING THE OB RIVER, SIBERIA, RUSSIA, 2011
Crossing the Ob River to enter the Arctic Circle involves traveling some 31 miles over ice. The way of life of the Nenets of the Siberian Arctic is inseparable from the reindeer. Every spring, they move enormous herds from winter pastures on the Russian mainland, travelling over 620 miles northwards to summer pastures in the Arctic Circle. This ritual is so old that to this day it seems unclear whether the Nenets follow the reindeer, or vice versa. The migration starts in mid- March in freezing temperatures and is immediately challenged by the need to cross the frozen Ob River. But the Nenets take this in their stride, bolstered by a regimented work ethic and a robust culture.
38
KAFUE NATIONAL PARK, ZAMBIA, 2010
Nights can be cold during the Zambian winter. At dawn the water in lakes and small rivers, still warm from the previous day’s sun, vaporises and condenses to form strange and beautiful fog banks – seen here from a balloon at 5:30am.
39
CONFLUENCE OF THE COLORADO AND LITTLE COLORADO RIVERS, ARIZONA, USA, 2010
40
BAOBAB TREES ON A MUSHROOM ISLAND IN THE BAY OF MORAMBA, MADAGASCAR, 2010
41
BIGHORN CREEK, KLUANE NATIONAL PARK, CANADA, 2011
42 ARCTIC NATIONAL WILDLIFE REFUGE, ALASKA, 2009 The Arctic National Wildlife Refuge is the largest of its kind in the United States, and stretches for over two hundred miles. Seen from high up in the Brooks Range is a dramatic, sublime landscape of mountains, river valleys and glaciers that make up this part of the reserve.
MAIN PHOTOGRAPHIC ESSAYS 1978 1979
On the problems of accommodation and conditions of living in the ‘4000 Habitations’ La Courneuve, in the suburbs of Paris. Work ordered by the local council in order to set up a major exhibition exposing this problem.
Photographic research on the varying degrees of success of how immigrants have integrated themselves into European society. Work mainly carried in France, the Netherlands, Germany, Portugal and Italy .
1977-84 Research on the living conditions of peasants and the cultural resistance of the Indians and their descendants in Latin America. Work mainly carried out in Mexico and Brazil . 1984-85
Work about the devastating effects of the drought in the Sahel region of Africa, working with the humanitarian aid group, Médecins Sans Frontières.
1986-92 Documentary project on the end of large-scale manual labour, working in 26 countries. 1994-99
‘Migration’. A long term project focusing on 36 examples of migration throughout the world.
2001
Series of photo-essays on the global polio eradication campaign spearheaded by UNICEF and WHO.
2004-2013 ‘Genesis’. A series of black-and-white photographs of landscapes, wildlife and human aspects including World Heritage sites, aiming to depict the unblemished faces of nature and humanity.
AWARDS 1982
Eugene Smith Award for Humanitarian Photography, USA.
1984
Prix de la Ville de Paris et Kodak, for Other Americas, France.
1985
World Press Photo Award, the Netherlands. Oskar Barnack Prize, for Humanitarian Story, West Germany.
1986
Premio de la Foto Ibero Americana, Spain. Photojournalist of the Year Award, The International Center of Photography, USA. Prix du Livre, for Sahel, l’Homme en Détresse, Arles International Festival, France. Grand Prix and Prix du Public for the show ‘Other Americas’ from the ‘Month of Photography’, Paris Audio Visuel, France.
1987
Photographer of the Year Award, American Society of Magazine Photography, USA. Photographer of the Year Award, Maine Photography Workshop, USA. Olivier Rebbot Award, from Overseas Press Club, USA. Jounalistenpreis Entwicklungspolitik, West Germany. Prix Villa Médicis, Ministry of Foreign Affairs, France.
1988
Erich Salomon Prize, West Germany. Premio de Fotografía Rey de España, Spain.
Photojournalist of the Year Award, International Center of Photography, USA. The Gold Award, Art Directors Club, USA.
1989
Erna and Victor Hasselblad Award, for lifetime achievement, Sweden. The Artist of Merit Josef Sudek Medal, Tchecoslovakia.
1990
The Maine Photographic Workshop Award for Best Photography Book An Uncertain Grace, USA. Visa d’Or Award, International Festival of Photojournalism of Perpignan, France.
1991
The Common Wealth Award, for Mass Communication, USA. Le Grand Prix de la Ville de Paris, France. The Gold Award, Art Directors Club, USA.
1992
Elected Foreign Honorary Member of the ‘American Academy of Arts and Science’, Massachusetts, USA. Oskar Barnack Prize, Germany. Art Directors Club Award , Germany.
1993
Prize for the Best Photography Book of the Year, for Workers, Arles International Festival, France. Trophée Match d’Or, for lifetime achievement, France. The ‘World Hunger Year Harry Chapin Media Award’, for photojournalism, for the book Workers , USA.
1994
Publication Award for, Workers, the International Center of`Photography, USA. Centenary Medal’ and ‘Honorary Fellowship’, The Royal Photographic Society of Great Britain, UK. ‘Professional Photographer of the Year’ PMDA Photographic Manufacturers and Distributors Association, USA. Grand Prix National, Ministry of Culture and French-Speaking Countries, France. Award of Excellence, and Silver Award, Society of Newspaper Design, USA.
1995
Silver Medal, Art Directors Club, USA. Silver Medal, Art Directors Club, Germany.
1996
Award ‘Overseas Press Club of America’, Citation for Excellence, USA. Auszeichnung, Art Directors Club, Germany.
1997
Prêmio Nacional de Fotografia, Ministry of Culture, Funarte, Brazil. Prêmio A Luta pela Terra, Personalidade da reforma agrária, Movement of Landless Peasants, Brazil.
1998
Silver medal, Art Directors Club, Germany. The 1998 Alfred Eisenstaedt ‘Life Legend’ Award, Life Magazine, USA. Prêmio Jabuti, for the book Terra, Brazil. ‘Principe de Asturias’ Award for Arts, Spain.
1999 2000
The 1999 Alfred Eisenstaedt Award for Magazine Photography/ The Way We Live, USA. Prêmio Unesco, Culture category. Brazil.
Medal of ‘Presidenza della Repubblica Italiana’, International Research Center Pio Manzù, Italy.
2001
‘Doutor Honoris Causa’, University of Evora, Evora, Portugal. Honorary Doctor of Fine Arts, New School University, New York, USA. Honorary Doctor of Fine Arts, the Art Institute of Boston at Lesley University, Boston, USA Prêmio Muriqui 2000, Conselho Nacional da Reserva da Biosfera da Mata Atlântica, Brazil. UNICEF Goodwill Ambassador. ‘Ayuda en Accion’ Prize, Ayuda en Accion NGO, Madrid, Spain.
2002
Honorary Doctor of Letters, University of Nottingham, Nottingham, United Kingdom. The Art Directors Club 81st Annual Awards 2002 Merit Award for ‘The final fight against polio’, USA
2003
International Award of The 2003 Photographic Society of Japan’s, Tokyo, Japan.
2004
‘Comendador da Ordem de Rio Branco’, Brazil.
2005
Gold Medal Award for Photography, The National Arts Club, New York, USA.
MAJOR EXHIBITIONS ‘Anger in Africa’ Galerie Henri Plait, Paris, France, 1977. The World Council of Churches, Geneva, Switzerland, 1977. ‘Les 4000 Logements de la Courneuve’ Centre Culturel ‘Jean-Houdremont’, La Courneuve, France, 1978. ‘Vidas Sêcas’ Magnum Galerie, Paris, France, 1984. ‘Sahel: l’Homme en Détresse’ Canon Photo Gallery, Amsterdam, the Netherlands, 1986. Palais de Tokyo, Paris, France, 1986. Festival International d’Arles, France, 1986 Musée de l’Elysée, Lausanne, Switzerland, 1987. Museu de Arte de São Paulo, Brazil, 1988. National Gallery of Art, Beijing, China, 1989. Biennale de Cétinié, Montenegro, Yugoslavia, 1997. ‘Other Americas’ Galeria de Fotografia da Funarte, Rio de Janeiro, Brazil, 1982. Fotogaleria Fotoptica, São Paulo, Brazil, 1983. Museo de Arte Contemporaneo de Madrid, Spain, 1986. Maison de l’Amérique Latine, Paris, France, 1986. Musée de l’Elysée, Lausanne, Switzerland, 1987. Tornio Arts Museum, Oulou, Finland, 1988.
Museum Mishkan Le’Omanut, Israel, 1988. Museum Voor Land in Volkenkunde, Rotterdam, the Netherlands, 1988. Fundação Nacional da Arte, Rio de Janeiro, Brazil, 1988. Palace of Youth, Shangai, China, 1989. Museum Für Fotografie, Baunschweig, Germany, 1991. Festival de Rouen, France, 1991. Rencontres Internationales d’Arles, France, 1991. Musée Municipal, Dudelange, Luxembourg, 1992. Pazo Fonseca, Santiago de Compostela, Spain, 1992. Galeria 2000, Cordoba, Spain, 1992. Gran Teatro de Cordoba, Spain, 1993. Montpellier Photo Visions, France, 1995. Hessenhuis, City of Antwerp, Belgium, 1996. Art Gallery, Inter-American Development Bank, Washington, DC, USA, 1998. Woodrow Wilson Center, Washington DC, USA, 1998. Centro Insular de Cultura, Las Palmas, Canary Island, Spain, 1999. Bayrische Staatsoper, Munich, Germany, 1999. De Beyerd, Centre for Contemporary Art, Breda, the Netherlands, 2002. Festival of Pingyao, China, 2003. ‘Retrospective’ Hasselblad Center, Göteborg, Sweden, 1989. Bienal de Cuba, La Havana, Cuba, 1989. Künsthalle, Dusseldorf, West Germany, 1990. Photographer’s Gallery, London, UK, 1990. Stills Gallery, Edinburgh, UK, 1990. Royal Albert Memorial Museum, Exeter, UK, 1991. Fotogallery, Cardiff, UK, 1992. Glasgow Arts Centre, UK, 1992. National Museum of Modern Art, Tokyo, Japan, 1993. McLellan Galleries, Glasgow, UK, 1994. L’Espace Photographique de Paris, France, 1996. ‘An Uncertain Grace’ Modern Art Museum of San Francisco, CA, USA, 1990. Wight Art Gallery, University of California, Los Angeles, CA, USA, 1991. International Center of Photography, New York, NY, USA, 1991. Museum of Photographic Arts, San Diego, CA, USA, 1991. Corcoran Gallery, Washington, D.C., USA, 1992. Carpenter Center Harvard, MASS, USA, 1992 . Städtisches Museum, City of Schleswig, Germany, 1996. Victor Barsokevitsch Valokuvakeskus, Kuopio, Finland, 1997. Ayuntamiento de Valladolid, Spain, 1998. EFDI, Madrid, Spain, 1999. Casa de las Ciencias, La Coruña, Spain, 1999. 4th Festival Chroniques Nomades, Les Greniers à Sel, Honfleur, France, 2000. EFDI, Valencia, Spain, 2000.
‘Workers’ Römisch-Germanisches Museum, Cologne, Germany, 1992. Philadelphia Museum of Art, Philadelphia, PA, USA, 1993. Palais de Tokyo, Paris, France, 1993. Centro Cultural de Bélem, Lisbon, Portugal, 1993. Biblioteca Nacional, Madrid, Spain, 1993. The JB Speed Art Museum, Louisville, KT, USA, 1993. National Gallery Slovakia, Bratislava , Slovakia, 1993. Royal Festival Hall, London, UK, 1993. Fundacion Cultural, CAM, Alicante, Spain, 1994. Palazzo delle Esposicioni, Roma, Italy, 1994. The University of Iowa Museum of Art, Iowa City, IO, USA, 1994. Musée de l’Elysée, Lausanne, Switzerland, 1994. Museu de Arte Moderna, MAM, Rio de Janeiro, Brazil, 1994. Museu de Arte de São Paulo, MASP, Brazil, 1994. Museu Metropolitano de Arte de Curitiba, Brazil, 1994. The Bunkamura Museum of Art, Tokyo, Japan, 1994. Arberjdermuseet, Copenhagen, Denmark, 1994. Nederlands Foto Instituut, Rotterdam, the Netherlands, 1994. Dallas Museum of Art, Dallas, TX, USA, 1994. Bibliothèque Méjanes, Aix-en-Provence, France, 1994. High Museum of Art Folk, Art and Photography Galleries, Atlanta, GA, USA, 1994. Palazzo Affari ai Giureconsulti, Milan, Italy, 1994. The National Musem of Photography, Film and Television, Bradford, UK, 1994. Kulturhuset, Stockholm, Sweden, 1995. International Center of Photography, New York, NY, USA, 1995. The Royal Photographic Society, Bath, UK, 1995. Onomichi Municipal Museum of Art, Hiroshima, Japan, 1995. The Art Gallery of New South Wales, Sydney, Australia, 1995. Basilica Palladiana, Vicenza, Italy, 1995. Palais de Beitaddine, Le Chouf, Lebanon, 1995. The John & Marble Ringling Museum of Art, Sarasota, FL, USA, 1995. Georges Eastman House, Rochester, NY, USA, 1995. Palmer Museum of Art, University Park, PA, USA, 1996. Museo dell’automobile, Movimento Sviluppo e Pace, Turin, Italy, 1996. Chiostri S.Domenico, Imola, Italy, 1996. Honolulu Academy of Arts, Hawaii, USA, 1996. Deichtorhallen, Hamburg, Germany, 1996. ‘Hall Victor Hugo’, Limpersberg, Luxembourg, 1996. Joslyn Art Museum, Omaha, NA, USA, 1996. Elvehjem Museum of Art, Madison, WI, USA, 1997. Museo de Belas Artes, Caracas, Venezuela, 1997. Museo de Arte Moderno Jésus Soto, Bolivar, Venezuela, 1997. Museum of Contemporary Art, San Diego, CA, USA, 1997. Grand-Hornu Images, Hornu, Belgium, 1997. Museu de Arte da Pampulha, Belo Horizonte, Brazil, 1997.
Instituto Cultural Brasileiro, Berlin, Germany, 1997. Andorran National Commission for Unesco, Principality of Andorra, 1998. Museo de Arte Moderno, Mexico City, Mexico, 1998. The Old Kornhaus, Berne, Switzerland, 1999. Stadtische Gallery, Iserlohn, Germany, 1999. Contemporary Art Center Zamek Ujazdowski, Warsaw, Poland, 2000. Norsk Industriarbeider Museum, Rjukan, Norway, 2000. Festival Schichtwechsel 2000, Saarbruck, Germany, 2000. Ghetto Degli Ebrei, Cagliari, Sardegna, Italy, 2001. Associaçao Cultural Musica XXI, Faro, Portugal, 2001. Palazzo Cisterna, Biella, Italy, 2001. The De Menil Gallery, Groton School, Groton, MA, USA, 2005. On a train touring throughout the country, Czech Republic, 2005. Zourab Tsereteli Gallery, Fine Art Academy, Moscow, Russia, 2006. Fundacion Caja Vital, Vitoria, Spain, 2006. ‘Serra Pelada’ Galerie Debret, Paris, France, 1994. Palais des Congrès, Saint Jean des Monts, France, 1995. Le Latina, Paris, France, 1995. Palm Beach Photographic Museum, FL, USA, 1996. Musée de la Photographie, Charleroi, Belgium, 1996. Cleveland Center for Contemporary Art, Cleveland, OH, USA, 1996. Groupe d’Animation Photographique, Cholet, France, 1997. Archivo Historico y Museo de Mineria, Pachuca, Mexico, 1998. ‘Terra’ Festival Atlantida des Cultures Lusophones, Galerie de la Seita, Paris, France, 1997. Festival Son Latino, Tenerife, Espagne, 2000. The University of Nottingham, Nottingham, UK, 2001. Museum of Fine Arts, University of Utah, Salt Lake City, Utah, USA, 2003. The Pharos Trust, Fotodos Gallery, Nicosia, Cyprus, 2004. ‘Migrations’ Georges Eastman House, Rochester, NY, USA, 2000. Maison Européenne de la Photographie, Paris, France, 2000. Sesc Pompéia, São Paulo, Brazil, 2000. Parque das Nações, Pavilhão de Portugal, Lisbon, Portugal, 2000. Planetário-Museu do Universo and Instituto Moreira Salles, Rio de Janeiro, Brazil, 2000. Scuderie Papali al Quirinale, Roma, Italy, 2000. Usina do Gasômetro, Porto Alegre, Brazil, 2000. Circulo de Bellas Artes, Madrid, Spain, 2000. United Nations Hall, New York, NY, USA, 2000. Hôtel de la Région, Marseille, France, 2000. Arengario and Istituto Martinitt, Milan, Italy, 2000.
Fundación PROA, Buenos Aires, Argentina, 2000. Helsinki City Art Museum, Helsinki, Finland, 2001. Espaço Cultural Contemporâneo Venâncio - ECCO, Brasilia, Brazil, 2001. The New Art Gallery, Walsall, UK, 2001. La Pedrera, Barcelona, Spain, 2001. Sa Nostra, Palma de Mallorca, Spain, 2001. Le Botanique, Brussells, Belgium, 2001. International Center of Photography, New York, NY, USA, 2001. City Art Centre, Edinburgh, UK, 2001. Ponte Alto, Modena, Italy, 2001. Manes Gallery, Prague, Czech Republic, 2001. The Marion Center for Photographic Arts/The Museum of Fine Arts/The Children’s Museum, Santa Fé, NM, USA, 2001. Deutsches Historisches Museum, Berlin, Germany, 2001. Kornhaus, Bern, Switzerland, 2002. Berkeley Art Museum, Berkeley, CA, USA, 2002. Alicante, Valencia, Murca, Spain, 2002. Norsk Industriarbeider Museum, Rjukan, Norway, 2002. Bunkamura, Tokyo, Japan, 2002. Portland Museum of Art/Maine College of Art, Portland, ME, USA, 2003. Barbican Gallery, London, UK, 2003. Fukuoka Asian Art Museum, Fukuoka, Japan, 2003. Chicago Cultural Center/Harold Washington Library Center, Chicago, IL, USA, 2003. Aberystwyth Arts Centre, Aberystwyth, UK, 2003 (The Children) Bundeskunsthalle, Bonn, Germany, 2003/2004 (The Children) Ludwig Museum, Budapest, Hungary, 2004. Ackland Art Museum, Caroline du Nord, NC, USA, 2004. South Texas Institute for the Arts, TX, USA, 2004. Triskel Arts Centre, Cork, Ireland, 2005. Center for Documentary Arts, The Leonardo Art, Culture and Science Center, Salt Lake City, UT, USA, 2005. Westlicht, Showplace for Photography, Vienna, Austria, 2005/2006. (The Children) ‘Genesis’ Parque Pedra da ebola, Vitoria, ES, Brazil, 2006. Museu de Artes e Oficios, Belo Horizonte, MG, Brazil, 2006. Parque San Francisco, Oviedo, Spain, 2006. Natural History Museum, London, UK, 2013 International Center of Photography, New York, NY, USA, 2014
BIBLIOGRAPHY Sahel: L’Homme en Détresse, Sainte-Genevieve: Prisma Presse, 1986. Other Americas, New York: Pantheon Books, 1986. Sahel, El Fin del Camino, Madrid: Comunidad de Madrid for Medicos Sin Fronteras, 1988. Les Cheminots, Paris : Comité Central d’Entreprise de la SNCF, 1989. An Uncertain Grace, New York: Aperture, 1990. Workers: Archaeology of the Industrial Age, New York: Aperture, 1993. Terra: Struggle of the Landless, London: Phaidon, England, 1997. Serra Pelada, Photo Poche Societé, Paris: Editions Nathan,1999. Migrations, New York: Aperture, 2000. The Children, New York: Aperture, 2000. Malpensa, La città del volo, Rome: Contrasto, 2000. Salgado, Parma, Rome: Contrasto, 2002. The End of Polio: A Global Effort to End a Disease, Boston: Bulfinch, 2003. L’Homme et L’Eau, Paris: Editions Terre Bleue, 2005. The Cradle of Inequality, Brasilia: UNESCO, 2005. Africa, Los Angeles: Taschen, 2007. Genesis, Köln: Taschen, 2013.
COLLECTIONS Musée de l’Elysée, Lausanne, Switzerland. The National Museum of Modern Art, Tokyo, Japan. Tokyo Metropolitan Museum of Photography, Japan. Ville du Port, Ile de la Réunion, DOM, France. Museum Modern Art, Glasgow, UK. Fundação Cultural de Curitiba, Brazil. Bibliothèque Nationale de France, Paris. Maison Européenne de la Photographie, Paris, France. Museum für Moderne Kunst, Frankfurt/Main, Germany. Australian National Gallery, Canberra, Australia San Francisco Museum of Modern Art, CA, USA New York Museum of Modern Art, NY, USA Chicago Art Institute, MI, USA Minneapolis Museum of Art, USA Museum of Photographic Arts, San Diego, CA, USA Smithsonian Institution, Washington, DC, USA Los Angeles County Museum of Art, CA, USA
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