Nueva Luz Vol 2 Issue 3 by En Foco, Inc.

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pboto^rapbic journal Vo/. 2 No. 3, 1988

WUEVA LDZ Vol. 2 No. 3, 1988

photographic journal Editor Charles Biasiny-Rivera Associate Editor Betty Wilde Designer/Art Director Frank Gimpaya Production Editor Rodney Sappington Translator Arnaldo Sepulveda East Coast Distributors Total Circulation Services West Coast Distributors Cornucopia

Typography Ortiz Typographies Printing Expedi Press

Nueva Luz (ISSN 0887-5855) is a photographicjour nalpublished by En Foco, Inc. 52 East Kingsbridge Road, Bronx, New York 10468, (212) 584-7718. Single issue price is $4.00, yearly individual subscription is $12.00 in the U.S. In all other countries, yearly subscription is $18.00, institutional subscription is $30.00. Portfolios of at least 15 unmounted prints or copy slides may be submittedfor viewing. Ifmailed, the prints may be no larger than 11"X14". A self-addressed stamped envelope and appropriate packaging must ac company all mailedportfolios to insure proper return. We do not assume responsibility for unsolicitedphotographs or manuscripts sent by mail. Photographers wishing to deliverportfolios in person must call our office to make ar rangements. For advertising rates and distribution contact En Foco, Inc.

Copyright © 1988 by En Foco, Inc. All Rights Reserved Nueva Luz is made possible withfunding by the New York City Department of Cultural Affairs, Bronx Bor ough President, Fernando Ferrer, New York State Council on the Arts, Bronx Council on the Arts, and the National Endowment for the Arts, a federal agency.

Editorial Pa £ e

uccess is an extraordinary word’ releasing thoughts ofhopeful possibilities andfinal recognition of our worth and efforts. A very successful man died on August 26, 1988 in a tragic accident in his native Puerto Rico. Ramon Aboy, photographer andfounder of the Casa Aboy, the only photographic museum and gallery on the island, left the rest of us behind to continue pushing that very large boulder up the very steep hill we call life. In 1976 Ramon transformed a classic old house, built by his grandfather in 1919, into a gathering place for photography and other artistic events. When I moved to Puerto Rico in 1976, I remember passing on a bus along the Ponce de Leon Avenue and noticing a beautiful house that had signs ofskulls and crossbones surrounding it. 1 learned later that Ramon had saturated the grounds surrounding the house with insecticide to rid it of termites. The house had been scheduledfor demolition by the Aboy elders. Situated in the exclusive neighborhood ofMiramar, it had long been vacant and the family had decided to sell the land. Ramon convinced them to give him the house for five years, at which time he would either buy it from them or see it demolished. He was to spend the rest of his short years renovating that house, turning it into the most unique setting in all the Carribean for the presentation ofphotography and other cul tural activities. Ramon constructed darkrooms and began photography classes. He instituted an artist-in-residence pro gram, bringing in a variety of photographers, which includ ed W. Eugene Smith, to Puerto Rico. He made it a meeting place for photography forums and had the best Christmas parties Eve ever attended anywhere in the world that includ ed two bands playing on the lawn, food concessions in the garage and open house to all. The San Juan police had to redirect the traffic along the major avenue to accommodate the flood ofpeople that came. Ramon’s generosity was typically Puerto Rican and he created the first home for photography on the island. He wasn V able to raise the large capital to buy the house and when he died there was concern that it would all come tumbling down. On September 18, 1988 the Institute ofPuerto Rican Culture announced plans to acquire Casa Aboy and turn it into a center of cultural activity. Wherever Ramon’s spirit dwells now I know he's toasting that decision with a glass of fine Puerto Rican rum. Charles Biasiny-Rivera Editor

xito es un termino extraordinario; despierta la nocion de lo posible y esperanzado, y el reconocimiento decisivo de nuestros meritos y esfuerzos. Un hombre muy exitoso murio el 26 de agosto de 1988 en*su Puerto Rico natal a causa de un accidente tragico. Ramon Aboy, fotografo y fundador de la Casa Aboy, el unico museo y galena de fotografia en la isla, nos ha legado la tarea de seguir empujando ese penon monumental cuesta arriba en la vida. Ramon transformo en 1976 una vieja casa senorial (construlda en 1919 por su abuelo) en un centro de encuentros fotograficos y artlsticos diversos. Cuando yo vivla en Puerto Rico en 1976 y viajando en guagua por la Avenida Ponce de Leon, recuerdo que note una hermosa casa con rotulos de calaveras y huesos cruzados. Mas tarde supe que Ramon habia saturado los predios de la casa con insecticida para eliminar el comejen. La propriedad habia sido destinada por la plana mayor de los Aboy para la demolicion. Ubicada en el area exclusiva de Miramar, hacla mucho que estaba desocupada, y la familia habia decidido venderla de una vez. Ramon convencio a esta de que le cedieran la casa por cinco anos, al cabo de los cuales el mismo se la comprarla o accederla a la demolicion. Paso los breves anos que le quedaban renovandola y convirtiendola en el espacio mas peculiar de todo el Caribe para la exposicion de fotografia y de diversas actividades culturales. Ramon construyo cuartos de revelacion e introdujo clases de fotografia. Establecio un programa de artistas con residencia que atrajo un sinnumero de fotografos (W. Eu gene Smith, entre otros) a Puerto Rico. Se troco en el hogar de foros sobre fotografia y de las mejores fiestas navidenas habidas y por haber, con dos orquestas que tocaban en el patio, ofrecimientos de comida en el garaje, y una casa de par en par para todos. La policla sanjuanera tenia que dirigir el transito en la avenida para poder acomodar el diluvio de los que llegaban. La generosidad de Ramon era tlpicamente puertorriquena; fundo el primer hogar fotografico de la isla. Pero no pudo reunior el capital considerable que requerla la compra de la propiedad. A ralz de su muerte se temla que todo esto se vendrla abajo. El Instituto de Cultura Puertorriquena anuncio el 18 de septiembre pasado que se proponla adquirir la Casa Aboy y convertirla en un centro de actividad cultural. Se que el espiritu de Ramon, dondequiera que este morando, brindara por esta decision con un buen trago de ron puertorriqueno.

Table of Coplepl^ .... page 1 . pages 2-11 pages 12-21 pages 22-31 . ■ ■ page 32 ---- page 33

Editorial.............................................. Ricardo T. Barros................................ Pablo Cambo...................................... Nestor Millan...................................... Commentary by Charles Biasiny-Rivera Comentario..........................................

Cover photograph: Nestor Millan, Untitled, 1987, Silver Gelatin Print, 8" x 10"

THIS ISSUE IS DEDICATED TO THE MEMORY OF RAMON ABOY

Ricardo T. Barro?

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Born in Sao Paolo, Brazil, Ricardo Banos' work is in cluded in the permanent collections of The Smith sonian Institute, The Museum ofArt of Sao Paolo, and The New Jersey State Museum. He received a Fellowship in photography from the NewJersey State Council of the Arts in 1984. Mr. Banos presently works as a Research Engineer for the State of New Jersey.

“These nudes are the fruit ofa collaborative process to which the photographer can only partially lay claim. The forms which unfolded were less often coaxed than presented, and even then they were al ready graced. ”

Ricardo T. Barro?

â&#x20AC;&#x153;Nudes", 1983, Silver Gelatin Print, 9lh " x 71/2"

Ricardo T. Barro?

“Nudes”, 1983, Silver Gelatin Print, IV2" x 9Vi "

Ricardo T. Barro?

“Nudes”, 1983, Silver Gelatin Print, 7V.z " x 9'/2"

Ricardo T. Barro?

â&#x20AC;&#x153;Nudes", 1983, Silver Gelatin Print, 9'/* "* 7"

Ricardo T. Barro?

“Nudes”, 1983, Silver Gelatin Print, 8V2 "x 7 V2 "

Ricardo T. Barro?

â&#x20AC;&#x153;Nudes", 1987, Silver Gelatin Print, 7Vi" x 9!/2"

Ricardo T. Barro?

â&#x20AC;&#x153;Nudes", 1988, Silver Gelatin Print, 5" x 13 Vi"

Ricardo T. Barro?

“Nudes”, 1988, Silver Gelatin Print, 5" x 13 Vi "

Ricardo T. Barron

â&#x20AC;&#x153;Nudes", 1988, Silver Gelatin Print, 5" x 13 Vi "

Pablo Cambo

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Born in Havana, Cuba, December 1948, Pablo Cambo calls Puerto Rico â&#x20AC;&#x153;mi Patria Adoptiva" where he has livedsince I960. He is a Vietnam Veteran and received his Associate of Arts degree from MiamiDade Community College in 1973. He is married to Margarita and has three children: Pia, Paola and Sebastian. Mr. Cambo has practiced commercial photography since 1977 and has participated in solo exhibitions in the United States, Puerto Rico, Spain, Germany and Mexico.

Pablo Cambo

"Lunay Marâ&#x20AC;?, N.D., Silver Gelatin Print, 9" x 13"

Pablo Cambo

"Equivalente IIâ&#x20AC;&#x2122;, N.D., Silver Gelatin Print, 9" x 13"

Pablo Cambo

“Poste”, N.D., Silver Gelatin Print, 9" x 13"

Pablo Cambo

Untitled\ N.D., Silver Gelatin Print, 13" x 19"

Pablo Cambo

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“Piedra”, N.D., Stiver Gelatin Print, 13" x 9"

Pablo Cambo

“Camino” N.D., Silver Gelatin Print,

9" x 73"

Pablo Cambo

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Dtf/ Jo/”, N.D., Silver Gelatin Print, 9" x 75"

Pablo Cambo

“Equivalente I”, N.D., Silver Gelatin Print, 9"x 13”

Pablo Cambo

"Muelle", N.D., Silver Gelatin Print, 9" * 13"

Nestor Millap

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Born in San German, Puerto Rico in I960, Nestor Millan attended the University of Puerto Rico and received a degree in Pine Arts in 1983. He then at tended Pratt Institute of Art and Design in New York where he received an MPA degree. He began working in photography in 1983 when, in the process of making drawings, he discovered unique qualities of the photographic medium. Mr. Millan currently teaches photography, drawing, and printmaking at the University of Puerto Rico, in Rio Piedras, Puerto Rico.

“I purposely damage my negatives and my paper before and during my printing. 1 found in this cross between printmaking and photography a strong weapon in which my reality and unreality merged in to images where time and. space are confused and fragmented. Both the figures and the spaces are af fected by this continuous manipulation. The prod uct is destroyed andreshaped. Thisforce corrupts the formal harmony of the print, but adds a grim and tom determination to its content, its subject matter. Covered and uncovered, ripped and reconstructed again, the figures become mutilated victims of the process. But they are, nonetheless, survivors. ”

Nestor Millai)

"Reyesâ&#x20AC;? from "Con Otros Hombres" series 1987, Silver Gelatin Print, 16" x 20"

Nestor Millap

Untitled, "Against Straight lines" series, 1987, Silver Gelatin Print, 16" x 20"

Nestor Millar)

Untitled, "Against Straight Linesâ&#x20AC;? series, 1987, Silver Gelatin Print, 16" x 20"

Nestor Millap

Untitled', "Against Straight Linesâ&#x20AC;? series, 1987, Silver Gelatin Print, 16" x 20"

Nestor Millai)

Untitled, "Against Straight Lines" series, 1987, Silver Gelatin Print, 20" x 16"

Nestor Millay

Untitled\ "Against Straight Lines" series, 1987, Silver Gelatin Print, 16" x 20"

Nestor Millar)

Untitled, "Against Straight Lines" series, 1987, Silver Gelatin Print, 16" x 20"

Nestor Millar)

Untitled, "Against Straight Lines" series, 1987, Silver Gelatin Print, 16" x 20"

Nestor Millai)

Untitled, "Against Straight Lines" series, 1987, Silver Gelatin Print, 16" x 20"

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reflection. The Greeks built temples in such locations to be closer to their gods. His image of Camino has such a pro foundness that one wonders who's path he's referring to, the rider of the bicycle whose trail is clearly visible or the trail that ones spirit leaves behind. From such simple forms, Cambo has empowered the space with a solemn identity, suggesting other possible realms of consciousness. The veils ofNestor Millan are immediately apparent. We have chosen his haunting photograph ofa veiledperson for the cover to represent the transidential aspects found in all three photographers featured in this issue. Millan, who teaches photography at the University ofPuerto Rico, ap proaches the medium with a sensitivity to the photographic surface. He rips, severs and scrapes his negatives into submis sion until the desired effect is attained, referring to his pic tures as monotypes, perhaps, as an influence from his days as a printmaker. Millan dares to defy the sacrosanct negative, inviolate holder of all truths, as he ventures to present a unique in sight into the currents of male sexuality. Just as Cambo uses space as a referential medium, so does Millan explore the in teriors of erotic male relationships; a murky light reveals figures prowling about in an ancient dance of narcisism. The spaces they inhabit are voids, suspended by the event, bring ing to mind imagery reminiscent ofDante's Inferno. The strength andpower ofMillan's work is due in part to his ability to confront an almost ritualistic sexual en counter and to extract the higher energies present. He at tains a state ofartistic detachment in the fate of obvious in volvement. If we were to say that these photographs were taken at a YMCA shower room and are simply an exercise in spacial relationships as it effects body forms, all that would pale compared to the intensity and exceptional perverse quality sustained throughout the work. Certainly, there's no denying the intrinsic beauty ofall the photographs in this issue andfurther interpretation is not necessary for their enjoyment. I think, however, that all fine work possesses layers of meaning that encourage a dialogue with the viewer. This luring process lessens our cau tion and gives us the freedom to exercise our sensibilities, usually held in abeyance in an often hostile environment. The individual perceptions offered by these photog raphers serve to comfort our weary hopes, reminding us of our extended beings and the promise of realizing, finally, our own personal paths. Charles Biasiny-Rivera

uch ofphotography comes veiled, the clearest of the veils is the unintentional one. What it conceals must be of great importance to the photographer for it takes the most indirect path to surface. Kindled in the psyche and possibly alive even before birth, these concerns reign at the center of our being without conscious recognition. The degree with which we can effectively give voice to these visions is talent. Everyone enters this world offright ened consciousness with an inventory ofancient memories, also known as a soul, yet not everyone has the talent or the quest to birth their soul; those that do are artists. Ricardo T. Barros has created a series of exquisite family nudes that on first viewing seem to be lyrical visual poems. A bright but soft light illuminates the body forms which are jewelled all the more by a dark background, form flowing into form cascading upon each other in a celebration of in nocent intimacy. However, further study begins to reveal a disquieting erotic undercurrent that is at first murmured then gradually, as the notion begins to mount, emerges as a major element. This unexpected enhancement gives the work an additional level of inquiry that provokes a multitude of oedipal possibilities. Its treatment as a study in line andform is deceptive and the presentation on a dark background en courages a sculptural reference, luring one into a serene set ting and making the enticement of erotica all the more suc cessful. It enters sideways before one has the chance to for bid those forbidden thoughts. Pablo Cambo is even more elusive. I have always be lieved that ifyou find yourselflooking with great interest at a photograph, then most probably it is a photograph of worth. I have watched Cambo's development for some years and his early interest in forms and abstractions has flowered. In this portfolio, he uses scale to isolate and to deter our sense of reality. A car hood ornament becomes a UFO streaking across a night sky, a wooden wharf transmutes into a pyramid ofsun rays and La Senal del Sol can easily be seen as a Martian's view of the earth. I think he offers them as an exercise to loosen our grip on reality; in so doing urging us to squint at the truth, thereby allowing us to see into another nivel, another source of enlightenment. Cambo's use ofspace is a very careful mapping of rela tionships, not for their own sake but to mark places of

Charles Biasiny-Rivera is a photographer and the Executive Director ofEn Foco Inc.

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ran parte de la fotografia estd velada; el velo mas claro es el involuntario. Lo que oculta debe ser de gran peso para el fotografo puesto que se vale del camino mas indirecto para emerger. Estas inquietudes, en la psiquis encendidas y vivas posiblemente antes de nacer, conducen el vertice de nuestro ser sin un reconocimiento consciente. La medida en la que podamos expresar efectivamente esta vision es el talento. Todos penetramos este mundo de la asustadiza consciencia con un inventario de memorias ancestrales — que tambien llamamos alma — si bien no todos poseemos el talento o padecemos la busqueda para dar a luz el alma; aquellos que si son artistas.

tales ambitos para estar mas cerca de los dioses. Su imagen de Camino tiene una profundidad tal que uno se pregunta a cudl camino se refiere: el ciclista cuyo rastro es sin duda visi ble o el rastro que el espiritu de uno va dejando. Mediante formas asi de sencillas Cambo ha dotado el espacio de una solemne identidad que sugiere a su vez otras dimensiones posibles de la consciencia. Los velos de Nestor Millan son aparentes de inmediato. Escogimos para la portada su acosadora imagen de una per sona oculta por un velo para expresar los elementos centrales que comparten los tres fotografos reunidos en este numero. Millan, quien ensena fotografia en la Universidad de Puerto Rico, se aproxima al medio con una sensibilidad atenta a la superficie fotografica. Desgarra, divide y arana sus negativos hasta la servidumbre con tal de alcanzar el efecto anhelado. Llama a sus imagenes umonotipos, ” quizas como recuerdo influyente de sus anos de grabador. Millan osa desafiar al negativo sacrosanto, poseedor'inviolado de toda verdad, al aventurar una mirada rara por corrientes de sexualidad masculina. Tal y como Cambo utiliza el espacio como medio referential, Millan explora el interior de relaciones eroticas masculinas; una luz turbia descubre figuras que rondan a modo de una antigua danza narcisista. Los espacios que habitan son vacios suspendidos en un evento (recuerdan imagenesproprias del Inflerno de Dante). El vigor y el poder de la obra de Millan se debe en parte a su habilidadpara confrontar un encuentro sexual casi ritual y extraer las energias mas agudas de ello. Alcanza un estado de distanciamiento artistico frente a un compromiso obvio. Si fueramos a detir que se sacaron estas fotografias en los banos de la YMCA y que son simplemente un ejercicio de relaciones espaciales en cuanto a formas corporales, todo eso valdria menos que nada comparado con la intensidad y cualidad excepcionalmente perversa que se sostienen en toda la obra. Ciertamente, no se duda la belleza intrinseca de las fotografias en este numero; no hard falta mayor inter pretation para su disfrute. Creo, eso si, que toda obra duradera contiene capas de signification que animan el dialogo con el espectador. Este proceso de seduction disminuye nuestra cautela y nos brinda la libertad de ejercitar nuestra sensibilidad, mantenida a menudo en suspenso en un ambiente poco grato. La percepcion individualizada de estos fotografos reconforta nuestras agobiadas esperanzas y nos recuerda nuestro extendido ser y el augurio de cumplir finalmente nuestro propio sendero. Charles Biasiny-Rivera

Ricardo T. Barros ha creado una serie de desnudos familiares exquisitos que parecen, a primera vista, poemas visuales liricos. Una luz brillante y docil alumbra las formas corporales, enjoyadas mas aun por un fondo oscuro, cascada de formas desembocando en si mismas, una celebration de cierta inocente intimidad. Sin embargo, un examen posterior comienza a mostrarnos una corriente erotica sin sosiego: primero se susurra y, a medida que la notion asciende, se constituye en elemento central. Dicho realce inesperado le imprime a la obra un nivel mayor de interrogantes y posibilidades edipales. Su tratamiento de lineas y formas engana y lo confeccionado sobre las sombras alienta referencias escultoricas, tentandolo a uno el sereno dmbito y haciendo el encanto de lo erotico incluso mas convincente. Se nos adentra de modo oblicuo antes de cerrarle la puerta a esos pensamientos prohibidos. Pablo Cambo es aun mas elusivo. Yo siempre he sostenido que cuando uno se encuentra mirando una fotografia con gran avidez se trata, lo mas seguro, de una imagen valiosa. He observado el desarrollo de Cambo desde hace varios anos y su joven interes por formas y abstracciones ha madurado. En este portafolio aprovecha la escala para aislar y refrenar nuestro conscepto de la realidad. Un adomo en una capota de carro se vuelve en un OVNI atravesando el cielo noctumo, un muelle de madera se transforma en piramide de rayos solares, y La Senal del Sol podria mirarse como la percepcion de un marciano de la Tierra. Sospecho que estas imagenes son para Cambo un ejercicio de debilitation de la confianza en nuestra realidadde ahi la urgencia por calar la verdad con cierta malicia y llegar a traspasar a otro nivel, una fuente de iluminacion adicional. Cambo maneja el espacio a modo de cuidadosa cartografia de relaciones; esta marca lugares de refelxion con toda intention. Los griegos antiguos construyeron templos en

Charles Biasiny-Rivera es fotografo y Director Ejecutivo de En Eoco Inc.

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