Date: April 6 - August 22, 2011
Location: Sabatini Building, Floor 3
Curators: Jorge Ribalta
Organization: Museo Reina Sofia
a harsh light, without compassion. The Worker-Photography Movement, 1926-1939 deepen the analysis of a period in the history of twentieth century photography in which it seeks to serve the diverse labor movements (from the association association to the creation of states "workers" as the Soviet one), based on self-consciousness of the working class and the taking of the mechanisms of production and reproduction of images. In approaching the study of the artistic vanguard interconnected with the political vanguard, the exhibition ends historiographical hegemony of other movements in the history of photography, as the New Vision, displacing the mechanical view in importance in the relationship with the movements social and focusing the discussion on photography as document. Presents photographs (mostly vintage prints ), movies and other documents, with special attention to the journals, the primary means for the circulation of images and ideas associated in recent years.
Born of the Third Communist International (the first after the Soviet Revolution), the movement had its initial stage in the competition held in 1926 by the magazine AIZ (Arbeiter Illustrierte Zeitung , pictorial workers), in the context of the Weimar Republic. Simultaneously, the Soviet Union born Sovetskoe Photo magazine with the mission of leading and coordinating the Soviet photographic culture towards building the new socialist state. From these sources, the picture expands to articulate working as a paradigm for leftist movements in central and northern Europe and the United States these branches come to permeate the experiences of the Popular Front in Spain and France, two case studies impact on the transnational nature of the movement. By 1939, with the end of the English Civil War and the beginning of World War II, begins a new world order that leads to the decline of a movement that had given birth to names such as Sergei Tretyakov, David Seymour, Robert Capa, Paul Strand, Tina Modotti, Walter Ballhausen and Max Alpert, among many others.
If the various revolutions workers raised new world views and radical forms of re-education of the eye, photography was born workers of the same social conscience that led to the appropriation of the photographic medium, and hence of the image itself. This exhibition draws and a cool self-representation when the working class becomes a form of social emancipation and gives a horizontal gaze, not minced of the working class during the middle years of the first half of the twentieth century. This exhibition and the catalog is converted into a set that provides a crucial chapter in the historiography photo. In parallel, the documentary film series examines the emergence of proletarian audiovisual document, along with photographic paper, is the principle of modern visual culture.
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