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FANTASTIC BIG MONOGRAPH by GREAT BRAZILIAN MAGNUM PHOTOGRAPHER Miguel Rio Branco.

Unites more than four decades of work across several major cities into one astonishing poetic statement on urban life. Eschewing city landmarks or aspirational ideals, Rio Branco turns his lens to common threads of struggle in metropolises around the globe. Maldicidade is a collection in which all urban dwellers will find something of themselves, or something they long to escape.

Miguel Rio Branco is famous for many great photobooks, like:
- "Nakta", Horacio Fernández, The Latin American Photobook, page 194 and 195
- "Dulce Sudor Amargo" (1985), Horacio Fernández, The Latin American Photobook, page 21
- "Silent Book", Martin Parr, Gerry Badger, The Photobook, volume 3, page 118; Horacio Fernández, The Latin 
   American Photobook, page 196/197
- "Entre os olhos, o deserto" (2001), Horacio Fernández, The Latin American Photobook, page 194 

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"In Maldicidade, the city never sleeps. By dawn or dusk, in New York, Havana, Salvador da Bahia, or Tokyo, it is an environment fraught with yearning, aching with solitude, and fretful with fortunes never made. This searing urban portrait from visual artist Miguel Rio Branco draws upon his itinerant early years as the son of diplomats to reveal the common threads of struggle and loneliness in metropolises around the world.
The images are impeccably captured, but the pictures are not always pretty. Rio Branco is not interested in documenting historic city landmarks, an impressive skyline, or the aspirational dreams that soar up towards it. Instead, he focuses his camera on the city’s refuse and margins—on that which it has thrown away and on those it has cast aside and disappointed. In stark frames or soft impressions, it is street sleepers, beggars, prostitutes, stray dogs, smashed cars, and shattered glass that characterize his urban impressions.
While subtle details reveal the specificity of place, it is the commonality of urban experience at the heart of Rio Branco’s project. Light on local context or explanatory narrative, the images are instead meticulously arranged into one redolent sequence of a universal city. Working as if in the cutting studio, Rio Branco excels in the rhythm and succession of pictures, crafting evocative patterns of motif (decrepit buildings, lone figures, smashed-up cars); color (rich reds, dusty pinks, stark whites and blues); and form (an anguished street sleeper beside an ecstatic statue of a saint). Throughout, occasional pictures of women are proffered as sensual, hopeful reprieve, interspersing the grit and the grime in commanding portraits or up-close, supple nudes.
At once incisive in its message and lyrical in its arrangement, Maldicidade focuses attention on the city’s ineludible magnetism, as much as on its alienation and inhumanity. Biting, bare-faced, and achingly beautiful, it is a collection in which all city dwellers will find something of themselves, or something they long to escape."
(from the publisher)

Taschen, Cologne. 2019. First edition, first printing.

Hardcover with dustjacket. 245 x 330 mm. 464 pages. Photos: Miguel Rio Branco. Design: Daniel Siciliano Bretas, Cologne. Text in  English, French, German and Portuguese.

Condition:
Book inside excellent, fresh and flawless; clean with no marks and with no foxing. Book outside well-preserved by the jacket. Dustjacket complete with no missing parts; stronger used at the bottom edges of the covers, small tear at the bottom of the spine (easily to restore). Overall very good condition. 

Great monograph by one of the main figures of the Latin American photography.

The photographer
"Born in Las Palmas, Spain, Miguel Rio Branco is a Brazilian and French photographer, painter, filmmaker, and multimedia artist based in Araras, Rio de Janeiro. His work is featured in leading museum collections around the world including the MoMA, the Metropolitan Museum of Art, and the Centre Pompidou, and has been exhibited at the Peggy Guggenheim Museum, Venice; the Biennial of São Paulo; and Aperture Foundation in New York, among others. Rio Branco’s awards and prizes include the Prix du Livre Photo at the Rencontres Internationales de la Photographie in Arles, the Prix Kodak de la Critique Photographique, as well as the International Critics’ Award at the 1982 Lille Documentary Festival."
(from the publisher)

The contributing author
"Paulo Herkenhoff is an independent curator and critic. From 2003–2006, he was director of the Museu Nacional de Belas Artes, Rio de Janeiro. Previously Herkenhoff was adjunct curator in the Department of Painting and Sculpture at the New York Museum of Modern Art, and chief curator of Museu de Arte Moderna do Rio de Janeiro. He was also artistic director of the 24th São Paulo Biennale and curated the Brazilian Pavilion at the 47th Venice Biennale. Herkenhoff has published texts on artists such as Raul Mourão, Guillermo Kuitca, Rebecca Horn, Julião Sarmento, and Louise Bourgeois. He lives and works in Rio de Janeiro."
(from the publisher)

"Son of diplomats, Miguel Rio Branco - born 1946, based in Petrópolis, Brazil - spent his childhood in Portugal, Switzerland, Brazil and the United States. He has variously been a painter, a photographer and a filmmaker. His first painting exhibition was in Bern in 1974, while he was living in Switzerland. Two years later, he moved to New York, where he earned his Bachelor of Arts, continued to paint, and took a one-month vocational course at the New York Institute of Photography. In 1978, he continued his studies in Rio de Janeiro, at the Escola Superior de Desenho Industrial, before launching into a career in photography and film.
Rio Branco was a freelance photographer and director of photography for movies when he embarked on documentary photography and was soon noticed for the dramatic quality of his color work. In 1980, he became an associate of Magnum Photos. Fascinated by places of strong contrast, in the power of tropical colors and light, he made Brazil his main area of exploration. In 1985, he published Dulce Sudor Amargo, a book in which he drew a parallel between the sensual, vital side of Salvador da Bahia and the historical side of the city, which, at the time (1979) was inhabited by prostitutes and the fringe elements of society. It is an essay on life and death, on the scars left behind by time and by living. The photographer’s fascination for these places of strong contrast essentially resides in the power of the tropical colors and light, which he conveys by means of his pictorial sensibility."
(Magnum's website)

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Miguel Rio Branco - Maldicidade - 2019

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