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Sebastian Hau

SUPER SCARCE OPPORTUNITY to purchase this almost impossible to find photobook from South America -
in quite fresh and much more better than usual condition.

Horacio Fernández, The Latin American Photobook, page 175 (see pictures).

DEEPLY IMPRESSIVE AND HIGHLY DEPRESSING PHOTOBOOK in equal measure.

Strongly limited to 1000 copies only.

MY HIGHEST RECOMMENDATION.

Welcome to the 1st auction of Latin American Photobooks gathered by Anatole Desachy (France) and Ecki Heuser (Germany). Enjoy the Seminal Photobooks referenced by Horacio Fernandez in "The Latin American Photobook" published in 2011 and discover also some unknown publications including amazing pictures & innovating graphic design.

"Alexis Perez-Luna conceives photography as a way of expressing the deepest feelings of the creator's inner self, and as a way of assuming his social commitment. This stance is evident in his career of more than forty years as a documentary photographer. Several critics have stated that his works convey feelings of loneliness, sadness, nostalgia, longing, others have expressed his condition as a visual poet, a photographer who has taken care of both the aesthetics and the content of his work."
(Marisela Fuentes, more informations about the photographer see below)

This is a lot by 5Uhr30.com.
We guarantee detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide.

Privately published, Caracas, Venezuela. 1982. First edition, first printing.

Photo-illustrated softcover (as issued. 215 x 210 mm. 108 pages. 50 black and white photographs. Photos: Alexis Pérez-Luna. Design: Mariano Diaz. Text: Luzmaya Colina, Mercedes Angarita, Jesús Rosas Marcano, Enrique Pérez Guanipa, Luis Beltrán Prieto Figueroa. Text in Spanish.

Condition:
Inside clean with no marks, rear side of the last page and rear side of the rear cover lightly foxed, otherwise very fresh (very often heavily foxed), very small (surface) paper loss at the top right corner of the first title page (not dramatic, no missing part), otherwise flawless with no other remarkable flaws or defects. Outside quite fresh with strong, unbumped corners, much better and fresher than usual; light trace of use only. Overall fine, much better than usual condition.

Great photobook from Venezuela in fresh, well-preserved condition - extremely hard to find in any condition.

More informations about the photographer:
1949 Born in Caracas in the early hours of December 3rd. His parents were immigrants who had met and married in France. Antonio Pérez Luna had left Spain for reasons of the Civil War, Natasha Kaloujsky had done the same from the Soviet Union. They arrived in Venezuela in 1946.
1953 From this date onwards, the family lives in Mexico for a year. Venezuela is under the dictatorship of Marcos Pérez Jiménez.
1954-55 Lives these years in Villa de Cura, Aragua State, on a farm where his father works in agriculture. His first images are taken with a simple camera belonging to his mother, who had already taken up photography in her youth.
1957-58 Lives in Calabozo, Guárico State, and studies at the United States of America School Group.
1960-61 His family moved abroad again, this time to Córdoba, Argentina. By this time Pérez-Luna had already received a photographic camera as a gift from his mother and took pictures of family gatherings and landscapes.
1962 Returns to live in Villa de Cura and studies in Maracay at the Instituto Educacional Aragua.
1963 He studies at the Liceo Andrés Bello in Caracas and collaborates with photographs for the wall newspaper Orbita 100, directed by his sister Elisabeth.
1968 He assumes his photographic vocation and abandons his recently initiated career in Economics. At that time he joins the group Cobalto, which includes Manuel Espinoza, Jesús Enrique Guédez, Regulo Pérez, Emiro Lobo and Abilio Padrón, among others. He begins to collaborate in the cultural pages of different publications where his sister Elisabeth works. He meets Juanito Martínez Pozueta and Joe Fabry who help him to take his first steps in the photographic laboratory. From this year on he begins a photographic work that will be marked by the link to social causes. His mother gives him the latest model of Nikon cameras.
1969 He enters the Newman Foundation Institute of Design as assistant to the photographer José Sigala, who has just arrived from Philadelphia, where he had studied. His father sets up his first laboratory in a small bathroom in the house.
1971 He travels to New York, where he stays for a year at the School of Visual Arts, where he reaffirms his conceptual closeness to the tradition of denunciation photography by approaching for the first time the work of Lewis Hine and Jacob Riis.
1962 He returns to live in Villa de Cura and studies in Maracay at the Instituto Educacional Aragua.
1963 He studies at the Liceo Andrés Bello in Caracas and collaborates with photographs for the wall newspaper Orbita 100, directed by his sister Elisabeth.
1973-77 His conversations with the paediatrician Enrique Pérez Guanipa, director of the J.M. de los Ríos Children's Hospital, stimulated a photographic work on malnutrition that lasted five years and resulted in a book: Venezuela Desnutrida (Malnourished Venezuela).
Together with Juan Carlos Palenzuela, he carried out reports on different personalities linked to culture, from which emerged the portraits of: Pablo Livinalli, Cruz Amado Fagundez, Edgar Sánchez, Alirio Palacios, Adrián Pujol and others.
1974 After a brief internship in Madrid, where he lives with a group of Gypsies, he holds his first solo exhibition: Los Gitanos, at the Instituto de diseño de Caracas.
1975 He joins forces with Luzmaya Colina, daughter of the renowned artist Alejandro Colina. This contact gives rise to an unpublished work on the sculptor's various works. Holds the solo exhibition Imágenes del subdesarrollo (Images of Underdevelopment) at the Universidad de los Andes. He carries out documentary research at the Colonia Psiquiátrica de Nirgua.
From this couple he has his first two children: Alexis and León Felipe.
1976 El Grupo is formed, with photographers Ricardo Armas, Luis Brito, Jorge Vall, Vladimir Sersa and Fermín Valladares. With them he holds various group exhibitions: A Gozar La Realidad (1976) El Grupo (1977) Letreros que se ven (1979), of which a book is published.
1977 Solo exhibition: Marginalidad y educación, at the Universidad Católica Andrés Bello and group exhibition of the Group at the Librería Cruz Del Sur.
1979 Travels to Nicaragua, where he produces a work on Ernesto Cardenal. This will be shown in the solo exhibition: Nicaragua, at the Galería Viva México, and in a book: Ernesto Cardenal en Solentiname. Crónica de un reencuentro, with texts by Ildemaro Torres and drawings by Pedro León Zapata.
1980 Begins work at Ortiz y Parapara, which continues to this day, on villages, their characters, architecture, traditions and historical constructions.
1982-83 Studies at the International Center of Photography in New York. In 1982 he published the book Parques Infantiles (Children's Parks), a collection of photographs showing the desolation and destruction of these spaces. The images are accompanied by texts by Luzmaya Colina, Mercedes Angarita, Jesús Rosas Marcano, Enrique Pérez Guanipa and Luis Beltran Pietro Figueroa.
1985 Awarded the Eladio Alemán Sucre Prize. He forms a new partnership with Leonor Ayala, with whom he makes numerous trips abroad, from which photographs of European absurdity emerge from the point of view of a photographer with a Latin American vision. From this marriage he has two more children: Antonio and Mariana.
1986 From certain personal and artistic experiences, his work was oriented towards a work where, according to the photographer's own words, he abandoned the photography of militancy for the photography of pleasure. His work sent to different salons and exhibitions continues to receive well-deserved recognition.
1990 Obtains the third mention in the Luis Felipe Toro competition for the series Paisajes de Ausencia (Landscapes of Absence), of which the author himself has expressed himself, saying: Absences and nostalgia are the only things that are really ours, although we often do not know the reason for them, nor their origin...
1993 Receives third prize at the National Biennial of Photography held in Maracay.
Exhibits in Mérida, Medellín and the Galería América in Caracas.
1995 Begins his photographic work in the town of San Sebastián de los Reyes together with Sebastián Garrido and Vladimir Sersa. A group exhibition will emerge from it and later in 1999, the calendar: San Sebastián de los Reyes, Aquella aldea (San Sebastián de los Reyes, That Village) about which Esperanza Vera wrote: This calendar allows us to contemplate the century that is ending through the tender gaze of the child who fights within Alexis Pérez-Luna to conserve and share the memory of his rural childhood. The solo exhibition La otra claridad de San Sebastián de los Reyes will also appear.
1995-97 Receives for three consecutive years, (with Camaguan, Tigua and La Reunión) the Henrique Avril prize at the Salón Arturo Michelena. Of Tigua, José Napoleón Oropeza says: ...The way of making poetry from the grain of light that fuses death and life in the stillness of the sky and the blade of grass. Ricardo Bello has expressed his opinion of the 1997 prize-winning work: The meeting seems to detach itself from this documentary zeal by entering a dimension of reality charged with strange symbolism. The notion of reality has been altered, that is the advantage of realist artists: they prepare us for contact with the inexplicable, and when this takes place, we have no choice but to believe them, absolutely convinced of witnessing the image of a reliable testimony: the existence of the mystery.
1996 He builds a partnership with Marisela Fuentes, his current partner, who helps and inspires him to venture into an alternative way of exhibiting his photographic work. Starts the Calendarios project as a form of exhibition of greater projection.
1997 Awarded the Sebastián Garrido Prize at the National Biennial of Plastic Arts in Puerto la Cruz. Publishes a calendar of Venezuelan landscapes for a private company.
1998 This year he publishes two calendars, one on Venezuelan haciendas, financed by a private company, and another with one of his most important works entitled Seres que se Piensan, a calendar dedicated to women.
1999-2001 He continues to participate successfully in practically all the official exhibitions in the country, publishing in several books. He considers that it is very important to exhibit also in non-traditional places so that art reaches the places of daily activities as an alternative way of reading the photographic language. He published the San Sebastián De Los Reyes Calendar and another one in 2001 with the theme of boats entitled ‘Chalupas, Yolas, Caiques y otros Navíos’, where he deals with the theme of beached boats with their prow towards land as a symbol of arrival and stability. He brings together a number of images where the absurd, strange and disconcerting is the common theme. Under the title Huida y presencia de lo fantástico (Flight and Presence of the Fantastic), he holds a travelling solo exhibition, which will continue throughout 1999 and part of the year 2000 in at least six cities in the country and will be published again in the form of a calendar for the year 2000.
2002-2004 The calendars as a form of publication of his photographic work remained constant during these years. During this period he teaches at Roberto Mata's photography workshop until, motivated by a group of young students and enthusiasts for photographic research, he retires to devote himself fully with them, once again, to travelling the country in search of his memories. He travels to Morocco for the first time to report on life in that region.
2005-2006 He continues to publish his work in the form of calendars in order to achieve a wide dissemination and to relate the image to time, he obtains two new recognitions in official salons to which he sends his work with discipline every year. He also held eight solo exhibitions in galleries, museums and alternative spaces, increasingly accustoming the public to frequent unconventional art exhibition venues in order to seek and understand art from a different perspective. In 2006, the publishing house El perro y la Rana published an anthological book with sixty of his best images taken in Venezuela and around the world, three thousand copies were printed and quickly sold out. He receives the national book prize for this publication.
2007 Five solo exhibitions, thirteen group exhibitions, several awards and the purchase of a digital camera mark the beginning of a new stage in his life, following an opportunity to travel to Africa to encounter colour. Influenced by the colour work of several European, Asian, Latin American and North American photographers, they lead him to perceive colour through a strange polychromatic filter full of emotions.
2008 Todo se vuelve colour in fourteen participations in salons obtaining to the surprise of many people great respect and admiration for his capacity to understand colour in a very personal way and with the same strength of the black and white tones that he still does not abandon. He publishes a book with seventy black and white photographs entitled Mirando el tiempo que resiste, of portraits taken over many years in Venezuela, with a prologue by Esperanza Vera. The book is quickly distributed to all the bookshops in the country, becoming an important document in the consolidation of a basically rural memory of the country.
2009 The analogue cameras are put aside, the laboratory is momentarily closed and he begins to study digital development programmes. He travels to India for 15 days to five cities and obtains important colour work. Works as a still photographer for several documentaries by young Venezuelan filmmakers.
2010 Invited and motivated by groups of young and new photographers, he travels around the country giving workshops and talks. He continues to photograph the history of forgotten spaces and characters in the country, while continuing to exhibit in alternative art spaces. He stops participating in salons, as they are mainly oriented towards conceptual art, influenced by the art market, and as a consequence documentary photography is gradually losing its space for participation. He works to enrich his website to share some 1,400 photos with people interested in his photographic work.
She attends the workshop of the Mexican photographer Graciela Iturbide, held at the Esbaluard Museum in Palma de Mallorca, and when she returns she works as a still photographer for several short films and a feature film.
2011-2012 works all 2011 and part of 2012 for the Villa del cine as a still photographer in the following films: Ana by Morochos Rodriguez, Azu by Luis Alberto Lamata, Ley de fuga by Ignacio Marquez, Gaspar Mendoza by Julian Balam and Las Muchachas by Gabriela Gonzalez.
A photographic research work continues with a group of young photographers which concludes with the publication of a book entitled El ojo en el plato (The eye on the plate).
2013-2015 He spends most of his time digitizing his photographic archive in order to exhibit it on his website www.alexisperezluna.com interrupted by occasional reporting work for websites and promotion of artists from different areas, as well as still photography for several documentaries. He gives lectures, conferences and workshops in different photography schools and bookstores in Caracas.
2015-2017
Begins his concern to leave a mark in the history of photography in Venezuela and the permanence of his work in publications, in this year 2016 he publishes two new books: Cantes de ida y vuelta and las paredes no mienten. He is also preparing two more books to be printed in 2018, which are currently in the editing stage.
2017
Receives the National Culture Award, mention in photography for his work for more than 50 years in the field of documentary photography.
2018
Exhibits his work on mannequins entitled Quiebres y Fragmentos in the off festival of Photoespaña at the Centro de Arte Moderno de Madrid and later is invited to exhibit at the Foto Maracaibo photography festival and is preparing to print his next book entitled Ausencias.
2019
He publishes his most recent book entitled Ausencias with which he receives the prestigious Theobaldo De Nigris award and begins to prepare his next book entitled Alegorías.
2020
He decides to move to Argentina again, this time to Buenos Aires, where he publishes his most recent book entitled Alegorías.
2021-2023
He begins to travel around towns in Argentina with his camera, encountering the same stories of nostalgia that have always characterised his work as an author.

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Alexis Perez-Luna - Parques Infantiles (EXTREMELY SCARCE) - 1982

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Alexis Perez-Luna - Parques Infantiles (EXTREMELY SCARCE) - 1982

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