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Tom Hopman

Very rare title of the Spanish photographer Joaquín Cortés. Published in Caracas, Venezuela, in 1969, contains 48 striking black and white photographs.

Book condition: Book in very good condtion, both inside and outiside considering its age. Binding firm, no bent pages, no markings. Pages at the beginning and end of the book a bit wavy and with some foxing, due to the high humidity in Latin America. Pages with images not affected. The dustjacket is also in very good condition, protected by a mylar sleeve, with minor tears along the edges and a bit missing on upper right corner (see photos).

Outtake of a text from Lucía Jiménez about this important Latin American book:

"The first edition of the photobook published by Delvalle Hermanos C. A. in 1969 is early evidence of the furtive eye of the then young photographer, who already had a long record of typical characters and scenarios -as he says in his prologue- of Latin American culture. Retazos de vida is neither a documentary work nor a collection of travel photographs, but reveals, in its 48 images, a sort of logbook that travels through the territories of Venezuela -and others somewhat farther away- through emotional moments surprised by the author.

Joaquín Cortés, born in Barcelona in 1938, does not conceive photography without the instant. For him, the photo has neither space nor time. It is fleeting. A moment that immediately disappears and to which one can only return after the image is obtained. Therein lies its value: “Joaquín Cortés allows us to look through his photos into an unknown, intimate, revealing world” (Juan Giol M., quote on the book jacket). A world that perhaps went unnoticed, even for its own protagonists, but that Cortés takes great pains to immortalize.

With a design that is sustained in the black and white of the photos, Retazos de vida is simple, sober and unadorned to the naked eye. However, the power of the composition absorbs us between its pages. It grows stronger photo after photo. And it uncovers that unspoken desire of the photographer: to tell a story. In the process, Cortés tries to escape from the formulas, but he does not quite manage to abandon the school. Such is his eagerness that, at the end of the tour, he gives us the technical details of each photograph: type of camera, lens size, shutter speed and type of film. A list that, although dispensable, adds an extra academic value and indicates the photographer's enormous attachment to a consistent record.

The publication of Retazos de vida, four years after his first solo exhibition, 45 fotos de Joaquín Cortés, was presented at the Ateneo de Caracas, is also a sign of the recognition that the national and international scene began to give the photographer at the end of the 1960s. Both the book and the exhibition presented to the public a collection of images from Cortés' travels: Los Andes, Caracas, Maracaibo, Margarita, Curiepe, Araya and Yare.

In Retazos de vida there are also some scenes from New York, as a preamble to the city that would become the epicenter of the photographer's life in the following years. There, for example, in 1971, he held the exhibition New York 71, sponsored by Cornell Capa, a member of Magnum Photos. Josep María Casademont (Barcelona, 1928-1994), editor and photography critic, says in the prologue that this book is “the first coherent, organic and autochthonous photographic testimony of a Latin American reality”. Casademont was, in 1969, the director of Imagen y Sonido magazine in Barcelona, and, therefore, a recognized figure in Spanish photography.

The editor took the opportunity to join the debate on the communicative need of photography, which hardly managed to distance itself -as it was considered at the time- from a journalistic motivation. The image was a news event and, as such, he describes Cortés as a “camera worker, who seeks only to communicate to others, in the best possible way, what the surrounding world he has been given to know is like and what it means”.

It is not surprising, then, that the texts in Retazos de vida are available in Spanish and English. Such an arrangement is a clue to the relevance that the book was expected to have before international eyes. And, since the work is still being talked about today, it is indisputable that its value has been proven.

However, contrary to Casademont's opinion in his prologue, these photographs are not a news event. They are momentary pieces of a reality, closer to the photographer's gaze than to the people he photographs. The reader might even dare to discuss whether they are also a testimony of the Latin American reality, since there are few signs that Cortés leaves us about the places. The best evidence of this is to find, among the pages, a New York that slips twice into the other images of Venezuela. Yes, undoubtedly there are traces of a Latin American characteristic: an enormous resonance of the social. A sign of tradition, of poverty, even of protest -something so characteristic of photography in the region- is constantly present in these images; but more important in them is the strong emotionality captured by Cortés, even in those invisible faces that have managed to escape the lens.

The main story is in the characters, drawn or hidden before a camera that hunts, that shoots the moment without discrimination, without waiting for a look, much less a smile. What difference can there be, for example, between the photographer of couples in the Parque del Este in Caracas (p. 24) and the beggar who receives a handout in front of The Chase Manhattan Bank in New York (p. 20)? Not even the costumes could give us clues. It is the moments that become important to the photographer. Is that his newsworthy fact? No one cares: the image is valued for its composition, technique and detail. For the emotionality.

That is what Retazos de vida is all about, the naïve moments that -one after another- are lost in oblivion only to be rescued by this photographer of the instant, by Joaquín Cortés."


Fotografie - Aantal: 1 - Stofomslag - Fotoboek

Joaquín Cortés - Retazos de vida - 1969

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