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VERY SCARCE LATIN AMERICAN PHOTOBOOK -
with highly impressive photos by Mario Garcia Joya, better known as "Mayito".

Horacio Fernandez, The Latin American Photobook, page 166 and 167.

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.

"Mayito's A la plaza con Fidel (To the Plaza with Fidel) gathers together panoramas of unanimous crowds, separated first into groups and then into individual figures participating in mass politics as if it were a fiesta. The rhythm of the images is anticipated at the beginning: a double-page collage (which seems to be the work of designer Raúl Martínez) of photographs, flowers, newspaper clippings, and drawings in which the shepherded crowd is the background against which the really important individuals, the leaders represented by photos or drawings, stand out."
(Horacio Fernandez, The Latin American Photobook)

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Instituto del Libro, Serie Ámbito, Havana, Cuba. 1970. First edition, first printing.

Illustrated hardcover. 250 x 340 mm. 40 pages. 30 black and white photographs, 1 fold-out. Photographs and text: Mayito (Mario Garcia Joya). Design: Raúl Martinez. Text in Spanish.

Condition: 
Inside fresh and flawless; clean with no marks and with no foxing. Outside with trace of use; front cover with bump at the bottom right corner (with no consequence for inside), rear cover with bump at the bottom left corner (with no consequence for inside), highly fragile spine better than usual, cause complete (often pieces are missing), but used and teared and professionally restored (never seen a perfect spine of that title). Overall fine condition.

Highly impressive, big-format photobook by Mayito - very rare opportunity.

"Moving from double-page to double-page, this photobook displays painted portraits of bearded, patriotic heroes next to photographs of flesh-and-blood women, occasionally turned out in Cuban flags so that there can be no doubt of their symbolic identification with the heroes and the fatherland. Each double-page with individual portraits is followed by one of multitudinous crowds. At the end, as in a bad novel, the predictable conclusion falls like a ton of bricks: the crowd again next to an individual, in this case a gatefold page with a gigantic Fidel Castro imposing himself on the multitude of Lilliputians, thrilled to be at the feet of their leader, the fatherland, history, the hero, the god of thunder, or whatever else is needed, all packed into one veritable Fidel.
This is an impoverished discourse, repeated a thousand times in the dictatorships of the twentieth century, offering the same of cult of personality as do the photomontages of Gustav Klucis, in which the hierarchy of tyrants is indicated by the scale: the larger the size, the higher the rank. But it is not necessary to refer to the Soviet Union or Nazi Germany; there are Latin American models, such as Argentina en marcha (Argentina on the March, 1950), with collective images similar to those of A la plaza con Fidel, likewise followed by portraits of the supreme leaders.
Mayito had no problem accepting the epic rhetoric and the apologist's approach. As he wrote for ZoneZero.com, Pedro Mayer's online site dedicated to image-making and photography,..." "the facts imposed themselves, we didn't have to think much, we just pressed the shutter and there were the images full of happy, hopeful people." The complicity was all but total. "I was part of that commotion and my identification with the events is evident in my photographs." The strange thing is that Mayito's jubilant photos are exactly contemporary with the less optimistic portraits in El cubano se ofrece (These Are the Cubans) by Ián Cañas, a publication of which was not authorized until Cañas mended his iconoclastic ways through massive doses of masochistic smiles.
It is unlikely that A la plaza con Fidel ran any risk with the censors; paper and binding materials of a quality that was rare in Cuba-and would have been withheld by the government from less agreeable publications-were found for this book. But the photobook conceals a drama nonetheless. The book begins with a line drawing and a dedication to "the master," who could be none other than the painter, photographer, and graphic designer Raúl Martínez, under whom Mayito first studied painting, and with whom he then worked on numerous oc-casions. Everything suggests that Raúl Martínez was also responsible for the meticulous design of A la plaza con Fidel. The designer is generally given credit in Cuban books, but not this time. The credit was omitted, or rather half-concealed, much like Raúl Martínez himself, who had been expelled from his work and was trying to keep out of sight in order not to end up in one of the re-education camps to which the government of Fidel Castro was consigning homosexuals at the time. Although he had better luck than many others, Raúl Martínez was still a victim of the long repressive campaign against gays in Cuba. The artist spent more than ten years in fear and isolation, transformed into pride in his memoirs Yo Publio: Confesiones Raúl Martínez (I, Publius:
The Confessions of Raúl Martínez), published in 2007, twelve years after his death."
(Horacio Fernandez, The Latin American Photobook)

Arte, Fotografia - Quantidade: 1 - Livro de fotografia

Mayito - A La Plaza Con Fidel - 1970

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