Martín Chambi Photographic Archives Limited Edition Portfolio 2005:
Authorized by the Archivo Fotografico Martín Chambi (AFMCH)
Introduction by Walter Salles, director Motorcycle Diaries
•Supervised by Grandson, Teo Allain Chambi: Collection Director, AFMCH
•Printed by master printer, Claire Garoutte, Head of Faculty, Photographic Center Northwest
Portfolio description: Five, 11 x 14, gold-toned, bleach-bath, silver-gelatin, prints; 2 representing iconic Chambi images and 3 never seen before images, significant to Chambi's life work.
•Portfolio Edition of 40 plus 1 Printer's Proof • 11” x 14” prints
1-10 @ $1500 print 1-10, or $500 priced individually
11-20 @ $2500 print 11-20, or $700 priced individually
21-25 @ $3500 print 21-25, or $1,000 priced individually
26-30 @ $5000 print 26-30, or $1,500 priced individually
31-35 @ $7,500 print 31-35, or $2,000 priced individually
36-40 @$10,000 print 36-40, or $3,000 priced individually
PP 1 @ TBD (to be determined)
If you purchase a portfolio by February 15 th , 2005, you will receive special recognition and all the perks that will be awarded to the initial supporters of the Martín Chambi Photographic Archives (AFMCH).
Perks to be announced but include permanent recognition in the final Martín Chambi Institute in Cusco, Peru.
Portfolios come in an archival portfolio box with a letter of authenticity, each print signed and sealed with the Martín Chambi original press.
Custom-made portfolio boxes are available for an additional $350.00.
If you purchase a portfolio before February 15 th you may buy the custom box for the special price of only $150.00. Be sure to place the order for the custom box when you invest in the portfolio before February 15 th , 2005!
Introduction, by Walter Salles, director, Motorcycle Diaries 2004
Borges decía que uno de los mayores placeres que él tenía en literatura era
el de poner nombres, el de bautizar aquello que todavía no había sido
bautizado. Martín Chambi fue uno de los maestros que fundó y pusó nombre a
la fotografía latinoamericana. Él propuso un contracampo a la mirada europea
que preponderaba en su época. Dirigió la cámara hacia rostros o situaciones
que no aparecían en el trabajo de pintores o fotógrafos distantes de la
realidad latinoamericana. La mirada de Chambi va de dentro hacia fuera, es
esencialmente incluyente y humanista, con toques de extraordinaria ironía.
Además de habernos legado una memoria visual riquísima de la vida indígena
en Perú, Chambi también propuso un trabajo magistral sobre la luz. Uno de
los más importantes fotógrafos de la história.
-Walter Salles
Rio de Janeiro, Brazil Octubre del año 2005
Borges said that one of the great pleasures than he had in Literature was to name things, to baptize what had never been baptized. Martín Chambi was one of the founders who baptized and thus gave identity to Latin American photography. He proposed an alternative to the European vision that dominated his era. He aimed his camera toward uniquely Latin American subjects and situations that did not appear in the work of painters or photographers anywhere. The vision of Chambi extends from the inside out, is essentially inclusive and humanistic, embracing extraordinary irony. In addition to having bequeathed a rich visual memory of indigenous life in Peru, Chambi also created masterful works of light. Historically he is one of the most important photographers.
-Walter Salles
Rio de Janeiro, Brazil October 2005
The Edition, itself:
1ª Martín con su mula en Coaza, Puno ca. 1930
placa de vidrio 10 x 15 cm.
1 st – Martín with his Mule in Coaza, Puno, Peru around 1930
4x5 Glass Plate
Componen el Archivo Chambi varias interpretaciones de Autorretratos del autor como este claro ejemplo donde muestra no solo la forma en que se trasladaba con su pesado aquipo de fotografía, sino, el paisaje y el registro en donde se encontraba.
Sus autorretratos son de diferentes puntos de vista, ya sea con el manejo de la luz natural en el Estudio, como en el campo, algo así como un documento de trabajo y de su paso por diversas zonas del sur del Perú.
In the Chambi Archives, there are several interpretations of Self-Portraits, as this example makes clear, where he shows not only how he traveled with his heavy photographic equipment but also the scenery and the site where it was made. His Self-Portraits are from varying perspectives and as he maneuvered the light in his studio – just like he did in the field – as if it were a work document declaring his visit to various sites around Peru.
2ª Chicha y Sapo, costumbre cusqueña, 1931
placa de vidrio de 10 x 15 cm.
2 nd -- Chicha y Sapo, a Cusqueñan Tradition, 1931
4x5 Glass Plate
Esta fotografía tiene una historia peculiar dentro del Archivo fotográfico, esta imagen es la única que tiene 5 versiones, es decir, Martín Chambi realizó una "puesta en escena" al ubicar a sus personajes en diferentes posiciones y angulos para su cámara, indudablemente que ésta fue la preferida, la obra original la posee en le actualidad la familia y está firmada por el autor.
60 x 70 cm. montada en cartón y virada al rojo.
This image holds a peculiar history from the photographic archive – it's the only one with five different versions. Martín Chambi realized this “set scene” in placing his subjects in different positions and poses while playing with the angle of the camera. Chicha y Sapo undoubtedly was his particular favorite as the family holds the vintage original signed, titled and dated on tinted paper at 60x70 cm.
3ª Jinetes sobre la nieve, Ocongate, Cusco 1934
placa de vidrio 10 x 15 cm.
3 rd – Riders in the Snow, Ocongate, Cusco, Peru 1934
4x5 Glass Plate
A sus 43 años Martín Chambi registra esta fotografía en la que muestra el contraste de unos jinetes llegando a la cunbre del nevado Ausangate, además compone la imagen con una cruz de piedra como señal del camino y denominada Apacheta en el ritual andino.
Martín Chambi realizaba sus viajes de esta manera, en todas las ocasiones se trasladaba en compañía de amigos y eventualmente acompañado por su hija Julia. Sus viajes duraban por lo general de 15 a 30 días.
At 43 years old, Martín Chambi took this photograph that shows the contrast of some riders arriving at the peak of the snow-covered Ausangate, with a stone cross as a signal of the road, naming the route Apacheta in an Andean rituals. Chambi traveled this way with on all his journeys, with friends and eventually with his daughter Julia. His trips lasted between 15-30 days, generally.
4ª Miguel Quispe, dirigente campesino, Cusco 1935
placa de vidrio de 13 x 18 cm.
4 th – Miguel Quispe, Native Leader, Cusco 1935
5x7 Glass Plate
Personaje que el autor invita a ser fotografiado en el Estudio con un especial manejo de luz natural y sobre todo, con un elemento esencial en la cultura andina, la hoja de Coca. Miguel Quispe fue un defensor de su consumo para reinvindicar esta costumbre ancestral.
A local personality that the artist invited to his studio with a special rendering of natural light, and, above all, with an essential element in the Andean culture, the Coca leaf. Miguel Quispe was a defender of its use and of the ancestral customs with which it was associated.
5ª Organista en la capilla de Tinta, Sicuani - Cusco 1935
placa de vidrio 10 x 15 cm.
5 th – Organist in the chapel of Tinta, Sicuani (between Cusco and Puno) 1935
4x5 Glass Plate
Una de la imágenes mas emblemáticas de Martín Chambi en la que su espíritu indigenista logra una magnífica expresión de su trabajo fotográfico, además de proporcionar un importantísima información: los estudiosos franceses de la música barroca, Alain Paquier y Lionel Lissot, descubrieron que en el pentagrama del órgano ó "pampa piano", estaba registrada una cantata del siglo XVII. Valioso aporte a través de esta imagen.
One of the more emblematic of Martín Chambi's images in which the Indigenist spirit wins a magnificent expression of his photographic work, while at the same time relating very important information: Alain Paquier and Lionel Lissot, two French scholars, discovered that in the musical notes on the organ (or field piano) held a Baroque song from the 17 th century. Valuable contribution of form from the image.
