On April 20th of this year, during one of the dozens of demonstrations against Nicolás Maduro’s government in the last months, 27-year old Hans Wuerich undressed before a group of National Bolivarian Police officers. Bible in hand, he managed to climb one of the police tanks; he descended after exchanging a few words with the officers, his back covered in pellet shots. Then he walked home, still naked, and his family healed his wounds (or so Hans himself told Climax magazine). Professional and amateur photographs abound in protests –at least in Caracas–, so in a matter of minutes the images of Hans raising his arms and waving his Bible were on everyone’s screens.
This is the English translation of an interview with Venezuelan performance artist Érika Ordosgoitti published last week by the Chilean magazine Atlas Revista Fotografía e Imagen (it can be read here). Érika is a dynamic force in the Venezuelan arts scene, a tireless political activist, driving force behind the Caracas Performance Biennale, and an extremely sensitive, disciplined, and thorough thinker and poet. It was a privilege to speak with her. This interview is particularly focused on the body, urban violence, and the “photo-assaults” that she has been developing for more than 6 years now.
Below is the English translation of my most recent article for La ONG’s blog. This time I interviewed Venezuelan photographer Costanza de Rogatis, with special focus on her social media images. The original Spanish can be found here.
Costanza de Rogatis (Caracas, 1976) holds a B.A. in Arts from Universidad Central de Venezuela and a Diploma in Photography from the Fondazione Studio Marangoni in Florence. She has participated in numerous group exhibitions, in countries such as Venezuela, Italy, the United States, Latvia, and Finland. This past August, she opened the individual show Puente at Tresy3 gallery in Caracas.