Feria de Libros in Lima

The same Feria de Libros that I blogged about last year came to Lima a couple of weeks ago as part of the ongoing Photography Biennial. The feria, which is run by Argentine artist Julieta Escardó, features small, independently published books, mostly from photographers in Argentina, although this edition included several books by Peruvian photographers.

Feria de Libros in Lima

Feria de Libros in Lima

The fair was held at the Centro de la Imagen. Unlike the version in Buenos Aires, here, none of the books were for sale. It was a bit like an Alexandrian library only, instead of copying scrolls of papayrus, I sat there with my digital camera snapping photos of pages from books that I liked.

Here’s a few:

Epitafios by Gladys Alavardo Jourde

Epitafios by Gladys Alavardo Jourde was my favorite book. It documents various decaying buildings from the 19th century and before in Lima’s historic core.

Epitafios by Gladys Alavardo Jourde

Epitafios by Gladys Alavardo Jourde

Epitafios by Gladys Alavardo Jourde

Epitafios by Gladys Alavardo Jourde

Epitafios by Gladys Alavardo Jourde

Something that I find interesting about both Lima and Buenos Aires is that each, with over a third of their respective countrys’ population, dominate all aspects industry, culture, politics and finance. It’s like each city is New York, Detroit, Los Angeles, and Washington all rolled into one. Depending on where you go  you can find elements that resonate with each. In the case of Lima, new development has shunned the historic core and a bounce-back wave of gentrification has yet to occur. In this situation, there’s a huge number of historic buildings which sit in a rather shabby state. Alvarado’s book does an execellent job of documenting both the beauty of these spaces, their inhabitants, and the tragedy of their decay. Also, the book dummy on view was really wonderfully printed. I hope it gets published.

Lucila Heinberg’s (Argentina) book Hacia recounts her journey in through China. Using expired film, the photos show a very personal, intimate view of her experiences in China.

Lucila Heinberg - Hacia

Lucila Heinberg - Hacia

Lucila Heinberg - Hacia

Lucila Heinberg - Hacia

Galeria Centrico has a small online gallery of this work. I also blogged about Heinberg’s series Dormidos last year.

David Mansell-Moullin’s book Lines in the Sand looks at peripheral settlements in Lima and how they sit on the landscape.

David Mansell-Moullin - Lines in the Sand

David Mansell-Moullin - Lines in the Sand

The subject matter is similar to Musuk Note’s Decierto series which I blogged about recently but is less abstract, more into the nuts and bolts of how these plots of land get developed by their inhabitants. Mansell-Moullin’s website has a nice slideshow of the work and he’s also got a blog detailing a lot of his work process.

Futuramic by Aldo Paparella (great name!) features lucious black and white photographs of retro-futuristic automobiles from the 1950s.

Aldo Paparella - Futuramic

Aldo Paparella - Futuramic

I got really excited to see that Martin Weber’s Ecos del Interior has been published by Ediciones Lariviere. I hope this makes it to the US so I can get a copy.

Martin Weber - Ecos del Interior

Italian photojournalist Myriam Meloni has a book, Fragil, documenting the social decay resulting from paco use in Buenos Aires (paco is their version of crack).

Myriam Meloni - Fragil

Myriam Meloni - Fragil

Myriam Meloni - Fragil

There sems to be a whole sub-genre of photographers documenting their grandparent’s homes. I suppose the combination of nostalgia + access is irrisistible. By my count, there were four books dealing with this theme at the book fair, the nicest of which was Bulnes by Luciana Betesh.

Luciana Betesh - Bulnes

Luciana Betesh - Bulnes

Luciana Betesh - Bulnes

There were a ton more books, of course. It’s a great fair and my only complaint is that it isn’t held more often and in more places.

Bruno Dubner at MAMBA (Museo de Arte Moderno de Buenos Aires)

A last post for 2011 and maybe a last post from Argentina for awhile as I’m now traveling in Chile and soon to head to Peru again. On my penultimate day in Buenos Aires I visted a small show of photographs by Bruno Dubner at the MAMBA [great name]. The work is called Ajeno, which means foreign, distinct or alien. The show consists of a long line of about 30 photographs of sidewalk views, looking down and to the side, usually depicting different sorts of entry ways in the more urbanized neighborhoods of Buenos Aires.

Ajeno - Bruno Dubner

Bruno Dubner - Ajeno

There’s a brochure with a long, fancy text that’s beyond my skills in Spanish and, probably, my English too, if it were translated. Beyond the conceptual conceit of the work, I appreciate the photos for evoking the urban skin of Buenos Aires. The photos themselves are simple and unpretentious, shot with a 35mm camera and printed small but lusciously [C-prints!]. There’s an overall chromatic harmony within the work and an obsessive attention to certain details, like the near total exclusion of litter, graffiti, or any sort of text–something that becomes clear when viewing the full series. Unfortunately the work isn’t on Dubner’s site just yet [although do check it out as he's got some other interesting work].

The installation of the show is also nicely done, echoing the composition of the photographs themselves.

Bruno Dubner at MAMBA

I totally stole all these photos from a post on the website Juanele, about this show. I’d go over and read that as well because the writer, Gabriela Schevach, delves more into the conceptual elements of the work and knows her stuff!

2011 in Review

I spent a lot of 2011 traveling, being a bit of a vagabond in different places.

During January, February and half of March I was in Colombia. I discovered fantastic artists and took a ton of pictures, none of which have been properly scanned. The negatives have been sitting with a friend in New York since late March. Eventually, I’ll get to them.

3 guys in Bosa, Bogotá, February 2011

After Colombia, I went to the Peruvian Amazonian city of Iquitos. I spent just over a month there photographing people and places. I’m pretty happy with the work I did so far there and, in fact, I’m planning on going back there in just a few weeks. I’ve been sitting on the photos because I’m not sure what direction the work will ultimately take. Here’s a few pictures that I’ve uploaded to flickr so far:

Iquitos, Peru

Iquitos, Peru

Diego in Iquitos, Peru

I returned to Buenos Aires in late May, mostly to finish my Ochava Solstice project. I was a lot more methodical this year (see post), and set myself a goal of 50 street corners for the whole series.

Preparing to photograph a corner for my Ochava Solstice project

In the end I think I got about 60-something corners, which I then edited down to 49. I even published a little dummy book on blurb, which is really cool to have and to hold.

Ochava Solstice dummy book

Meanwhile I continued to work on another series, Riverbank | Barranca, which I started in 2010 and published on my site this year. It was just featured on the blog, New Landscape Photography.

Riverbank | Barranca

I also continued to add slowly to my collection of Chalets and Contrafrente views.

Since last year I’ve been thinking about pursuing an MFA. While the classes and workshops I have been doing in Argentina have been great, I’ve been feeling that I’d be well-served by spending a couple of years of intense study in North America. To that end, I was just on a six week road trip in the US visiting schools. I covered 8000 miles in just under a month, driving from LA to Boston and back again. I’d like to say it was epic but traveling in the US is kinda easy. There were days when I woke up at dawn and drove for 12 or 13 hours straight, subsisting on junk food, podcasts and 5-hour energy drinks. Those days were my favorites.

West Texas

I’m super-excited about 2012; the travels that I have coming up and the mystery about where I will end-up come August.

Nuna Mangiante

© Nuna Mangiante

Nuna Mangiante is an artist who primarily works with graphite. Her works that I’ve seen in person are large, abstract drawings where areas of shape are indicated by density and direction of the stroke of her hand. They remind me a bit of Ad Reinhardt’s abstract paintings and, like Reinhardt’s, work, are utterly impossible to appreciate except in the first person.

I suppose it’s fitting then, that I can’t find any examples of these works on Mangiante’s site or anywhere on the web. Her website does, however, have some interesting examples of her work. The series El Corral deLito shows bank facades in the aftermath of the 2001 economic crisis. The title is a play on the local term for frozen accounts, which is what the government did to depositors. For months afterward, angry protesters descended on the banks in downtown, demanding their money back. The banks put up metal barriers, which are precisely the parts that Mangiante has drawn over, leaving only the abstract pattern of her work and the original details of the buildings’ architecture.

© Nuna Mangiante

© Nuna Mangiante

© Nuna Mangiante

Her website also has a selection of installation works. If they weren’t already designated as installations, I could easily believe, by looking at the images online, that they were more drawn-over photographs, which I think is cool

© Nuna Mangiante

Riverbank | Barranca

These are captions for Riverbank | Barranca. The photos in the series are ordered geographically, from north to south, beginning at the northern city limits of Buenos Aires [Capital Federal] and ending in Parque Lezama in the southern part of the city.

Avenida General Paz

Police randomly stop cars as they cross the city limits. The city and suburbs of Buenos Aires are two different administrative entities, with different police forces. Unlike cities in North America, South American cities tend to have poverty and crime concentrated on the periphery of the city. The checkpoints are a mostly theatrical effort to calm the the city’s wealthier residents.

—

Monobloc on Calle Grecia

A large apartment complex built in the 1970s. Such buildings are often referred to as ‘monoblocs.’

—

Botanical Garden

French-born landscape designer Carlos Thays designed Buenos Aires’ botanical gardens as well as many other parks during the boom years of the late 19th century. Today the garden is home to a large feral cat population.

—

National Library

Argentina’s national library is constructed on the grounds of a former 19th century mansion that was used as the residence of Juan Perón while he was president and which was then demolished following his ouster by the military in 1955. Designed in 1961 in a brutalist style by one of the country’s most prominent architects, the library wasn’t completed until 1992, due to construction delays exacerbated by changes in government and economic crisis.

—

Red Balloons

Production assistants attach red balloons to a tree for the filming of a commercial.

—

Student's Day

September 21st, the first day of spring in the southern hemisphere, is Student’s Day. Adolescents from across the metropolitan region flock to the city’s parks.

—

Arts & Crafts fair in Recoleta

On weekends the walkways of Plaza Francia in Recoleta are taken over by arts & crafts vendors. While a long standing tradition, the size of the fair increased greatly following the economic crisis of 2001. Many of the vendors use the sales to supplement income from their day jobs.

—

Trapito

Organized syndicates monetize public parking spaces in busy areas by setting up protection rackets. The lowest members of these syndicates work the street, charging drivers a fee for looking after their cars. Such men are know as “trapitos” or “little rags” for the rags they wave in their hands to attract the attention of drivers to an open spot.

—

Shell station below Autopista Arturo Illia

Argentina hosted the World Cup in 1978. It was accompanied by a massive public works effort by the then-military government that saw the construction of elevated highways across the city. Such works were often funded with loans from the World Bank as well as New York financial institutions flush with petro-dollars.

—

Plaza San Martin

Plaza San Martin is one of several parks that uses the topography of the riverbank to create a grassy knoll. The gentle slope makes a lovely spot for an afternoon nap between shifts.

—

War Monument

Plaza San Martin is also the site of a monument honoring Argentine soldiers killed in the 1982 conflict over the Falkland [Malvinas] Islands. The war killed about 650 Argentine soldiers and about 250 British. Argentina was unsuccessful in asserting its territorial claim over the islands.

—

The Kavanagh Building

Edificio Kavanagh, seen in a fragment on the right, is the finest art deco skyscraper in Buenos Aires and, perhaps, the world.

—

IBM Tower

Sitting at the foot of Marcelo T. de Alvear and Leandro Alem, the IBM Tower houses the local operations of said company. IBM was embroiled in a bribery scandal involving government contracts in the 1990s during the presidency of Carlos Menem.

—

Edificio Alas

Dating from the 1950s, the Alas building, seen in the background, contains an anti-nuclear bunker built to the specifications of the then president, Juan Domingo Perón.

—

Jousten Hotel, Avenida Corrientes

Though less important than soy bean exports, tourism has become one of Argentina’s principal sources of foreign currency.

—

Casa Rosada

The seat of government, the Casa Rosada is said to have originally taken its pink color from cow’s blood mixed in with the paint.

—

Economy Ministry

In 1955, Argentina’s air force dropped bombs on the Plaza de Mayo, the country’s principal square and home to the seat of government, in an effort to unseat the elected president, Juan Perón. About 300 people were killed and the façade of the Economy ministry still bears the scars from the bombardment.

—

Paseo Colon & Alsina

The graffiti which reads “Nestor Vive” refers to the deceased ex-president, Nestor Kirchner, who was president from 2003 to 2007, a time in which Argentina was recovering from a severe economic crisis in 2001. His wife, Cristina Fernandez de Kirchner, is the current president, having been reelected in 2011 to a second term.

The other graffiti, “Macri = Facho” refers to Mauricio Macri, who is the mayor of Buenos Aires and a member of the opposition. ‘Facho’ is a local slang word meaning ‘fascist.’

—

Paseo Colon, pintada política

Public buildings and walls are often covered in white wash upon which are written names or slogans of political candidates and parties. Known as pintada política, it is a street-based, graphical tradition in Argentina, with each party and faction having its own, unique style.

—

Club Atlético

The military junta that ruled Argentina from 1976 to 1983 murdered about 30,000 of its own citizens. Various buildings were used as interrogation and torture centers prior to shooting the victims or tossing them out of airplanes. This area, at the intersection of Avenida San Juan and Paseo Colón, was one such center. It was known as Club Atlético although it was subsequently demolished to make way for one of the aforementioned elevated highways.

—

McDonald's

There are nearly 200 McDonald’s locations in Argentina, including this one just south of Parque Lezama in the neighborhood of Barracas.

—

Parque Lezama

Located in the southern part of the city, Parque Lezama is believed to be the site of the original founding of the city in 1536. The first settlement, however, was abandoned after 5 years due to attacks from the indigenous population.

New Work: Riverbank | Barranca

I’ve posted a new series on my website. It’s called Riverbank or Barranca, in Spanish.

Buenos Aires is situated along the Rio de la Plata. A small river embankment is the only topographical feature in an otherwise very flat city. I started photographing there because I wanted to make photos with vistas and elevation changes and there was no where else to go. Ironically, you can’t actually see the river from any point on the riverbank. Too much land has been reclaimed.

The photos in the work are ordered geographically, proceeding from north to south, essentially giving a tour of the city. As I started photographing the project, often at dawn or dusk, I began to notice traces of the Argentina’s history present in the cityscape. At a certain point I realized that the work is as much about politics [and economics] as it is about landscape.

Avenida General Paz

In the first photo, for instance, police randomly search cars as they cross the city limits. The city and suburbs are two different administrative entities, with different police forces. In an inversion of the typical North American urban model, in South America, poverty and crime are often concentrated on the periphery of the city. The checkpoints are a theatrical effort to calm the the city’s relatively wealthier residents.

—

National Library

Argentina’s national library is constructed on the grounds of a former 19th century mansion that was used as the residence of Juan Perón and which was then demolished following his ouster by the military in 1955. Designed in 1961 in a brutalist style by one of the country’s most prominent architects, it wasn’t completed until 1992, due to drastic changes in government and shortages in funding, particularly during the 1980s debt crisis.

—

Shell station below Autopista Arturo Illia

Argentina hosted the World Cup in 1978. It was accompanied by a massive public works effort by the then-military government that saw the construction of elevated highways across the city. Such works were often funded with loans from the World Bank as well as New York financial institutions flush with petro-dollars.

—

Malvinas/Falklands war monument

Plaza San Martin is the site of a monument honoring Argentine soldiers killed in the 1982 conflict over the Falkland [Malvinas] Islands. The war killed about 650 Argentine soldiers and about 250 British. Argentina was unsuccessful in asserting its territorial claim over the islands.

—

Economy Ministry with bullet holes

In 1955, Argentina’s air force dropped bombs on the Plaza de Mayo, the country’s principal square and home to the seat of government, in an effort to unseat the elected president, Juan Perón. About 300 people were killed and the façade of the Economy ministry still bears the scars from the bombardment.

—

Paseo Colon & Alsina

The graffiti which reads “Nestor Vive” refers to the deceased ex-president, Nestor Kirchner, who was president from 2003 to 2007, a time in which Argentina was recovering from a severe economic crisis in 2001. His wife, Cristina Fernandez de Kirchner, is the current president, having been recently reelected to a second term.

The other graffiti, “Macri = Facho” refers to Mauricio Macri, who is the mayor of Buenos Aires and a member of the opposition. ‘Facho’ is a local slang word meaning ‘fascist.’

—

Club Atlético

The military junta that ruled Argentina from 1976 to 1983 murdered about 30,000 of its own citizens. Various buildings were used as interrogation and torture centers prior to shooting the victims or tossing them out of airplanes. This area, at the intersection of Avenida San Juan and Paseo Colón, was one such center. It was known as Club Atlético although it was subsequently demolished to make way for one of the aforementioned elevated highways.

—

At first, it wasn’t my intention to take photos with so much politics and history in them. The thing is, these traces are present in an area that has had so much history pass through it, or happen upon it.

Granted, I’m cherry-picking the photos from the series with heavier subtexts. At this point I’m still wondering how to incorporate all this context into the work itself. I’m not a huge fan of long captions but I think that this background information is important to understanding the photos.

Martin Weber – Echoes from the Interior

I first discovered Martin Weber’s project, Echoes from the Interior when it was shown in 2002 at a long-defunct gallery in Harlem called The Project. At the time I had just moved to New York and was discovering the pleasures of super-huge color C-prints common in contemporary photography [then and now]. Weber’s project really stuck with me because I had just recently spent a year and a half living in Argentina in 1999 and 2000 and to see large format, color works of subject matter I was familiar with and nostalgic for was a big deal for me at the time. Unfortunately I never bothered to write down Weber’s name and, although the photos stuck with me, for a number of years I had no idea who they were by. Eventually I came across one of the prints at an art show here in Buenos Aires and was able to track down Weber. At the time he didn’t have a website but he does now.

The series show scenes from various provinces of Argentina’s interior which have, in some way, to do with the history of the country and popular beliefs of the people. Many elements of the country’s recent political and economic history are touched upon in an eliptical way. Helpfully, the photos in the series come with an explanatory text, making each photo into sort of fable. The text that goes with the images here on my blog is too small to read, so I’d recommend going to Weber’s website and going through the whole series.

© Martin Weber

© Martin Weber

© Martin Weber

© Martin Weber

Report from Buenos Aires Photo 2011

This weekend is the annual photography fair here, Buenos Aires Photo. I went on Friday and snapped a bunch of pictures of stuff I liked. Here’s a brief report:

The fair takes places at the Palais de Glace, a building in Recoleta from Argentina’s golden era. It originally housed an ice-skating rink [in 1911] and today features a rotating schedule of art fairs and exhibits. The architecture of the building is fascinating.

Buenos Aires Photo at Palais de Glace

Buenos Aires Photo at Palais de Glace

It’s cool to dis art fairs like this because they’re very commercial and filled with mediocre crap. While true, I go anyway because I always discover stuff I like, even stuff that blows me away.

One of the things I like the most about this fair [and other photography fairs I've been to] is the amount of vintage black & white prints by long established [or long dead] masters. If you happened to have missed so-and-so’s retrospective in 1987 [or whenever] these fairs are basically your only shot and seeing beautiful, vintage, black & white prints.

Wall featuring vintage prints by Anatole Saderman, Annemarie Heinrich, Alex Klein, Grete Stern, Juan Di Sandro, and Fred Schiffer

Vintage print by Pierre Verger

A while back I wrote a post about Pierre Verger. I love his photos.

—

Oscar Pintor is a classic of Argentine photography. Active in the 1970s and 1980s mostly, his black & white photos have a balance of dry-ness and romanticism. My friend Emma commented that they seem very contemporary. I think I’ll need to write a post just about his photos. They’re that awesome.

Oscar Pintor prints

—

Aldo Sessa is equal parts Annie Leibovitz and Ansel Adams. He makes big, technically perfect photographs of obvious subjects, utterly lacking in soul. He produces massive coffee table books featuring tango dancers and gauchos. For most people in Argentina, outside of the photo-ghetto, Sessa IS photography. He has his own vanity-gallery at this year’s fair, and, believe it or not, I was actually taken with a small set of color photographs of the industrial side of Buenos Aires taken in the late 1950s [take that Eggleston!].

Aldo Sessa, early color

Aldo Sessa, early color

—

There’s a group of photos documenting artistic actions by conceptual artist Luiz Pazos, from 1973. They look like they were a lot of fun to make. 1973 was an interesting year for Argentina. Perón was elected again as president after 18 years of exile. There was a brief flowering of arts and culture that was snuffed out in 1976 following the militar coup.

Luiz Pazos

—

Perhaps my favorite photo in the entire fair was this one by Roberto Riverti. Taken in 1987 in the rural city of Chascomus, it’s a night photograph of an old cinema showing a double bill of Back to the Future and D.C. Cab [starring Mr. T!!]

Roberto Riverti, movie theatre in Chascomus

—

Then, of course, there’s a lot of contemporary stuff in color.

Marcos Lopez

I once read a quote by Marcos Lopez stating something to the effect that he can only make images in Latin America. I was interested, then, to see these photos, made this year in Lithuania. The photos are pared down from the high-baroque style of Lopez’s recent photos, but still recognizably Marcos.

—

res

A very large photo by res of an abstract color pattern painted on the side of a shack in a shantytown.

—

Santiago Porter

Santiago Porter’s giant photo shows the ever-so-slight inclination in the generally very flat pampas landscape. I’ve been sort of fascinated lately with flatness in landscape photography. I’m reminded of this quote from Charles Darwin’s Voyage of the Beagle:

For many leagues north and south…the country is really level. Scarcely anything which travelers have written about its extreme flatness can be considered as exaggeration…. At sea, a person’s eye being six feet above the surface of the water, his horizon is two miles and four-fifths distant. In like manner, the more level the plain, the more nearly does the horizon approach within these narrow limits; and this, in my opinion, entirely destroys that grandeur which one would have imagined that a vast level plain would have possessed.

With Porter’s photograph, we don’t even get that far because it’s shrouded in fog.

—

Emma Livingston

Emma Livingston’s lovely tree portraits.

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Esteban Pastorino

A kite photograph by Esteban Pastorino. He builds his own cameras and has a bunch of cool projects.

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Guido Chouela

A nocturnal ochava by Guido Chouela. He’s got an interesting series of factories that I’ve been meaning to blog about for awhile.

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Hans Stoll

Peruvian photographer Hans Stoll shares my fascination with Buenos Aires rooftops.

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Daniela Trajtenberg

Interesting still lifes by Daniel Trajtenberg.

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Sebastian Desbats

Sebastian Desbats does these retrofuturistic photos involving rocks, sea water and objects suggestive of space ships.

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Roberto Huarcaya

Roberto Huarcaya, detail

Roberto Huarcaya’s panoramic photo depicts the divide in economic class on Lima’s outskirts between a gated community ringed with barbed wire and the humble houses on the other side. A similar panorama, showing a public and private beach, won last year’s Petrobras prize, which is an important prize given annually as part of the fair.

This year the prize went to Eduardo Gil and Nacho Iasparra who won 1st and 2nd place, respectively. They are the two photographers here in Argentina I’ve been taking workshops with for the last two years, so this was very exciting.

Eduardo Gil

Nacho Iasparra

Here’s a list of 2011 honorable mentions for the Petrobras prize. For me the winner of the nicest prints goes to Martin Weber’s color work.

Martin Weber

Martin Weber

Both of these photos come from Weber’s series Echoes from the Interior. I love the subject matter and the quality of his prints is stunning. Good printing is starting to seem like a lost art.

—

Finally, one of my favorite things was this small side exhibit by Eduardo Carrera. Called naturaleza it features photos of potted plans, girls and zoo animals. While this sounds random, I found it really worked well together and had this whimsical grace about it. It was a nice relief to the bombast of so much of the large work one sees at fairs like this.

Eduardo Carrera

Eduardo Carrera

I really like Carrera’s work in general, especially his series Verano Porteño, which I’ve blogged about before.

And that’s about it. I went during the afternoon and the place was empty. I felt like I had the whole place to myself and it let me really see all the stands. The low attendance probably had something to do with the glorious spring weather here in Buenos Aires at the moment.

Primavera Porteña

Only a geek like me would choose to spend a sunny afternoon like this in a dark hall looking at photographs. I loved it, though.

Leo Marino – Gran Buenos Aires

Leo Marino lives in the southern suburbs of Buenos Aires and drives around taking pictures of the conurbano [full disclosure: we both attend the same workshop]. The pictures of his GBA Series have a sub-tropical placelessness. They could be Buenos Aires or they could be Iraq. The photos also underscore the point that perhaps the most important accessory a photographer can have is a car.

© Leo Marino

© Leo Marino

© Leo Marino

© Leo Marino

© Leo Marino

Franco Verdoia – Las Varillas de Frente

You probably know by now that I’m a sucker for pictures of houses. Naturally I love Franco Verdoia’s series, Las Varillas de Frente, which shows whimsical suburban homes in the city of Las Varillas in the Argentine province of Cordoba.

Franco Verdoia - Las Varillas de Frente

Franco Verdoia - Las Varillas de Frente

Franco Verdoia - Las Varillas de Frente

The photos above are from the website 13 Fotografos, which features work from, you guessed it, thirteen photographers in Argentina.

Also, here’s some previous posts with pictures of houses: Gabriel Diaz – Formas de Vida, Pablo Adarme – Cake Houses [Colombia], German Ruiz – Conurbano & Dogs, Sebastian Friedman – Segurisimos, Martin Rubini’s Enanos, and Marino Balbuena – Casas