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Yael Martínez
Yael Martínez

Yael Martínez

Country: Mexico
Birth: 1984

Yael Martínez (born 1984) is a Mexican Photographer which became a Magnum Photos Nominee member in 2020. Martínez is based in Guerrero, Mexico.

Martínez's work has explored the connections between, poverty, narcotrafic, organized crime, and how this affects on the communities in his native Guerrero in southern Mexico.

He is trying to represent the relationship of absence and presence and this state of invisibility in a symbolic manner working with the concepts of pain, emptiness, absence, and forgetting.

Yael Martínez received the Magnum Emergency Fund, Magnum On religión, and was named one of the PDN´s 30 new and emerging photographers to watch in 2017. In 2015 he was selected in the Joop Joop Swart Master Class Latinoamerica and was finalist in the Eugene Smith grant in 2015, 2016.

He was nominated to the Foam Paul Huf Award, the Prix Pictet and the Infinity award of the International Center of Photography.

Source: www.yaelmartinez.com


Martínez’s work addresses fractured communities in his native Mexico. He often works symbolically to evoke a sense of emptiness, absence, and pain suffered by those affected by organized crime in the region.

He is the recipient of the Eugene Smith Award 2019, was fellow of the Photography and Social Justice Program of The Magnum Foundation. He won the 2nd Prize of the World Press Photo contests 2019 in the category of long-term projects. Martínez was grantee of the Magnum Foundation in the grants: Emergency Fund and On Religion in 2016- 2017.

His work has been featured in group shows in America, Europe, Africa and Asia.

His work has been published by: The Wall Street Journal, Blomberg news, Lens NY times, Time, Vogue Italy, Vrij Nederland, Aperture.

Source: Magnum Photos


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www.yaelmartinez.com

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Jan and his brother Karel were sent to a children's concentration camp for Mischlinge (mixed-blood in German, as Nazis classified Jews as a race distinct from "Aryans"), located in Silesia near the present Polish-Czech border. Their father Gustav was deported to Theresienstadt concentration camp in February 1945. Although their mother and many other relatives died, both sons and father survived the war. A Communist-dominated government gained power after the war to rule the country, enforced by the Soviet Union and considered to be behind the Iron Curtain. According to Saudek's biography, he acquired his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer, and in 1952 started working in a print shop; he was restricted to this work by the Communist government until 1983. In 1959, he started using the more advanced Flexaret 6x6 camera, and also engaged in painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for American photographer Edward Steichen's The Family of Man exhibition, and began to work to become a serious art photographer. In 1969, Saudek traveled to the United States, where he was encouraged in his work by curator Hugh Edwards of the Art Institute of Chicago. I have no way of portraying the lives of others. I portray my own. -- Jan Saudek Returning to Prague, Saudek had to work on his photography clandestinely in a cellar, to avoid the attention of the secret police. With his work turning to themes of personal erotic freedom, he used implicitly political symbols of corruption and innocence. In the late 1970s, he became recognized in the West as the leading Czech photographer, and also developed a following among photographers in his own country. In 1983, the first book of Saudek's work was published in the English-speaking world. The same year, he became a freelance photographer; the Czech Communist authorities allowed him to stop working in the print shop, and gave him permission to apply for a permit to work as an artist. In 1987, the archives of his negatives were seized by the police, but later returned. His best-known work is notable for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops. He frequently re-uses elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this his photographs suggest the studio and tableaux works of mid-19th century erotic photographers, as well as the works of the 20th-century painter Balthus, and of Bernard Faucon. Saudek's early art photography is noted for its evocation of childhood. His later works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years). Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
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