Photography Contest 'Naturaleza, Sociedad y Clima'
Results Gallery
Individual Photo Category - Winning Photograph
Marcelo Perez del Carpio
La Noche de Tucabaca, 2019
We would like to thank our judges Colin Clarke, Matjaz Kriviv and Santiago Escobar Jaramillo for their selections and comments.
What our judges said: "This photo is charged with a sense of mystery and beauty amidst the disaster. It reflects the fragility of the world around us. It invites the viewer to contemplate not only on the destruction done to the nature, but also on how much we are and changing our environment. Leaving it out of balance." // “Esta foto está cargada de un sentido de misterio y belleza en medio del desastre. Refleja la fragilidad del mundo que nos rodea. Invita al espectador a contemplar no solo sobre la destrucción que se le hace a la naturaleza, sino también sobre cuánto somos y cambiamos nuestro entorno. Dejándolo fuera de balance” "The composition, handling of light, moment of action and message, make this photograph enigmatic. It asks us more questions than it gives answers. And it is there, in that uncertainty where it positions us as spectators, as a species, as responsible. The little that the light reveals is enough to imagine how much it comprises the space that is in darkness and that remains hidden from our eyes and our consciousness." // “La composición, manejo de la luz, momento de la acción y mensaje, hacen de esta fotografía enigmática. Nos hace más preguntas que dar respuestas. Y es allí, en esa incertidumbre en donde nos posiciona como espectadores, como especie, como responsables. Lo poco que revela la luz es suficiente para imaginar lo tanto que comprende el espacio que está a oscuras y que permanece oculto a nuestros ojos y nuestra consciencia.”
Photographic Series Category - Winning Photo Series
Andrés Unterladstaetter
No Queda Más Que el Viento, 2019
We would like to thank our judges Colin Clarke, Matjaz Kriviv and Santiago Escobar Jaramillo for their selections and comments.
What our judges said: “This series of photographs encapsulates the devastation of this horrendous fire, triggered by man with the purpose of clearing land for agriculture or cattle farms . The viewer is pulled into the horror by the photographer’s skilful use of lens-craft and composition. A good variety of images from low angle close-ups and high angle drone wide-shots, one showing a glimpse of hope from a few surviving trees” // “Esta serie de fotografías captura la devastación de este horrendo incendio, provocado por el hombre con el propósito de despejar terrenos para la agricultura o la ganadería. El espectador es arrastrado al horror por el hábil uso del lente y la composición por parte del fotógrafo. Una buena variedad de imágenes desde primeros planos de ángulo bajo y planos generales de drones de ángulo alto, uno que muestra un atisbo de esperanza de algunos árboles sobrevivientes” "When I look at this series it induces a sense of sadness, and reminds me of our endless destruction of nature. It shows us the fragile balance that is at risk due to man made climate disaster that is affecting everyone and not just in Bolivia but everywhere on the planet." // “Cuando miro esta serie, me induce a una sensación de tristeza y me recuerda nuestra interminable destrucción de la naturaleza. Nos muestra el frágil equilibrio que está en riesgo debido al desastre climático provocado por el hombre que está afectando a todos y no solo en Bolivia sino en todas partes del planeta.” “It is a ruinous landscape. Scenes where the fire has left it said that wherever it goes, it devastates. The charred bodies of species at risk of extinction make the story even more dramatic. The terrible of the scenes is told from the beautiful (or the aesthetic skill of the person who photographs). It is a series that works well at the sequence level: it begins on a road and ends in a skeleton of a house, going through various species and burned lands.” // “Es un paisaje ruin. Escenas en donde el fuego ha dejado dicho que por donde pasa, arrasa. Los cuerpos calcinados de especies en situación de riesgo de extinción hacen aún más dramático el relato. Lo terrible de las escenas se cuenta desde lo bello (o la destreza estética de quien fotografía). Es una serie que funciona bien a nivel secuencia: comienza en una carretera y termina en un esqueleto de casa, pasando por varias especies y tierras calcinadas.”
Open Format Category - Winning Photo Series
Al otro lado de la Montaña, 2022
Urbanotopía, 2022
La emision de piedra, 2022
Avance Máquina, 2022
Iván Cáceres
We would like to thank our judges Sandra Boulanger, Alvaro Gumucio and Rodrigo Rada for their selections and comments.
What our judges said: “The winning series presents us with a dystopian future with a surreal air, where the creatures that inhabit the national landscapes are traces of a society that is no longer there. It stood out for being a proposal that took advantage of the characteristics of the open format, creating images that generate suspense, an uncomfortable space in which for some reason you want to know more.” // “La serie ganadora nos presenta un futuro distópico con un aire surrealista, donde las criaturas que habitan los paisajes nacionales son rastros de una sociedad que ya no se encuentra ahí más. Destacó por ser una propuesta que aprovechó las características del formato abierto creando imágenes que generan un suspenso, un espacio incómodo en el que por alguna razón quieres saber más.” “The jury's decision is based on the originality of the photographic series, the representation of the Bolivian landscape and the way in which it is embodied in dialogue with the digital representations and the human figure of the 4th photo.“ // “La decisión del jurado se sujeta por la originalidad de la serie fotográfica, la representación del paisaje boliviano y la forma en la que este mismo es encarnado en diálogo con las representaciones digitales y la figura humana de la 4ta foto.“
Honorable Mentions - Individual Photo Category
Fernando Luis Portugal Hurtado
Familia Afectada por Inundaciones, 2012
What our judges said: “This beautifully frozen moment tells the whole unfortunate story in one frame. Because of the low camera angle, the flood water dominates the foreground, whilst the three humans and two pets are dealing with the situation in their own ways. I like that the boy at the window is looking to camera and the wet clothing is hung out to dry.” // “Este momento bellamente congelado cuenta toda la desafortunada historia en una foto. Debido al ángulo bajo de la cámara, el agua de la inundación domina el primer plano, mientras que los tres humanos y las dos mascotas se enfrentan a la situación a su manera. Me gusta que el niño en la ventana esté mirando a la cámara y que la ropa mojada esté tendida para secar”
Edward Alex Tintaya Serrudo
Sálvame, 2018
What our judges said: “This disarming image of a burnt doll’s arm reaching out, as if to be rescued from the polluted water, is chilling in its stark simplicity. The message is both powerful and surreal.” // “Esta imagen conciliadora del brazo quemado de una muñeca, que se extiende como para ser rescatada del agua contaminada, es escalofriante en su cruda simplicidad. El mensaje es a la vez poderoso y surrealista” “This photograph expresses the tension between nature, society and climate in a raw and heartbreaking way. As its title indicates, there is a "last" desperate act to find one last breath: one last chance on Earth. The physiognomy of the floating hand does not allow us to accurately identify whether it belongs to a human, a big ape or a comodo lizard. Therein also lies his call to conscience. The search for help suggests that time is running out and that we must act right now!” // “Esta fotografía expresa la tensión entre naturaleza, sociedad y clima de una manera cruda y desgarradora. Como su título lo indica, existe un “último” acto desesperado por encontrar un último aliento: una última oportunidad sobre la Tierra. La fisionomía de la mano flotante no permite identificar con exactitud si pertenece a un humano, un gran simio o un lagarto de cómodo. Allí también radica su llamado a conciencia. ¡La búsqueda de auxilio plantea que corre el tiempo y que debemos actuar ahora mismo!”
Fuad Landivar
Soledad entre Cenizas
Honorable Mentions -Photographic Series Category
David Armando Mercado Montaño
Lago Poopo Oruro, 2015 - 2017
What our judges said: “An emotive collection of photographs, illustrating the scale of the dried up lake, the stranded fishermen, their boats and samples of dehydrated, birds and fish. One picture shows three men ankle-deep in the water - maybe it is before the event, or perhaps it is in recovery. The most potent image for me shows the upturned skeleton of a boat with a dried out mound of nets. The parched lake bed leads to the horizon where we see reflections of the distant mountains - Is it water, or is it a heat-haze mirage?” // “Una emotiva colección de fotografías, que ilustran la escala del lago seco, los pescadores varados, sus botes y muestras de aves y peces deshidratados. Una imagen muestra a tres hombres sumergidos en el agua hasta los tobillos, tal vez antes del evento, o tal vez en recuperación. La imagen más potente para mí muestra el esqueleto de un bote boca arriba con un montículo seco de redes. El lecho reseco del lago conduce al horizonte donde vemos los reflejos de las montañas distantes. ¿Es agua o es un espejismo de neblina de calor?”
Steffen Reichle
El Infierno de la Epoca Seca, 2020
What our judges said: ”This series of devastation through drought and man-made fire is disturbing. The mud-covered otter feeding on the dying fish is a bizarre image and, at first sight, the burnt-alive monkey appears human, bringing the viewer sharply to earth. The inclusion of two pictures of hope lifts the spirit. The low contrast treatment of the images makes them stand out from the other entries” // “Esta serie sobre la devastación provocada por la sequía y los incendios provocados por el hombre es inquietante. La nutria cubierta de barro que se alimenta del pez moribundo es una imagen extraña y, a primera vista, el mono quemado vivo parece humano, lo que lleva al espectador a poner los pies en la tierra. La inclusión de dos fotos de esperanza levanta el ánimo. El tratamiento de bajo contraste de las imágenes las hace destacar de las otras entradas.”
Sara Aliaga Ticona
Semillas del Amazonas, 2021
What our judges said: ”This is a sensitive series of pictures, telling a specific story. Many images are carefully considered and set up, with much thought given to lighting and composition. It is a positive story, expressing hope through educating and enthusing children to cherish their environment.” // “Esta es una serie de imágenes sensitivas, que cuentan una historia específica. Muchas imágenes se consideran y configuran cuidadosamente, con mucha atención a la iluminación y la composición. Es una historia positiva, que expresa esperanza a través de la educación y el entusiasmo de los niños para que aprecien su entorno”. “Semillas del Amazonas is a love story between people and Mother Earth. The different forms or languages in which this story is told make each image a universe of its own: portrait, action, detail, aerial view, play of light and shadow, staging, play, participation. Each shot has a purpose: an invitation to cultivate the forest and protect it. A photographic series made with great artistic sensitivity and environmental awareness.” // “Semillas del Amazonas es una historia de amor entre las personas y la Madre Tierra. Las diferentes formas o lenguajes en que se cuenta este relato hacen que cada imagen sea un universo por sí mismo: retrato, acción, detalle, vista aérea, juego de luz y sombra, puesta en escena, juego, participación. Cada toma tiene un propósito: una invitación a cultivar la selva y protegerla. Una serie fotográfica realizada con mucha sensibilidad artística y conciencia ambiental.”
Honorable Mentions - Open Format Category
Rebeca Paz Prada
Territorio Interior, 2022
These photographs were intervened with the purpose of proposing an inner world in the lithic existence of these stones, transforming them into their negative version (analog photo). They were taken this year 2022 in the month of May, with a small collection of stones that I personally made on La Paz soil. They are x-rays that show beings containing, be it life, thoughts, dreams, entrails, etc. A representation of them engrossing themselves, as the body of a human being would. This attempt to give an interior to the stone, even if it is metaphorical, is an intimate reflection with the territory. The stone is a fragment of the mountain, and this floods the Andean landscape with certain living conditions. It is an approach to the landscape I inhabit, providing it with possibilities to create empathy with it. This visual language could then be the exercise of offering a better treatment to nature, as a sensitive being, just as alive as us humans.
Christian Franck Lombardi
DESERTIFICACION, 2020
DESERTIFICATION I am the wind that is licking every rock, grain of sand….it tastes like salt. I bite into this wild straw, I dance with this metallic pole, going up and down, from one side to the other, I turn more times scaring away some ants and I get up to see what these drops of water disguised as enormous black sheep have to say and what they say to be called clouds
HOMO, DOXA, PLASTICUS, 2020
HOMO, DOXA, PLASTICUS Mere polymer... To fear, fear, even panic, justified or not, our paths lead towards a "refuge", to the known and safe, as we understand it, and "trot marrrrch!" obviously.
POSTINDUSTRIAL, 2020
POSTINDUSTRIAL Unless... Dystopian vision for those who believed in the industrial revolution, progress at any cost.
River Claure
Proyecto Jinetes del Apocalipsis, 2018
The Horsemen of the Apocalypse project is a reinterpretation of the biblical story about the final judgment, to the Bolivian Amazon jungle. In the images, the author invites us to reflect on the present time of the global margins, as well as the ways of continuity or discontinuity of our culture.
Under 22 Award Winner
Isabel Guarayo y Alex Pancho Rojas
Efectos de la Sequía en el Chaco Boliviano, 2022
CBAT has jointly awarded the young Guaraní students of journalism Isabel Guarayo and Alex Pancho Rojas for their merits (Guarani Itanambikua community Facebook channel), their enthusiasm and quality of work. Isabel and Alex participated in the special project ‘Voces del Chaco’ contest and their joint entry consisted of mobile phone photos which show facts like the small size of the corn and the pumpkin crops as well as their water reservoir almost empty, all as a result of the severe drought being experienced in the Bolivian Chaco region due to climate change. In addition to the photos, they submitted an emotional video, showing grandparents of the Itanambikua community talking about the loss of their crops due to the drought. The video is in Guarani with Spanish subtitles. On their Facebook channel, Isabel and Alex generate content and videos that highlight different aspects of the Guarani culture in their community, and we hope that the video camera prize will help them improve the quality of their work on social platforms. As a result of the the low resolution of their photos, Manzana1 was not able to print them in their physical exhibition.
Special Project 'Voces del Chaco' winner
Vladimir Douglas Fernandez Aviles
Itaú, Chaco Tarijeño
The 'Voces del Chaco' project in collaboration with the Santo Domingo Center of Excellence for Latin American Research (SDCELAR), part of the British Museum, participated in the contest with a different perspective than the other 3 categories. The project seeked to privilege the self-representation of the Bolivian Chaco and to open a space to perspectives that do not necessarily come from formal/traditional training in photography or image creation. Thus, a high level of photo resolution was not so relevant and allowed the addition of explanatory videos and/or audios. The objective of the project was to find a person or group, who as a native of the region could be a ‘voice’ of the Bolivian Chaco. This is a starting point for the photographer to participate in a larger ongoing transnational project on the South American Chaco by SDCELAR. The winner of the contest is expected to take part in SDCELAR supported field work on the Bolivian Chaco according to their requirements. At the end of the project, the result will be published on the SDCELAR website (www.sdcelarbritishmuseum.org). We eagerly await the results of this project. We would like to thank the SDCELAR team for their participation in this photography contest and in particular to Laura Osorio Sunnucks (Director), Maria Mercedes Martinez Milanchi (Project Coordinator) and Magdalena Araus Sieber (Digital Curator)
SDCELAR comments on this entry: “The use of color in his photography is an outstanding element, where he manages to give relevance to the geography of the area where he comes from through a wealth of tones and contrasts. Likewise, the frames used by the photographer to represent both landscapes and familiar scenes of life in the Chaco offer an interesting vision of his personal experience. These are unusual frames, which show both creativity and an intention behind the photographic direction. Finally, the composition of his photographs manages to convey a sense of intimacy to the observer, allowing a connection with his experience of being present in the Bolivian Chaco. The text with which Vladimir complemented his collection of photographs is simple and moving, revealing his personal relationship with the subjects photographed and the environment represented.”