Donation of Carlos Pérez Siquier Afal Photographic Group...sola, Gianni Berengo Gardin and Mario...

Afal Photographic Group(1956-1963)

Donation of Carlos Pérez Siquier

GOBIERNODE ESPAÑA

MINISTERIODE EDUCACIÓN, CULTURAY DEPORTE

Presentation May 30 to November 7, 2016 Sabatini Building, Floor 4, Room 413

Francisco Gómez, Cristo, 1959 / Later copy, before 1988

Afal was one of the most significant photography collectives in Spain in the twentiethcentury. Its existence revolved around the magazine of the same name. Devoted tophotography and the cinema, Afalwas published from 1956 until 1963, kept afloat bysubscriptions, a little advertising and, above all, the selfless commitment of itsfounders José María Artero García (Almería, 1928-1991) and Carlos Pérez Siquier(Almería, 1930), the directors, editors, and promoters of the magazine. Afal’sindependent outlook and the freshness of its tone quickly attracted photographerseager for new challenges from all over Spain, thanks to whom the magazine becamethe driving force in the post-war revitalization of Spanish photography.

Afal brought together a diverse group of documentalists and subjective photographerswho shared an interest in the social role of photography and its engagement with thereality of the time. The goal common to all was to give expression to their aestheticconcerns by means of simple direct procedures, free from any stereotypes inheritedfrom painting.

The group’s members varied a great deal in origins and ambitions. There wereamateur photographers like Gabriel Cualladó (Massanassa, Valencia, 1925-Madrid,2003), Francisco Gómez (Pamplona, 1918-Madrid, 1998), Joan Colom (Barcelona, 1922) and Ricard Terré (Sant Boi de Llobregat, Barcelona, 1928-Vigo, 2009); somewere involved in culture and the arts, such as Gonzalo Juanes (Gijón, 1923-2014),Jesús de Perceval (Almería, 1915-1985), Joaquín Rubio Camín (Gijón, 1929-2006)and Josep Maria Casademont (Barcelona , 1928-1994), and a good many were life-long professional photographers, like Alberto Schommer (Vitoria, 1928-2015), XavierMiserachs (Barcelona, 1937-1998), Ramón Masats (Caldes de Montbui, 1931), OriolMaspons ( Barcelona, 1928-2012), Julio Ubiña (Santander, 1922-Barcelona, 1988),Francisco Ontañón (Barcelona, 1930-Madrid, 2008), Jesús Aguirre (Almería, 1928)and Joan Cubaró (Barcelona, 1926-1970).

The magazineAfal ceased publication in December 1963, dragged down by theconsiderable debt incurred by the printing of the Anuario de la Fotografía Española in1958. ‘Revolutions have to die young,’ Pérez Siquier said years later, when asked aboutthe causes of the magazine’s demise, ‘and one should not seek to prolong their liveswhen they languish.’ But Afal did not ‘die’ in 1963. The trajectories of thephotographers who belonged to the group clearly demonstrate that the commitmentof the two ‘madmen’ from Almería to their work was more than justified: history hasproved them right.

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Afal Photographic Group (1956-1963) 4

Afal Photographic Group

In the very heterogeneous group, in which signif-icantly different approaches to photographyrubbed shoulders with –and fought!– one an-other, there was nothing like an ‘Afal style’ sharedby all of the members. The common ground onwhich they met was essentially the comparingand contrasting of proposals, which could as eas-ily be the result of dissension as of agreement.The values of the new current in photographythat Afal introduced in those post-war years arein evidence in the work of each of its members,are reflected in the texts published in the maga-zine and collected in the correspondence.

Afal had members the length and breadth ofSpain. Outside of Almería, the most importantgroups were those centred on the AgrupacióFotogràfica de Catalunya in Barcelona, the

Casino del Comerio in Terrassa, the Agfoval inValencia and the Real Sociedad Fotográfica inMadrid, whose president Gerardo Vielba wasvery much in tune with Afal’s aims. In 1958 theMadrid-based members (Leonardo Cantero,Gabriel Cualladó, Francisco Gómez, RamónMasats, Francisco Ontañón and Joaquín RubioCamín) formed the group known as La Palan-gana, which met regularly for informal tertuliadiscussions, debating the selection of photo-graphs for Afal exhibitions and sharing theirconclusions with the group in Almería by letter.

The 1958 Anuario de la Fotografía Españolawasby a long way the group’s most ambitious ven-ture. 2,500 copies of the yearbook were printed,with rotogravure reproductions of more than100 photographs by 48 photographers. The ex-

Gabriel Cualladó, Portrait of the AFAL Group, 1991Photograph taken by Paloma Megía

acting selection criteria focused on the personalstyle of the photographers rather than the pref-erences of the promoters, and theAnuario fairlyreflected the diversity of approaches to be foundin Spain at the time, in contrast to the mono-lithic homogeneity of outlook of the photogra-phers in other European yearbooks. In additionto the members of the group itself the yearbookfeatured photographers from other sectors,both amateurs and professionals. Among thelatter were the Catalan reporter FrancescCatalà-Roca, the Madrid-based Hungarian por-trait photographer Nicolás Muller, the Catalanportraitist Ramón Bargués –whose series ofnudes in the style of Man Ray led to a tusslewith the censors, which, surprisingly, Afal won–and the young Barcelona advertising and fash-ion photographer Leopoldo Pomés.

TheAnuariowas very favourably received out-side Spain, earning enthusiastic reviews fromsuch respected figures as Emmanuel Sougez,Henri Cartier-Bresson, Giuseppe Turroni andOtto Steinert, and also by Edward Steichen,who chose a number of photographs for an ex-hibition he curated at MoMA in 1959. However,the Spanish critics, with their preference forphotography with an academic pictorial aes-thetic, were not supportive of the project.

Of note among the achievements of the pro-moters of Afal, over and above the salons theyorganized in Almería, were the inclusion of thegroup’s photographers in international compe-titions and the staging of collective exhibitionsabroad, such as their participation in the SalonInternational Albert Ier in Charleroi, Belgium,


Anuario de la Fotografía Española, Afal, Almería, 1958 Catalogue of the II Biennale Internazionale di fotografía per invito,Pescara, September 1-20, 1958. Photograph taken by Ricard Terré


and in the 1958 Pescara Biennale. In December1959 they put on a joint exhibition in Paris withthe Club photographique Les 30 x 40, whichthen travelled to Berlin, Moscow and Milan.The relationship with the French group wasnot grounded in any formal or thematic corre-spondence; first and foremost it was premisedas support for the international disseminationof the collective’s work.

Although few of the Afal photographerstravelled abroad, they all felt an obligation tobe aware of what their contemporaries weredoing in Europe and America. In this therewas a clear consensus on a number of sharedreferences about which there was noargument, and these effectively defined the

way they understood photography: thecatalogue of Steichen’s The Family of Manexhibition, the work of Henri Cartier-Bresson, the photo essays of Eugene Smith,the urban reportage of William Klein and thecreation of Magnum agency, with itsparadigmatic emphasis on auteurphotojournalism. At the same time theAmerican illustrated news and fashionmagazines Life and Vogue are constantlymentioned in the writings of the young Afalphotographers, along with the German,Japanese and American photobooks andphotographic yearbooks that Carlos PérezSiquier assiduously collected and which makeup part of the holdings he has donated to theReina Sofia Museum.

Brochure-catalogue of Photographes d’Espagne & de France exhibition, Bibliothèque Espagnole, Paris, December, 1959


Group of photographs of La Ventana Group (Ruth Lechuga, Mario Nader Márquez, Octavio Obregón, Guillermo Smurz), ca. 1959

With the coming of the new decade the Afalphotographers were admiring the work of theirItalian counterparts in La Gondola and La Bus-sola, Gianni Berengo Gardin and Mario Gia-comelli respectively, whom they presented forthe first time in Spain. A major influence onmany members of the group were the subjectivephotography theories of Otto Steinert, whoshowcased Spanish photography in the last ofthe Subjektive Fotografie shows, in 1958. On thebasis of the contacts with Steinert, Afal champi-oned abstract photography as a manifestation ofmodernity, and from the very first issues themagazine sought to establish relationships withother arts, taking on the pedagogical task of fos-tering a wider appreciation of abstract art, theexhibition and critical work of which experi-

enced an unprecedented boom in 1950s Spain.Most of the Afal photographers, even those likeMasats who were more interested in reportage,essayed a ‘static’ photography, as they called stilllife photography or macro photography.

Afal was also actively involved in championingthe work of photographers from other countries,thereby enriching the Spanish cultural scene andspecifically the field of photography, which wasburdened by a conservative painterly approach.To this end the group undertook initiatives suchas the travelling exhibition of Joven fotografíabelga, the show devoted to the Mexican group LaVentana (donated in its entirety by Carlos PérezSiquier) and the Otto Steinert travelling exhibi-tion during the years 1962 and 1963.


The Magazine (1956-1963)

The 36 issues of the magazine Afalappeared in four consecutive phases, eachwith different characteristics. The firstthree issues, published as newsletters,reflected the salon-oriented fashion of themagazine. In July 1956 Afal switched tomagazine and this marked the start of aparticularly fruitful period: the coversshowcased the best work of the group’syoung members and the inside pagescarried Spanish translations of seminaltexts of the writing on photography of theperiod. In 1958 the magazine was veryvisibly hit by the financial troubles arisingfrom the cost of producing the Anuario de laFotografía Española, sales of which fellshort of the group’s expectations, andreturned to newsletter format. In the lastphase, from January 1959, greaterimportance was given to the cinema sectionof film and the covers were almostexclusively portraits of young women; inthis period Afal also went bilingual, withoriginal-language texts by its non-Spanishcontributors, one of whom was the Frenchphotographer Roger Doloy, who evenproposed joint publication, with editorialoffices in Paris and Almería.

The articles devoted to cinema were writtenby Guillermo Berjón, a member of theAlmería group, who was responsible forsearch out quality material from theSpanish film scene, largely centred on themagazines Objetivo and CinemaUniversitario, published in Salamanca. Thissection featured contributors ofconsiderable intellectual stature, such asJosé María Berzosa, Eduardo Pons Prades,

Joaquín de Prada, Manuel Michel andRicardo Muñoz Suay.

In addition, José María Artero’s discerningliterary judgement gave the magazine anappeal that went beyond the photographicimage. From its first issues Afal includedpoems of Manuel Alcántara and AntonioCastro Villacañas, both closely connected toAlmería, as well as poets of the Generationof ‘98 and the Generation of ‘27 who hadbeen silenced by Franco’s censors. Theseincluded Miguel de Unamuno, RamónMaría del Valle-Inclán, Azorín, FedericoGarcía Lorca and the brothers Antonio andManuel Machado. The bringing together ofthe work of poets and photographers was aninnovative feature of Afal from the first.Thus, for example, issue No. 14, dedicated toHoly Week, in which short poems alternatewith photographs.

However, what most attracted the readers’attention, in all of the magazine’s phases,was the inclusion in each issue of amonographic portfolio dedicated to aparticular photographer or group. Of notehere are the issues devoted to GonzaloJuanes (No. 7), to the Catalan trio of RicardTerré, Xavier Miserachs and Ramón Masats(No. 8), to Carlos Pérez Siquier (No. 11) andto Alberto Schommer (No. 13).

The editors’ correspondence with printersand other suppliers bears witness to thedifficulties they had to face in publishing themagazine. The care lavished on the detailsof layout and design; the selection oftypefaces and drawings; the inclusion of


Letter from Xavier Miserachs to Carlos Pérez Siquier, 1958


pages in duotone; the use of fold-out pageswithin a dossier to allow largerreproductions; the always respectfuldistribution of adverts and feature articlesand so on combine to give Afal anunmistakable quality, even after so manyyears.

The paste-up of each issue of the magazine,stapled together for convenience, had to besubmitted to the censors for inspection.Artero would travel to Madrid with thepaste-up when he suspected that theprovincial censor might take exception tothe content, because the censors in the

capital were known to be moresophisticated and more tolerant. If themagazine was passed fit for publication, thepaste-up was given an official stamp.Articles related to the cinema were the mostfrequently censored, and in the case of thephotographs, particular attention was paidto the cover, where the banner Afal-Foto-Cine would be used to cover the mostsuggestive areas of the model’s body.

The magazine ceased publication in 1963,overwhelmed by the debt of the Anuario andthe crisis of collaborations, since the youngamateur photographers turned professional.

Sketch for Afal, No. 26, September-October, 1960

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Gonzalo Juanes, Untitled (Series People of Asturias), 1962 / Contemporary copy

Postcard communicates the “dead” of Afal. Signed by José María Artero and Carlos Pérez Siquier, December, 1963


The Documentary Holdings

A photographer’s output cannotbe understood solely throughthe images themselves. Thedocuments associated with thephotographs, which describe theprocesses and reflect the doubtsand discussions about thecreative exercise, are an integralpart of the discourse ofphotography as art.

In the case of Afal, when itcomes to studying andinterpreting the work of thegroup’s photographers, we arefortunate in having access to thedocumentary holdings of CarlosPérez Siquier and José MaríaArtero – a legacy that SiquierPérez has decided to donate theReina Sofia Museum, afterconserving it for over fifty years.

This legacy consists of publications and specialmaterials, including documents of historicalsignificance such as the correspondence withan impressive roster of the major Spanish pho-tographers of the day, from the period of Afalmagazine to the publication of the Everfotoyearbooks and the exhibition of the Afal groupin Almería in 1991. The contact with the vari-ous members of the group includes a number ofvery analytical letters in which events in theworld of photography and the content of publi-cations are considered in depth. As in anyyouthful friendship, there are plenty of amus-ing anecdotes that shed light on the tastes, theway of life and the ideology of a whole genera-tion. These documents are a genuine platformof aesthetic debate and an invaluable aid to un-derstanding the photography of the period.

This documentaryfonds also conservesthe archive of JoséMaría Artero’s corre-spondence, which isprimarily concernedwith the group’s activi-ties and the prepara-tion of the magazine.His correspondentsare a highly diverse setof personalities andbackgrounds, includ-ing photographers,poets, printers, news-paper editors, and as-sociations all overSpain, censors, ambas-sadors, civil servantsand more. The archivealso contains Artero’scorrespondence withhis close friends –nov-

elists, university professors, doctors, veterinari-ans and agronomists, a cross-section of thecultural landscape of the time.

In addition to these epistolary archives, theMuseum’s collection is also incorporatingoriginal prints of photographs by the group’smembers, as well as Christmas cards,postcards, Afal publications (copies of themagazine, catalogues and yearbooks) and thepaste-ups of a dozen issues of the magazine.Pérez Siquier has also included in his donationa large number of books, catalogues, yearbooksand photography magazines, both from theAFAL years and from later, which help to puttogether the mosaic of photography in thiscountry and internationally in the second halfof the twentieth century.

Afal: bimonthly magazine of photography and cinema, No. 27, Afal, Almería, November-December, 1960. Cover photograph taken by Oriol Maspons

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Ramón Masats, Terrassa, ca. 1956 / Contemporary copy


Carlos Pérez Siquier

The fact that Carlos Pérez Siquier lived all ofhis life in Almería did not prevent him from re-lating to the principal figures in photography,both Spanish and international. In addition tohis curatorial work for Afal in the 1950s and1960s, he also dedicated himself to the Everfotoyearbooks, which in the 1970s combined thecreative efforts of the Afal generation and theyounger generation centred on magazineNueva Lente.

Pérez Siquier began his career as a photogra-pher in the Afal years with black-and-white

portraits of the residents of the La Chancaneighbourhood in Almería. From 1960 on hebegan to experiment with colour photography,one of the pioneers of this medium in Spain.There is an exquisite series of shots taken in LaChanca from this period, the places observedwith a great sensitivity to the unusual and thefragmentary, qualities that would come to becharacteristic of his work. His most originalphoto series, which has become known world-wide, is of bathers on the beach, the shots takenover the course of the 1970s. In the nineties hebegan a series of photographs of found objects,

Christmas card of Oriol Maspons and Julio Ubiña, 1961

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a curious collection of hybrids between the nat-ural and the cultural that recalls the practicesof Pop art. He is still a practising photographertoday, adapting to new technologies and turn-ing his critical gaze on his surroundings bothnatural and human, whether in his nativeAlmería or on his travels. Of note among themany accolades he was received are the PremioNacional de Fotografía in 2003, the BartoloméRos photography prize at PHotoEspaña in2013 and the Medalla de Oro de Andalucía in2015. Meanwhile, his activities in the exhibi-tion and publishing fields go from strength tostrength.

Carlos Pérez Siquier is still astonished at thesignificance which Afalhas acquired in recentyears and very happy that the name of Almeríais being preserved together with the achieve-

ments of the group. Indeed, a little-known as-pect of his curatorial work, and one that is nowbeing held up as one of the most authentic fea-tures of the project, is the commitment to de-centralizing practices and discourses, and toescaping from conventionality with a distinc-tively individual approach. With a characteris-tic lack of vanity, the two editors of themagazine have chosen to stand back and allowthe product of the group’s work to shine: thephotography of its members as autonomouscreators. However, there was always the inti-mate hope of saving a small place in history forthe name of Afal, as expressed by Artero in atext which was composed for the group’s pho-tographers when they all met together for thefirst time –the whole group had never previ-ously assembled in one place– in Almería inJune 1991, two months before his death.

On another occasion, I have said how true it is that “there is no deadline which is not met, and no debtwhich is not paid”. And today is one of those occasions when, as I look back, I think how glad I am to see howthe deadlines are met and how the debts are paid.

Afal established a commitment with the people of its generation, under the special conditions obtaining inthe country and despite the many voices raised against it. We kept alive the dream of a contemporary, Europeanand creatively free photography, when the times were moving in a totally different direction.

They were difficult, beautiful, rewarding years, such as can only be lived in the springtime of life. Ourexistence coincided with the necessary struggle to open up the path that had begun in Europe and from whichwe were excluded for reasons of an overriding political order. At the end of these intense years we wereexhausted financially, and were therefore out of action, but Afal had asserted its existence and Spanishphotography was a very different thing.

The pioneers of Afal have our reward in the fact that, thirty years on, we can get together as a group ofthose primitive but never disconcerted photographers of the early Afal, not to lick our wounds after a lost battlebut to testify to the continuing presence of those ideals that led us to keep the faith and the hope that what wewere doing had its value and importance, even though we were so few and so scattered, with hardly a bloodypenny between us.

(Manuscript conserved in the Carlos Pérez Siquier archive donated to the Museo Reina Sofía)


Chronology

1950

January. Founding of the Sociedad FotográficaAlmeriense (A.F.AL.).

1955

October. New board of directors of A.F.AL.: Artero aspresident, Pérez Siquier as secretary

1956

January. First issue of the magazine Afal.

December. The official censors suspend printing of issueNo. 6 of Afal.

1957

September. Roger Doloy proposes to Pérez Siquier thatAfal become a jointly edited bilingual publication in Frenchand Spanish.

1958

January. The travelling exhibition Joven fotografía belga[Young Belgian Photography], organized by Afal, beginsits itinerary in Almería.

April. Afal exhibits as guest of honour at the SalonInternational Albert Ier in Charleroi, Belgium.

May. The Anuario de la Fotografía Española published byAfal, goes on sale.

June. Afal is invited to take part in the Pescara Biennial,organized by the magazine Camera.

August. Otto Steinert asks for four photographs fromAfal’s Anuario of 1958 for the exhibition SubjektiveFotografie 3.

October. Edward Steichen asks to include eightphotographs from Afal’s Anuario of 1958 in a majorexhibition at MoMA.

November. The Mexican group La Ventana sends Afal 54photographs for an exhibition in Spain.

1959

January. The printing firm of Hauser y Menet declares itis owed 100,000 pesetas for the Anuario of 1958.

March. Production of the second Afal yearbook issuspended.

April. Carlos Pérez Siquier begins a correspondence withthe group La Gondola.

July. Publication of issue No. 19 of Afalmarks the start ofthe magazine’s final phase.

December. An exhibition devoted to Afal and ClubPhotographique Les 30 x 40 opens in the BibliothèqueEspagnole library of the Spanish Embassy in Paris.

1960

April. Starting with issue No. 23, Afal ceases publicationof the French offprint.

Turroni asks the Afal group to exhibit in the gallery of theBiblioteca Communale in Milan.

Afal exhibition in Moscow.

July. Crocenzi invites Afal to the first Congresso deiRacconto per Immagine in Fermo, Italy.

October. Afal meets, almost in its entirety, in Madrid.

1961

February. Gilio Corinaldi and Ezio Croci invite Afal tocontribute to the international yearbook Fotografía 1962.

March. Otto Steinert grants Afal exclusive rights topresent his exhibition in Spain.

1963

May. Issue No. 36 of the magazine Afal, dated June-December. 1962, goes on sale.

December. Afal communicates its ‘dead’ with a postcardof a grave with its name.

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List of Works

Leonardo CANTEROThe Agent, 1959 / Contemporary copySilver bromide gelatin print on paper, 43 x 31.2 cmDonated by the heirs of Leonardo Cantero, 2005 Museo Nacional Centro de Arte Reina Sofía AD04077

Joan COLOMUntitled (Series The Street), 1960 / Contemporary copySilver bromide gelatin print on paper, 17.8 x 8.4 cmMuseo Nacional Centro de Arte Reina Sofía AD05286

Luis CORTÉS VÁZQUEZUntitled, 1961Silver bromide gelatin print on paper, 21 x 28 cmDonated by Carlos Pérez Siquier, 2015

Gabriel CUALLADÓThe Rose Girl, 1959 / Later copy, 1985Silver bromide gelatin print on paper, 29.6 x 24.2 cmDonated by the photographer, 1988 Museo Nacional Centro de Arte Reina Sofía AS08636

Gabriel CUALLADÓGirl Brushing Her Hair, 1960 / Later copy, 1985Silver bromide gelatin print on paper, 16.2 x 25.8 cmDonated by the photographer, 1988 Museo Nacional Centro de Arte Reina Sofía AS08645

Gabriel CUALLADÓPortrait of the AFAL Group, 1991Photograph taken by Paloma MegíaSilver bromide gelatin print on paper, 16 x 25 cmDonated by Carlos Pérez Siquier, 2015

Francisco GÓMEZ Shadow and Light, 1956Silver bromide gelatin print on paper mounted on cardboard, 25.3 x 26 cmMuseo Nacional Centro de Arte Reina Sofía AS10780

Francisco GÓMEZ Christ, 1959 / Later copy, before 1988Silver bromide gelatin print on paper, 36.6 x 24.6 cmMuseo Nacional Centro de Arte Reina Sofía AS10782

Gonzalo JUANESUntitled (Series People of Asturias), 1962 / Contemporary copySilver bromide gelatin print on paper, 17.5 x 23.5 cmDonated by Carlos Pérez Siquier, 2015

Ruth LECHUGABoy with a Pumpkin, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 26.5 x 34 cmDonated by Carlos Pérez Siquier, 2015

Ruth LECHUGACouple Dancing, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 23 x 34 cmDonated by Carlos Pérez Siquier, 2015

Ramón MASATSTerrassa, ca. 1956 / Contemporary copySilver bromide gelatin print on paper, 40.5 x 29.5 cmMuseo Nacional Centro de Arte Reina Sofía DE01908

Ramón MASATSAlmonte, 1958 / Later copy, 1988Silver bromide gelatin print on paper, 23.7 x 35.5 cmMuseo Nacional Centro de Arte Reina Sofía AS10817

Xavier MISERACHSThe Plaza de Catalunya Metro Station, 1953 / Later copy,1996Silver bromide gelatin print on paper, 40 x 30 cmMuseo Nacional Centro de Arte Reina Sofía DE01914

Xavier MISERACHSTramcar at Night. Barcelona, 1957Silver bromide gelatin print on paper mounted on cardboard, 19 x 40 cmMuseo Nacional Centro de Arte Reina Sofía DE01913

Mario NADER MÁRQUEZGirls with Lighted Candles, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 26.5 x 33.5 cmDonated by Carlos Pérez Siquier, 2015


Mario NADER MÁRQUEZPortrait of a Woman, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 26 x 32.5 cmDonated by Carlos Pérez Siquier, 2015

Mario NADER MÁRQUEZGroup of Women, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 25 x 33.5 cmDonated by Carlos Pérez Siquier, 2015

Octavio OBREGÓNMan on a Ladder, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 24 x 34 cmDonated by Carlos Pérez Siquier, 2015

Octavio OBREGÓNAngel, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 34 x 26 cmDonated by Carlos Pérez Siquier, 2015

Francisco ONTAÑÓNMy Old Lady, 1961 / Later copy, 1988Silver bromide gelatin print on paper, 38 x 25 cmMuseo Nacional Centro de Arte Reina Sofía AS10650

Carlos PÉREZ SIQUIERUntitled (Series La Chanca, Almería), 1956 Silver bromide gelatin print on paper, 34 x 23.7 cmMuseo Nacional Centro de Arte Reina Sofía AD03343

Carlos PÉREZ SIQUIERThe Girl (Series La Chanca, Almería), 1957Silver bromide gelatin print on paper, 33.8 x 22.4 cmMuseo Nacional Centro de Arte Reina Sofía AD03346

Carlos PÉREZ SIQUIERLa Chanca (Series La Chanca, Almería), 1957Silver bromide gelatin print on paper, 34 x 22.3 cmMuseo Nacional Centro de Arte Reina Sofía AD03351

Alberto SCHOMMERStill Life, 1957 / Contemporary copySilver bromide gelatin print on paper, 47.7 x 35.7 cmDonated by the photographer, 2004Museo Nacional Centro de Arte Reina Sofía AD03598

Guillermo SMURZGroup of Men, ca. 1959Silver bromide gelatin print on paper mounted on cardboard, 27.5 x 35 cmDonated by Carlos Pérez Siquier, 2015

Ricard TERRÉHoly Week, Barcelona, 1957 / Contemporary copySilver bromide gelatin print on paper, 38 x 29 cmOn loan from a private collection, Barcelona

Acknowledgments

The Museo Nacional Centro de ArteReina Sofía thanks the following people whose collaboration have made this project possible:

Carlos Pérez SiquierTeresa García CuberosFamilia Artero Núñez

Exhibition

Project DirectorRosario Peiró

CuratorLaura Terré Alonso

Coordination and ManagementConcha CalvoAlmudena Díez

RegistrarsNuria PérezPureza Villaescuerna

ConservationPilar Hernández

InstallationHorche

ShippingInteArt

Brochure

TextLaura Terré Alonso

Editorial Coordination and CopyeditingMarta Alonso BuenaposadaRuth GallegoMercedes Pineda

Graphic / LayoutJulio López

PhotographsJoaquín CortésRomán Lores

PrintingTf. Artes Gráficas

© Oriol Maspons, Ramón Masats,VEGAP, Madrid, 2016.

We are committed to respecting theintellectual property rights of others. While all reasonable efforts have been made to state copyright holders of materialused in this work, any oversight will be corrected in future editions, provided thePublishers have been duly informed.

NIPO: 036-16-014-7 L. D.: M-18981-2016

May 30 – November 7, 2016 19

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Cover image Afal: bimonthly magazine of photography and cinema, No. 6, Afal, Almería, November-December, 1956. Cover photograph taken by Carlos Pérez Siquier

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