A society that looks and builds itself on images. A surface that today reveals, shows itself and shows us that there is still Todo por ver [all to be seen], all to be said, a lot to do and think.

Hypervisuality, overproduction, image accumulation, permanent consumption, volatility, instant waste and visual communication that substitutes other ways of understanding, are just some of the aspects of the current context in which we find ourselves. We show this set of views that do not try to make a account or anthology, not even a mapping or a panorama about photographic production in recent years in Mexico. It is a proposal of ideas and lines of thought with images that seek to build phrases, bridges, community, and promote dialogues. Different generations, different approaches, realities, searches, fictions, and interests. An eclectic and apparently dyslexic edition, a group that does not respond to cataloging criteria or to conceptual principles or academic theories, much less to closing chapters.

Vitality, power, diversity, plurality, identity, sexuality; looking at others, looking at yourself, so many universes and so many ways of seeing, condensing, provoking and evoking. The photographic container that spills. The close and near is also the rarefied and ironic, the disturbing and the known. Since everything is to be seen, the individual discourse is dismantled taking loose images of closed series to recombine them with others, in an exercise of free phrasing, looking for another musicality and tessitura. A reinterpretation of the score, other possibilities of reading in a seemingly random flicker. Why try to order what fits by its own accord? The possibilities: infinite. Image as power, as a voice, as an accent, as a counterpoint and as an anchor for a society that is still being built, still calls itself and recognizes itself, that doubts and amazes.

Every community must face its own monster, look it in the eye. Only by recognizing it will it be possible to overcome it, to cut it short. The state of things, it confronts us and lacerates us. It questions us and makes us uncomfortable. If this is not the space for this, then which is it? Like a cluster bomb, the image of violence spreads out of control, sweeping everything silently, a ghostly stalking that is not possible to live making it habit, but neither is it ethical to censor it or not to look at it. Like a mirror, the image dislocates and disturbs us, disarms us but confronts us: What are we doing, what have we stopped doing, what should we do? This state of affairs is a desperate cry that invokes and summons. Nevermore.

A Mexican photographic imaginary? A conclusion about what Mexican photography is? A definition of what is shown here? Impossible! There is no single criteria to define it, there is no single way to approach it, a conclusion is not feasible; questions, only questions, no answer, no certainty. Ideas that seek to be put in doubt, approaches that seek echo in the readings, take position and navigation routes that each viewer will establish.

Francisco Mata Rosas
Gerardo Montiel Klint