RGR celebrates the 100th anniversary of Surrealism with its participation in two sections of Paris Photo 2024. In the Main Sector, RGR’s booth showcases the work of Manuel Álvarez Bravo vis a vis Carlos Cruz-Diez’s research on analog photography. A selection of photocollages -featuring Karina Aguilera, Patrick Hamilton, Francisco Muñoz and Diego Perez’s works- will also be included. In the Voices Sector a limited edition of the series La buena fama durmiendo by Álvarez Bravo will be exhibited.

RGR celebrates the 100th anniversary of Surrealism with its participation in two sections of Paris Photo 2024. In the Main Sector, the work of Mexican photographer Manuel Álvarez Bravo —and his role in Surrealism— is presented vis a vis Carlos Cruz-Diez’s research on analog photography. RGR’s booth also presents a contemporary selection of photocollages and color C-prints inspired by Surrealism, among them: Karina Aguilera Skvirsky’s series of large-format photocollages, which combine images of rocks from the Ingapirca ruins with portraits of Ecuadorians and staged photographs of her body; Patrick Hamilton’s two photocollages from his on-going Atacama series, in which he captures images of the dusty plains and the rocky hills of the Chilean desert —abundant in minerals— that he then covers with copper plaques; Francisco Muñoz’s most recent black and white photocollages, which combine domestic interiors —like the ones used by conceptual photographers in the 1970s— with humanoid or hybrid figures; and Diego Perez’s photographic series shot in northern Mexico, where he addresses the unfinished character of truncated architectural projects. In the gallery’s Voices Sector, RGR and the Archivo Manuel Álvarez Bravo present a limited edition of the series La buena fama durmiendo, by Álvarez Bravo. The series was originally produced in 1939, as part of an invitation from André Breton to Álvarez Bravo to participate in the International Exhibition of Surrealism that took place in Mexico in 1940. Fifteen numbered folders from this series have been edited, each containing six photographs printed in gelatin silver on 24 x 30.5 cm semi-matte baryta Bergger paper, and a booklet with a text about this edition by Clémet Chéroux. The printing was made at Manuel Álvarez Bravo’s original lab by José Ángel Rodríguez —the master’s trusted printer—, thus preserving the care and traditional techniques of the Mexican photographer.