April • 2019
Julian went above and beyond with his work for us on the ground in Juarez. Not only did he help direct us to our interview subjects, but he found new locations for filming and helped guide us in gathering broll. 100% recommended.
Ciudad Juárez, Chihuahua, Mexico
1 review$200 - $400 / Day
Request QuoteIn 1993, Julián Cardona began to document, in the border with the United States, the violent entry of Mexico to globalization: the social effects caused by the low wages paid by the industry assembly plants; the degradation and decomposition of the social networks in a border controlled by power structures allied in order to favour the financial interests of the United States transnational companies; the voice of the parents and relatives of women murdered in Ciudad Juárez; and, in the NAFTA era, at Sonora and Arizona border towns the exodus of Mexicans fleeing from their country and its collapsing economy. Cardona was the curator of the 1995 exhibition, "Nada que ver/ Nothing to see," which included the participation of several photojournalists from Diario de Juárez (now El Diario). This exhibition led to the publication of Juárez: The Laboratory of Our Future (New York: Aperture, 1998), featuring texts by Charles Bowden, Noam Chomsky and Eduardo Galeano, awarded in 1999 with the Infinity Award for Book of the Year by the International Center of Photography, ICP, based in New York City. Cardona's work has been featured in various works and exhibitions in Mexico and abroad. His first solo exhibition took place in 2005 in the Cue Art Gallery, in New York City. Published titles include No One is Illegal, with texts by Justin Akers Chacón and Mike Davis (Chicago: Haymarket, 2006); Exodus/Éxodo (Austin, University of Texas Press, 2008) documenting the historic migration of Mexicans to the United States and Murder City (New York: Nation Books, 2010) on the explosion of violence in Ciudad Juárez, both in collaboration with Charles Bowden. Images from Exodus were included in the travelling exhibitions Borders and Beyond (Manuel Bauer, Jodi Bieber, Julian Cardona, Thomas Kern, Joachim Ladefoged, Valery Nistratov, Don McCullin, Meinrad Schade, Randa Shaath, Roger Wherli, Photoforum PasquArt, Biel, Switzerland, 2001), which was presented in 27 cities around the world until 2007 and in The History of the Future / La historia del futuro (Michael Berman, Julián Cardona, Santa Fe Art Institute, Santa Fe, 2008) and Exodus was featured in the 2011 edition of Promenades Photographiques, a photo festival held annually at Vendôme, France. In the same year Cardona participated the photography festival Dok 11, held in Oslo, Norway. In January 2013, UTEP’s Rubin Center presented Stardust: Memories of the Calle Mariscal, and in September of the same year, Cardona's photographs were exhibited in Remember Them, a collective show held at the Victoria Gallery of the University of Liverpool. His more recent exhibition, Herencia de sangre, was inaugurated on May 2014 at the Gallery José María Velasco, in México City and in September 2015 his current project, Abecedario de Juarez, co-authored with the American artist Alice Briggs won honorable mention in the Dorothea Lange-Paul Taylor Prize, sponsored by Duke University. Julián Cardona is based in Ciudad Juárez, Mexico.
April • 2019
Julian went above and beyond with his work for us on the ground in Juarez. Not only did he help direct us to our interview subjects, but he found new locations for filming and helped guide us in gathering broll. 100% recommended.
Years of violence in the Juarez Valley left desolate villages. In Guadeloupe, the mayor decided to paint the abandoned houses and businesses with bright colors. The residents of those towns moved north of the Rio Grande.
Migrants who will request political asylum in the United States and who do not want to sign up on a waiting list, cross the Rio Grande in groups and surrender to the Border Patrol. The Casa del Migrante in Ciudad Juarez has hosted thousands of migrants seeking political asylum since October 1018.
Ed Vulliamy and I took on the task of looking for migrants who did not want to submit to the political rules imposed by governments. This is how we find Jonathan Levit, a Honduran who refused to kill his friend and that is why he became a target for the murderers and had to leave Honduras.
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