It’s a long night-time flight back to Montreal from Mexico City. When I landed part of me felt like I had just arrived on a distant planet and part of me felt at home. It’s cold, it’s monochrome, it’s winter, and it’s familiar.
Travelling to a place like Mexico City heaps perspective on your home environment.
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I already wrote about the African show at the National Anthropology Museum, saying it was the best single art show we’ve seen in Mexico City. That show is a temporary exhibit, and is completely dwarfed (to the point of being invisible) by the permanent displays. I have spent a total of five or six days at this museum and I now know perhaps a third of the collection,
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It’s becoming clear to me that I have too much to show and so I’ll keep posting after we get back to Montreal. Please tell me if you are having trouble with this image-heavy style. I’m trying to make the photos small in size so they will load quickly, but it’s still a lot of photos.
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The Pope has left Mexico City now and is travelling to different states in Mexico – yesterday Chiapas, today Michoacán, and then tomorrow in the lawless border city of Juárez in Chihuahua. What I photographed on Saturday and Sunday was a tiny grain in an enormous event,
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Beth looked reproachfully at me and said that I was being way too conspicuous, but I guess my question is how do you take pictures here without being conspicuous? I am so huge, so white, and even just having a camera is unusual. Most people use their phones,
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| How Many Roads? is a book of photographs by Jonathan Sa'adah, available for order, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer. | |
| If you'd like more information, please have a look at this page. | |
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| To see more work To visit my blog Contact information All material © 2016 Jonathan Sa'adah no use without written permission | |
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