DEPARDON Raymond, BURNETT David.
September in Chile: 1971/1973.
EXB Workshop
Regular price
€49,00
| N° d'inventaire | 29691 |
| Format | 19.5 x 27 |
| Détails | 192 p., illustrated, publisher's hardcover. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9782365113700 |
Two immense photographers, two Septembers at opposite ends of the spectrum: this book recounts the events that marked Chilean history as seen through the lenses of two leading figures in photojournalism. In September 1971, Raymond Depardon traveled to Santiago to capture the excitement that followed the election of socialist president Salvador Allende in 1970, before continuing his journey to the south of the country. Two years later, in September 1973, it was David Burnett's turn, arriving in the Chilean capital shortly after General Augusto Pinochet's coup d'état, photographing the moments of tension and terror that followed. This immersion in Chile in the 1970s questions what the country has become today in the face of current challenges, fifty years after the events.
At the heart of these two photographic sections that make up the book, we discover the reproduction of the iconic photograph by Leopoldo Vargas, capturing the last image of Salvador Allende alive, leaving La Moneda, the presidential palace, weapon in hand. Several texts by Robert Pledge and Luis Poirot punctuate and contextualize this double visual corpus. They are complemented by two personal accounts of the time: that of Sonja Martinson Uppman, former secretary at the Swedish embassy in Chile in 1973, who managed to protect and exfiltrate nearly 80 people threatened by the military junta, and that of Alejandra Matus, then a little girl at the time of the coup d'état and the seventeen years of her youth that followed, marked by the dictatorship.
At the heart of these two photographic sections that make up the book, we discover the reproduction of the iconic photograph by Leopoldo Vargas, capturing the last image of Salvador Allende alive, leaving La Moneda, the presidential palace, weapon in hand. Several texts by Robert Pledge and Luis Poirot punctuate and contextualize this double visual corpus. They are complemented by two personal accounts of the time: that of Sonja Martinson Uppman, former secretary at the Swedish embassy in Chile in 1973, who managed to protect and exfiltrate nearly 80 people threatened by the military junta, and that of Alejandra Matus, then a little girl at the time of the coup d'état and the seventeen years of her youth that followed, marked by the dictatorship.
At the heart of these two photographic sections that make up the book, we discover the reproduction of the iconic photograph by Leopoldo Vargas, capturing the last image of Salvador Allende alive, leaving La Moneda, the presidential palace, weapon in hand. Several texts by Robert Pledge and Luis Poirot punctuate and contextualize this double visual corpus. They are complemented by two personal accounts of the time: that of Sonja Martinson Uppman, former secretary at the Swedish embassy in Chile in 1973, who managed to protect and exfiltrate nearly 80 people threatened by the military junta, and that of Alejandra Matus, then a little girl at the time of the coup d'état and the seventeen years of her youth that followed, marked by the dictatorship.