Mexico is one of the countries where photography has been the most active for 180 years. Photographic practices quckly spread and gained in autonomy, vivified by foreign influences.
The people of Mexico, in town or in the countryside, seems to be keen on the photographic testimony of social life or political life. Hugo Brehme promotes a systematic documentation of the country and its traditions, from which a more poetic approach is built, as Manuel Alvarez Bravez’s, or committted like Tina Modotti’s approach, along with a singular artistic activity supported by the French surrealists.
Photojournalism benefited from a local translation and was supported by the media, and since the 1960’s, female photographers have played a surprising role in the development of a photographic poetry, less eventful, which takes into account the country’s syncretic imaginary. In a apparent heterogeneity, proper to Mexico, disparate indigenous traditions grubbed up by Archeology, colonial imperatives, revolutionaries, and social particularism, confront one another.