The work of A graphic reporter combines, in each image, trade and inspiration. A practice in which time is crucial and intuition is key to achieving a unique look on characters and situations.
In the sample “Argentinos 1995-2025”, photographer Maximiliano Vernazza He puts his experience and inspiration into play to reveal unknown images of the main protagonists of the country. Long -career reporter, Vernazza trained with professionals such as Juan Travnik, Adriana Lestido and Alberto Goldenstein And he worked for more than 20 years in Editorial Atlántida, for great magazines such as people, the graph, for you and Billiken.
“Argentinos 1995-2025 ”will be exhibited In the photo gallery of the Ricardo Rojas Cultural Center (Av. Corrientes 2038) From May 20 to June 21, with free admission, from 10 a.m. to 8 p.m. An amazing walk on the unexpected faces of artists, politicians and stars.
The race
Of the great graphic media, the professional destiny led Venazza very close to politics, as head of the Photography Department of the Chamber of Deputies, first, and then with the same position, to the Ministry of Economy.
He has participated in The annual samples of Argra, the Association of Graphic Reporters of Argentina And in 1999 he received the Pleiade Award, which the Association of Magazine Editors, for the best journalistic photo of the year for a portrait of Diego Armando Maradona.
Maradona, precisely, is one of the characters who has photographed the most in his career. But it is Charly García the artist who effectively influenced his work. In fact, he dedicated two samples, “the Charly that I know” and “Charly”, at the Recoleta Cultural Center and in the photo gallery of San Martín, which later traveled throughout the country.
“I met Charly for a note of ‘People’ -says the photographer about the history of his friendship with the musician.” His department of Colonel Díaz and Santa Fe and had to send an urgent photographer.
It was the era of “Say No More” and Garcia’s house did not have a single millimeter of unpainted surface. A detonated space that Vernazza discovered in amazement while Charly finished making the note with the journalist. “During the wait I measured the light that had to be perfect, because at that time we still made slides. When he entered, he stopped next to a wall and told me to take him out there.” Immediately after the shot, the musician ran out and stopped elsewhere in the department where he told Vernazza to take the image. “Luckily the flash gave me a certain light in the camera. It was 15 minutes running throughout the house with a shot in each place where he stopped, until he told me: ‘I got bored.’ We cut and left.”
At two months a new note emerged and Charly’s press chief, Francisco Cerdán, asked to send “to Rulos, to the other time.” “Until that moment I did not like his music, but from the second session I became super fan. I started to follow, to generate the notes. The last time I saw it was when he turned 70. It was a friendship relationship. And in my career, an impressive impulse.”
Maradona, on the other hand, was a fan, although he struggled not to look like a cholulo. “He was a character very similar to Charly,” said Vernazza. ”You could be 5 minutes and some photo took yourself. In 2006, before the World Cup in Germany. The English player Gary Lineker went to make a note for the BBC. Diego was living in the parents’ house. They made us go before the English television arrived. When we entered he asked me what he wanted to do. eating a roast that Don Diego did and in which I occupied the head of the table. ”
Secret images
“The photographs of Maximiliano Vernazza project the collective unconscious on the portrayed celebrity and in that mechanism, the cunning of the lens manages to capture something else. Something that is not seen but feels,” explains the writer and documentary filmmaker Matías Rep repor the presentation text of the sample.
“I don’t define myself as a portraitist, although I portrayed a lot, and this sample is almost all portraits,” Vernazza explains when asked what the secret to taking interesting photos, which reveals the unknown face of the characters. “I try to spend as long as possible with the person I am going to photograph to forget what I am doing. That is my way of working. Sometimes I have something thought, but rarely I apply it. When I go with a specific assignment, I always try to make a ‘side B’ for me. That ‘side B’ was the material of ‘Argentines’.”
Image gallery
