Gancho Doble

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Monteleone Tango :: Salon Canning

 Click through to Facebook to a photo album by Monteleone Tango Photographer - Salon Canning...

Christopher Pillitz Photographer - Great Tango Photos

If I posted this before, I didn't tag it properly...

"Christopher Pillitz has seen the world. His reportage and finely wrought image series have been produced in over seventy countries and are published in the globe’s largest magazines. With his eight monographs and numerous international exhibitions, Pillitz counts among the last decades’ most renowned photo journalists.

The experienced photographer travels in order to explore the manifestations of the world’s cultures. A strong sense of empathy defines his travel images, as does a deep understanding of the grace of foreign peoples, whom he consciously and harmoniously depicts in their local landscapes. Pillitz hopes to portray Asians’ nearness to the elements, particularly to water; he accomplishes this in his haunting documentary color photographs, which, however, exceed the boundaries of pure representation. Thus the works become an atmospherically dense allegory of a life pervaded by the wisdom of the Far East.

But Pillitz is not only an attentive observer of the world; he is also a master of staged photography. He feels particularly connected to the culture of his homeland. The Argentinean calls his picture story from Buenos Aires The Spirit of Tango.

He sets his stage in a neighborhood of charm and character. The lively actors have well-known names: ballerina Barbara Bertone and dance Oscar Velazquez classically court one another, while a perfectly polished 1948 Alfa Romeo Freccia D’Oro serves as the classy backdrop to the amorous game. The journey into a lost era of romantically danced gestures is captured in stylish black-and-white, full of contrasts. Such a choice emphasizes the structures of the historical building, and the reflections on the classy car and gives them a singularity in the vivacious composition."
Horst Kloever

$490 just for the print...https://www.lumas.com/pictures/christopher_pillitz/the_spirit_of_tango_ix/

Cruzadito Austin

Looks like Pooja and Steven Thull are working on a short/promo video...?

https://www.instagram.com/thetangomoment/

Great tango photography -- Gotham Fotografia Tango

https://www.facebook.com/gothamfotografiaNYC/

https://www.gothamfotografia.com/

Gothic Milonga - Corvin Castle - Hunedoara, Romania

Gothic Milonga/Corvin Castle/Hunedoara, Romania
Crina Tangerina Photographer

Tango, No Todo Es Rock :: Documentary

I'm working on finding the full doc...this is the trailer...the first video is an interview with Pedro Lombardi at a screening/exhibition in Beruit...





Ten years after having photographed the young dancers who sparked the Tango revival,
Pedro Lombardi comes back to the shores of the Rio de La Plata.

Support this movie on : www.ulule.com/tango

From the Ulele Crowdfunding site:

« Tango, no todo es rock » could have been a documentary about Tango, a dance that has
sparked a renewed interest during the last few years. It is rather a movie on the intimate and
fascinating world of the “Tangueros” and their “Milongas”, a world where the myths of
Tango are being relentlessly reinvented since the early 20th century.






Jacques Goldstein follows photographer Pedro Lombardi in a treck around the Rio de la Plata, between Buenos Aires and Montevideo, the capitals of Tango.

Through his encounters with old acquaintances, he examines what they've become.

This discovery of the circle of those who keep Tango alive and the prospect of a common work between two confirmed visual artists, drove them to make this movie.

Pedro Lombardi, author of a photography book that has become areference for tango connoisseurs, “Invitation au Tango” (2005, Editions du Collectionneur). He shared with the great figures of that culture some key moments in the dance's evolution.
He has developed a love story with, and also practiced, Tango. More than his culture, it is a
part of his life. Thus was he able to make friends the Maestros: Mariano “Chicho” Frumboli, Esteban Cortez, Evelyn Rivera and Gisela Natoli.
This allows him to gather not only rare, but authentic testimonies. His involvement and
reputation enable him to pry into each one's personal stories : love stories, mob stories, failure
and success stories in a continent which is undergoing a complete cultural and economical
renaissance.






Synopsys :

Ten years after having photographed the young dancers who sparked the Tango revival, Pedro
Lombardi comes back to the shores of the Rio de La Plata. During these new photo sessions,
the “tangueros” confide in the privileged witness of their beginnings. Through these intimate
testimonies, one can see the outline of the great history of Tango. A mythology made of
dreams of glory - sometimes accomplished -, of couples breaking up, of European exile and of
returns to the homeland.

An eternal movement back and forth :

It is a project which fits into the very history of Tango, into its perpetual shift back and forth between the black dark shores of the Rio de la Plata and the white shores of the Seine river.

Can an authentic popular culturre thrive in the energy of an emerging country, away from the world's former centerof gravity, the old Europe ?

Through the cliches and myths - which, as Roland Barthes once wrote, are meant to be
reinvented and re-appropriated -, there is always a truth to be found about who we are, or
think we are.

And if one cares to look, these myths tell the story of our world.
A world that awakens, “creole”, that is neither black nor white, but in black and white.



What are the funds for?

We've received a subsidy from the National Center for Cinema (CNC), which allows
us to launch the shooting, albeit in very precarious conditions and with no budget security...
Despite this, the shooting crew came back from it's trip with great enthusiam, magnificent pictures and beautiful interviews;

That's why, we solicit your help in order to finalize the movie most of our budget has been assigned to the shooting. Today, we still lack 5000€ to finish the post-production :

Color Grading
Mixing
Musical broadcasting rights
Translation and transcription from Spanish to French necessary for eventual subtitles
and dubbing.

We are, of course, aware that your help is more than valuable, not only for the financial boost,
but also to finish convincing various oganisms and investors to fund our movie.

About the project owner
Vidéo de poche :

Antonin, Benjamin and Felix, the new generation of workers at Vidéo de Poche, are the
promoters of this documentary project.
Eager to get Vidéo de Poche's film production branch back on track, they initiated the project and put a breath of youth into the movie.

They need your help to go through with this adventure, starting point for a new era in their professional
lives.

Jacques Goldstein : Director

After studying philosophy and aesthetics, Jacques Goldstein turned to television. Entering
France 2, France's second national network, he worked as an assistant on a popular music
program, “Les Enfants du Rock” (The Children of Rock). He produced several musical
documentaries for the show, including a portrait of Miles Davis in 1986. He then directed
documentaries exploring the relations between Black culture and White Culture, exile and
creation, music and society.

Documentary Filmography
« Matthew Shipp, a black mystère pianist » 45mn. Mezzo 2011.
« Retour en Afrique-Konono N°1 » 52mn Trace TV 2009, TV Nantes.
« Do you still ? » 52mn Mezzo, June 2008.
« David Murray , I am a Jazzman » 52mn nominated for Arts et spectacle competiton
FIPA 2008, ARTE.
"Hors chant" 52mn, Selected for « Séance spéciale : regards sur le spectacle vivant »
FIPA 2007, shown on january 23rd 2007, opening night for FIPA's twentieth anniversary.
"Jungle Blue" 70mn. SACEM Musical creation documentary award, Special jury
award at the États généraux du documentaire Lussas 2005, Nominated for a "Rose d'or" at
Lucerne 2005.
"La Nouvelle-Orléans" 45mn Les Films d'Ici. Broadcast on 02/21/2002 on Arte and in
2003 on RTBF (Belgium) and TSR (Switzerland).
"What’s going on?" 52 mn portrait of musician Femi Kuti, broadcast on ARTE on the
show Music Planet, produced by La Huit production. Shown on 09/22/2001 non-competing
selection FIPA 2001. Rerun on France O in January 2006, selected for the Radio France
festival in Montpellier in July 2007.
"Johannesburg" 52mn broadcast on Paris Première, produced by Films d’ici. Rerun on 08/
29/2002 this film was shot in 2000 and braodcast for the first time in 2001. Selected by the
MK2 Beaubourg for Documentary Month 2002.
"La route des Roms" 26mn,in collaboration with journalist Laurent Cibien. An Arte/
Arbracam co production for "Reportages". Broadcast on Arte on 23/04/2003 and on TV5 in 2004.
"This is our music" 52mn Produced by La Huit Production and Universal Jazz France,
broadcast on Mezzo in March of 2003.
"Un sang d’encre, Black as ink" 52mn With Aimé Césaire, Melvin Van Peeble, and
Gordon Parks produced by La Huit Production for Planète, Histoire, PBS USA, CFI.
Rerun on Histoire in June of 2001.
"Wadada, Leo Smith" 52mn, produced by La Huit Production 2010.




Pedro LOMBARDI – photographer

Born in Montevideo, Uruguay, Pedro LOMBARDI has been living in Paris for 25 years.
Eager to learn about different things and – especially - people, his work as a photographer
started with several photo reports in Russia, the U.S., Morocco, Canada, and New Caledonia.
Two angles emerge from this work : at once witness and actor, social and cultural - through
theater, music and dance. Du to his cosmopolitan background, he is fascinated by the
universal language of music. He has been working for several years on Candombe, the Afro-
Uruguayan rhythm, “collective practice” that has been transmitted from one generation to the
next (exposed at the Fnac and the Biarritz International Festival 1998).

Always building bridges between Latin America and Europe, he took up the theme of Tango
in Paris in 1998 (Exposition and catalog : Unesco, 1999), and has since pursued it in both of
the cities that gave it birth : Montevideo and Buenos Aires. His approach is both that of an
esthete and that of a connoisseur, a Tanguero. He looks at the women invited to dance with
that same eye, and in this relation, as in dance, all the sensuality the complicity and intimacy
that make Tango magic build up.
That work has been published in a beautiful book :
« Invitation au Tango » (Editions du Collectionneur, Paris 2005) and in a musical

A favorite photo by Lalo de Almeida Photogapher

This is one of my favorite "tango" photos. I thought I had originally seen it on National Geographic, but after remembering it was taken in Salon Canning, I googled "tango salon canning" and found it licketysplit.

It was in the New York Times. The photographer is Lalo de Almeida.


David Lampson, from Boston, and Maria Faccioti, of Argentina, tango at Salón Canning.

Here's the original text of the "Bohemians in Exile" (in Buenos Aires) feature in the New York Times Travel Section:

https://www.nytimes.com/2008/03/16/travel/16buenos.html


The tango dancers took their places inside a cramped apartment in downtown Buenos Aires, as David Lampson, a 29-year-old television writer from Boston, wiped his brow. Despite the 100-degree weather, the fans had been shut off, spotlights switched on and windows blacked out with trash bags. The cameraman waited until the smoke machine blurred the parquet floor before yelling "Action!" Then just as the iTunes track reached its dramatic crescendo, the fuse blew. For the fourth time.

"Let's unplug the other fan and try again," Mr. Lampson told the polyglot cast and crew, which included a Greek mother, a Colombian architect and an Argentine shoemaker. Also present was a New York City film student, who was editing the footage for YouTube distribution. Mr. Lampson likened the process to creating art from garbage. "There is a tango dance based on this idea," he added, "called cambalache."

A better term might be bohemians-in-exile. A new kind of tango is taking shape along the crooked back streets of Buenos Aires. At a former furniture factory on Calle Honduras, the British music engineer Tom Rixton, who has worked with top acts like Depeche Mode, runs a stylish boutique hotel called Home with his Argentine wife. Nearby on Calle Garruchaga, Amanda Knauer, a fashion designer from Manhattan, sells a chic line of leather handbags at Qara. And at Zizek, a weekly dance party run by an expat from San Antonio, the cha-ch-ch-cha rhythms of cumbia folk music quivers to an electronic beat.

"There are expats everywhere tapping into the city's thriving cultural and arts scene," said Grant C. Dull, Zizek's founder, who also runs the popular bilingual Web guide WhatsUpBuenosAires.com. "And it's not backpacker types, but people with money and contacts."

Drawn by the city's cheap prices and Paris-like elegance, legions of foreign artists are colonizing Buenos Aires and transforming this sprawling metropolis into a throbbing hothouse of cool. Musicians, designers, artists, writers and filmmakers are sinking their teeth into the city's transcontinental mix of Latin élan and European polish, and are helping shake the Argentine capital out of its cultural malaise after a humbling economic crisis earlier this decade.

Video directors are scouting tango ballrooms for English-speaking actors. Wine-soaked gallery openings and behemoth gay discos are keeping the city's insomniacs up till sunrise. And artists from the United States, England, Italy and beyond are snapping up town houses in scruffy neighborhoods and giving the areas Anglo-ized names like Palermo SoHo and Palermo Hollywood.

Comparisons with other bohemian capitals are almost unavoidable. "It's like Prague in the 1990s," said Mr. Lampson, who is perhaps best known for winning a Bravo TV reality show, "Situation: Comedy," in 2005, about sitcom writers. Despite his minor celebrity, he decided to forgo the Los Angeles rat race and moved to Buenos Aires, where he is writing an NBC pilot, along with his Web novela, www.historyandtheuniverse.com. "Buenos Aires is a more interesting place to live than Los Angeles, and it's much, much cheaper. You can't believe a city this nice is so cheap."

That wasn't always the case. For much of the 20th century, Buenos Aires ranked among the world's most expensive capitals, on par with Paris and New York. Broad boulevards were lined with splendid specimens of French belle époque architecture that evoked the Champs-Élysées, and tree-lined streets were buzzing with late-night cafes and oak-and-brass bars. Locals, it is often said, identify more as European than South American.

Then came the financial crisis of late 2001. The Argentine peso, which was once pegged to the United States dollar, plunged to a low of nearly 4 to 1 in the face of mounting debt and runaway inflation. (It holds steadily today at about 3 to 1.) Overnight, Buenos Aires went from being among the priciest cities to one of the world's great bargain spots.

There was a silver lining. Even as local artists flocked overseas, producing a kind of creative brain drain from Buenos Aires, foreigners arrived in record numbers. And what they discovered was that this fast-paced city of three million offered more than just tango and cheap steaks. The Argentine capital also had balmy weather, hedonistic night life and a cosmopolitan air that thrives on novelty.

Situated at the wide mouth of the Río de la Plata, Buenos Aires sprawls across the flat landscape with the force of a concrete hurricane. It takes more than an hour to traverse opposite ends by yellow-and-black taxi. And that's not mentioning the 48 barrios that creep inland, each with a distinct personality and crisscrossed by a web of cobblestone alleys and 12-lane mega-streets. There are business districts like Microcentro, leafy barrios like Recoleta and manufacturing sectors like La Paterna.

And nearly everywhere you turn these days, the new arrivals seem to be planting their flags, whether at a so-called chorizo house in historic San Telmo or a glassy condo in Puerto Madero. Or, for that matter, a former door factory on Calle Aguirre, which Sebastiano Mauri, 35, a painter and video artist from Milan, recently bought with several artists on the industrial outskirts of Palermo.

"Some are now calling this area Palermo Brooklyn," said Mr. Mauri during a recent visit of his renovated factory, a bright yellow building on an otherwise gray street. Cost for the entire four-story factory? $130,000. "Buenos Aires makes Milan look like a neighborhood. It's lively, multiethnic and you have Europeans from all over."

After gutting the third floor, Mr. Mauri spent the past year converting it into an artist-in-residence studio with hardwood floors, stainless-steel kitchen cabinets and midcentury-modern furniture. To celebrate the near-completion, he held a rooftop barbecue on a breezy Saturday in January that drew a cross section of Buenos Aires's art elite.

Drinking malbec out of plastic cups and eating steaks with dollops of ratatouille, the crowd of about 20 artists, curators and collectors chatted easily about the hyper-commercialized state of art, a towering sex hotel (known as a telo) nearby and the city's obsession with ice cream. "Artists come here because they can be free," said Florencia Braga Menéndez, whose namesake contemporary art gallery is arguably the city's most influential. "As a gallerist, I never tell my artists what sells. They must create for themselves."

That creative freedom has fueled plenty of cultural cross-pollination. Dick Verdult, an avant-garde musician and artist from the Netherlands, began toying with cumbia around 2000, manipulating the childish rhythms of the South American folk music with electronic bass lines, time delays and sampled voices. "Cumbia is like a ball of clay," said Mr. Verdult, 53, who is better known by his stage name, Dick El Demasiado. "If you stick to the simple laws" - a 4/4 rhythm that he likens to a galloping horse - "but disregard the tradition, you can do a lot with it. Argentina has a very elastic culture."

His first cumbia album, "No Nos Dejamos Afeitar," released in 2002, was so well received that Mr. Verdult decided to move to Buenos Aires. "The reaction blew me away," said Mr. Verdult, who is regarded as the unofficial godfather of this new electrotango sound known as experimental cumbia.

Not surprisingly, many of his disciples are fellow expatriates. "There's a group of maybe 10 producers and D.J.'s who are really pushing these new styles," said Gavin Burnett, 26, a D.J. from San Francisco who blends cumbia with hip-hop and Jamaican dancehall under the pseudonym Oro11. "If you're an artist looking to be inspired and have $10,000 saved up, you can basically come down here and work, and not worry for a year."

It's not only artist types who are soaking up Buenos Aires's budget bohemia. Stumble into many of the city's trendy restaurants, bars and hotels, and there's a good chance a foreigner is behind it.

One of the newest is Le Bar, a martini lounge and restaurant in Microcentro with sunken seats, cool lighting and a rooftop terrace. It was started by several French expatriates including Manuel Schmidt, 40, an architect from Paris who sailed to Argentina with his wife and young daughter three years ago, and basically didn't sail back. Brasserie Petanque, a new restaurant in San Telmo, looks as though it was transplanted tile by tile from the Left Bank. "When I came in 2003, there were no French restaurants, so I stayed and opened this," said Pascal Meyer, an owner who was tending bar on a recent Sunday night. Before becoming a restaurateur in Buenos Aires, he was a culinary tour guide for the United Nations in New York City.

AND then there are the novelists, journalists and screenwriters, quietly tapping away in their $600-a-month apartments, seeking to make a name for themselves on Argentine soil. Nate Martin, a 24-year-old from Wyoming, moved to the city in November and took a job as an editor at The Buenos Aires Herald, an English-language newspaper, because, he says, "I didn't want to be a waiter while writing." For his creative outlet, Mr. Martin maintains a blog, Grating Space. Like dozens of similar blogs written by foreigners, it rhapsodizes about the Argentine good life. He also D.J.'s on the side.

"We play stuff that they've never heard of," said his friend, Tom Masterson, a 35-year-old transplant from Chicago, during a night out at Bahrein, a stylish sweatbox in Microcentro where the headlining D.J. hailed from Belgium. "They love me here."

Some literary efforts are starting to bear fruit. The writer Marina Palmer quit her advertising job in New York City, moved to Buenos Aires and, in 2005, published a "Sex in the City"-like memoir set in the city's vampish tango scene. "Kiss and Tango" has been optioned by Hollywood, with Sandra Bullock recently floated as a possible lead. (The film that has everyone buzzing these days is Francis Ford Coppola's "Tetro," a drama about Italian immigrants in Argentina that is being filmed in the city.)

But moviemaking is hardly restricted to foreigners. Argentina has a storied film history - notable examples include the 1968 political documentary "The Hour of the Furnaces" and the post-junta feature, "Official Story," which won the Academy Award for best foreign-language film in 1986 - and, in recent years, a so-called New Argentine Cinema has emerged, thanks to a new crop of directors like Daniel Burman and Lucrecia Martel who are winning prizes in Berlin, Toronto and other film festivals. They have set up shop along the fringes of fashionable Palermo, in an area now known as Palermo Hollywood.

As with other creative fields, the cinematic revival got some unexpected help from the financial crisis. Not only did the industry benefit from the influx of foreigners looking for cheap production costs, but the peso meltdown also provided grist for creative self-examination. "People were no longer talking about pretty dresses or soap operas," said Tomi Streiff, a filmmaker who moved to Buenos Aires from New York City with his partner and fellow screenwriter, Jane Hallisey. The couple is now working on a romantic comedy about a priest. "Everybody was hurt, so their skin was open."

The wellspring of creativity is starting to leech out of Buenos Aires and onto the larger cultural stage. Local fashion designers, who flourished when European imports tripled in price, are making inroads into the global marketplace. Tramando, a high-end fashion store in Recoleta started by Martin Churba, now has boutiques in Tokyo and the meatpacking district in New York. And Maria Cher, a London-trained designer who has an airy boutique in Palermo SoHo, exports her glamorous dresses throughout South America, as well as to Tokyo.

Experimental cumbia music is reverberating beyond the city's packed dance floors. Mr. Burnett, the D.J., just started his own cumbia record label, Bersa Discos, and is playing shows in his native San Francisco. Zizek, the weekly dance party, is taking its urban tropical beats throughout the United States, with stops this month in Los Angeles, New York, Chicago and at the South by Southwest music festival in Austin.

Buenos Aires's buzzing art scene, meanwhile, is being touted as the next big thing. Or that's the hope, anyway, of the city's eager artists and wide-eyed gallerists. "This city reminds me a lot of Berlin," said Elisa Freudenreich, 27, a gallery manger who recently moved from Berlin and sees parallels in the profusion of street artists and graffiti-splattered spaces. "The scene is very fresh, very underground."

Scruffy galleries have gone up along the city's edges, most notably Appetite, an irreverent, punk-inflected gallery in San Telmo started by Daniela Luna, a feisty 30-year-old known for her shrewd eye and cool parties. On a steamy Thursday afternoon, as office workers were climbing aboard buses back home, Ms. Luna was flitting through her grungy gallery in a brown miniskirt and sparkly pink T-shirt, like a teenager in a vintage clothing store.

"My first gallery was so messy that when people came to my parties, they didn't know if the stuff was art or trash," Ms. Luna said, as she showed off works by Santiago Iturralde, a local artist who paints portraits of narcissistic young men based on their Facebook-like Web profiles. "We're growing fast and furious." So fast, in fact, that she is exporting her cheeky blend of trash art to the real Brooklyn, where she just opened a small gallery.

Her gallery will get additional exposure in Milan when the contemporary art fair, MiArt 2008, spotlights emerging Buenos Aires artists in April. Adriana Forconi, a jet-settling consultant to the art fair, was in town recently to scout for worthy galleries, and was struck by what she calls the city's "frenetic and blissfully chaotic" pace.

"There's definitely something happening here," said Ms. Forconi, who was among the guests at the artist-filled rooftop barbecue. Dressed in a flouncy party dress and strappy sandals, she looked ready for another long night on the town. "There's a clash between European and Latin American cultures that's fascinating."

"And unlike Milan, there are no rules," Ms. Forconi added, as she looked out at the twinkling city and took a sip of wine. For a moment, she sounded like someone toying with a move to Buenos Aires. "You can do whatever you want here."

#astf2018 :: through my lens

Farting around with Adobe Spark...click on it right in the middle of the image and then use the scroll bar in the resulting new window to scroll down...real slow like...a little goofy...like I said...farting around...




Or, here's the entire album on my flickr account...click on the image to click through to the album/set...then look for the "toggle slideshow" icon upper right...

Now That's A Milonga...!

Daniela Kizyma & Pablo Velez :: Wuppertal 2016 :: Michael Huette Photographer


Eleonora Kalganova & Michael Nadtochi :: Wuppertal 2015 :: Michael Huette Photographer


Michael Huette Photographer

Here's the website if you want to go. Wuppertal Ball Tango Argentino. September 2018.

Does anyone know the name of the photographer? Iconic photo of Carlos Gavito y Marcella Duran...Alex Waterhouse-Hayward

[url=http://flic.kr/p/je9Tv3][img]http://farm3.staticflickr.com/2865/11963270416_46222a8898_o.jpg[/img][/url]
Photographer: Alex Waterhouse-Hayward

Thanks to Juan Pablo Vicente for the name! Muchas gracias! And to Christian Wilton for the correction - it's Marcella Duran, not Maria Plazaola...