Enrique Metinides: The Man Who Saw Too MuchEva Eicker, Photomonitor March 22, 2017
The woman’s fear and shock is written all over her face, half covered by her hand; the desperation and grief in her eyes is painful to see. She is unaware of her picture being taken, as Mexican photographer Enrique Metinides was present during and in the aftermath of a human tragedy. The caption to State of Mexico (1963) informs the viewer that this woman has just discovered the body of her murdered husband. The serious, direct stare of reproach by a police officer or guard behind the woman seemingly asks ‘Why are you taking the picture? Leave her alone...’
TRAGEDY, DEATH AND DISASTER IN MEXICO CITYEva Clifford, Feature Shoot March 15, 2017
Enrique Metinides photographed his first dead body at the age of twelve. At thirteen, he became an unpaid assistant to a crime photographer at La Prensa, earning the nickname “El niño” (the boy) from the staff. Here, he would see between 30 – 50 dead bodies a day.
Enrique Metinides made an art out of looking at people looking at deathWill Martin, Apollo Mag March 9, 2017
I brought four things back from a trip to Uganda: a small clay cat; a wooden pipe designed for witchcraft; a bright blue floral shirt I had been given to wear on special occasions; and a copy of The Onion, a Ugandan tabloid newspaper. The front page of The Onion has the headline ‘Beheaded!’ in bold black type. Below, in a pink box, reads ‘Arsenal Fans Chop Off ManU Fan’s Head With Power Saw’. This provides a short explanation to the grisly colour photograph which takes up most of the front page; a man lies on a blood-streaked white sheet, his head about 12 inches away from the bloody stump of his neck.
Enrique MetinidesWall street Journal February 23, 2017
From 1948 until his forced retirement in 1979, the Mexican photographer Enrique Metinides took thousands of images and followed hundreds of stories in and around Mexico City. And what images and stories they were: car wrecks and train derailments, a bi-plane crashed on to a roof, street stabbings and shootings in the park, apartments and petrol stations set alight, earthquakes, accidental explosions, suicides, manslaughters, murder.
Law and disorder: the grisly lens of Enrique Metinides – in picturesThe Guardian February 13, 2017
As a child, Enrique Metinides photographed the bloody crime scenes of Mexico City – leading to a lifetime of ambulance chasing and macabre images.
Enrique Metinides on showBlack + White Magazine, print, January 2017 Issue January 31, 2017
"His catalogue is a reflection of the man himself: a strange dichotomy of ruthlessness and compassion, melancholy and hope, and randomness and certainty"
The Man Who Saw Too Much: Revealing the shocking photography of Enrique MetinidesKaty Cowan, Creative Boom January 31, 2017
He photographed his first dead body and published his first photograph when he was only twelve years old. At age thirteen, he became an unpaid assistant to the crime photographer at La Prensa, and gained the nickname ìEl NiNoî (the boy) from the regular press photographers.
MEXICAN ARTISTIC PRESENCE INCREASES IN THE UKMexican Embassy, online January 27, 2017
As part of the graphic arts presentations, the Mexican photographer Enrique Metinides, will present, from 10th February - 24th March, the exhibition entitled, "The Man Who Saw Too Much" in the famous Michael Hoppen Gallery. The exposition shows images of wrecks and accidents that occur in Mexico City between 1948 and 1979, captured by Metinides camera.
Enrique Metinides at Michael Hoppen Gallery LondonBlack Iris Journal January 11, 2017
"car wrecks and train derailments, a bi-plane crashed on to a roof, street stabbings and shootings in the park, apartments and petrol stations set alight, earthquakes, accidental explosions, suicides, manslaughters, murder."
Enrique Metinides at the Michael Hoppen Gallery, LondonBLOUIN ARTINFO December 27, 2016
An exhibition of images by Enrique Metinides will be on view at the Michael Hoppen Gallery in London from February 9 to March 24, 2017.
The Mexican artist, whose work has been showcased at several major international venues including the Museum of Modern Art, Les Recontres d'Arles Photographie and the Photographers' Gallery, was active in the field of documentary photography for over three decades - from his 10th birthday in 1944 to his imposed retirement in the late 1970s.
Sean O'Hagan's top 10 photography exhibitions of 2016Sean O'Hagan, The Guardian December 7, 2016
5. Eamonn Doyle: END.
The most-talked about show at the Arles photography festival was this radically staged installation, which presented Doyle’s vivid Dublin street portraits in a maze-like room... READ MORE
8. The Image As Question
An exhibition that explored the photograph as proof at a time when the uses of photography in art and on social media directly challenge or subvert that suddenly old-fashioned notion. Michael Hoppen, a passionate believer in photography as an art form... READ MORE
The Image as Question: An Exhibition of Evidential PhotographyWill Britten, Film's Not Dead November 9, 2016
The Image as Question: An Exhibition of Evidential photography is a visual theatre of post-documentary and artistic passion...
Proof Reading: Tracing the history of evidential photographyCharlotte Harding, British Journal of Photography September 26, 2016
The Image as Question, the new exhibition opening at the Michael Hoppen Gallery this week, brings together some of the greatest image-makers of modern times.
What do photographs of 9/11, burnt filing cabinets and a police line-up all have in common?
They are all compelling records that uncover revealing evidence.
Since it’s invention, photography’s claims of truth and scientific objectivity have long furnished the photograph as the primary tool of evidence.
From crime scenes, zoological specimens, lunar and space exploration, to family holidays and atrocities taking place on the global stage, the photograph has been used as ‘proof’. Any contemporary artist using photography has to accept the evidential language embedded in the medium.
Latin American photography at Michael Hoppen Gallery - VocesGarage Mag, Round Up November 2, 2015
VOCES (Voices) presents some of the most influential and recognised Latin American photographers alongside emerging artists who have used the photographic medium as a way of individual expression over the last four decades. The works on display are a form of photojournalism, documenting the photographers daily lives, experiences and identities within a socio-political context.
The exhibition runs until the 9th January 2015 at the Michael Hoppen Gallery and displays an incredibly vibrant and engaging insight into life in Latin America over the last 35 years.
Voces: Latin American Photography 1980-2015, Michael Hoppen Gallery, London — reviewFrancis Hodgson, Financial Times October 15, 2015
Michael Hoppen has filled his gallery in London’s Chelsea with a small but ambitious exhibition of Latin American photography. There’s only so much a private gallerist can do. Compared, for example, with the sprawling overview of the Cartier Foundation’s major survey show in Paris a couple of years ago, Hoppen can only scratch the surface.
Record and trace: 'Voces: Latin American Photography' at Michael Hoppen galleryNick Compton, Wallpaper* October 13, 2015
'Voces: Latin American Photography 1980–2015', a new photographic survey at London’s Michael Hoppen gallery, is clearly ambitious in scope. Works here, assembled by Chilean curator Chantal Fabres, are by seven artists from Argentina, Chile, Mexico and Brazil. It is a vast area to cover in time and space.
Transvestites, tapas and twisted statues: a whistlestop tour of south America – Voces: in picturesThe Guardian, Art & Design October 12, 2015
A new show chronicles the artists, activist and pranksters who have shaped an entire continent.
CollectingFinancial Times, Weekend October 10, 2015
"Over the next few weeks photography is set to make a strong showing. "
Studying Latin - VocesSteve Dineen, City AM October 8, 2015
A new exhibition at Michael Hoppen Gallery shows the diversity of Latin American photo-art.
Interview with Chantal Fabres, Voces: Latin American Photography, Michael HoppenAesthetica Magazine October 8, 2015
London, addresses the wealth of individual expression in Latin American photography with Voces: Latin American Photography 1980-2015. The featured artists challenge the popular acceptance of what has been codified as photography, proposing a search for new meanings informed by their cultural identity. We interview curator Chantal Fabres.