Chema Conesa: “Photography does not belong to the one who takes it but to the one who looks at it”
Kidnappings, snipers, ambushes, stray bullets, diseases, pain, suffering, hunger... and the uncertainty of not knowing if you will be paid for practicing your profession. Who would want to work under those conditions? As risky or suicidal as it may seem, hundreds of reporters and photojournalists expose themselves to these and many other dangers in some of the hottest zones on the planet like Syria, Iraq, Libya, or Mexico to bear witness and tell the world about the injustices happening there.
Until the month of February, the Palau Robert hosts a collection produced by the insurance company DKV, which as part of its social action pays tribute to the guild of photojournalists through the work of 40 reporters who have captured with their cameras the worst, and sometimes also the best, of human nature. In total, 120 images that can provoke all kinds of reactions except one: indifference. With a title as clear as "Conscience Creators. 40 committed photographers", and with names like Gervasio Sánchez, Sandra Balsells, or Ricardo García Vilanova, the exhibition promises to be a real sensation, with confirmed appearances in Madrid, Zaragoza, and Valencia, and with other cities knocking on the door to be next. That's why we wanted to chat with the photographer and journalist Chema Conesa (Murcia, 1952), who has curated this collection that will be much talked about.
The first thing that surprises about the exhibition is that the photographer becomes more important than the photos
That's right, and it's done with all the intention in the world. It's a tribute that DKV, through its president (Javier Vega de Seoane), wanted to pay to this profession. He is a man very committed to social action. In that sense, he was very impressed to see that there are people who literally risk their lives and go to the front lines of conflict, without even the assurance that someone will publish their work. He was greatly moved to see how absolutely unknown photographers, who have tremendous enthusiasm for carrying out their work, bear witness to what they experience under abysmal conditions. Therefore, he decided to inaugurate a collection of press photography at the institution. Then they asked me to select 40 authors to start the DKV press photography collection.
Makers of conscience. Why that title?
The work of photojournalists is what strikes the conscience of the people who see it. It doesn't mean that everyone who sees it will be moved or be receptive to those images. But it is true that the only way to convey a quick emotion is through the photographic image. And they fulfill that mission by publishing in the press.
It is true that people come to the profession of press reporting in different ways. Some come from the field of journalism and understand their profession and communication. And others arrive excited to live an experience through something as beautiful as photography, simply for the fact of being there, like adventurers who wanted to feel the sensation of being right there in front. That's why there are people who disagreed with the title, since it was considered that in that second group there was no intention to raise awareness. However, we have persisted with the original idea because awareness does not depend on the intention with which the photo is taken. Awareness depends on each individual's culture and internal structure. Put another way. The photograph does not belong to the person who takes it but to the person who looks at it.
Is everyone who should be here present? Why 40?
All those who are present are here, but not all who should be are present. First, because it's impossible to include everyone, and second, because my task was to start a collection. Therefore, I couldn't leave out the more experienced individuals who once worked hard on significant issues and are excellent photographers, but who have now stepped back to focus on other pursuits. This has meant that many young people, who are currently on the front lines, have not been able to be part of this exhibit. In any case, the idea was to create a map of the world's most current conflicts so that, in some way, everyone would be represented. That's why we have been selecting each photographer's pictures that best outline that map.
What was the photographers' feedback when the idea was presented to them?
It has been wonderful. We are facing a profession that is very poorly paid, where some don't even have a contract and have to wait to return to see if someone will buy their photos. The fact that they were given a sum of money for three of their photos to be part of a collection has been well received. We also wanted to acknowledge their career by including the biography of each one as part of the exhibition. In this profession, various other professions have come together, engineers, doctors, etcetera, who have turned to photography driven by the passion to bear witness.
Has each photographer chosen what material to contribute, or has there been an attempt to find a balance of photos and themes?
Indeed, my task has been to achieve that balance I was talking about earlier. For instance, the issue of refugees takes precedence over other topics, because most of these great photographers have covered this movement. What have we done? Select one photo about refugees and then the other two about different subjects: healthcare, violence against women, poverty, illness, issues that we were also interested in highlighting.
This exhibition also teaches us that it is not necessary to go to a conflict zone to have a photo news story...
Without a doubt. The image justifies itself regardless of where it was taken. It only requires a clear understanding of what one wants to communicate and the skill to do so with dignity. It's not the subject that necessarily calls to us, but rather that by focusing on that subject, the photo becomes perfect.
What feedback have you received from the audience?
Quite positive indeed. The Palau Robert is breaking attendance records and the professionals are very happy with the outcome. We are truly pleased with the results.
Do you plan to expand this collection to other parts of Spain, beyond Madrid, Zaragoza, and Valencia?
That's the idea, to give meaning to the title and engage people's consciences. Following these already confirmed cities, I am convinced that we will go to others. Gijón has already confirmed their participation, Sevilla is interested in hosting the collection. We are confident that it will have an interesting journey.
A couple of weeks ago, Ricardo García Vilanova commented that photojournalism is on the verge of extinction. Do you share his diagnosis?
It's an answer that should be given as a country. Ricardo had the misfortune of being kidnapped under very harsh conditions, and it is since his kidnapping that his work has begun to be recognized and valued. That's unfair, because he was just as good long before that. If in Spain we don't have strong journalistic entities capable of sending photographers to these areas, many of them will end up working for international magazines and media, which are the ones that still truly believe in journalism. What Ricardo means is that anyone who wants to make a living from photojournalism is going to have a very hard time. That's why I think those young people who go to conflict zones knowing all this are heroes. They are told over and over again in schools. It's very risky both physically and economically, and the initial passion that drives them can't always be maintained.
Do you think this exhibition can help raise awareness about the need for photojournalism or even inspire others to take it up?
That is a wish that, unfortunately, remains beyond our reach. With this exhibition, we aspire to show, to be admired, and to feel what it is like to work under extremely tough conditions with continuous physical risk and without any kind of safety.
