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	<title>Alejandro 'Luperca' Morales</title>
	<link>https://alejandroluperca.org</link>
	<description>Alejandro 'Luperca' Morales</description>
	<pubDate>Mon, 06 Oct 2025 02:45:27 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://alejandroluperca.org/Home</link>

		<pubDate>Sun, 05 Oct 2025 06:19:26 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

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		<title>08</title>
				
		<link>https://alejandroluperca.org/08</link>

		<pubDate>Mon, 06 Oct 2025 02:45:27 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

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		<description>(b)(6) (b)(7)(E): Redacted Bodies 2025




	

Demo. 4k quality available for this video.








(b)(6)(b)(7)(E) Redacted Bodies is a hybrid installation and web-based interface that explores how systems designed to protect information can also produce disappearance. The work is grounded in the political and emotional landscape of the United States–Mexico border, a region where movement, identity, and risk are shaped by surveillance and documentation technologies. While rooted in this specific context, the installation speaks to global practices that regulate visibility and determine what can be seen, recorded, or withheld.

The experience unfolds through a sequence of questions that prompt visitors to recall ordinary situations related to movement, recognition, safety, and self-presentation. Rather than imitating bureaucratic forms, these questions foreground everyday moments in which a body becomes readable, questionable, or exposed. Each response appears briefly in full view before being distorted or obscured in real-time, echoing redaction procedures used in public records systems, such as the United States Freedom of Information Act, where data is withheld through coded practices.

In the exhibition space, a live camera masks the participant’s face with shifting redaction blocks. No images are stored; the masking occurs only while the viewer is present. This real-time intervention extends the logic of redaction from language to the body itself, merging the participant’s presence with projected fragments of archival FOIA documents and their own disappearing text. The installation forms a constellation in which personal and institutional forms of disappearance coexist.

A sound score by Karima Walker shapes the temporal experience of the work. Built from voice, field recordings, and the turbulence of water, the score treats fluid motion as a procedural model for how data moves through administrative systems, appearing, circulating, or dissolving.

Through this environment of text, sound, and live redaction, Redacted Bodies reflects on the architectures that govern visibility and asks how individuals come to appear, or vanish, within contemporary information infrastructures.






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System Map

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Media and Immersive eXperience (MIX) Center, Arizona State University. December 2025, in collaboration with Karima Walker.

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	<item>
		<title>07</title>
				
		<link>https://alejandroluperca.org/07</link>

		<pubDate>Sun, 05 Oct 2025 21:18:50 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

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		<description>Mantas

 2024 - ONGOING



	






	


	

On March 27, 2023, a fire inside a migrant detention center in Ciudad Juárez killed forty men from Guatemala, El Salvador, Honduras, Colombia, and Venezuela. Security footage showed guards walking away as the fire spread, leaving the detainees locked inside. The facility, operated by Mexico’s National Migration Institute, had been repeatedly denounced for overcrowding and unsafe conditions.

In September 2025, a federal judge ordered former INM director Francisco Garduño to issue a public apology to the victims’ families as part of a conditional legal agreement. The act was presented as a procedural requirement rather than an acknowledgment of responsibility, and many relatives rejected it as insufficient.

After the fire, photographs showed the bodies covered with metallic emergency blankets—Biaxially Oriented Polyethylene Terephthalate (BOPET), commercially known as Mylar. This polymer is commonly used in U.S. detention centers and “ice boxes,” where it oscillates between care and control: an emblem of “protection” that also exposes the violence of neglect. It has become a visual shorthand for crisis, appearing in both state documentation and protest imagery.

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This project is a response. I am weaving forty blankets, one for each victim. Each measures 52 × 84 inches, the standard size of a commercial space blanket. Using a 24-shaft electronic dobby loom and custom software, I design a unique pattern that encodes each person’s name, age, country of origin, place, and year of death. The information is translated into geometric form—text broken down into pixel-like units, data points shaping the structure and rhythm of the weave. Some details remain legible, while others dissolve into abstraction.

The warp is black cotton; the weft combines cotton and metallic Mylar. The process introduces time, tension, and individuality—each blanket carrying its own rhythm and imperfection, its own mark of presence.

Space blankets, designed for short-term survival, have become a symbol of disposability within the migration system. By weaving with this material, I transform it from an object of emergency into one of permanence.
	

	
	 


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		<title>06</title>
				
		<link>https://alejandroluperca.org/06</link>

		<pubDate>Sun, 05 Oct 2025 07:21:10 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

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		<description>PASO DEL NORTE 2021 -&#38;nbsp;








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Since 2021, I have been recording and monitoring public livestream cameras installed at the Paso del Norte International Bridge, which connects Ciudad Juárez, Mexico, with El Paso, Texas. These cameras operate continuously, framing both the everyday rhythm of the crossing and the moments of tension that define it.

On March 12, 2023, hundreds of migrants attempted to cross the bridge by force. I happened to be watching the livestream as it unfolded. The feed showed a large crowd moving toward the border, officials closing the gates, and then—suddenly—the image cutting back to its usual scene of traffic and pedestrians. Because these cameras do not archive footage, that moment disappeared as soon as it happened.







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This project began from that realization: that border events appear and vanish in real time, visible only to whoever happens to be watching. By capturing screenshots, data fragments, and interruptions in the feed, I try to hold onto what surveillance itself refuses to preserve.

NASA

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&#38;nbsp;FAST FOOD
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DOGS

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During this process, I discovered that the same camera network used to watch the bridge is also linked to the El Paso Zoo. Both systems share a single logic of observation—spaces where visibility is constant, but memory is absent.





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As the research developed, the archive extended into other forms of making. While reviewing declassified FOIA documents, I found an internal DHS report where a CBP officer joked that if agents “felt threatened, they can beat that tonk like a piñata until candy comes out.” That phrase became a turning point in the project. I built a surveillance camera piñata covered in metallic space blankets, and later crossed the bridge carrying other piñatas—an alien and a NASA rocket—referencing how border language and humor often disguise violence.

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You tell all the guys that if they feel threatened, they can beat that tonk like a pinata until candy comes out. 
Space blanket, cardboard, paper, wood, LED, infrared sensor, rotating engine, Arduino.  27 x 35 x 14 in ; 8.5 x 11 in. 2024



During these crossings I began wearing clothes that mirrored what I was seeing on the cameras: a sweatshirt reading RAZA, designed after NASA’s logo, or fast-food uniforms like those worn by workers who commute daily between Juárez and El Paso. These gestures became a way of inserting myself into the same visual system I had been documenting, testing how representation and identification circulate at the border.


Over time, the archive evolved beyond the act of recording. Some of the screenshots taken from the bridge livestream became the basis for new works: a piñata made from space blankets and a group of acrylic pieces depicting migrant silhouettes extracted from the video feed. These visual experiments extend the project beyond documentation, translating the ephemerality of surveillance into material form.

















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Paso del Norte Dummy
	

Paso del Norte dummy brings together stills from border livestreams, government documents, news archives, and staged photographs made between Ciudad Juárez and El Paso. Structured in six chapters, the book examines how migration, surveillance, and everyday gestures unfold within a system built to watch but not to remember.

Each chapter focuses on a different layer of the border.
Viral Dogs gathers images of animals walking beside deportees and the news stories that turned them into viral symbols.
NASA / RAZA explores how migrants wear logos and national emblems as both camouflage and identity.
Have it your way looks at fast-food labor and daily crossings through uniforms and branded spaces.
You tell all the guys... follows piñatas carried across the bridge, objects that move between celebration and violence.
Me quité la manta térmica... revisits the events of March 12 and the detention-center fire that killed forty people.
M.M.P. &#38;amp; Title 42 closes the sequence with internal policy documents paired with scenes of deportations mid-bridge.

Throughout the book, livestream stills are interrupted by redacted text, server errors, and fragments of personal reflection. The same camera network that watches the bridge also streams from the El Paso Zoo—linking control, entertainment, and exposure within a single field of view.



&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	
	



Awards:

	

2025&#38;nbsp; Finalist of Image Vevey Book Award 2025 / 2026.



	
	

	Info:
	



Page count – 144 pages, and 14 pages of foldouts, totaling 158 pagestrim size – 12,6 cm w X 21 cm hprinting – 4+4 offsetbinding – Swiss binding, white binding threadinlay paper – Munken Print white 115gcover material – Geltex absolute blackfinishing – illustrations (front cover and spine): silver foil stampingtitles (spine): black foil stamping

ConceptAlejandro “Luperca” MoralesEditing and sequencingAlejandro “Luperca” Morales and Fernando GallegosDesign and layout – Fernando GallegosTextsAlejandro "Luperca" Morales and Alice Driver










</description>
		
	</item>
		
		
	<item>
		<title>05</title>
				
		<link>https://alejandroluperca.org/05-1</link>

		<pubDate>Sun, 05 Oct 2025 05:34:10 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

		<guid isPermaLink="true">https://alejandroluperca.org/05-1</guid>

		<description>RANCHO IZAGUIRRE 2025






In September 2024, authorities in Teuchitlán, Jalisco—about an hour from Guadalajara—secured a property known as Rancho Izaguirre. Months later, in March 2025, a group of volunteer searchers entered the site and found something devastating: human remains, hundreds of personal belongings, and three ovens that, according to their observations, had been used to burn bodies and possessions.
The discovery shocked the region and exposed deep contradictions in how Mexico handles mass disappearances. While independent forensic experts and journalists reported layers of ash, fuel residues, and burned bone fragments, the federal prosecutor later stated that there was no conclusive proof that the site functioned as a cremation facility. These conflicting reports reflect the wider crisis of truth and recognition in the country—where even the material evidence of violence becomes contested.




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Since then, the Jalisco Prosecutor’s Office has published an online catalog featuring 1,617 objects recovered from the property: clothes, shoes, belts, and backpacks that families can browse in the hope of recognizing something. Most of these items are heartbreakingly ordinary—the kind of things any of us could own. Recognition becomes a cruel exercise: deciding whether a simple t-shirt, a pair of jeans, or a school backpack might have belonged to your loved one.


For this work, I created one ceramic piece for each “group” of objects in the catalog. The forensic teams organized the evidence alphabetically—A to Z, then AA, AB, AC, and so on—because there were too many to fit into a single series. The clay is shaped, marked, and then fired in a kiln. For me, that process connects directly to the site’s ovens: the same fire that was meant to erase becomes a way to make something endure.


This installation transforms a cold digital inventory into a physical presence. It’s about facing the scale of violence while holding on to memory in a material, human way

Index of Evidence Collected (A, B, C, D, E, F, G, H, I, J, K, L, M, P, Q, R, S, T, U, W, X, Y, Z, AA, AB, AC, AD, AF, AG, AH, HI, HJ, AL, AN, AÑ).36 ceramic objects (bisque fired charcoal clay, cone 6), grid-based installation (4 × 9); approx. 63 × 90 inches minimum footprint, adjustable to different spatial layouts.





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Group H (Backpacks)50 ceramic objects (fully fired charcoal clay, cone 6), grid-based installation (5 × 10); approx. 63 × 90 inches minimum footprint, adjustable to different spatial layouts.

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&#60;img width="1902" height="2664" width_o="1902" height_o="2664" data-src="https://freight.cargo.site/t/original/i/535753e162a9341e4abb4ecafafc6624d845896b9469aaaa33f5a60436c1f580/h47.jpg" data-mid="243956519" border="0"  src="https://freight.cargo.site/w/1000/i/535753e162a9341e4abb4ecafafc6624d845896b9469aaaa33f5a60436c1f580/h47.jpg" /&#62;
&#60;img width="1902" height="2664" width_o="1902" height_o="2664" data-src="https://freight.cargo.site/t/original/i/d53ca7a8abbeecc3ffd8332070eaa37937e5747352f4046b4edfb6e65f618542/h48.jpg" data-mid="243956520" border="0"  src="https://freight.cargo.site/w/1000/i/d53ca7a8abbeecc3ffd8332070eaa37937e5747352f4046b4edfb6e65f618542/h48.jpg" /&#62;
&#60;img width="1902" height="2664" width_o="1902" height_o="2664" data-src="https://freight.cargo.site/t/original/i/e31a0d95aea822dc188c723220a1abde74674191529040001c4c067b95ec767f/h49.jpg" data-mid="243956521" border="0"  src="https://freight.cargo.site/w/1000/i/e31a0d95aea822dc188c723220a1abde74674191529040001c4c067b95ec767f/h49.jpg" /&#62;
&#60;img width="1902" height="2664" width_o="1902" height_o="2664" data-src="https://freight.cargo.site/t/original/i/df0e93a179cfa00863e6fda4ec1066dbcc27dbd2fbe92bb53b4face2827ce058/h50.jpg" data-mid="243956522" border="0"  src="https://freight.cargo.site/w/1000/i/df0e93a179cfa00863e6fda4ec1066dbcc27dbd2fbe92bb53b4face2827ce058/h50.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>04</title>
				
		<link>https://alejandroluperca.org/04</link>

		<pubDate>Sun, 05 Oct 2025 04:57:52 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

		<guid isPermaLink="true">https://alejandroluperca.org/04</guid>

		<description>MAPA DEL DELITO 2020












The Attorney General's Office of the State of Nuevo León makes a geolocation tool available to the general public through Google Maps, registering the crimes of carjacking, home invasion, personal and business theft in real time through the Crime Map. Through this page and manipulating the Zoom In, Zoom Out options and the combination of the available filters, they were generated photographs printed with compositions of color and shape that are distributed on satellite images of the territory. The figures abstract and colorful contradict his origin.



&#60;img width="4150" height="2767" width_o="4150" height_o="2767" data-src="https://freight.cargo.site/t/original/i/5f41a0a36df8889e824f6f3fd03f0479b64c2a91c75db3e7a7d9b6a63a539bd9/0E4A0329.jpg" data-mid="239028611" border="0" data-no-zoom="true" alt="Installation View: Dib&#38;uacute;jame un mapa de lo que no ver&#38;aacute;s. Curadur&#38;iacute;a: Adriana Melchor y M&#38;oacute;nica Ram&#38;iacute;rez. Casa del Lago. Photograp by Ramiro Chaves" data-caption="Installation View: Dibújame un mapa de lo que no verás. Curaduría: Adriana Melchor y Mónica Ramírez. Casa del Lago. Photograp by Ramiro Chaves" src="https://freight.cargo.site/w/1000/i/5f41a0a36df8889e824f6f3fd03f0479b64c2a91c75db3e7a7d9b6a63a539bd9/0E4A0329.jpg" /&#62;
&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/a6b266b970ba26be6041ec26f59bf976b34ea36a5e9ed6d18766ef8f5c9ed3d3/Alejandro_Morales-Mapa-del-Delito-Robo-a-vehculo-3-de-agosto-2020---3.jpg" data-mid="239028619" border="0"  src="https://freight.cargo.site/w/1000/i/a6b266b970ba26be6041ec26f59bf976b34ea36a5e9ed6d18766ef8f5c9ed3d3/Alejandro_Morales-Mapa-del-Delito-Robo-a-vehculo-3-de-agosto-2020---3.jpg" /&#62;
&#60;img width="4083" height="2722" width_o="4083" height_o="2722" data-src="https://freight.cargo.site/t/original/i/e4c12a6ff8d070e6261f23ce10d63018f4f15a6bb7a313d6348ae289c13fe2fd/0E4A0357.jpg" data-mid="239028610" border="0" data-no-zoom="true" alt="Installation View: Dib&#38;uacute;jame un mapa de lo que no ver&#38;aacute;s. Curadur&#38;iacute;a: Adriana Melchor y M&#38;oacute;nica Ram&#38;iacute;rez. Casa del Lago. Photograp by Ramiro Chaves" data-caption="Installation View: Dibújame un mapa de lo que no verás. Curaduría: Adriana Melchor y Mónica Ramírez. Casa del Lago. Photograp by Ramiro Chaves" src="https://freight.cargo.site/w/1000/i/e4c12a6ff8d070e6261f23ce10d63018f4f15a6bb7a313d6348ae289c13fe2fd/0E4A0357.jpg" /&#62;
&#60;img width="1366" height="768" width_o="1366" height_o="768" data-src="https://freight.cargo.site/t/original/i/60b9a2d55644f6952195ac4bd86a44e5bbbc26b5a47e96aa579ffbc3df4055a4/casa-cinemex.jpg" data-mid="239028617" border="0"  src="https://freight.cargo.site/w/1000/i/60b9a2d55644f6952195ac4bd86a44e5bbbc26b5a47e96aa579ffbc3df4055a4/casa-cinemex.jpg" /&#62;
&#60;img width="4213" height="2809" width_o="4213" height_o="2809" data-src="https://freight.cargo.site/t/original/i/9d561382c2fcbbf58d7097ccddd385b3b6685fe821047cb53940447bbf36c2fe/0E4A0293.jpg" data-mid="239028613" border="0" data-no-zoom="true" alt="Installation View: Dib&#38;uacute;jame un mapa de lo que no ver&#38;aacute;s. Curadur&#38;iacute;a: Adriana Melchor y M&#38;oacute;nica Ram&#38;iacute;rez. Casa del Lago. Photograp by Ramiro Chaves" data-caption="Installation View: Dibújame un mapa de lo que no verás. Curaduría: Adriana Melchor y Mónica Ramírez. Casa del Lago. Photograp by Ramiro Chaves" src="https://freight.cargo.site/w/1000/i/9d561382c2fcbbf58d7097ccddd385b3b6685fe821047cb53940447bbf36c2fe/0E4A0293.jpg" /&#62;
&#60;img width="1366" height="768" width_o="1366" height_o="768" data-src="https://freight.cargo.site/t/original/i/57a92c7e2a5a40a1948c07b7721254bce24c9ad07c1f44d2cf522b78a9d94ace/9.jpg" data-mid="239028618" border="0"  src="https://freight.cargo.site/w/1000/i/57a92c7e2a5a40a1948c07b7721254bce24c9ad07c1f44d2cf522b78a9d94ace/9.jpg" /&#62;
&#60;img width="4373" height="2916" width_o="4373" height_o="2916" data-src="https://freight.cargo.site/t/original/i/85facaf788b0ee1742c8c9411dc96a7dcf7add2af425d83bfa547333cfd2cd50/0E4A0310.jpg" data-mid="239028612" border="0" data-no-zoom="true" alt="Installation View: Dib&#38;uacute;jame un mapa de lo que no ver&#38;aacute;s. Curadur&#38;iacute;a: Adriana Melchor y M&#38;oacute;nica Ram&#38;iacute;rez. Casa del Lago. Photograp by Ramiro Chaves" data-caption="Installation View: Dibújame un mapa de lo que no verás. Curaduría: Adriana Melchor y Mónica Ramírez. Casa del Lago. Photograp by Ramiro Chaves" src="https://freight.cargo.site/w/1000/i/85facaf788b0ee1742c8c9411dc96a7dcf7add2af425d83bfa547333cfd2cd50/0E4A0310.jpg" /&#62;
&#60;img width="1366" height="768" width_o="1366" height_o="768" data-src="https://freight.cargo.site/t/original/i/0b8389f25fd9bc7b6889a5e23c5297c23a77098b7bcc19b34df30e8967fba7bc/10.jpg" data-mid="239028616" border="0"  src="https://freight.cargo.site/w/1000/i/0b8389f25fd9bc7b6889a5e23c5297c23a77098b7bcc19b34df30e8967fba7bc/10.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>03</title>
				
		<link>https://alejandroluperca.org/03-1</link>

		<pubDate>Sun, 05 Oct 2025 04:44:27 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

		<guid isPermaLink="true">https://alejandroluperca.org/03-1</guid>

		<description>BRUJA 2014








&#60;img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/4c0489764639279b9d577aa96cd6a9b425af5d51a3638c19359ced60fd109601/8.jpg" data-mid="239028440" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/4c0489764639279b9d577aa96cd6a9b425af5d51a3638c19359ced60fd109601/8.jpg" /&#62;
&#60;img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/16c811702610386b163eef32f30e56caf9f02c4271e26009d72400d5976f63cd/5.jpg" data-mid="239028437" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/16c811702610386b163eef32f30e56caf9f02c4271e26009d72400d5976f63cd/5.jpg" /&#62;
&#60;img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/c8595ae57b78bb63d87e56adc90e0d207a756464ce51dac762bd9787c45baf44/7.jpg" data-mid="239028439" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/c8595ae57b78bb63d87e56adc90e0d207a756464ce51dac762bd9787c45baf44/7.jpg" /&#62;
&#60;img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/b71a613eca340176b5b268e3ca56b37fb9e106af629e06a8d252386498eb50a8/1.jpg" data-mid="239028438" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/b71a613eca340176b5b268e3ca56b37fb9e106af629e06a8d252386498eb50a8/1.jpg" /&#62;
&#60;img width="1024" height="576" width_o="1024" height_o="576" data-src="https://freight.cargo.site/t/original/i/5dd9222497505db2b4b81dfda9f24ebd5fd9b382f36b2005b1c492d65b864380/6.jpg" data-mid="239028435" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/5dd9222497505db2b4b81dfda9f24ebd5fd9b382f36b2005b1c492d65b864380/6.jpg" /&#62;



I attempted to cross tumbleweeds stuck on the border fence between Juarez, Chihuahua, and El Paso, Texas, preventing their natural course in the Chihuahua/Texas desert.&#38;nbsp; The tumbleweeds are also known as Brujas (witches) because sometimes they catch on fire, and you can see them rolling in the desert. An impossible task, this action shows the scope of migration policies and barriers and their effects on nature.&#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>02</title>
				
		<link>https://alejandroluperca.org/02</link>

		<pubDate>Sun, 05 Oct 2025 03:33:09 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

		<guid isPermaLink="true">https://alejandroluperca.org/02</guid>

		<description>ARCHIVO JUÁREZ 2020










&#60;img width="7087" height="4725" width_o="7087" height_o="4725" data-src="https://freight.cargo.site/t/original/i/8810e56ee65393b97558fb2a4b775f1b785b6d19cce138d5e9e7f8079977ff37/IMG_0343.jpg" data-mid="239028090" border="0" data-no-zoom="true" alt="Ju&#38;aacute;rez Archive, 2020. Novelty magnifying keychain containing 35mm slides. Photograph by Michelle Lartigue" data-caption="Juárez Archive, 2020. Novelty magnifying keychain containing 35mm slides. Photograph by Michelle Lartigue" src="https://freight.cargo.site/w/1000/i/8810e56ee65393b97558fb2a4b775f1b785b6d19cce138d5e9e7f8079977ff37/IMG_0343.jpg" /&#62;
&#60;img width="7087" height="4725" width_o="7087" height_o="4725" data-src="https://freight.cargo.site/t/original/i/8b265b165691eab107b40d15a4f05fc5f15ea32d7c7a3204751bfcdcec11b05d/IMG_0234.jpg" data-mid="239028089" border="0" data-no-zoom="true" alt="Ju&#38;aacute;rez Archive, 2020. Novelty magnifying keychain containing 35mm slides. Photograph by Michelle Lartigue" data-caption="Juárez Archive, 2020. Novelty magnifying keychain containing 35mm slides. Photograph by Michelle Lartigue" src="https://freight.cargo.site/w/1000/i/8b265b165691eab107b40d15a4f05fc5f15ea32d7c7a3204751bfcdcec11b05d/IMG_0234.jpg" /&#62;
&#60;img width="7089" height="4725" width_o="7089" height_o="4725" data-src="https://freight.cargo.site/t/original/i/0783b90ffa0ff3d67f8956ed5eeb65b12036fa345d18fc53be114333fd9ce86f/IMG_0199.jpg" data-mid="239028088" border="0" data-no-zoom="true" alt="Ju&#38;aacute;rez Archive, 2020. Novelty magnifying keychain containing 35mm slides. Photograph by Michelle Lartigue" data-caption="Juárez Archive, 2020. Novelty magnifying keychain containing 35mm slides. Photograph by Michelle Lartigue" src="https://freight.cargo.site/w/1000/i/0783b90ffa0ff3d67f8956ed5eeb65b12036fa345d18fc53be114333fd9ce86f/IMG_0199.jpg" /&#62;



In 2020, unable to travel to my hometown of Ciudad Juárez, Mexico, during the pandemic, I started touring the city on Google Maps. I used this tool to re-explore sites in Ciudad Juárez. With infrequent visits from the Google car and its 9-eyes camera, I often find sites that are frozen in time, many of them captured between 2008 and 2013 in a period known as the War on Drugs. I began to collect these images into a digital archive. To date, the archive has more than 500 images.
Eventually, when I was able to return home, I found myself checking through family photos and found an old keychain photo viewer—a small plastic object one could hold up against light to view a 35mm slide. Inside the viewfinder it was a picture of my parents and my brother in the circus, I was not born yet.



&#38;nbsp;
&#60;img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/f9feb4c1946561cc6b6598fd157b9b3fd0badd8dc91359b5e1094cd667e59e35/614-Avenida-de-las-Amricas.jpg" data-mid="239028075" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/f9feb4c1946561cc6b6598fd157b9b3fd0badd8dc91359b5e1094cd667e59e35/614-Avenida-de-las-Amricas.jpg" /&#62;
&#60;img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/8dc2631fdcd123685832d86bf0793726cb9a87739f43817b94a0177198b1f41e/504-Calle-Vicente-Guerrero.jpg" data-mid="239028074" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/8dc2631fdcd123685832d86bf0793726cb9a87739f43817b94a0177198b1f41e/504-Calle-Vicente-Guerrero.jpg" /&#62;
&#60;img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/8520a1b96d953218367682f177ee4aaea737224dac1a5eee8e82c611dc6fc9fd/954-Globo-2.jpg" data-mid="239028076" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/8520a1b96d953218367682f177ee4aaea737224dac1a5eee8e82c611dc6fc9fd/954-Globo-2.jpg" /&#62;
&#60;img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/a01c0ed9c26578c1dcb470dfb3672f02cd75a29df2651f57243fa585ec6eedea/Chetumal-Zona-Pronaf.jpg" data-mid="239028087" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/a01c0ed9c26578c1dcb470dfb3672f02cd75a29df2651f57243fa585ec6eedea/Chetumal-Zona-Pronaf.jpg" /&#62;
&#60;img width="2731" height="4096" width_o="2731" height_o="4096" data-src="https://freight.cargo.site/t/original/i/1a99faef38921b467f7e4ed9e0cea282c7496fed2e7b0b2a34384aad5ced3d7e/5549-Chihuahua-Miguel-Ahumada.jpg" data-mid="239028079" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/1a99faef38921b467f7e4ed9e0cea282c7496fed2e7b0b2a34384aad5ced3d7e/5549-Chihuahua-Miguel-Ahumada.jpg" /&#62;

I think of this project as a (strangely) familiar album of my city, one that has been represented endless times with violent images. Instead of blowing these images up, I started converting them into an analog image as a 35 mm negative and inserted it into a pocket-size viewfinder, showing images that we rarely associate with the city, which was known as one of the most violent in the world. What we see in Street View becomes an intimate and personal history.

I was born in Juarez, and I chose to revisit familiar neighborhoods, avenues, and streets, showing daily life in the city through the lenses of Google’s equipment, using its own language and therefore its glitches and its artificial intelligence, an A.I. that automatically erases faces, or anything that looks like one. While the project does not focus on violence, it is impossible to navigate the city without police, military, a gunman, or abandoned houses being part of the city landscape.



	
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/f9001d6e86fe7b767ece2b0bd60e922428d78e0719bd70bbe7f9e3cd3f72d23c/WMAA_2022_BIENNIAL_077_PS-01_SM.jpg" data-mid="239028222" border="0" data-no-zoom="true" alt="Installation view of Whitney Biennial 2022: Quiet as It&#38;rsquo;s Kept (Whitney Museum of American Art, New York, April 6- September 5, 2022). Alejandro Morales, Ju&#38;aacute;rez Archive, 2020. Photograph by Ron Amstutz." data-caption="Installation view of Whitney Biennial 2022: Quiet as It’s Kept (Whitney Museum of American Art, New York, April 6- September 5, 2022). Alejandro Morales, Juárez Archive, 2020. Photograph by Ron Amstutz." src="https://freight.cargo.site/w/1000/i/f9001d6e86fe7b767ece2b0bd60e922428d78e0719bd70bbe7f9e3cd3f72d23c/WMAA_2022_BIENNIAL_077_PS-01_SM.jpg" /&#62;
&#60;img width="738" height="1156" width_o="738" height_o="1156" data-src="https://freight.cargo.site/t/original/i/24b5d0e1192e6b30206b8fce514c2ed2512a251faef7534739471932168b0ff7/WhatsApp-Image-2022-04-28-at-10.37.54-PM.jpg" data-mid="239028233" border="0" data-no-zoom="true" alt="Installation view of Whitney Biennial 2022: Quiet as It&#38;rsquo;s Kept " data-caption="Installation view of Whitney Biennial 2022: Quiet as It’s Kept " src="https://freight.cargo.site/w/738/i/24b5d0e1192e6b30206b8fce514c2ed2512a251faef7534739471932168b0ff7/WhatsApp-Image-2022-04-28-at-10.37.54-PM.jpg" /&#62;
&#60;img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d24d650950c2a87155bcb387195313511e4691bc7cb756f0db8f3de2dfd9f50e/WhatsApp-Image-2022-04-28-at-10.37.54-PM-3.jpeg" data-mid="239028234" border="0" data-no-zoom="true" alt="Installation view of Whitney Biennial 2022: Quiet as It&#38;rsquo;s Kept " data-caption="Installation view of Whitney Biennial 2022: Quiet as It’s Kept " src="https://freight.cargo.site/w/1000/i/d24d650950c2a87155bcb387195313511e4691bc7cb756f0db8f3de2dfd9f50e/WhatsApp-Image-2022-04-28-at-10.37.54-PM-3.jpeg" /&#62;
&#60;img width="4704" height="3136" width_o="4704" height_o="3136" data-src="https://freight.cargo.site/t/original/i/baf79273b6281326cd04cef5f956249932d0412aa953702701b016a20dd36413/_MG_9828.jpg" data-mid="239028229" border="0" data-no-zoom="true" alt="Festival Getxophoto 2022. Imaginar." data-caption="Festival Getxophoto 2022. Imaginar." src="https://freight.cargo.site/w/1000/i/baf79273b6281326cd04cef5f956249932d0412aa953702701b016a20dd36413/_MG_9828.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/4ba4bee83d424f80cc4725f1ef644e8ff536ebbcdd34af30bb61b5f221f4fd1a/_MG_7194.jpg" data-mid="239028226" border="0" data-no-zoom="true" alt="Festival Getxophoto 2022. Imaginar." data-caption="Festival Getxophoto 2022. Imaginar." src="https://freight.cargo.site/w/1000/i/4ba4bee83d424f80cc4725f1ef644e8ff536ebbcdd34af30bb61b5f221f4fd1a/_MG_7194.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/7fb0183262c060b6eb45dce3354f27891f3b58487c83375325f6549fa6d26cbc/_MG_7104.jpg" data-mid="239028225" border="0" data-no-zoom="true" alt="Festival Getxophoto 2022. Imaginar." data-caption="Festival Getxophoto 2022. Imaginar." src="https://freight.cargo.site/w/1000/i/7fb0183262c060b6eb45dce3354f27891f3b58487c83375325f6549fa6d26cbc/_MG_7104.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/9d6e43c5f55a3f5bb122dd39ef7d00a4e360de8d59d1ec98cb3ef51ba9e0c567/_MG_9818.jpg" data-mid="239028228" border="0" data-no-zoom="true" alt="Festival Getxophoto 2022. Imaginar." data-caption="Festival Getxophoto 2022. Imaginar." src="https://freight.cargo.site/w/1000/i/9d6e43c5f55a3f5bb122dd39ef7d00a4e360de8d59d1ec98cb3ef51ba9e0c567/_MG_9818.jpg" /&#62;
&#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/57a2d46db41102f364d79d0ce0c214ab4e05516a8e96e59553e53f44cef6a511/_MG_7204.jpg" data-mid="239028227" border="0" data-no-zoom="true" alt="Festival Getxophoto 2022. Imaginar." data-caption="Festival Getxophoto 2022. Imaginar." src="https://freight.cargo.site/w/1000/i/57a2d46db41102f364d79d0ce0c214ab4e05516a8e96e59553e53f44cef6a511/_MG_7204.jpg" /&#62;
&#60;img width="4001" height="5000" width_o="4001" height_o="5000" data-src="https://freight.cargo.site/t/original/i/215a457dad6932603ee3215de13c01e060eafb8b4cd1928be74da4f4cde7f66e/CME_20221215_030.JPG" data-mid="239028244" border="0" data-no-zoom="true" alt="Todos me amar&#38;aacute;n. Arte de M&#38;eacute;xico hoy. Casa de M&#38;eacute;xico en Espa&#38;ntilde;a. 2022 - 2023. Curadur&#38;iacute;a Carlota Ortiz Monasterio" data-caption="Todos me amarán. Arte de México hoy. Casa de México en España. 2022 - 2023. Curaduría Carlota Ortiz Monasterio" src="https://freight.cargo.site/w/1000/i/215a457dad6932603ee3215de13c01e060eafb8b4cd1928be74da4f4cde7f66e/CME_20221215_030.JPG" /&#62;
&#60;img width="6000" height="3992" width_o="6000" height_o="3992" data-src="https://freight.cargo.site/t/original/i/9a79ee3e228f3286b649428ebd3082671d6e2a7950810e15873196e5286fb223/CME_TODOS_ME_AMARN_20221215_044.JPG" data-mid="239028245" border="0" data-no-zoom="true" alt="Todos me amar&#38;aacute;n. Arte de M&#38;eacute;xico hoy. Casa de M&#38;eacute;xico en Espa&#38;ntilde;a. " data-caption="Todos me amarán. Arte de México hoy. Casa de México en España. " src="https://freight.cargo.site/w/1000/i/9a79ee3e228f3286b649428ebd3082671d6e2a7950810e15873196e5286fb223/CME_TODOS_ME_AMARN_20221215_044.JPG" /&#62;
&#60;img width="6000" height="3992" width_o="6000" height_o="3992" data-src="https://freight.cargo.site/t/original/i/4aa0084c6aed2fa78a7817fa6fbc1ba9b315f6a4fd4cdd10dd70260bcb960e64/CME_TODOS_ME_AMARN_20221215_003.JPG" data-mid="239028248" border="0" data-no-zoom="true" alt="Todos me amar&#38;aacute;n. Arte de M&#38;eacute;xico hoy. Casa de M&#38;eacute;xico en Espa&#38;ntilde;a. " data-caption="Todos me amarán. Arte de México hoy. Casa de México en España. " src="https://freight.cargo.site/w/1000/i/4aa0084c6aed2fa78a7817fa6fbc1ba9b315f6a4fd4cdd10dd70260bcb960e64/CME_TODOS_ME_AMARN_20221215_003.JPG" /&#62;
&#60;img width="6000" height="3992" width_o="6000" height_o="3992" data-src="https://freight.cargo.site/t/original/i/f15528a2560d1771ffaadc3f1bfce634608d5a80ce1b3abe2bbcc278d0798def/CME_TODOS_ME_AMARN_20221215_004.JPG" data-mid="239028249" border="0" data-no-zoom="true" alt="Todos me amar&#38;aacute;n. Arte de M&#38;eacute;xico hoy. Casa de M&#38;eacute;xico en Espa&#38;ntilde;a. " data-caption="Todos me amarán. Arte de México hoy. Casa de México en España. " src="https://freight.cargo.site/w/1000/i/f15528a2560d1771ffaadc3f1bfce634608d5a80ce1b3abe2bbcc278d0798def/CME_TODOS_ME_AMARN_20221215_004.JPG" /&#62;
&#60;img width="6000" height="3992" width_o="6000" height_o="3992" data-src="https://freight.cargo.site/t/original/i/820f179aebed55cef7d42f41a1116bd8fc6a04c56f50bd79e470640f480e185a/CME_20221215_039.JPG" data-mid="239028250" border="0" data-no-zoom="true" alt="Todos me amar&#38;aacute;n. Arte de M&#38;eacute;xico hoy. Casa de M&#38;eacute;xico en Espa&#38;ntilde;a. " data-caption="Todos me amarán. Arte de México hoy. Casa de México en España. " src="https://freight.cargo.site/w/1000/i/820f179aebed55cef7d42f41a1116bd8fc6a04c56f50bd79e470640f480e185a/CME_20221215_039.JPG" /&#62;


	Exhibitions:
	Todos me amarán, Arte de México Hoy. Fundación Casa de México en España, Madrid, Spain.
Whitney Biennial 2022: Quiet as it’s kept. Whitney Museum of American Art, New York, NY
Archivo Juárez, Getxophoto,Festival Internacional de Imagen. Getxo, Basque Country.
Revisión 2022. Fotógrafos de Nuevo León. Fototeca del Centro de las Artes, CONARTE, MX.




</description>
		
	</item>
		
		
	<item>
		<title>01</title>
				
		<link>https://alejandroluperca.org/01</link>

		<pubDate>Tue, 15 Feb 2022 21:14:01 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

		<guid isPermaLink="true">https://alejandroluperca.org/01</guid>

		<description>ARCHIVO P.M.&#38;nbsp; 2010- 2016

&#60;img width="1772" height="995" width_o="1772" height_o="995" data-src="https://freight.cargo.site/t/original/i/b3fd848fe4e6f9833c325c47b94de581adaa58a354bed68c87d4567f13a83170/Dejan-rompecabezas-comp-2.jpg" data-mid="133608639" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/b3fd848fe4e6f9833c325c47b94de581adaa58a354bed68c87d4567f13a83170/Dejan-rompecabezas-comp-2.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ccfa3b2b3338ece960a37764506eda18bcd220e443164980bf1bb133dfb9810a/As-lo-hallaron.jpg" data-mid="133608631" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/ccfa3b2b3338ece960a37764506eda18bcd220e443164980bf1bb133dfb9810a/As-lo-hallaron.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4bff29d6cb0619019438e79b4bd624d0fb9e7e687eea6ee8efda55ccbe714623/Desaparecen-detenido.jpg" data-mid="133608630" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/4bff29d6cb0619019438e79b4bd624d0fb9e7e687eea6ee8efda55ccbe714623/Desaparecen-detenido.jpg" /&#62;
&#60;img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4848b9569a58c79cbf19dab49e5f631928082b5677afa23c55080a4d06feab12/Como-en-paredon-3.jpg" data-mid="239027711" border="0"  src="https://freight.cargo.site/w/1000/i/4848b9569a58c79cbf19dab49e5f631928082b5677afa23c55080a4d06feab12/Como-en-paredon-3.jpg" /&#62;








During a period of six years Alejandro Morales collected more than 500 photographs depicting bodies published his local newspaper P.M. in Ciudad Juárez, Mexico. The time of extreme violence made Ciudad Juárez among the most violent cities in the world, marked by the large number of intentional homicides committed in its streets. The limits of what the press could publish were blurred as it was so common to find oneself in the middle of a shootout or come across an abandoned corpse. Morales removed all the corpses that he found in the photographs in the P.M. Newspaper by manually erasing them with a gum eraser.
Morales approached the newspaper from its name, understanding it as a "Post Mortem" space. When what was supposed to be in the image no longer appeared, the void that was left opened up a chance to think about what was actually happening. The softness of the eraser, the duration of the erasing process and its ritual connotations confront the immediacy and brutality of these cases. These new images intend to grant an opportunity for mourning, a more dignified form of death.






The crude way in which unidentified bodies are exhibited and photographed shows how the media is echoing the violence of the drug war and fuelling the necroaesthetic build-up which developed around it. Beyond the obvious reference to cremation of the body and to the remaining ashes, Alejandro MORALES’s erasures are a critique and an aesthetic solution at the same time. The softness of the gum, the duration of the erasing process and its ritual connotations radically confront the immediacy and brutality of these death cases. At the end of the action, the place of the body remains white, as if someone finally took the trouble to cover it with a white blanket, a gesture soothing the collective deprivation of decency and mourning.Rona Kopeczky,Curator at Ludwig Museum in Budapest
&#60;img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/2f62b597381f79e0ffc41230b160caf936bc797c10bff8a04dd63ff63b11b132/Polvo-eres-1.jpg" data-mid="133615223" border="0"  src="https://freight.cargo.site/w/1000/i/2f62b597381f79e0ffc41230b160caf936bc797c10bff8a04dd63ff63b11b132/Polvo-eres-1.jpg" /&#62;

	

Polvo eres, 2012 - 2013


	

Glass cube; 14 grams of rubber residue with which 100 bodies of the Juarez newspaper "PM" were erased.
Acquisition Award XIX Biennial of Santa Cruz de la Sierra, Bolivia







&#60;img width="3543" height="3543" width_o="3543" height_o="3543" data-src="https://freight.cargo.site/t/original/i/02db5c51d4a7e68df0548af9267bf84106f57d69ce43db67d0d6d8f743dc92e3/Morales-Alejandro-1.jpg" data-mid="133615301" border="0"  src="https://freight.cargo.site/w/1000/i/02db5c51d4a7e68df0548af9267bf84106f57d69ce43db67d0d6d8f743dc92e3/Morales-Alejandro-1.jpg" /&#62;
&#60;img width="3543" height="3543" width_o="3543" height_o="3543" data-src="https://freight.cargo.site/t/original/i/6adf1f282d56de8d2a49447c286001c0e06e2ce7955f882c98aa49056afcd3af/Morales-Alejandro-2.jpg" data-mid="133616534" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/6adf1f282d56de8d2a49447c286001c0e06e2ce7955f882c98aa49056afcd3af/Morales-Alejandro-2.jpg" /&#62;
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&#60;img width="3543" height="3543" width_o="3543" height_o="3543" data-src="https://freight.cargo.site/t/original/i/71c38e07ac3987709d0e56ec23d4e2d3010e6601dacfa7da9a3471d82b550cdb/Morales-Alejandro-6.jpg" data-mid="133616538" border="0"  src="https://freight.cargo.site/w/1000/i/71c38e07ac3987709d0e56ec23d4e2d3010e6601dacfa7da9a3471d82b550cdb/Morales-Alejandro-6.jpg" /&#62;
&#60;img width="3543" height="3543" width_o="3543" height_o="3543" data-src="https://freight.cargo.site/t/original/i/afa4de4e86a2615cbb30670479ef9936ac1a03d0026ddaafa3852e68d9675a0f/Morales-Alejandro-5.jpg" data-mid="133616535" border="0"  src="https://freight.cargo.site/w/1000/i/afa4de4e86a2615cbb30670479ef9936ac1a03d0026ddaafa3852e68d9675a0f/Morales-Alejandro-5.jpg" /&#62;
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&#60;img width="3543" height="3543" width_o="3543" height_o="3543" data-src="https://freight.cargo.site/t/original/i/48db65239787c83abe93decbeca266c46792cbb67ac9c2d15edc8c2c39016ba1/Morales-Alejandro-7.jpg" data-mid="133616546" border="0"  src="https://freight.cargo.site/w/1000/i/48db65239787c83abe93decbeca266c46792cbb67ac9c2d15edc8c2c39016ba1/Morales-Alejandro-7.jpg" /&#62;
&#60;img width="3543" height="2763" width_o="3543" height_o="2763" data-src="https://freight.cargo.site/t/original/i/0697249b4de51aad1747beb6cd4b8d78451d11562c4b377778e53fa1b5ce0661/Damnatio-memoriae-Vista-de-instalacin.jpg" data-mid="133616570" border="0"  src="https://freight.cargo.site/w/1000/i/0697249b4de51aad1747beb6cd4b8d78451d11562c4b377778e53fa1b5ce0661/Damnatio-memoriae-Vista-de-instalacin.jpg" /&#62;




	Damnatio memoriae, 2014
	




&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/5f9476089aff7ede1fbceb4312bf680e070150d79baab1891553eccd6e36a24f/el_retrato_de_tu_ausencia_00.png" data-mid="239027964" border="0"  src="https://freight.cargo.site/w/1000/i/5f9476089aff7ede1fbceb4312bf680e070150d79baab1891553eccd6e36a24f/el_retrato_de_tu_ausencia_00.png" /&#62;
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/d3e31f6541affa47167252b733d9f8226e681dc0b5c840a688840069b70811db/el_retrato_de_tu_ausencia_01.png" data-mid="239027966" border="0"  src="https://freight.cargo.site/w/1000/i/d3e31f6541affa47167252b733d9f8226e681dc0b5c840a688840069b70811db/el_retrato_de_tu_ausencia_01.png" /&#62;
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/9f79cd443c4eaba9cffd34f36c2ff8ce840aca91aaf1603efdf2eec61afe28c2/el_retrato_de_tu_ausencia_02.png" data-mid="239027969" border="0"  src="https://freight.cargo.site/w/1000/i/9f79cd443c4eaba9cffd34f36c2ff8ce840aca91aaf1603efdf2eec61afe28c2/el_retrato_de_tu_ausencia_02.png" /&#62;
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&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/3dfe82ea80b15f99d57d4036df1739eb349569a85717675892e6ac268efaf98f/el_retrato_de_tu_ausencia_03.png" data-mid="239027970" border="0"  src="https://freight.cargo.site/w/1000/i/3dfe82ea80b15f99d57d4036df1739eb349569a85717675892e6ac268efaf98f/el_retrato_de_tu_ausencia_03.png" /&#62;
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/3aeeb198b99eaaaa4a749f680bbcc9d1130b3aab9a6be6138be5a9e09e85b881/el_retrato_de_tu_ausencia_04.png" data-mid="239027978" border="0"  src="https://freight.cargo.site/w/1000/i/3aeeb198b99eaaaa4a749f680bbcc9d1130b3aab9a6be6138be5a9e09e85b881/el_retrato_de_tu_ausencia_04.png" /&#62;
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/5611aa1b1a0614fb0a898eac02d0eb8b4c2d7764c9824be1a7edd8991856e99d/el_retrato_de_tu_ausencia_05.png" data-mid="239027979" border="0"  src="https://freight.cargo.site/w/1000/i/5611aa1b1a0614fb0a898eac02d0eb8b4c2d7764c9824be1a7edd8991856e99d/el_retrato_de_tu_ausencia_05.png" /&#62;
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/ff879fecbfa1ca1f5612c775ae383a1a4bda19286d3d5db3436c308c98e9f785/el_retrato_de_tu_ausencia_07.png" data-mid="239027976" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/ff879fecbfa1ca1f5612c775ae383a1a4bda19286d3d5db3436c308c98e9f785/el_retrato_de_tu_ausencia_07.png" /&#62;
&#60;img width="1500" height="1011" width_o="1500" height_o="1011" data-src="https://freight.cargo.site/t/original/i/84365536efd566f9e223be921bfefdd9d5b032c2991abebf902ce5338de8f824/el_retrato_de_tu_ausencia_08.png" data-mid="239027980" border="0"  src="https://freight.cargo.site/w/1000/i/84365536efd566f9e223be921bfefdd9d5b032c2991abebf902ce5338de8f824/el_retrato_de_tu_ausencia_08.png" /&#62;

	

EL RETRATO DE TU AUSENCIA, 2023


	




	Awards:

	

2023 Shortlisted for the Paris Photo - Aperture First Photobook Award2022 Luma Rencontres Dummy Book Award Arles - Special Mention

	In media:


	

︎ American Suburb X︎ Dispatches - The VII Insider Blog - Erasure as a Method of Exposure

︎ Fisheye Magazine - Alejandro Luperca Morales : ultra-violence et post-photographie

︎ El País, Babelia - Escenarios del crimen y víctimas borradas como revulsivo contra la insensibilidad ante la violencia

	Info:
	

Swiss bound softcoverLenticular photographs mounted on covers112 pages, 74 worksOffset printing17 x 22,7 cm
First edition of 600 copiesISBN 978-91-987606-5-1Co-published with Kultbooks &#38;amp; Los SumergidosDesigned by Fernando Gallegos ︎May 2023






	
	

︎ Kultbooks Shop︎ Los Sumergidos Shop


 

</description>
		
	</item>
		
		
	<item>
		<title>Curatorial</title>
				
		<link>https://alejandroluperca.org/Curatorial</link>

		<pubDate>Wed, 16 Feb 2022 03:03:46 +0000</pubDate>

		<dc:creator>Alejandro 'Luperca' Morales</dc:creator>

		<guid isPermaLink="true">https://alejandroluperca.org/Curatorial</guid>

		<description>
	


CURATORIAL PROJECTS&#38;nbsp;

&#60;img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/13e497f3817c41d1dd6b218f3612a64a0fe73c2600a14d09b2898d6ec2f8f303/n_alys_zwirner4.jpg" data-mid="133725681" border="0"  src="https://freight.cargo.site/w/1000/i/13e497f3817c41d1dd6b218f3612a64a0fe73c2600a14d09b2898d6ec2f8f303/n_alys_zwirner4.jpg" /&#62;


	
PROYECTOS IMPALA (2016 - 2018)

&#60;img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/f3bc3b6bc2d9f7b4823f061d9c7050dc0b1aae2b6d66dbd94086a7f4631c7c8d/Museo-de-Arte-de-Ciudad-Jurez.-Crditos-Proyectos-Impala.jpg" data-mid="133757765" border="0"  src="https://freight.cargo.site/w/1000/i/f3bc3b6bc2d9f7b4823f061d9c7050dc0b1aae2b6d66dbd94086a7f4631c7c8d/Museo-de-Arte-de-Ciudad-Jurez.-Crditos-Proyectos-Impala.jpg" /&#62;




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