grating the worries of each period. The obvious starting point in Cartagena’ s work is the reflection of different landscape transformations, the marks left by the cities’ different stadiums, the scars of growth and human activity. That is why, on a first stage, the reading of his work shows a relationship with ecological responsibility, the wearing out of the environment, the almost absurd multiplying of the urban stain over tainted natural terrains.
In his photographic series about the Mexican Suburbia, Cartagena displays different demonstrations of the development of the great metropolis based on Monterrey’ s growth, the third largest city in Mexico. Cartagena shots the insertion of the city from serial housings in the deserted periphery; he draws the passing of the fast roads over parafunctional spaces; he witnesses the disappearing of the rivers that bring water into the cities. Lost Rivers, a Cartagena series exhibited in Circuit Gallery, follows the documental premise that denounces the ecological damages the city infringes into the fluvial networks; a sample of dried creeks and rivers in a very fortunate way. However, beyond this
Between borders, 2009
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