CATÁLOGO DE COLECCIONES
© Graciela Iturbide, 2022
In 1979—the same year in which she made Those who live in the sand, her series on the Seri community of the Sonora desert—Graciela Iturbide began a series that would bring her international reknown: Juchitán de las Mujeres [Juchitán of the Women], which she worked on for the following eight years.
The project arose from an invitation extended by the artist Francisco Toledo to host an exhibition at the Casa de Cultura in Juchitán, a town on the Isthmus of Tehuantepec, in Oaxaca, the center of Zapotec culture, and a symbol of indigenous communities’ struggles. The cultural singularity of Juchitán with respect to the rest of the country had already attracted artists such as Henri Cartier-Bresson and Sergei Eisenstein, and is also captured by Iturbide’s mesmerized camera. An example of said singularity is the fact that the market in Juchitán is managed by women, and access is forbidden to men. The image of Sobeida Díaz, who resembles a mezzo-American medusa, has become an icon for the inhabitants of Juchitán. She is pictured here on her way to the market to sell her iguanas.
Stemming from portraits like this one, Graciela Iturbide explored a hybrid and complex reality that is rich in layers. She accesses different time periods, cultural substrates, and gestural blossomings that are, paradoxically, extracted from a single moment in time.