Paula Luttringer


“Memory is not about ‘evidence’,” Paula Luttringer once said, “but about connecting with the ‘experience’ of the past.” That is very contemporary notion – full of the subjectivity of postmodernity. It is important to remember this because the work itself can look deceptively classical. Shot in a poetic-documentary style and rendered in the fine pictorialist medium of the carbon Fresson print, these images achieve their originality through what the philosopher Roger Scruton has described as “the element of surprise with which [the artist] invests the forms and repertoire of a tradition.”

Paul Luttringer grew up in the Argentina. She was 21 when, in 1977, during the period of the military junta, she was arrested and placed in a Centro Clandestino de Detención (a secret detention centre). She became one of the ‘disappeared’. Few left the CCD alive, but five months later she was forcibly exiled, and eventually came to settle in France. Twenty years on, she created El Matadero, which, through the metaphor of the Argentine beef industry, seeks to “apply form to the trauma”. The resulting, almost perfect sequence of images is all the more astonishing because this is her first body of work as an exhibiting photographer. Not surprisingly this work has been receiving increasing recognition internationally, winning for the artist one of Argentina’s top arts grants from the Fondo Nacional De Las Artes (FNA) and more recently a Guggenheim Fellowship.

In an age of media saturation and information technology it is difficult to sustain an individual, human sense of the political. Living in one of the world’s most peaceful countries it is sometimes hard to connect with the fact that there are currently more children caught up in armed conflict than ever before in the history of humanity. I well remember the day when, in a crowded portfolio session in Houston, I first experienced the quiet intensity of Paula Luttringer’s photographs and felt the powerful emotional connection with the experience of her past.


This essay was first published in BLINK (Phaidon 2002). This substantial case-bound book is available here.



© Paula Luttringer untitled 1998 from El Matadero (The Slaughterhouse)


Leave a Comment

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

  • The majority of the texts on this site are by Alasdair Foster and represent his opinions. However, in order to facilitate a useful diversity of views, some texts have been invited from artists and colleagues around the world, while others appear as independent comments. These opinions and comments are not necessarily those of Alasdair Foster or Cultural Development Consulting (CDC). All data and information on this site is provided on an as-is basis. While every effort is made to be as thorough as possible, neither Alasdair Foster nor CDC make representations as to accuracy, completeness, currency, suitability or validity of any information on this site and will not be liable for any errors, omissions or delays in this information or any losses, injuries or damages arising from its display or use.
%d bloggers like this: