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This project, spanning more than a decade, has been a journey of self-discovery to find my place in the world as an adult and a cuir / queer artist, following the loss of my father, Tránsito—who lends his name to the project—originally from Chiapa de Corzo.
From this place of grief, I reflect, drawing on personal memory, historical material, and archival sources, on the colonial obsession with controlling Indigenous spirituality and sexuality within the worldview of the Chiapanec people, as also occurred in other Indigenous communities of Abya Yala (the Americas). This reflection is articulated through the figure of the Chuntá, a ritual inversion that transcends the gender binary imposed by the conquest, allowing me to position myself as a dancer dressed as a woman within this symbolic and patriarchal territory.
This ritual becomes an act of reconnection with my Zoque-Chiapanec lineage. A process of shedding the masculine imposition and my internal colonialism, through a return to memory and the possibility of rebirth, to integrate my alternative Indigenous subjectivity into the gender and sexual diversity that inhabits the celebration of the Fiesta Grande de San Sebastián.
TRÁNSITO is a counter-narrative and an initiatory act at a liminal moment of maturity as the author of a challenging and liberating experience, linked to my cuir identity as well as my Indigenous heritage, in the face of the shame and ladinization that led my ancestors to hide their origins due to racism. This process is sustained now in a journey of self-affirmation that finds its greatest value in the transition between photography and words, becoming an offering and a rite of transformation: a rewriting of the ancestral wound that imagines Indigenous cuir / queer futures.
Rooted in personal history and collective tradition, TRÁNSITO weaves together the death of Tondopó’s father—named Tránsito and born in Chiapa de Corzo, Mexico—with the artist’s participation in the Fiesta Grande, a local celebration held in honor of Saint Sebastian. Central to this festival is the tradition of the Chuntá, in which men dress as women, embodying a celebratory ritual of gender performance. By becoming a Chuntá himself, Tondopó offers both a tribute to his father and reflection on mourning as metamorphosis.
Yet, against the backdrop of colonial legacies and the syncretic blend of Catholicism and Indigenous spirituality, the Fiesta Grande holds a striking paradox: a conservative community embracing a public ritual rooted in gender fluidity. This inherent tension becomes a site of inquiry for Tondopó’s broader interest in the instability of seemingly fixed positions such as masculinity, sexuality, and national heritage.
"I identify with people that occupy intermediate states of being—an intertwining of stories and identities. The images also occupy this hybrid place." -Roberto Tondopó
Through lush allegorical imagery that blurs the lines between documentary and fiction, TRÁNSITO becomes a crossing; a passage through composite identities and layered collective histories. Tondopó interprets the Chuntá tradition as a sacred embodiment—a fragmented figure that mirrors the pierced body of Saint Sebastian. In this act of ritualized transfiguration, the normative self is destabilized, making space for a subversive blurring of identity. Tondopó's photographs invoke these liminal states, conjuring decolonized forms of embodiment separate from western dichotomies and borders.
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Agradezco que TRANSITO este exponiéndose en la bella región de Puglia, en Italia junto con el trabajo grandioso de colegas; gracias a @alesrollo por esta invitación a participar en esta muestra de Cuerpos Celestes.
CorpiCelestiFestival #LuoghiComuniPuglia
Repost @ecomuseo.pietraleccese
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📸 LE MOSTRE di Corpi Celesti 📸
Dall’1 al 31 Agosto a Palazzo de Donno (Cursi), sarà possibile visitare il percorso espositivo del Festival CORPI CELESTI.
Alessandro Gattuso – “La candelora a Montevergine” @alessandrogattuso_ Un’indagine fotografica sul santuario di Montevergine, luogo dove la comunità queer celebra identità, libertà e autodeterminazione, sfidando stereotipi di genere attraverso il rito e la spiritualità.
Federico Estol – “Héroes del Brillo” @federicoestol
Un graphic novel fotografico che racconta la vita e la dignità dei lustrascarpe di La Paz, trasformati in veri e propri eroi visivi contro l’invisibilità sociale e le discriminazioni.
Gloria Oyarzabal – “Woman go no’green” @gloria_oyarzabal Un progetto che propone una lettura de-coloniale femminista su genere, razza, età e identità.
Grace Martella – “Memorie del transitare” @grace_martella Un progetto visivo che racconta, attraverso un linguaggio intimo e personale, il “transito” di un’adolescente transgender nel Sud Italia, tra tempo, spazio e identità.
"Tránsito, in the name of the Glorious San Sebastian"
@tondopo L'autore esplora, attraverso la perdita personale, identità fluide e dissidenti per rompere con l'autorità patriarcale, ricostruendo questa interazione tra memoria e un rituale collettivo che si riconfigura attraverso la presenza di corpi maschili.
Adolescence in the family home, with portraits of two children, shows the fragility of identity formation in contemporary Mexican society. R
The Gingerbread House
Roberto Tondopó (1978)
Adolescence in the family home, with portraits of two children, shows the fragility of identity formation in contemporary Mexican society.
DESCRIPTION
The Gingerbread House (Spanish: Casita de turrón) by Roberto Tondopó was created between 2008 and 2015 in Tuxtla Gutiérrez, Chiapas, Mexico. The project documents his niece and nephew's transition from childhood to adolescence within the confines of the photographer’s childhood home.
Emerging amid a broader movement in Mexican photography toward conceptual and personal narratives, Tondopó’s work probes the tensions of domestic life in a country marked by hidden social repression and normalized violence. Drawing inspiration from fairy tales and psychological literature, Tondopó explores the home as both a nurturing space and a claustrophobic environment. His depiction of Andrea and Ángel captures adolescence as a state of emotional imbalance.
Visually, the series blends theatrical staging with observational portraiture. Color dominates, emulating the Kodachrome tones of family albums produced by Tondopó’s father, conjuring a bittersweet mood of nostalgia intertwined with unease. Household textures—curtains, clothing, wallpaper—anchor the work in a personal archive, while the children’s poses evoke both innocence and disturbance. The cinematic framing furthers a sense of narrative ambiguity, aligning the project with the psychological thriller genre, where physical space often mirrors emotional states.
Initially exhibited at PHotoEspaña 2013 and later published as a photobook, The Gingerbread House was well received for its emotional depth and aesthetic complexity. Critics and curators recognized it as part of a new voice in Latin American photography.
-Alasdair Foster
LAST SIGNED COPIES WITH PHOTO 16.5X21.5 CM
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BEHIND THE WORK
Tondopó’s father, though affectionate, was known as a "domestic tyrant" who fostered a claustrophobic atmosphere at home. Many images in The Gingerbread House reconstruct this oppressive setting, where his niece Andrea and nephew Ángel spent long afternoons in a house the artist remembers as "haunted by darker memories."
The work draws inspiration from the Grimm brothers' fairy tale "Hansel and Gretel," which Tondopó uses to frame the children's journey of self-discovery, their struggle against adversity, and their "uncontrollable impulses to destroy that which gives them shelter".
Video of the photobook Casita de Turrón (sold out edition):
ISBN 978-84-15691-90-7 La Fábrica 2015 Diseño: José Luis Lugo Preprensa: Agustín Estrada 17 x 22,5 cm 128 págs. Bilingüe…
“What (Dis)Appears”
On body and soul (OBAS): Una genealogía del silencio trans
en DER GREIF
Dentro de la Selección 7 "Revelación de género":
OBAS es una narrativa alegórica que señala la visibilización de una violencia de Estado a la población disidente sexual en Chiapas (1991-1993), como un hecho que quiso ser expulsado de la conciencia.
Lo que (des)aparece
¿Qué pasas por alto al mirar?
¿Y qué nos perdemos juntos?
¿Por qué permanece oculto?
Recuerdos que persisten y otros que se desvanecen.
Ausencias que se niegan a ceder su lugar en la Historia.
Historias ocultas entre muros y silencios.
Narrativas dominantes que se derrumban y ficciones que nos ayudan a comprender el mundo.
¿Qué se reveló en respuesta a nuestra invitación a explorar lo que (des)aparece?
Algunas de las obras seleccionadas arrojan luz sobre lo que había permanecido oculto: formas de violencia social y estructural, verdades negadas, subjetividades que exigen reconocimiento y mecanismos de manipulación. Otras nos invitan a detenernos y prestar atención a lo minúsculo, lo frágil, lo desapercibido.
Y entre todos estos gestos surgen nuevas narrativas: propuestas que, a través de la ficción o la exploración material, cuestionan la imagen misma y nos devuelven a preguntas sobre la fotografía y el acto de mirar.
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Greif Guest Room aims to inspire collaboration and creative exchange. In this edition, Jo. Trujillo Argüelles (@trujillojo), former Director of the Centro de la Imagen (@cimagen), partnered with María Santoyo (@mariasantoyo_curiosa), director of PHotoESPAÑA (@photoespana_), to curate around the theme, “What (Dis)Appears.”
PHotoESPAÑA PRO Talento a bordo, La Fotografía como Encuentro se establece como un programa abierto al público general y como un espacio de visibilidad, conexión y transformación en torno a la fotografía contemporánea enfocada en los artistas.
Proyectar miradas
8 fotógrafos y fotógrafas preseleccionados en una convocatoria compartirán sus obras a través de una proyección abierta al público general.
Esta es una oportunidad única para proporcionar un espacio de visibilidad y dar a conocer de primera mano diferentes perspectivas visuales, estilos y narrativas que están transformando el panorama de la fotografía contemporánea. Es una propuesta que también busca fortalecer la conexión entre los artistas y la audiencia, fomentando una reflexión colectiva sobre el poder de la fotografía como herramienta para interpretar y cuestionar el mundo que nos rodea.
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PhotoVogue’s Local Open Call ‘Latin America Panorama’
Muy emocionado de ser parte de esta selección de talentosos artistas del #PanoramaLatinoAmericano @photovogue y de la 9a edición del Festival #PhotoVogue en Milán, Italia en marzo del 2025.
Se siente bonito compartir estas experiencias y procesos, con amigxs fotógrafxs que admiro y cuyo trabajo me llena el corazón. Muchas gracias querida @alessiaglaviano y al jurado de esta edición.
-¡Descubre la selección de 100 artistas de #PanoramaLatinoAmericano!
@PhotoVogue ha anunciado los 100 mejores artistas de su convocatoria local.
Con más de 27.000 impresionantes propuestas, la lista de finalistas muestra talentos extraordinarios de América Latina.
El trabajo de estos destacados artistas será parte de una presentación de diapositivas presente en la novena edición del Festival #PhotoVogue en Milán en @BaseMilano del 6 al 9 de marzo de 2025. La diversa gama de arte resalta una rica y multicultural comunidad.
Felicitaciones a los artistas preseleccionados y muchas gracias al comprometido jurado que ha hecho posible esta selección.
Credits:
GIF by @alessandro_lanfrancotti and @gaz.zeneli.studio - @studio__jam
PhotoVogue Presents the 100 most remarkable artists from the local open call.
Si hay un lugar mágico donde se detiene el tiempo y del que no queremos salir mientras transcurren los días de enero, ese vórtex de tiempos anacrónicos, misterioso y único, es la Fiesta Grande de Enero.
Este semestre estamos también en el número de la revista LiminaR. Estudios Sociales y Humanísticos, del Centro de Estudios Superiores de México y Centroamérica de la Universidad de Ciencias y Artes de Chiapas, a quienes agradezco la invitación a colaborar con mis imágenes que dialogan con el material académico y de investigaciones que produce esta publicación científica multidisciplinaria, que para este número incluye una sección temática con artículos sobre "disidencias sexuales del sur".
La obra que Roberto Tondopó propone en esta Galería muestra la construcción de subjetividades en transición, en un universo absurdo, irónico y violento, utilizando narrativas personales para explorar los límites de la intimidad, la comunidad y la familia, y los alcances de la fotografía como medio de representación. Sugiere la revisión de un entramado de realidad opresivo y represor, a la vez que permite construir el testimonio de una comunidad en constante transformación.
SHORTLISTED FOR LUMA RENCONTRES DUMMY BOOK AWARD 2021
TRÁNSITO, based on altarpieces as a moving ex-votum links his father's death with his transformation as Chuntá, allowing him to enter into the hybrid and border identities to which he belong, gradually liberated from the joyous nonchalance of socially silenced minorities, transforming tradition in a celebration of cultural diversity and sexual dissidence, to conceive a configuration of the alternative subjectivity of LGBTIQ+ individuals, in a recent spiritual chapter on this holiday with processes of resistance to a state prone to authoritarian drift.
Agradecido de colaborar para @terremoto_mx con la poderosa y necesaria reflexión de Materia oscura por Duen Sacchi para el n°23, como editor invitado, gracias por su amorosidad acompañante en esta invitación. Como la de mi querida @nadisvillafuerte34 por su compromiso y escrito ‘NILUYARILO’, a partir del imaginario de mis fotos y las Chuntás en la Fiesta Grande, desbordante, intrépido, festivo y punzante que son materia oscura, polvo de estrellas como la que @duensacchi propone, mientras reflexiona:
"Desde una perspectiva crítica, no sólo más allá del principio del placer, sino más acá de las prácticas somatopolíticas queer, me pregunto:
¿cuáles son nuestras relaciones eróticas con el pasado? ¿Podemos inventarnos una erogenealogía de nuestramérica? ¿Tenemos una erohistoriografía propia sobre el trauma colonial y los placeres de las resistencias?" […] ¿En qué episodio de la saga deconstruyendo el amor colonial estamos?
De NILUYARILO:
“(…) aunque a todas se les notaba felices, libres, autoritarias, confundidas y solas, poseídas, inadecuadas, atrapadas en el tiempo, con el alma tenue y las ganas de yirar a pesar de ser melancólicas y carne para el flagelo. Arrecha la que no grite, soltó una y les agarró un ataque de risa. Esa noche los ancestros bailaron a su alrededor con una ferocidad alegre”
She crossed. With her, her rolled-up pants, and her boots already off, she went into the river and someone else came out. Her torso naked an
Grateful and honored with this recognition, and excited to start this journey together!
Agradecidos y honrados con este reconocimiento, emocionados de iniciar este viaje juntos!
Portrait/ Retrato: Panos Mary
#Repost @capriciouspublishing
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We are proud to announce two recipients for the 2022 Capricious Photo Award: Roberto Tondopó and Genesis Báez. The Capricious team and jury are elated to offer this award to two distinctly impactful photographers this year and begin collaboration on their respective projects.
Nos enorgullece anunciar lxs dos ganadores de Capricious Photo Award 2022: Roberto Tondopó y Genesis Báez. El equipo de Capricious y jurado están encantadxs de ofrecer el premio este año a dos fotógrafxs claramente impactantes, y comenzar la colaboración en sus respectivos proyectos.
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BEST OF 2022 // Nuit de l'Année // Night of the Year
NUIT DE L’ANNÉE
Opening week’s unmissable festive event is back after a two-year hiatus. Visitors can take a visual promenade on the abandoned industrial site of the Papeteries Étienne, opened especially, to see over forty photographic proposals projected in a loop on giant screens (including one dedicated to Ukraine) or in the form of installations.
TRÁNSITO as part of The Night of the Year in Les Rencontres d'Arles 2022.
On Saturday, July 9, 2022, the Rencontres d’Arles will hold Night of the Year 2022, when photographs will be projected on the site of the former Papeteries Etienne in Arles (29, avenue de Camargue, F-13 200 Arles).
Thank you for the support and dedication provided by @alasdair.foster for this interview taken up from a while ago now for Talking Pictures, blessed to be among such great authors. Special thanks to Aunt They's gang, including her whom we miss so much at this time, and Rubén Noriega's family for these photos that portray such a personal and intimate imagery of the legend of the Fiesta Grande, about the act of healing. To my sister and nephews Andrea and Ángel. Thank you to everyone who continues to give me support and love in my artistic work, made with immense affection so that the community I identify with and my ancestors continue to shine.
#Repost @alasdair.foster with @make_repost
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It is the ambiguity of domestic intimacy that sits at the heart of the work of the Mexican photographer Roberto Tondopó [ @tondopo ]. His earlier photographs revisit his childhood home through an observation of his niece and nephew as they engage with the domestic space. For them, it is an environment where fantasy permeates reality in the ebb and flow of the adolescent imagination as they negotiate the transition from childhood to maturity.
Meanwhile, his more recent images explore the gender reversals enacted during the Grand Festival of Chiapa de Corzo in the mountains of southern Mexico. Here, every January, the men of this firmly patriarchal community cross-dress as women in a collective act that explores the more radical branches of identity while remaining firmly rooted in tradition. It is in this ongoing project the artist discovers a form of redemptive transformation.
MEXICO: The fluidity of domestic intimacy explored through the lens of childhood imagination and transformational community ritual.
Roberto Tondopó discusses this personal transformation at Talking Pictures.
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