{"id":2413,"date":"2019-01-24T10:24:43","date_gmt":"2019-01-24T10:24:43","guid":{"rendered":"https:\/\/exposicion.50fotografiasconhistoria.es\/guided-tour\/luis-baylon\/"},"modified":"2022-09-29T19:06:03","modified_gmt":"2022-09-29T19:06:03","slug":"luis-baylon","status":"publish","type":"page","link":"https:\/\/exposicion.50fotografiasconhistoria.es\/en\/guided-tour\/luis-baylon\/","title":{"rendered":"Luis Bayl\u00f3n"},"content":{"rendered":"\t\t
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Madrid, anonymous, june 1990 \/ six months later, december 1990 (1990)<\/span><\/h2>

The ecosystem in which Luis Bayl\u00f3n moves is the streets. And of all possible cities, his favorite one is Madrid, of which he knows almost every corner. Strolling around at his own pace, he portrays places on the verge of disappearing, couples, smokers and, in this work, unknown citizens.<\/p>

The city traps you \u2013as Baylon would say\u2013 and he has let himself be seduced under the spell of passersby. On one of his walks, in the summer of 1990, he was drawn to the looks of an elderly woman sitting at an ATM on Atocha street, right next to the Mediodia Hotel. Dressed in black, her smile and her look were in stark contradiction to the place she was at. Fate, whimsical in its essence, set up a new encounter: Bayl\u00f3n photographed a woman curled up, she covered her face with a look of terror. When he developed the photographs, he realized that both portraits belonged to the same woman, the three rings on her hands gave her away.<\/p>

He has a good nose for the streets and has mastered the skill of taking great natural portraits from the side, without additives or prejudices that contaminate the story.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00a9 Baylon, VEGAP, 2019<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\u00a9 Baylon, VEGAP, 2019<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Luis Bayl\u00f3n<\/h2>

Madrid, 1958<\/p>

Under the premise that \u201cthe street is life,\u201d the Madrid-born photographer got hold of a Canon Ftb at the age of 18 and began to document the urban environment of Madrid, focusing his gaze on anonymous people. In the 1980s, now with his inseparable twin-lens Rolleiflex 2.8F, he began collaborating with publications such as\u00a0El Pa\u00eds Semanal<\/em>, El Europeo,\u00a0El Mundo Magazine<\/em>\u00a0and\u00a0Tentaciones<\/em>.<\/p><\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Madrid, anonymous, june 1990 \/ six months later, december 1990 (1990) The ecosystem in which Luis Bayl\u00f3n moves is the streets. And of all possible cities, his favorite one is Madrid, of which he knows almost every corner. Strolling around at his own pace, he portrays places on the verge of disappearing, couples, smokers and, … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2347,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nLuis Bayl\u00f3n | Exposici\u00f3n - 50 fotograf\u00edas con historia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/exposicion.50fotografiasconhistoria.es\/en\/guided-tour\/luis-baylon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Luis Bayl\u00f3n | Exposici\u00f3n - 50 fotograf\u00edas con historia\" \/>\n<meta property=\"og:description\" content=\"Madrid, anonymous, june 1990 \/ six months later, december 1990 (1990) The ecosystem in which Luis Bayl\u00f3n moves is the streets. 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