The Tijuana Cultural Center (cecut) allocated a permanent exhibition space for photography projects. Thus was born the Photography Hallway, title that honorably .as a tribute and since 2014– goes along with the name of Vidal Pinto. The intention from the outset has been to combine fresh museological solutions with photographic mediations that elapse with artists, treatments and full content proposals.

From a multilateral perspective of photography, we are lead into photojournalism, documentary photography, to construction and to concept, to reflection and experimental exercise on materials, to the multiplicity of interests and visual genres. It emphasizes solutions, shapes, and formulas, as well as immersion into the social reality, in order to look where we resist scrutinizing or to discover the extraordinary in the routine.

The Photography Hallway Vidal Pinto advocates a conception, perception and understanding of the increasingly complex and multilateral image. Recovers a place for aesthetic and/or poetic, aims to go beyond fashion, market and cultural hegemony. It is also a domestic scene ready to be shared beyond its architectural geography with other references and other possibilities in the exhibition area and discussion of photography.

The Photography Hallway Vidal Pinto is a project of cecut that is contextualized in a line of flexible and permanent work, contextualized and comprehensible in the context of its relationship with other efforts, alive or paused, deployed in the cecut based on its own energies or resources or involving other wills and institutions.

Responds equally to an initiative in the cecut that has prevailed and prevails for more than a decade: the own production of visual content.

This space, that soon will turn five years old, it is part of a new generation of professionals and self-learners in the field of photography. An arena of renovated and memorable readings, combined to amalgamate, so to speak, “all worlds”. It is broad and inclusive. And it is part of the same conceptual physiognomy that have designed other projects over the years.

As the Journal of Photography, coordinated by Roberto Córdova Leyva, who recovered in an editorial manner the work of the artists: Carlos Lazcano, Guillermo Arias, Ieve Gonzalez, and Yuri Manrique. Or, exhibitions like: Mujeres detrás de la lente. 100 años de creación fotográfica en México [Women behind the lens. 100 years of photographic creation in Mexico] (El Cubo, 2012-2013), Paisaje Contemporáneo [Contemporary Landscape] (El Cubo, 2013-2014), Jaspuypaim. Los jamás bautizados [The ever baptized] (Central Hall, 2014), Frida Kahlo. Sus fotos [Frida Kahlo. Her photos] (El Cubo, 2015) or La Semilla y la Esperanza [The Seed and the Hope] of Antonio Turok (El Cubo, 2016).

Lastly –regarding the Photography Hallway Vidal Pinto– we have been fortunate to present different shows, through collaboration with artists of divergent and convergent geographical, conceptual, and visual origins to this date: Damián Siqueiros, Karina Villalobos, Omar Martínez, León Felipe Chargoy, Claudia Hans, Angélica Escoto, David Maung, Jaime Brambila, Janet Jarman, Gustavo Mayoral, and Estefany Maya. To all of them we express our infinite gratitude and appreciation.