{"id":334271,"date":"2026-01-28T06:00:51","date_gmt":"2026-01-28T11:00:51","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=334271"},"modified":"2026-02-11T11:54:01","modified_gmt":"2026-02-11T16:54:01","slug":"silvio-rodriguez-photographer","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/cuba\/silvio-rodriguez-photographer\/","title":{"rendered":"Silvio Rodr\u00edguez, photographer"},"content":{"rendered":"

The Longina\u00a0Trova\u00a0Festival, held in Santa Clara, dedicated its 30th edition just a couple of weeks ago to\u00a0<\/span>Silvio Rodr\u00edguez<\/span><\/b><\/a>. The tribute unfolded on several levels: a conversation with the\u00a0singer-songwriter, a special chapter\u00a0\u2014\u00a0in concert format\u00a0\u2014\u00a0of the television program\u00a0<\/span>Entre manos<\/span><\/i>, where he shared the stage and songs with fellow musicians from different generations, and the inauguration of\u00a0<\/span>Retratos<\/span><\/i>\u00a0(Portraits), a photographic exhibition that reveals a less well-known but constant facet of his career: that of Silvio the photographer.<\/span>\u00a0<\/span><\/p>\n

I heard somewhere that photography, for Silvio, was his\u00a0<\/span>violon\u00a0d\u2019ingres<\/span><\/i>, that French expression that refers to a secondary hobby practiced with devotion, beyond a person\u2019s main activity. I understand the reasoning: his profession and his public recognition are undeniably associated with the creation of songs\u00a0\u2014\u00a0the songs. However, I disagree. I\u00a0don\u2019t\u00a0think that photography\u00a0is secondary for Silvio. Quite the opposite: I suspect that, throughout his life, a camera has\u00a0accompanied\u00a0him even longer than a guitar.<\/span>\u00a0<\/span><\/p>\n

Anyone who has ever crossed paths with him can attest to this. At a concert, at a gathering of friends, as a spectator at any cultural event, walking through his beloved San Antonio de\u00a0los\u00a0Ba\u00f1os or driving through Havana in his daily routine\u00a0\u2014\u00a0and giving rides to people, as I know he often does\u00a0\u2014\u00a0the camera is there. Always. Like a natural extension of his gaze.<\/span>\u00a0<\/span><\/p>\n

I also think about the enormous number of unique images that Silvio has created with verses, and about the camera as another\u00a0possible tool\u00a0to draw with light, to bring forth other forms of the visible. In that intersection between word and image there is common ground: the gaze. It is no coincidence that this leads me to think of the Mexican Juan Rulfo, an immense writer and, at the same time, an exceptional\u00a0photographer. Just looking at his photographs makes you feel like\u00a0you\u2019re\u00a0walking through\u00a0<\/span>Pedro P\u00e1ramo<\/span><\/i>: towns frozen in time, dense silences, motionless trains, dust,\u00a0shadows\u00a0and light, black and white, faces marked by a history that\u00a0doesn\u2019t\u00a0always need words. In Rulfo, as in Silvio, the image\u00a0doesn\u2019t\u00a0illustrate the literary work or the song: it dialogues with them from the same sensitive core.<\/span>\u00a0<\/span><\/p>\n

\"Photo:
Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

In both cases, what changes is not the intention, but the tool. Sometimes\u00a0it\u2019s\u00a0the verse that condenses a scene and makes it unforgettable; other times,\u00a0it\u2019s\u00a0the framing that captures an emotion that defies explanation. The camera and the word function as extensions of the same expressive need: to capture what moves, what\u00a0questions, what leaves a mark.\u00a0That\u2019s\u00a0why photography in Silvio\u2019s work cannot be read as an accessory gesture or as a simple record of what surrounds him. It is, rather, another way of thinking about the world, of ordering it, of questioning it.<\/span>\u00a0<\/span><\/p>\n

In essence, it\u2019s\u00a0about the same thing: having an instrument that allows you to materialize what emanates from sensitivity. It\u00a0doesn\u2019t\u00a0matter so much whether the image is born from a guitar, a\u00a0notebook\u00a0or a camera. What is decisive is the gaze that articulates them, that unique way of framing reality and giving it meaning. In the end, what\u00a0remains\u00a0is not the\u00a0means, but the image achieved: the one that, like a good song or a great photograph, stays in the memory and continues to speak long after it has been created.<\/span>\u00a0<\/span><\/p>\n

\u201cDo you know why I started with this photography thing?\u201d\u00a0Silvio asked me recently, and what followed left me pondering.\u00a0\u201cIt was when I was about 17, ever since I learned that UFOs existed.\u00a0I\u2019ve\u00a0been carrying a camera ever since, just in case one crosses my path someday, so it\u00a0doesn\u2019t\u00a0get away,\u201d\u00a0he said and smiled. He was holding his camera in his hands at that moment.<\/span>\u00a0<\/span><\/p>\n

And while that unidentified flying object\u00a0doesn\u2019t\u00a0appear, the son of Argelia and Dagoberto continues photographing what he finds along the way: places, people, situations.\u00a0It\u2019s\u00a0not limited to the act of documenting; it goes beyond that. Like every photographer, he sees more than he looks at. In that frame, in that\u00a0piece\u00a0of reality, he imprints a very particular sensibility.<\/span>\u00a0<\/span><\/p>\n

\"Pablo
Pablo Armando Fern\u00e1ndez. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

With\u00a0<\/span>Retratos<\/span><\/i>, the exhibition that can be visited during January and February at the Jos\u00e9 Mart\u00ed Provincial Library gallery in Villa Clara, something happened to me that only happens with photos that\u00a0don\u2019t\u00a0go unnoticed: I stopped in front of them. An image captivates you, holds you for a while, forces you to read it, to appropriate it, even to think\u00a0\u2014\u00a0with a mixture of admiration, desire and even (healthy?) envy:\u00a0\u201cI wish I had taken that photo.\u201d\u00a0And then you remember it. Amidst the flood of\u00a0images\u00a0we consume daily, especially in this era of visual overexposure, you may eventually forget the author, but the photograph\u00a0remains.<\/span>\u00a0<\/span><\/p>\n

\"Poster
Poster for the \u201cRetratos\u201d exhibition.<\/figcaption><\/figure>\n

My first encounter with some of the images in this exhibition was by chance, a few years ago, while browsing the internet. They appeared on Flickr, that global platform for hosting images and videos launched in 2004, now almost\u00a0fallen into disuse.<\/span>\u00a0<\/span><\/p>\n

There, Silvio had opened a profile and uploaded some of his photos without telling anyone. The one that\u00a0impacted\u00a0me the most then\u00a0\u2014\u00a0and still does today\u00a0\u2014\u00a0is the portrait of Alberto Tosca and Xiomara\u00a0Laugart, when the couple, one of the most powerful duos in Cuban music, was beginning their journey in the 1980s.<\/span>\u00a0<\/span><\/p>\n

The photograph, in black and white, taken with 35mm film, spontaneously and without its subjects noticing,\u00a0doesn\u2019t\u00a0show them singing. And yet, it reveals the freshness,\u00a0beauty\u00a0and impact of that duo, both in music and in life.<\/span>\u00a0<\/span><\/p>\n

\"Alberto
Alberto Tosca and Xiomara Laugart. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

As I looked at the rest of the portraits in the exhibition, I understood that what had happened to me with the image of Tosca and Xiomara was neither a coincidence nor a fluke on the photographer\u2019s part. There is a constant: the ability to reveal the essence of the person portrayed.<\/span>\u00a0<\/span><\/p>\n

There is the immense Marta Vald\u00e9s in profile, also in black and white, with that characteristic gesture of hers;\u00a0the naive and tender gaze of Hayd\u00e9e Milan\u00e9s\u00a0as a child, captured in a technically precise and conceptually luminous chiaroscuro; the images of artists in neighborhoods, on that endless and profoundly human tour.<\/span>\u00a0<\/span><\/p>\n

\"Marta
Marta Vald\u00e9s.\u00a0Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n
\"Haydee
Haydee Milan\u00e9s. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

There is\u00a0Frank Fern\u00e1ndez, the great concert and popular pianist, in a gesture of fierce communion with the piano\u00a0during that period in the neighborhoods, while the audience listens in astonishment on the rooftops. On those same rooftops where reggaeton plays today, Mozart and Lecuona\u00a0emerge, interpreted by one of the most important pianists in the world. Or the intimacy of an improvised dressing room in the classroom of a small school in La Timba, when Silvio stealthily slips away to photograph, minutes before going on stage, the cellist Amparo del Riego, the Argentine guitarist V\u00edctor Pellegrini and the flutist Niurka Gonz\u00e1lez: the trio absorbed in their music, the scores on improvised music stands, a stream of light that organizes the scene.<\/span>\u00a0<\/span><\/p>\n

\"Frank
Frank Fern\u00e1ndez.\u00a0Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n
\"The
The cellist Amparo del Riego, the Argentine guitarist V\u00edctor Pellegrini and the flutist Niurka Gonz\u00e1lez. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

We must also dwell on the legacy of the portraits of illustrious figures of Cuban music: C\u00e9sar Portillo de la Luz,\u00a0\u00d1ico\u00a0Saquito, Leo Brouwer, Pablo Milan\u00e9s, Omara Portuondo,\u00a0Compay\u00a0Segundo,\u00a0\u00d1ico\u00a0Rojas, Miguelito\u00a0Cun\u00ed\u00a0in the midst of\u00a0a party, among others. In these images there is no contrived solemnity or bronze rigidity: there is closeness, complicity,\u00a0admiration\u00a0and a trust that only exists between peers who share the same profession.<\/span>\u00a0<\/span><\/p>\n

\"Pablo
Pablo Milan\u00e9s. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

Also appearing are the posed portraits of fellow\u00a0musicians\u00a0like Vicente\u00a0Feli\u00fa\u00a0and Noel Nicola alongside their life partners, Aurora and Liudmila, respectively, where the photograph functions\u00a0almost as\u00a0a gesture of extended family, of affective belonging more than historical record.<\/span>\u00a0<\/span><\/p>\n

\"Noel
Noel Nicola and Liudmila Alexeevna Kondakova. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

In a different vein, humor bursts in without warning: Amaury P\u00e9rez,\u00a0with\u00a0the bull\u00a0\u2014\u00a0though not exactly\u00a0taking it\u00a0in the conventional sense\u00a0\u2014\u00a0reveals that other dimension of the portrait, where irony and playfulness are also part of the identity of both the subject and the photographer.<\/span>\u00a0<\/span><\/p>\n

\"Amaury
Amaury P\u00e9rez. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

There are images that I particularly love because of the setting, like the one of the\u00a0singer-songwriter\u00a0L\u00e1zaro Garc\u00eda. The cheerful expression on his face, captured in a domestic and profoundly Cuban context\u00a0\u2014\u00a0a clothesline on the porch of a house, a little dog becoming a silent ally in the scene\u00a0\u2014\u00a0condenses a poetics of the everyday. Nothing is\u00a0superfluous,\u00a0nothing is emphasized: the photograph sings without raising its voice, as if the scene had been waiting, all along, to be seen in this way.<\/span>\u00a0<\/span><\/p>\n

\"Singer-songwriter\u00a0L\u00e1zaro
Singer-songwriter L\u00e1zaro Garc\u00eda. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

And then\u00a0there\u2019s\u00a0that improbable and deeply symbolic encounter between Gabriel Garc\u00eda M\u00e1rquez and Alejandro Robaina, the legendary tobacco grower from Vuelta Abajo. Surrounded by the giant leaves of a tobacco field, the image transcends the individual portrait to become a visual metaphor: literature and the land, the word and its origin, the Nobel\u00a0laureate\u00a0and the wise farmer, placed on the same plane of dignity. There, once again, the camera not only records; it interprets, connects\u00a0worlds\u00a0and suggests meanings.<\/span>\u00a0<\/span><\/p>\n

\"Gabriel\u00a0Garc\u00eda\u00a0M\u00e1rquez
Gabriel Garc\u00eda M\u00e1rquez and Alejandro Robaina. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

The curation of this exhibition by Silvio was handled by photographer Andr\u00e9s Castellanos, who had to choose the 30 final snapshots from among fifty images. It was\u00a0no\u00a0small\u00a0task. Castellanos framed his interpretation based on\u00a0\u201cthe power of emotions, the power of a gaze when it is sincere, of putting eye, heart and brain\u00a0in sync\u00a0while looking through the viewfinder. Photographing another human being is an act of love, and we already know that love is always transformative,\u201d\u00a0he\u00a0stated\u00a0during the opening.<\/span>\u00a0<\/span><\/p>\n

\"Olimpia
Olimpia Calder\u00f3n. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

To learn a little more about\u00a0Silvio\u00a0the photographer,\u00a0I\u2019ll\u00a0close with an excerpt from an interview I sent him a few years ago, in an exchange from one photographer to another.<\/span>\u00a0<\/span><\/p>\n

How did Silvio Rodr\u00edguez come to the world of photography?<\/span><\/b>\u00a0<\/span><\/p>\n

My interest in photography is quite common: when I was a child, very few people owned a camera. The first time I saw one was in the studio of the photographer from San Antonio, Carlos N\u00fa\u00f1ez, who would later become a prominent photojournalist. In my adolescence, I was fortunate enough to work for different publications and to meet many photographers. At the weekly newspaper\u00a0<\/span>Mella<\/span><\/i>, I worked alongside Ernesto Fern\u00e1ndez and\u00a0Peroga; at the magazine\u00a0<\/span>Venceremos<\/span><\/i>\u00a0with Andr\u00e9s\u00a0Vall\u00edn\u00a0and Ovidio Camejo; at\u00a0<\/span>Verde Olivo<\/span><\/i>\u00a0with Perfecto Romero, Sergio Canales, Eutimio\u00a0Guerra\u00a0and Juan Luis Aguilera. I was a neighbor of Mario Garc\u00eda Joya and\u00a0Marucha\u00a0for 18 years. And for a long\u00a0time,\u00a0I was friends with Alberto Korda. The truth is,\u00a0I\u2019ve\u00a0had the luck\u00a0to know some\u00a0very good\u00a0photographers. From\u00a0each and every\u00a0one of them, I learned to love and be interested in photography and, of course, in cameras.<\/span>\u00a0<\/span><\/p>\n

\"C\u00e9sar
C\u00e9sar Portillo de la Luz. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

In photography, what are your precise moments, worthy of being captured in a photo?<\/span><\/b>\u00a0<\/span><\/p>\n

They say that you can write about anything, that the problem is finding the right way. In photography, finding the right way might be when one\u00a0\u2014\u00a0or several\u00a0\u2014\u00a0of the values\u00a0<\/span>\u200b\u200b<\/span>that make a photo good come together. There are times when you\u00a0have to\u00a0wait for a precise situation to occur, certain lighting conditions, which\u00a0forces\u00a0you to take many shots to find what\u00a0you\u2019re\u00a0looking for. Other times,\u00a0it\u2019s\u00a0enough to simply be there with any device that can record\u00a0what\u2019s\u00a0happening.<\/span>\u00a0<\/span><\/p>\n

\"Miguelito\u00a0Cun\u00ed.\u00a0Photo:
Miguelito Cun\u00ed. Photo: Silvio Rodr\u00edguez.\u00a0<\/span><\/figcaption><\/figure>\n

What points of contact exist between songs and photography?<\/span><\/b>\u00a0<\/span><\/p>\n

In a song, there can be an analogy when you talk about everyday life or an extreme situation, like war or a major human event. In any artistic expression, the\u00a0exceptional\u00a0has its\u00a0personality. But although you can take a photo or write a song about anything, the problem will always be whether\u00a0it\u2019s\u00a0worth showing.<\/span>\u00a0<\/span><\/p>\n

\"\u00d1ico\u00a0Saquito.
\u00d1ico Saquito. Photo: Silvio Rodr\u00edguez.<\/figcaption><\/figure>\n

How do you, a public figure, manage to go unnoticed to take a photo?<\/span><\/b>\u00a0<\/span><\/p>\n

There are many places and situations where a\u00a0singer-songwriter\u00a0goes unnoticed, especially when\u00a0he\u2019s\u00a0not carrying his guitar. And since\u00a0it\u2019s\u00a0not uncommon\u00a0these days for many people to carry cameras, all the better. In any case, when you become\u00a0a very famous\u00a0photographer, I recommend the zoom lens.<\/span>\u00a0<\/span><\/p>\n

\"Silvio
Silvio Rodr\u00edguez. Photo: Kaloian.<\/figcaption><\/figure>\n

During the voyage on the\u00a0boat\u00a0<\/span><\/b>Playa Gir\u00f3n<\/span><\/i><\/b>,\u00a0you\u00a0experienced impressive moments.\u00a0You\u00a0witnessed\u00a0a parade of sperm whales, a scene\u00a0perhaps better\u00a0suited for photography than for songs. What made\u00a0you\u00a0bring, in addition to\u00a0your\u00a0guitar, a tape recorder and books, a camera?<\/span><\/b>\u00a0<\/span><\/p>\n

Since I was a teenager,\u00a0I\u2019ve\u00a0been carrying cameras, usually borrowed ones. For the boat trip, I took a\u00a0Kiev, which was the Soviet imitation of the classic\u00a0Leica;\u00a0a camera with\u00a0a very good\u00a0mechanism, still with a coupled rangefinder. My photographer friends at ICAIC (Cuban Institute of Cinematographic Art and Industry) loaded the film cartridges for me with 400 ASA film. I took about 20 rolls. A couple of them were developed at\u00a0<\/span>Mar y Pesca<\/span><\/i>\u00a0(a Cuban magazine), because when I\u00a0returned\u00a0I was\u00a0interviewed and asked for photos to illustrate the article. I gave the rest of the rolls to a photographer friend who later died, and I never found out what happened to the developed photos. The story about\u00a0the hundreds\u00a0of sperm whales was true. We were adrift for\u00a0a whole day\u00a0in the middle of the Atlantic, waiting for the procession to pass. That day I shot three or four rolls, but I never saw\u00a0the\u00a0pictures.<\/span>\u00a0<\/span><\/p>\n

\n
<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

I suspect that, throughout his life, a camera has accompanied him even longer than a guitar.<\/p>\n","protected":false},"author":3262,"featured_media":334276,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13902],"tags":[3962],"ppma_author":[33930],"class_list":["post-334271","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cuba","tag-silvio-rodriguez-en"],"acf":[],"yoast_head":"\nSilvio Rodr\u00edguez, photographer | OnCubaNews English<\/title>\n<meta name=\"description\" content=\"The inauguration of\u00a0Retratos\u00a0(Portraits), a photographic exhibition that reveals a less well-known but constant facet of his career: that of Silvio the photographer.\u00a0\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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