The Great, Alessandra Sanguinetti



ALESSANDRA SANGUINETTI is an American photographer. Born in New York, she moved to Argentina at the age of two and lived there until 2003. Currently, she lives in San Francisco, California.Currently, her most long-term project is a documentary photography project is about two cousins- Guillermina and Belinda- as they grow up outside of Buenos Aires. It follows them as they fantasize about becoming adults, early motherhood, and becoming young women while their relationship changes.The series is a sequel to the project entitled The Adventures of Guille and Belinda and the Enigmatic Meaning of their. She has also photographed in Palestine and San Francisco. She was awarded a grant in 2009 by National Geographic to work on her project documenting food from the farm to a table. The grant included a cash award and the support of National Geographic through use of their photo editors and facilities.

SM: Why do you take photographs of children? 

AS: …Why not? They are half of the population! No, I started with Sweet Expectations and I think that work overallnow when I think of it in factwas sort of like a disillusionment with the adult world. I’ve always been a bit immature… and still am. I can’t get over that I’m not a kid anymore, even though I’m going to be forty. And I think I grew up in this bubble, thinking that when I would be twenty-one, suddenly I would be this marvelous person and that my life would start, and then I turned twenty-one and I realized it was really up to me, and that there was nothing great or magical about the world, it was really up to you to make and find your place in it. So there was a period of time when I was disappointed with everything, and when I looked at children, you know…all I saw was doom. I just saw little adults. I thought then, and I would say to myself, ‘they will grow up to be adults, full of disillusion’…

SM: How did Belinda and Guille look back on the experience of being photographed? Have they commented or reflected?

AS: No, we don’t have those types of conversations. First of all, Belinda, the one who had the baby…she doesn’t reflect. She’s intelligent and she is really funny, but … she only looks forward, not even forward, she lives in the present day-to-day. She doesn’t really, or at least she doesn’t communicate, any reflection on her life, which makes her a very … I don’t know if happy is the word, but a very satisfied person. Everyday she deals with whatever happens everyday. Guillermina yes, she is much more romantic and emotional, and doesn’t really know what she wants, and if she wants something she usually can’t have it. She’s more like everybody else. She has more of an idea about the project, she doesn’t know about this show yet, because I haven’t spoken to them in a few months, but she would probably have something to say, but I don’t know what it is. Belinda, she wouldn’t have anything to say. I don’t even know why she lets herself be photographed. Because she is very private, we don’t talk with Belinda much. She doesn’t talk. She is the kind of person that won’t smile to make you feel better. I wanna be like her in my next life. Really, she is rock—in a good way. Interview by Sam Mirlesse



Alessandra Sanguinetti Jauna’s Bed, 2003 From the series The Life that Came Chromogenic Print (c)

Alessandra Sanguinetti, Courtesy Yossi Milo Gallery, New York el puercoespín gpasquini2000

Ameen Anil

Yossi Milo Gallery

FOAM Magazine

Alessandra Sanguinetti link: alessandrasanguinetti.comDSCF6314


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