La Puente
Charlotte Schmitz
La Puente is the biggest brothel in southern Ecuador in the city of Machala, where 170 women are working. The word Puente means bridge, in Spanish a masculine noun (el puente), adapted to the trade, feminized the word.
The photos were created in collaboration with the women, who chose their own poses and later painted with nail polish on their polaroids. The nail polish was initially used to provide anonymity, but quickly developed into a creative instrument. Not only their chosen poses, but also the use of nail polish tell about the women’s inner and outer perceptions. Working with polaroid and nail polish gave them the possibility to control and personalize their own photos, breaking down the power structures in the artistic production itself, by letting the women enter the sphere of the creative process. The work transforms the women from passive sources into active agents, showing them how they want to be seen, rather than how they are seen by society.
The artist was given original bed sheets by the women, which become part of the work and exhibitions, as they are the only personal items in the rooms of La Puente. Along with the polaroids and bed sheets, videos of the women and music become part of the installations. La Puente won the first W-Award by FotoEvidence.
Charlotte Schmitz' approach to her photography is deliberately personal and often subverts the traditional documentary approach, which allows her to convey her messages. She grew up in the Danish Minority in Germany and studied documentary photography at the University of Applied Sciences and Arts Hanover.
Charlotte's work is being published by outlets internationally and her personal projects on migration and women were shown in solo exhibitions in the United States, Turkey, Austria and Japan. She speaks six languages and is currently based in Berlin.
Çok güzelim, çok güzel/I am so beautiful, so beautiful
This project focuses on the private space of women in a traditional neighborhood in Istanbul, where Charlotte lived more than two years - capturing its beauty, daily life and intimacy.
"While men are in public spaces, women tend to stay in private. Charlotte focuses on the private, therefore the women — which recalls the political argument used as a slogan of second-wave feminism from the late 1960s: “The private is political.” Charlotte’s photographs underscore the connection between her personal experience and larger socio-political issues that refers to any power relationships within a house. Moreover, Çok güzelim, çok güzel / I am so beautiful, so beautiful becomes a photographic politicization of beauty through the politics of housework, marriage, motherhood, childhood, friendship, puberty, sexuality, family, celebrations, traditions, short-lived pop songs and perhaps Balat itself. […] Her body of work not only reinforce the conception that the private is political, it also reveals something crucial about beauty: “The private is beautiful!” — regardless of the surrounding obstacles." Cemre Yesil