Cali, Valle del Cauca, Colombia
Kurt Hollander is originally from New York City, lived in Mexico City for over 20 years and since 2014 lives in Cali, Colombia.
He is a writer and photographer. His writing and photographs have been featured in The Guardian, Guernica, The Believer, Domus, Uncube, Los Angeles Times, The New York Times, Refinery29, Feature Shoot, Vice and elsewhere, and his photographs have been shown in solo and group shows in museums, galleries and alternative spaces in the USA, Mexico and Colombia.
He is the author of Several Ways to Die in Mexico City (Feral House 2012), an autobiography, and its version in Spanish, Formas de Morir en México (Trilce, 2015), and of the photo-books El Super (RM 2006) and Sonora: The Magic Market (RM 2008). He is the co-editor of Licenciado Verdad (Ediciones MP, 2017), the history of artist groups in Mexico City in the early 1990s.
In New York City, he was the publisher and editor of The Portable Lower East Side, a culture magazine, from 1983-1993. In Mexico City, he was the editor of Poliester, a contemporary art magazine of the Americas, from 1992-2000.
He is the screenwriter and director of the feature film Carambola (Mexico, 2005), starring Diego Luna and Roberto Cobo.
erotic videochat studio, cali
This series is of erotic videochat studios in Cali, Colombia. Erotic videochat is a relatively new phenomena in the sex industry, but has already displaced the porn video and magazine industry in terms of profits. Colombia is number two in the world (after Romania) in providing video content, and videochat studios in Cali were the first in the country and employ the most webcam models. These rooms, which provide the backdrop to the models (women, men, transvestites and couples) who attend the virtual sexual needs of men in the USA and Europe, are designed to international standards and inexpensively give a sense of sophistication or elegance to such cramped spaces. The rooms come equipped with a computer to allow clients to chat with models, and with streaming cameras for a video connection. Because only one wall (the one to which the video camera points) is furnished, these rooms look like sets designed for movies.