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Pho og aphy and Cul u e
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Shadowy P esences: Mobili y, Labo and Absence
in he Wo k o Dominican Pho og aphe Faus o
O iz
Ca los Ga ido Cas ellano
To ci e his a icle: Ca los Ga ido Cas ellano (2017): Shadowy P esences: Mobili y, Labo and
Absence in he Wo k o Dominican Pho og aphe Faus o O iz, Pho og aphy and Cul u e
To link o his a icle: h p://dx.doi.o g/10.1080/17514517.2017.1295708
Published online: 10 Ma 2017.
Submi you a icle o his jou nal
View ela ed a icles
View C ossma k da a
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 1–16
Shadowy P esences:
Mobili y, Labo
and Absence in he
Wo k o Dominican
Pho og aphe Faus o
O iz
Ca los Ga ido Cas ellano
Abs ac
This a icle aims o examine he ways in which con empo a y a
om he Ca ibbean, and speci ically om he Dominican Republic, is
analyzing mobili y and human a icking wi hin a ansna ional con-
ex . In his case I will c i ique he wo k o he pho og aphe Faus o
O iz (San iago de los Caballe os, 1970), who has e lec ed ecen ly
on he consequences o mig a ion and displacemen o Dominican
cul u al poli ics. Ra he han add essing he ep esen a ion o ma gin-
alized sec o s and ma ginal o ms o economy in he pa icula case
o he Dominican Republic, I a gue ha O iz’s pho og aphic p ac ice
deepens and b oadens he deba es abou ace, ci izenship and social
inequali y, o cing his audience o conside hose issues as a cen al
pa o he e e yday. While add essing hose issues, his a icle ies
o inse O iz’s pho og aphic p ac ice wi hin in e na ional deba es
on mobili y, bo de p ac ices and displacemen .
Keywo ds:Ca ibbean, islands, mig a ion, pho og aphy,
ansna ionalism
Mig a ion and mobili y ha e been a cen al conce n in ecen Ca ibbean
isual p ac ices. The ep esen a ion o sla e y and o he Middle Passage
a e commonly con on ed and linked o con empo a y p ocesses o
olun a y and o ced displacemen . This ocus has been key in placing
Ca ibbean isuali y wi hin a ansna ional con ex , anscending he iden-
i ica ion be ween egional imagina ies and opical, insula landscapes.
A big e o has been made o challenge he isual commodi iza ion
o Ca ibbean eali y. A simila in e es has pu sued o inse Ca ibbean
isual p ac ices wi hin a global a ena (see Wainw igh 2011; Kempadoo
2013; S ephens 2013; Mohammed 2011). In c i ical heo y, au ho s such
as Juan Flo es (2010), Jo ge Duany (2011), Sil io To es Saillan (1999)
o Yolanda Ma ínez San Miguel (2003) ha e a emp ed o disman le
he na ion–diaspo a di ide, poin ing ou he cen ali y o he “cul u es
o mig a ion” (Ma ínez San Miguel 2003) o any unde s anding o he
Pho og aphy &
Cul u e
Volume XX—Issue X
Ma ch 2017
pp. 1–16
DOI:
10.1080/17514517.2017.1295708
Rep in s a ailable di ec ly
om he publishe s
Pho ocopying pe mi ed by
license only
© 2017 In o ma UK Limi ed,
ading as Taylo & F ancis
G oup
2 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 2–16
Ca ibbean cul u al image y. Fo hose au ho s,
mobili y appea s as a c ucial elemen no only
o hose indi iduals o g oups ha a e subjec ed
o displacemen , bu also o he con igu a ion o
social imagina ies ac oss he egion.
Engaging wi h hose deba es, his pape aims
o explo e how mobili y and labo a e po ayed
in Ca ibbean isual p ac ices. In o de o do ha , I
examine wo se ies o he Dominican pho og aphe
Faus o O iz (San iago de los Caballe os, 1970).
O iz has de eloped a consis en a is ic ca ee since
he 1990s, gaining in e na ional ecogni ion a he
end o he 2000s, when his wo k was showcased
in majo a exhibi ions wi hin and ou side he
egion, such as In ini e Island (New Yo k, B ooklyn
Museum, 2007). A ound ha da e, when his wo k
became in e na ionally known, O iz consolida ed
a p eoccupa ion o add essing he con adic ions
o mobili y and mig a ion wi hin he con ex o
he Dominican Republic. This conce n is bes
exp essed in Ciudad de somb as (Ci y o Shadows)
and Remainde s, wo pho og aphic se ies p oduced
in he la e 2000s. Bo h a e specially bounded o
ma ginal and con lic i e modes o displacemen . They
depic si ua ions o p eca iousness and ins abili y,
o cing he spec a o o challenge he expec a ions
owa ds Ca ibbean bodies and landscapes, and
disman ling he economic and acial discou ses
behind Dominican na ionalism.1
In his a icle, I a emp o place O iz’s
pho og aphic p ac ice wi hin he con ex o
Ca ibbean cul u es o mig a ion. By looking a
Ciudad de somb as and Remainde s, I a gue ha ,
al hough dealing wi h speci ic local p edicamen s,
he conce ns wi h labo , mig a ion and a icking
bodies p esen in bo h se ies canno be isola ed
as a na ional phenomenon. My in e es he e is o
show ha O iz’s explo a ion o he Dominican
landscape o (im)mobili y opens new ways o
unde s anding he p edicamen o Ca ibbean
displacemen s as a global phenomenon. Issues o
di e ence and p oximi y/dis ancing ha e egula ed
in many cases he cul u al deba es a ound he links
be ween Hai i and he Dominican Republic. The
app oxima ions o ha p edicamen de eloped by
Dominican a is s sha e hose issues (see Casa de
Amé ica 2002; De los San os 2003; Gineb a 2009;
Mille 2012). Wi hou dismissing such app oaches,
in his case I would like o sugges ha a majo
pa o O iz’s wo k alludes o a liminal space
ela ed o he cul u al and poli ical ela ions in La
Española, a space delimi ing no ions o poli ical
economy and habi abili y in he Ca ibbean a
la ge. In ha con ex , he ques ion on coexis ence
is s ongly linked o he isibili y o in isibili y o
communi ies, as well as o go e nabili y, o cing
he spec a o o ques ion human displacemen
in ela ion o he widesp ead o Ca ibbean isual
p ac ices wi hin a ansna ional con ex . “We
emain labelled bu nameless images,” sugges
Ch is ophe Cozie and Flo es (2012), 9) in dealing
wi h Ca ibbean con empo a y a is ic p ac ices. In
his a icle I a emp o show how his conce n is
p esen in O iz’s pho og aphic image y.
He ein I examine how O iz challenges he
image o he Ca ibbean as a pa adisiac, exo ic
loca ion by depic ing bodies and his o ies ha
a e o en excluded om he Dominican na ional
imagina y. The shadows and inanima e bodies
ha cen e he image composing bo h se ies
cons i u e, I will sugges , a oubling p esence
haun ing Ca ibbean landscapes o mig an labo
and mobili y. Ra he han desc ibing o na a ing
pe iphe al p esences, O iz’s pho og aphic p ac ice
is p oposing an al e na i e iew o Dominican
ci izenship, one implying an ac i e esponse and no
jus a documen a y ges u e. The main a gumen
o his pape , he e o e, is ha O iz’s wo k
anscends he di ec ep esen a ion o ma ginal
luxes, d awing a link be ween he ma ginaliza ion
o subjec s and bodies, he con igu a ion o he
Dominican na ion, and he impac o neolibe al
capi alism ac oss he Ca ibbean egion.
The se ies
Ciudad de somb as (2007) depic s he u ban land-
scape o San iago de los Caballe os h ough he
lack o isibili y o pa o i s inhabi an s.2 A g oup
o shadows in mo emen a e ou lined o e he
walls, indica ing a eali y ha canno be pe cei ed
Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 3
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 3–16
by he spec a o (see igu es 1–5). Becoming
shadows, e an igu es whose posi ion and iden i y
can be only guessed om hei e lec ion, hose
igu es ende a ision o a communi y ma ked
by i s es angemen , by i s inexp essi eness. Those
silhoue es cons i u e, howe e , an insepa able laye
wi hin he his o ical ma e iali y o he walls, one
ha imp in s i s p esence o he u ban ex u e and
embodies he con adic ions o mis ep esen a-
ion. Ciudad de somb as po ays he image y o
down own San iago de los Caballe os, he second
majo ci y in he Dominican Republic. By look-
ing a hose he images, howe e , we could no
know in wha pa o he ci y he pic u es ha e
been aken, no he iden i y o he pho og aphed
pe sons. The only ecognizable elemen s o he
scenes come om he emnan s o some messages
ixed o he wall add essing poli ical issues and key
igu es o Dominican poli ical p ocess, bu hese
also seem o ade. The image i les a e equally
ambiguous, and a e used o sugges pa icula
in e p e a ions – Labe in o (Laby in h), Somb as
Pasaje as (Tempo a y Shadows), Ap oximaciones
(App oxima ions) – o he ela ion among he
cha ac e s – P ocesión (P ocession), Pa ne s.
Al hough hey modi y he u ban space whe e
hey a e inse ed, he shadows a ely occupy
he whole wall, being elega ed o he inne pa
Figu e 1. Faus o O iz, “Ap oximaciones,” Ciudad de Somb as se ies, 2007. Digi al pho og aphy. Cou esy o he
a is .
Figu e 2. Faus o O iz, “Ciudad de Somb as,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o
he a is .
4 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 4–16
speci ic e e ences o s ee u ni u e such as
lamppos s, a ic signs o pa king me e s. In hose
cases, he objec ’s shadow appea s bigge han he
human o m, c ea ing a e ical coun e pa o he
inclining, diagonal shape o he walke s’ silhoue es.
This does no elimina e he sense o nakedness,
o simplici y o he pho og aphed spaces. In a e
cases, mo eo e , a sense o na a ion is pu sued.
O iz shows mos ly isola ed igu es. In he g oup
po ai s, he subjec s a e o en walking in di e gen
di ec ions o clea ly sepa a ed one om o he s.
Some excep ions can be ound in pho og aphs
like F agmen os de paz (Peace F agmen s), whe e
people a e p esen ed in mo e elaxing, engaging
a i udes, such as playing music, o in Labe in o,
whe e we can iden i y a amily walking oge he , he
a he guiding he s eps o he child en.
The o he se ies o O iz dealing wi h
p eca ious p ocesses o mobili y ook he name
o Remainde s. Loca ed in a opical coas al
landscape, he images show pa s o mannequin
bodies deposi ed by he sea as e idence o a
shipw eck. While in some cases we wi ness he
inexp essi e aces oscilla ing wi h he ide, in o he
occasions he dispe sed membe s lie unde he
sand, bu ied. In all he pic u es, howe e , a eeling o
abandon and decay appea s, sugges ing he idea o
dispensable li es. The sense o agedy is ein o ced
by he calm na u e o he landscape, unal e ed by
he acciden , and also by he pe ec ness o he
o he image. This displacemen is ein o ced by
he subjec s’ mo emen , cap u ed while walking.
Whe eas he human igu e holds he p ominence
o he scene, some pho og aphs also include
Figu e 3. Faus o O iz, “Peace Piece,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o he a is .
Figu e 4. Faus o O iz, “Labe in o 2,” Ciudad de Som-
b as se ies. 2007. Digi al pho og aphy. Cou esy o he
a is .

Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 5
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 5–16
eminine condi ion o he mannequins could
pose issues o sexual labo and o ced mig a ion.
The su oundings o he shipw eck poin o
he illegal mig a ion o Dominicans o Pue o
Rico in yolas (small handc a ed essels used o
his kind o ansi ) h ough he Mona Canal.
The open cha ac e o he se ies can be seen,
hen, as a disposi i e used by he a is in o de
o make Dominican bo de eali y p oblema ic
wi hou speci ying o p i ileging any pa icula
in e p e a ion. As none o hose isions p e ail
o e he es , he iewe s a e o ced o guess he
possible meaning o he images (see Figu e 6).
When asked o he meaning o Remainde s, O iz
answe s c yp ically: “The deb is o he sea is wha
he sea expels; in his case, I wan ed o sugges
he idea o was e, mu ila ion, expulsion.”3 Simila ly,
Ciudad de somb as is also loca ed wi hin a b oade
geog aphy in O iz’s in e p e a ion:
I belie e ha he bes way o ep esen ing he
pe son who en e s and lea es b ie ly he ci y
wi hou lea ing any ace is h ough he shad-
ow. The shadow is p ojec ed on o he ci y, in
he walls, and hose walls a e buil by many
o hose pe sons, hey a e no used solely o
shel e hem … I mean, I am alking in his
case also abou he Dominicans li ing in New
Yo k, in Spain, o say some hing. Many people
unde s ood my use o shadows as linking he
images o skin colo , bu i does no necessa i-
ly ha e o do wi h his.4
bodies and agmen s, which appea wi hou a
ma k. We canno ind a clea connec ion be ween
he di e en cha ac e s popula ing he scene: while
some a e abou o disappea , o he s seem o
enjoy he day. Al hough we a e in a sho e, wa e
is ou lined in se e al cases, c ea ing a ho izon
ein o ced by he ho izon al alignmen o he
bodies. The use o limbs and o sos complemen s
he idea unde lined by he i le o showing
emainde s o a wide o ali y ecen ly disappea ed.
I also emphasizes he con as be ween he
pe ec ion o he bodies and hei ou cas
cha ac e , p esen ing he scene as a consequence
o auma ic expe iences. Mannequins, in ha
sense, appea as an in eg al pa o he economies
o mo emen and consume ism ha lead o,
acco ding o Shelle , “ o ms o symbolic iolence
and cul u al app op ia ion” (Shelle 2003, 4).
Inse ed in a agic insula opical landscape, hey
become pa o wha Ann Lau a S ole (2013) has
called “impe ial deb is,” coun e ing bo h he idyllic
image associa ed o he Ca ibbean and he ole
o ou is ic shel e ed isola ion a ached o opical
insula ism. Wha he shipw eck is elling us, in o he
wo ds, is ha any p ocess o mobili y is indissolubly
linked o global ci cula ion o money and p oduc s.
Tha ci cula ion, as Shelle poin s ou (2004, 15),
no only ole a es bu also inc eases ansna ional
p ocesses o inequali y.
As in Ciudad de somb as, se e al in e p e a ions
a e possible he e: a di ec eading o he
Figu e 5. Faus o O iz, “Somb as pasaje as 2,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o
he a is .
6 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 6–16
San Ma ínez San Miguel 1998, 2001; Ma ínez-
Ve gné 2005; I zigsohn 2001). Eas and Wes a e
mo e han wo ca dinal poin s in he Dominican
spa ial imagina y. The Wes is undoub edly ep-
esen ed by Hai i, an e e -p esen and unmen-
ionable eali y in he coun y. Sa a He mann has
ecen ly alluded o how his ab up ex i pa ion and
uncanniness o one o he ca dinal poin s is “one
o he mos iolen ac s ha can exis .” (He mann
2012, 86). Hai i and he Dominican Republic a e
no jus sepa a ed by a bo de , bu also by a long
his o y o con lic s and poli ical di e ence: he
Dominican Republic gained independence om
Hai i, which con olled he o ali y o he island
om 1822 un il 18445. The independence o he
coun y was linked o he e en s ha ollowed
he Hai ian Re olu ion, when he island became
di ided in wo, one pa con olled by he F ench
un il 1809 and ano he by he na ion ha had jus
gained independence. Gi en he passi i y o bo h
As we will see, he opaci y and ambi alen
one o bo h se ies does no imply lack o
a en ion o he con ex ; on he con a y, i
de ines a way o linking and spacing ma ginalized
and mis ep esen ed his o ies, poin ing ou he
complexi y ha cha ac e izes con empo a y
expe iences o mobili y.
Eas and Wes : e aming he
Dominican gaze
O iz’s pho og aphs a e conce ned wi h he
o e lapping o he e ogeneous his o ies and
con lic s, which a e b aided h ough se e al ele-
men s, among hem mobili y, (in) isibili y o ace
and acism. In his sec ion I will ocus on he las
wo e ms, a emp ing o connec hem o he
Dominican Republic geopoli ical imagina ion. Bo h
se ies, as we will see, po ay he cen al oles ha
mig a ion and mobili y play in he con igu a ion o
Dominican na ionalism (see, o example, Ma ínez
Figu e 6. Faus o O iz, “Numbe Ele en,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o he
a is .
Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 7
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 7–16
San o Domingo. Finally, Da id Pé ez’s “Ka mada is”
wo k o he La in Ame ican Pa ilion o he 2013
Venice Biennale ook he o m o a collabo a i e
pe o mance be ween a Hai ian and a Dominican
disabled ci izen (see Fumagalli 2013, 2015). Those
a e jus some ecen examples o a opic exploi ed
ime and ime again in Dominican isual p ac ices9.
The Eas also holds an almos my hical appeal
in he Dominican geog aphical imagina ion. In
his case, i is commonly associa ed wi h illegal
mig a ion o Pue o Rico h ough he Mona Canal.
This jou ney means he en ance in US e i o y,
bu also cons i u es a dange ous passage ha has
cos many li es. The d ama o he yolas is usually
ela ed o ques ions o p i ilege, accep ance and
success: he mig an who eaches Pue o Rico
en e s he “p omised land,” al hough mig a ion is,
in many cases, also associa ed wi h p eca iousness
and unwan ed jobs. Fu he mo e, o many
Dominicans he p ocess o dealing wi h he
Ame ican acial di ide also implies a ede ini ion
Spain and he in e na ional powe s owa d he
independence o he Spanish side o he island, he
Hai ian go e nmen o Boye occupied in 1822 he
o he pa , ein oducing he aboli ion o sla e y
and imposing he F ench ci il code. One cen u y
a e , he dic a o ship o Ra ael Leónidas T ujillo
ins i u ed an i-Hai ian policy which lead o he
expulsion o many Hai ian ci izens and o se e al
massac es6. The legacy o his his o ical conun-
d um has emained a cen al issue in he ela ions
be ween bo h coun ies un il he p esen momen ,
when he si ua ion is agg a a ed by he massi e
depo a ions o Hai ian and Hai ian-o igin ci izens7.
Con empo a y Dominican a has deal ex ensi ely
wi h Hai i and “ he Hai ian issue,” bo h in cle e ,
sub le and mo e s aigh o wa d ways. Pe o mance
a is Sayu i Guzmán, o example, has b aided he
hai o Dominican and Hai ian women oge he ,
bounding hem8. Mo e adically, Ca yana Cas illo
wo e a lag mixing bo h coun ies’, wea ing i while
walking a ound he his o ic Ciudad Colonial o
Figu e 7. Faus o O iz, “Náu agos,” Remainde s Se ies. Digi al pho og aphy. Cou esy o he a is .
8 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 8–16
O iz’s pho og aphs show ha he cons uc ion
o Dominican iden i y and i s na ional and acial
O he (s) canno be con on ed sepa a ely.
The se ies o ce he (Dominican) spec a o o
e hink he /his posi ion as necessa ily ouched by
he e ogeneous and in e connec ed expe iences o
ma ginaliza ion. P ecisely his ambi alence oubles
he connec ion be ween he pho og aphed
space, he add essed p edicamen and he a is ic
in e p e a ion, o he lack o p esence o hei
p o agonis s (shadows in he i s case, li eless
mannequins in he second) seems o ein o ce
he un ui ulness o any iden i ica ion wi h “ eal”
e e en s. Au hen ici y is excluded in O iz’s
po ai s, and ha ein o ces he conce n o
iden i ica ion ha shadows exp ess.
In he case o Ciudad de somb as, he i s
e e ence ha comes o mind is ha o he
landscape o labo in La Española Island and he
inc easing p ocesses o miscegena ion ep esen ed
o hei bodies and acial iden i ies. As i happens
wi h he Wes , he Eas has also been a amilia
ocus o Dominican a is s. Fo ins ance, in 2003
he Shampoo Collec i e c ea ed D′La Mona Plaza,
a p ojec ha shocked a is ic audiences in i s
ime and ha eached a huge public no amilia
wi h con empo a y a . The p ojec ad e ised in
he Dominican media he cons uc ion o a big
shopping mall in he Mona Canal, which would
p o ide help o shipw eck su i o s and mig an s
in yolas. The mos in e es ing pa came when he
media did no acknowledge he p ank and s a ed
discussing he iabili y o such shopping mall.
Eas and Wes a e behind he gaze cons uc ed
in Ciudad de somb as and Remainde s. Howe e ,
I belie e ha i is di icul o iden i y each se ies
wi h a ca dinal poin . On he con a y, an
al e na i e iew o he Dominican imagina y,
one in which bo h ca dinal poin s a e con used
and con on ed oge he , eme ges in bo h se ies.
Figu e 8. Faus o O iz, “Ho izon es de paz,” Remainde s Se ies. Digi al pho og aphy. Cou esy o he a is .
Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 15
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 15–16
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de Amé ica, Casa, ed. 2002. A e con empo áneo domini-
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Amé ica.
Cozie , C., and T. Flo es. 2012. W es ling wi h he Image.
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De Ce eau, M. 1980. L′in en ion du quo idien. A s de ai e.
Pa is: Union Géné ale d′Edi ions.
De los San os, D. 2003. Memo ia de la pin u a domini-
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Duany, J. 2011. Blu ed Bo de s. Chapel Hill: The Uni e si y
o No h Ca olina P ess.
Enwezo , O. 2006. The Unhomely: Phan om Scenes in
Global Socie y: 2nd In e na ional Biennial o Con empo a y
A o Se ille. Se ille: Fundación Bienal In e nacional de
A e Con empo áneo de Se illa.
Flo es, J. 2010. The Diaspo a S ikes Back. Ca ibeño Tales o
Lea ning and Tu ning. New Yo k: Rou ledge.
Fumagalli, M. C. 2013. “‘Isla Abie a’ o ‘Isla Ce ada’?:
Ka mada is’s P e- and Pos -Ea hquake Hispaniola.”
Bulle in o La in Ame ican Resea ch 32 (4): 421–437.
Fumagalli, M. C. 2015. On he Edge: W i ing he Bo de
be ween Hai i and Dominican Republic. Li e pool:
Li e pool Uni e si y P ess.
Fusco, C. 1996. “Hus ling o Dolla s.” MS Magazine,
Sep embe -Oc obe : 62-70.
Ga ido Cas ellano, C. 2010. “Rompiendo el mapa.
Cua o isiones sob e la on e a en el a e ac ual
dominicano” In e cambio. Re is a sob e Cen oamé ica y el
Ca ibe, 7/8: 37–53.
Ga ido Cas ellano, C. 2011. A e en diálogo.
Con e saciones sob e p ác ica a ís ica con empo ánea,
iden idad e in eg ación cul u al en República Dominicana.
San o Domingo: Cen o Cul u al de España.
Ga ido Cas ellano, C. 2015. “On Wan ing Images and
Sha ed Responsibili ies. Belkis Ramí ez´s “De la misma
many o he mos ele an Dominican cul u al ins i u-
ions, among hem, hose ga he ed in he Plaza de la
Cul u a Juan Pablo Dua e in San o Domingo, we e
also es ablished in he 1970s.
12. “Pe o cie amen e esas silue as pa a mí signi icaban
mucho en aquel momen o, aunque aho a inie on a
ep esen a el anonima o. El anonima o de la ciudad.
Po eso e hablaba aho a de la ciudad o mal y la ciu-
dad in o mal; en oda ciudad ac ual apa ecen aquellos
g upos que no cuen an; que es án, pe o que no
apa ecen en ninguna pa e. Los ausen es. Los que no
ienen un núme o, un ID, un código, o simplemen e
los que pe manecen en las somb as de la ciudad,
y solamen e son eque idos y u ilizados cuando se
necesi a la ue za labo al; eso pasa en odas pa es
del mundo. Muchos países ienen la misma si uación.”
My ansla ion. (Ga ido Cas ellano 2011).
13. The emains o he shipw eck can be app oached,
hus, as ecogni ion and c i ical eading o he con-
adic ions o he “idyllic landscape” o in e acial,
in e cul u al lo e ha equen ly conceal sex ou ism,
a phenomenon ha ha e c ea ed a pa allel economy
in which low-income women can ind a quick way o
social p omo ion, no exemp , howe e , om a high
isk o ma ginaliza ion and impo e ishmen ha he
weigh o emi ances canno a enua e.
14. P os i u ion and mig a ion can also be ound in
he o igin o “ emi ance se lemen s” occupied by
men whose women a e wo king in Eu ope as sex
wo ke s. Fo a e iew on he ela ions be ween
emi ance and a chi ec u e see Lynn Lopez (2010).
Remi ances, howe e , widely exceeds his phenom-
enon and mus no be solely connec ed wi h p os-
i u ion; a he , i implies a b oad ange o si ua ions,
ges u es and s o ies (Bu man 2002).
Ca los Ga ido Cas ellano holds a FCT pos -doc o al
ellowship a he Cen o de Es udos Compa a is as
and he Ins i u o de His ó ia de A e a he Uni e si y
o Lisbon. His esea ch in e es s ocus on isual cul u e,
c i ical heo y and collabo a i e a is ic p ac ices. He
au ho ed wo books on con empo a y Ca ibbean a .
Cu en ly he coo dina es he esea ch p ojec “Com-
pa ing Wes. Collec i ism, Emancipa ion, Pos coloniali y”.
Re e ences
B ecken idge, J. 2006. “Na a i e Imag(in)ing: Susan
Meiselas Documen s he Sandinis a Re olu ion in

16 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano
Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 16–16
Two Ways. Cul u e o Mig a ion in he Hispanic Insula
Ca ibbean]. San Juan, Pue o Rico: Ediciones Callejón.
Ma ínez San Miguel, Y. 1998. “De ilegales e
indocumen ados: ep esen aciones cul u ales de la
mig ación dominicana en Pue o Rico.” [On Illegal and
Undocumen ed: Cul u al Rep esen a ions o Dominican
Mig a ion in Pue o Rico.]” Re is a de Ciencias Sociales
4: 147–173.
Mille , J. 2012. 1844-2000. A e dominicano. Escul u a,
ins alaciones, medios no adicionales y a e i al
[1844-2000. Dominican A . Sculp u e, Ins alla ions,
Non-Con en ional Media and S ained Glass A ]. San o
Domingo: Code el.
Mohammed, P. 2011. Imaging he Ca ibbean: Cul u e and
Visual T ansla ion. New Yo k: Palg a e Macmillan.
Pu i, S. 2004. The Ca ibbean Pos colonial. New Yo k:
Palg a e Macmillan.
Sa gás, E. 2002. Race and Poli ics in he Dominican Republic.
Miami, FL: Uni e si y P ess o Flo ida.
Shelle , M. 2003. Consuming he Ca ibbean. F om A awaks
o Zombies. London and New Yo k: Rou ledge.
Shelle , M. 2004. “Demobilizing and Remobilizing
Ca ibbean Pa adise.” In Tou ism Mobili ies: Places o Play,
Places in Play, edi ed by M. Shelle and J. I y, 13–22.
London and New Yo k: Rou ledge.
S ephens, M. 2013. “Wha Is an Island? Ca ibbean S udies
and he Con empo a y Visual A is .” Small Axe 17: 8–26.
S ole , A. L., ed. 2013. Impe ial Deb is. On Ruins and
Ruina ion. Du ham: Duke Uni e si y P ess.
To es Saillan , S. 1999. El e o no de las yolas: ensayos
sob e diáspo a, democ acia y dominicanidad [The Re u n
o he Yolas: Essays on Diaspo a, Democ acy and
Dominicanness]. San o Domingo: Mana í.
Wainw igh , Leon. 2011. Timed Ou . A and he
T ansna ional Ca ibbean. Manches e , NH: Manches e
Uni e si y P ess.
made a”” Mi adas. Elek onische Zei sch i ü Ibe ische
und Ibe o-ame ikanische Kuns geschich e 2: 23–31.
Gineb a, F., ed. 2009. A e dominicano jo en: má -
genes, géne o, in e acciones y nue os e i o ios [Recen
Dominican A : Ma gins, Gende , In e ac ions and New
Te i o ies]. San o Domingo: Casa de Tea o.
Guillén, E. 2004. Nau agios: imágenes omán icas de la
desespe ación [Shipw ecks: Roman ic Images o Despai ].
Mad id: Si uela.
Hanne z, U. 1996. T ansna ional Connec ions: Cul u e,
People, Places. London and New Yo k: Rou ledge.
He mann, S. 2012. “Unconscious Cu a ing.” Chap. 6.
In Cu a ing in he Ca ibbean, edi ed by Da id Bailey,
Alissand a Cummins, Alex Lapp and Allison Thompson,
85-97. Be lin: The G een Box.
Howa d, D. 2001. Colo ing he Na ion: Race and E hnici y in
he Dominican Republic. Ox o d: Lynne Rienne Publishe s.
I zigsohn, J. 2001. “Li ing T ansna ional Li es”, Diaspo a: A
Jou nal o T ansna ional S udies 10 (2): 281-296.
Kempadoo, K. 2004. Sexing he Ca ibbean. London and
New Yo k: Rou ledge.
Kempadoo, R. 2013. “Gazing Ou wa d and Looking Back:
Con igu ing Ca ibbean Visual Cul u e.” Small Axe 17:
136–153.
Lynn Lopez, S. 2010. “The Remi ance House: A chi ec u e
o Mig a ion in Ru al Mexico.” Buildings & Landscapes:
Jou nal o he Ve nacula A chi ec u e Fo um 17 (2): 33–52.
Ma ínez-Ve gné, T. 2005. Na ion & Ci izen in he
Dominican Republic, 1880–1916. Du ham: Uni e si y o
No h Ca olina P ess.
Ma ínez San Miguel, Y. 2001. “A Ca ibbean
Con ede a ion? Cul u al Rep esen a ions o Cuban
and Dominican Mig a ions o Pue o Rico.” Jou nal o
Ca ibbean Li e a u es 3 (1): 93–110.
Ma ínez San Miguel, Y. 2003. Ca ibe Two Ways. Cul u a
de la mig ación en el Ca ibe insula hispánico [Ca ibe