Genesis
In his new photo book, Genesis, Guatemalan photographer Juan Brenner explores the people of the Highlands, the evolving culture, and the connection to the land. Genesis is a complex narrative that includes an observation of the outsider who lived in New York and worked in the fashion industry for ten years, as well as the perspective of an insider, a Guatemalan, and his return to his homeland. The concept of belonging and self-identification becomes an intrinsic part of the narrative that is woven through the chapters of the book.
Focusing on the youth, developing the project for over five years, Juan researched the process of identity formation driven by the new generation, which is shaping dialogue and forming a different connection with the wider world. As Juan explains, “What really interests me is how today’s youth are creating a new cultural identity that honors their local traditions while also embracing global narratives and aesthetics. This generation is the first to genuinely connect with peers around the globe, creating an understandable dialogue.”
In this interview, we discuss with Juan his decision to return to Guatemala and work on the photo book exploring his homeland and culture. The conversation covers the youth of the Highlands, the history of the Spanish invasion dating back to the 16th century, and the self-identification of the new generation today. We close the conversation by speaking about the printed edition, the 300 rolls shot in the process, and the work on the layouts creating the story or the moment in the history of the Guatemalan people.
Juan Brenner is a self-taught photographer who currently lives and works in Guatemala City, where he opened a design studio with his partner. His first monograph, Tonatiuh, won LensCulture's 2019 Emerging Talent Award. The new photo book Genesis, published by Guest Editions featuring 360 pages, is available for purchase.
Photography by Juan Brenner Represented by Rocket Science TOBE Gallery Segismundo Published by Guest Editions Essay by Julio Conversation with Gem Fletcher Editing by Juan Brenner Editing and design by Thomas Coombes Guest Editions Copy by Suze Olbrich Printing by Gomer, Wales, UK Publicity by New Dimension Special Thanks to Ollie Plumb and Ben Goulder
‘This journey made me confront my identity as a mestizo and the difficult concept of belonging, recognizing that I may never fully fit in.’
The Artist
Hi Juan, it’s so lovely to speak with you again. Congratulations on your new photo book, Genesis, published by Guest Editions!
The first topic I want to discuss is your return to Guatemala after working in New York as a fashion photographer for ten years. You worked on Genesis for over five years, taking images of people of Guatemala and the country’s Western Highlands area. What was the experience of coming back to your homeland, and how have your perceptions changed or been enriched by being able to portray the land and the people from the perspective of an insider but also, in a way, an outsider, someone who lived in a different country for some time? Perhaps also raising the theme of belonging as raised in a conversation with Gem Fletcher that you include in the closing of the book.
So great to be back. Thanks so much for this. It’s really nice to have the space to talk about the work.
Returning to Guatemala was a complicated journey. I didn’t plan it; by the end of my time in New York, my lifestyle choices had made my situation dangerous. I came back to Guatemala for a few months to regain control of my life and essentially to save myself. It was tough to accept that I wouldn’t be a fashion photographer anymore. The market here didn’t match the level I was used to in New York, and I didn’t want to struggle to recreate that kind of work. Daily life here moves at a different pace, which is challenging for someone as hyperactive as I am. I spent a lot of time reflecting on what I saw as a 'failure' — my career and the projects I had hoped to pursue. I faced a significant creative block and felt pressure not to let my creativity fade. It was frustrating to have ideas but be unable to act on them.
Eventually, I started a design studio with my partner, which became my main source of income. It also allowed me to engage with photography again, particularly through a client who was a photography curator. This led to travels in South America, where I experienced the incredible strength of indigenous cultures. This exposure inspired me to explore the concept of 'indigenous power' in Guatemala, a country rich with diverse influences. However, I felt lost and confused, as my background was solely in fashion photography, and transitioning to documentary work felt daunting.
In 2017, I began researching and interviewing people about power, luxury, and modernity. A pivotal conversation with an indigenous anthropologist shifted my perspective. He remarked that indigenous people would only hold the power that 'the white man' allowed. Those words shattered my original project, but they pushed me to keep researching. The history of the conquest of the Americas fascinated me next, though I found the scope of such a project overwhelming. I had never undertaken a personal project before, and I had to motivate myself to start somewhere.
That’s how my first monograph, Tonatiuh, came to be. I decided to follow the journey of Pedro de Alvarado, the conquistador of Guatemala, during his campaigns in 1524. This experience allowed me to explore the highlands more authentically and collect images. However, I quickly encountered deeper realities that diverged from my initial vision for Tonatiuh. I identified crucial images that were foundational to another potential project, Genesis; but I knew I couldn’t focus on both simultaneously. So, I prioritized completing Tonatiuh first.
Working on Tonatiuh provided me with valuable insights and a sense of security. I began to understand the territory better and evolved as an artist, learning to embrace the blend of magic and reality in this complex landscape. I realized I needed to adapt to situations rather than force them. This journey made me confront my identity as a mestizo and the difficult concept of belonging, recognizing that I may never fully fit in.
As I reflected on my photography, I asked myself: “Am I really a photographer?” That’s when I decided to shoot all my projects on film. This slower approach allowed me to reconnect with photography and appreciate the intricate relationship between my vision and the act of capturing images in a landscape that is both beautiful and perilous — yet one that I feel deeply connected to.
‘In the Highlands of Guatemala, I see young people striving to carve out their identities in today’s world, blending their rich culture and traditions with the tools that modern times offer them.’
The Youth
Re-discovering your country and its people with a focus on youth leads to creating not only a documentary of the society at the given time and place but also a point in time that manifests the future of people, aspirations, and hope. Through weddings, celebrations, cultural gatherings, even fighting activities, and the moments from the day to day you meet people and learn about their lives. What have you discovered about the youth of Guatemala in the process of working on this project?
Kids will always be kids, no matter where they are. Our brains are wired in unique ways, and as we transition into young adulthood, everything changes. In the Highlands of Guatemala, I see young people striving to carve out their identities in today’s world, blending their rich culture and traditions with the tools that modern times offer them. It’s a fascinating mix.
It’s important to recognize that the local timeline here doesn’t always match up with the fast pace of progress seen in other parts of the world. The Mayan post-war generation in the Guatemalan highlands marked a turning point, especially economically. But what really interests me is how today’s youth are creating a new cultural identity that honors their local traditions while also embracing global narratives and aesthetics. This generation is the first to genuinely connect with peers around the globe, creating an understandable dialogue.
There’s often concern that some traditions might fade as young people focus on new ideas of progress. However, from my conversations with them, I can say that these kids in the highlands have a remarkable grasp of both their history and the present. They’re aware of what the future might hold and are actively engaging with it.
‘The best way to spot this metal was through people’s smiles, which added a poetic touch to my understanding of the project.’
Dental Labs
In Genesis, as also in your previous work, we see fascinating images of teeth, grills, and complete dentures. Teeth are part of identity that could be chosen, changed, or reshaped. Teeth also connect to personality and bonding through such a simple thing as a smile. What is it about teeth that draws your attention, and how has this theme developed throughout the years?
I first encountered grills and metal dental work while working on Tonatiuh. Initially, I was searching for gold — thinking I would find flashy watches and chains. I did come across some, but it was when I started noticing dental work that something clicked for me. The best way to spot this metal was through people’s smiles, which added a poetic touch to my understanding of the project. It felt friendly and welcoming, especially since it was a fresh perspective for the people in the mountains — someone interested in their smiles and the stories behind them.
At first, I was shy about getting close to people. I worried about invading their space and facing rejection. But when people saw photographs of others’ dental work and how they shined, they became excited about posing. Then the pandemic hit, and everyone started wearing masks that covered their mouths. I found myself waiting over a year to reconnect with people and see those smiles again.
That time was not wasted, though. It allowed me to dive deeper into the fascinating circular story that dates back over 2,000 years when Mayan royalty adorned their mouths with jade, conch, and bone. Today, a new generation in the highlands is embracing dental adornments, referencing a different era of cultural influence. Instead of only honoring their past, these young people are also connecting with global urban tribes through music genres like Hip Hop, Reggaeton, and Corridos Tumbados.
I stopped shooting for this project in 2023, but I can’t help but see how this phenomenon has evolved over the past two years. I also see it becoming more common in the city, reflecting the migration from the highlands and showing how normal this practice has become among the youth in the area.
‘I shot over 300 rolls of film, and it became increasingly difficult to know when to stop. As I revisited places and situations I had already photographed, I noticed how different they had become.’
The Printed Edition
Let’s discuss the work on the printed edition, landing on the final selection of over 250 images and deciding how to build sequencing to tell the story. How was the process for you, especially as you had to go over five years of work and probably an enormous amount of images?
It was a complete and utter nightmare. I shot over 300 rolls of film, and it became increasingly difficult to know when to stop. As I revisited places and situations I had already photographed, I noticed how different they had become. The ever-changing nature of the highlands revealed that some of my images were becoming obsolete. I realized I needed to conclude my shooting and begin the editing process immediately.
I started with an initial pool of 700 scans. Once I displayed these on the walls, the reality of my constant shooting over the past three years hit me hard. Changing my mindset during the editing phase proved challenging. I also recognized that this book did not require the 'minimalistic perfection' of my previous projects. Instead, I was faced with a unique set of challenges; such a large collection of images brought complications beyond my previous experience. However, I understood that this work was an archive — a significant collection representing a small moment in our history. To make sense of these new challenges and my evolving understanding of the territory, I decided to divide the work into a minimal number of groups. I aimed to find common ground, not based on the sheer quantity of images, but by establishing harmony within broad, simple categories. This approach made it easier to identify each image’s place in the overall narrative, supported by clear conceptual pillars.
The book is divided into five chapters. The first chapter presents daily life situations involving people. The second chapter features 'classic portraits' of the characters in this theater of life known as the Guatemalan Highlands. The third chapter focuses on the theme of 'bling,' exploring the idea of opulence through an obsession with metal and shine, as well as contemporary codes of communication in music, art, and fashion. The fourth chapter examines the Urban Landscape, particularly how concepts of progress, such as construction and infrastructure, intersect with nature and the sacred mountains. Finally, the fifth chapter highlights accidents, or what I refer to as B sides — images that may not be the most aesthetically pleasing but reveal a more authentic and visceral side of the highlands. This darker conclusion to the book feels necessary. While I didn’t capture everything I encountered, I believe the body of work presented in this book reflects all the energy and effort I invested.
I’m truly pleased with the results and grateful I decided to go all in with this project. Now, holding the book in my hands, I can finally breathe. The process was incredibly stressful, managing the technical aspects of such a large collection of files — color corrections, texts, translations, design, and file uploads. It was an intense experience. But as I flip through the pages of the final book in my hands, I feel a sense of relief and excitement. I can’t wait for the book to be released. This project represents more of me than people might realize; it is truly the book I’ve always wanted to make.
