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12 exhibitions in Barcelona

Nils Aksnes

What We See Is What We Know

Hajnal Szolga

Golden Spike

Ashima Rooted

It all Leads to the Same Way

Martha Isabel Calle

Nacer en el vacío

Pawel Kula


Bruna Valença

Cloud Head

Costanza Valderrama

Rewilding Memories

Bridget Conn



Share, Tag or Dye Again

David de Flores

Diario de un viaje

The climate and ecological crisis is the central issue of our time. Our collective response to it will define the ability of future generations to live and thrive on this planet. How should photographers respond to this crisis? The landscapes that we delight in and often make images of are being altered by our wastefulness and our over-consumption. I invite visitors to this exhibition to consider their relationship with both materials and landscapes.
The cameras and images I make evoke the landscape in which they are created, using materials that are to hand. Often these are waste materials brought ashore by Atlantic storms on the west coast of Scotland. Central to this work is a consideration for what happens to materials when the objects that they create are no longer needed.
My images are neither of the object, nor the landscape, but instead address the way in which one becomes the other. Materials are combined as they are in the landscape around us. What is natural and what is human-made is not easily unpicked.

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Nils Aksens
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Katie Bret-Day

As the climate disaster rages on, our focus still lies above ground. Lividity comes at a time the ocean needs to be given greater visibility. The work uses archives in collaboration with technology and hybrid techniques to reimagine an ocean floor that is already dead. The work uses experimental practices to investigate the reality of what is happening to our liquid ecosystems alongside speculation as to the future of these spaces. Lividity uses process led photography to create a new environment from this fragmented study of deceased endangered and fictional ocean bodies. The work examines how processes can lead thoughts and ideas to be realised through images. It is not only about how we make images but what those choices come to represent and how we can use this to highlight change.

Coddiwomple is an informal verb that means “to travel in a purposeful manner towards a vague destination”. This site-specific photographic work embodies this term as I explore my everyday surroundings. I aim to be playful, I choose to respond to my immediate environment and emotions at the time, to put unpolished whims on display, and work at regular intervals to break past habits of artistic stagnation. This work is the embodiment of a journey and a practice, with a future unwritten.

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Bridget Conn
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In the Anthropocene, called the new geological age, man rises above everything, takes control of the environment, exploits raw materials, while maintaining the appearance of freedom, continuing modern-day slavery. Golden Spike based on the narrative of the "post-Anthropocene" aims to point out, in addition to the fact of climate change and global environmental damage, a capitalist, colonialist attitude that has been repeated countless times throughout our history but is also taking place in our present. The work thus presents a post-human way of seeing, where it represents the aesthetics of post-colonial collapse through the critique of the gaze that has become a machine. In this way the critique of the writing of history and science is formulated, we delve into the deep layers in search of an explanation, while superficial problems have long exceeded the horizon of our solution possibilities.

Hajnal Szolga

PIN-ANIMA is a show of my experiments with multi-lens cameras inspired by the experiences of 19th-century pioneers of chronophotography: E. Muybridge and E. Marey. It is also a show of the cameras themselves as objects and flipbooks created on the basis of a series of photographs. Such cameras have many interesting possibilities. These primitive devices that I use for photography can create images that turn into short film sequences. A pinhole camera with one lens creates an ordinary timelapse, but thanks to the use of solarigraphy, this animation can show unusual passages of time. It is not only an animation in time, but thanks to the appropriate construction of the device, it is also a journey in space. I am currently looking for a new path, experimenting with camera sizes, animation speeds and direct positive techniques.

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Pawel Kula
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Ingrid Dorner

Liminal wants to prove that nothing is fixed. Everything is destined to be destroyed or disappear. Each image tells this reality, this truth. Using a chemical photographic process that allows the gelatin to be lifted off, moved and recomposed on the paper, I try to interpret the dramatic metamorphosis of a world in images. Pure faces decompose, bodies are eaten away and sucked up by nature, young silhouettes disappear, translucent and fragile. Through touches of light, however, the image reveals a glimmer of hope and optimism. But I don’t deny that there is a certain provocation in my approach... that of blurring lines... of creating uncertainty, doubt, confusion, discomfort. Even if my series are often different, in the way they are rendered or in their experimental approach, that red thread of doubt is always present. So ultimately, maybe my work delivers that universal message that we are never sure of anything... that the truth belongs to nobody. In any case, there is the desire to provoke philosophical reflection. Or – why not – to create a philosophical sensation, a little bit of existential vertigo.

The exhibition is composed of three series: the Tetris, This poem is about me and (Un)affectionate objects of belonging

The Tetris, photographs take the shape and form of Tetris blocks, thereby exploring notions of identity and self-image. Raizada was prompted by the coexistence of multiple virtual personalities, the idea of who I am and who I present to the world, among other things.

This poem is about me and is an expression of how the self became a sacred space for Raizada during the coronavirus pandemic. “The fragility of one’s mental space and the burden of overwhelming thoughts are some of the ideas explored in this work, using materials like stones, hair strands, rose petals and photographs of an eye,” Raizada explains.

(Un)affectionate objects of belonging translate the idea of paradox using found/feminine objects while also pushing the boundaries of how the medium of photography is perceived. The venue, being a dance studio, has a history of bodies creating meaning through movement. “It is a fascinating opportunity for us to build on this history while presenting Raizada’s ruminations on the human body,” says Srinivas Aditya Mopidevi, curatorial advisor of the project.

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Ashima Raizada
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At the beginning of the COVID-19 pandemic, I began a series using Self-Portrait as a tool to investigate my mental state. I was diagnosed with PTSD and started recording my days on Polaroids through Emulsion Lifts. I had the impetus to transform the image with my own hands. If I don't like an idea, why don't I like it? And if I deconstruct it whole, what does it become? The result has been therapeutic. Hybrid Photography is a revolution as it appears at a personal, intimate moment of usually pain and discomfort and naturally evolves into a healing place. Through alchemy, I can create a map of my mind since the colours, textures, stains, the decay of an image, each element and support to which I transfer the work to reflect a little about how I find myself at the moment. My creations are photographs that are constantly being born and dying, physically changing themselves. The focus of my work is to continue using the body and mind as tools, bridges of inspiration to interpret and translate into images the crossing of the fields of Psychology and Photography. Deconstruction to Reconstruction.

Bruna Valença

Share, Tag or Dye Again is a program-context for coagulating the dialogue between Romanian and international artists, other cultural agents and the general public, through a hybrid online and offline structure, involving both professional and non-professional audiences. Amateur, along with the general public. Do you sometimes feel that the time you spend on social media promoting your work is much longer than the time you spend on your actual work, and yet your work is still not seen? We question the role of social networks in our daily lives, using cyanotype, a photographic technique that is almost two centuries old. We put together a big batch of contributions that will come together to culminate in an installation.

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Nacer en el vacío is a work of research, experimentation and healing in which I work with plastic and digital intervention, through a process of appropriation of the family photographic archive, integrated into performative actions, photomontages, collages, juxtapositions, videos and writings that They make up an installation made up of five moments: “the void takes life”; “album, living matter”; “life-death-life”; “we are ghosts” and “reviving the dead”. In these works, I have interwoven the traces that are reconstructing the story of my life linked to death. Thus, the "ghostly presences" narrate the way in which a family secret is hidden and revealed.

Martha Isabel Calle

Rewilding Memories is based on the understanding of photography as a substantially material medium despite the current digital context. Through various experiments, the artist highlights the process of incarnating images in different supports, to activate latent characteristics of the photographic medium; such as flexibility, organicity, uniqueness and even the idea of the ephemeral.

Thus, conversations between digital images-archives and manual strategies single out and embody what photographs are, stressing the traditional definition of photography as a mechanical and reproducible medium. At the same time, the use of low-resolution files, daily themes and light, simple and precarious materials act as a kind of “disobedience” to the standardized and conventional way of doing photography, as well as to the elitism and high standards to which this is generally embedded.

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Constanza Valderrama
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My name is David. Diario de un viaje is the chronicle of the journey, a vital path that begins the moment we decide to start a family. A path in which, since the children arrived, life as a couple has been completely devastated and erased from the map as if a meteorite had fallen on a territory invaded and recolonized by them. In this context, of constant and increasing intensity, parenting, with the pandemic involved, has sometimes been an earthquake, where the friction between siblings and between us has put us on the brink of the abyss on several occasions. These emotional upheavals, while pushing us over the edge, have made us find ways to transcend them and find the harmony and peace we need to continue being a family. In the end, it wasn't about changing things, it was about changing ourselves, be it your partner or a child. And there, nature arose, the earth as relief, as an escape valve where internal tensions can be loosened and find the necessary silence for everything to rest. And in that calm is when I see how each of my children is taking part in this life, following their own path. It is then when I vibrate inside. Something is reborn in me and it's just wonderful, just looking at them.

David de Flores
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