21 Exhitibions in Barcelona
21/07 Opening Monday 19:00hs
Curator: Andrés Aguilar Caro
27/07 Finissage Sunday 18:00hs
22/07 Opening Tuesday 19:00hs
Clara Garrido
23/07 Opening Wednesday 19:30hs
Agate Tūna
Marc Ávila Català
Caroline Roberts
Ella Morton & Dale Rio
Francesco Amorosino
Activity coordinated by Maria Solaguren-Beascoa Negre
Marta Fàbregas
Ralph Nevins
Giorgia Pinzauti & Tommaso París
Rob Macdonald
Javier Talavera
Kei Ito
Kevin Hoth
Séverine Chauveau
Sibux & Jordi Bofill Cunillera
Sofia Silva
24/07 Opening Thursday 19:30hs
Ludovica Bastianini
Wai-Hang Siu
Curators: Arantxa Berganzo & Astrid Jacomme
Coordinadora: Célica Veliz
BienCuadrado Gallery Art
Instant Flashes, Urban Traces
Instant Flashes, Urban Traces is an exhibition that seeks to break the barriers of traditional creation by merging the immediacy of instant photography with the ephemeral presence of street art. The exhibition invites experimentation and creative freedom, exploring authenticity and transience in the metropolitan landscape. The selected artists are Alex Mehiel, Andrea Cassady, Anika Neese, Clare Bailey, Cromwell Schubarth, Erin O'Leary, Felicita Russo, Gabi Torres, Jennifer Rumbach, Polaroscope, Mila Nijinsky, Natalia Romay, and Paolo DellaCiana.
Experimental HUB
World of Illusion
"World of Illusion" is an artistic project that explores the limits of visual perception through an amalgam of photographic and creative techniques. In this work, Clara Garrido combines light painting, photomontage, long exposures, and landscape photography, creating a visual universe where the real and the imaginary merge organically. What distinguishes this project is the personal and experimental approach the artist adopts: she mostly travels alone, immersing herself in new places that, in some way, allow her to deeply connect with the environment and with her own creativity. Upon arriving at these destinations, Clara lets her artistic instinct guide the direction of her work, without restrictions, which gives each image a unique and unpredictable energy. This approach not only seeks to capture the essence of landscapes but also to transform these scenes into dreamlike worlds, where reality is distorted and imagination expands, creating a visual experience that invites reflection between the real and the unreal.
Grains of Sands and Screens
Grains of Sand and Screens is a video artwork by Agate Tūna that explores the shape-shifting identity of silicon, an element found in many forms, from sand and quartz to glass, bones, and microchips. Moving between the natural and the technological, the bodily and the digital, silicon serves as a connector between seemingly opposite worlds. Through a combination of scanned chemigrams and AI generated movement, the work draws visual and conceptual parallels between the organic growth of crystal structures and the fluidity of digital media. It invites viewers to reflect on how deeply silicon is embedded in both our physical landscapes and virtual realities. How do materials hold memory? Can a mineral dream, record, or summon? Through a rhythmic interplay of image and motion, Tūna invites us to look into the ghostly traces and energetic pulses that emerge within the infrastructures we so often overlook.
Museum of Stones
Museum of Stones is a personal reflection on memories and the human connection to landscape. The artist was the kind of child whose pockets were always full of stones gathered from liminal spaces like beaches and rivers. When she visits family and friends she still finds herself picking up rocks as talismans of a moment in time. During lockdown she started drawing the rocks, thinking about those memories. Starting from cyanotypes Caroline evolved her process, adding a base of silver gelatin paper for more color, and using a combination of masks and chemistry to make the forms and textures. The results are a balance of chaos and control that create textures mimicking the sedimentation and erosion processes of rocks. Museum of Stones is not a traditional museum but rather a collection of objects with personal significance, linked to places and people, inviting contemplation on how memory makes ordinary places special.
Fragments from a Torn Earth
Fragments from a Torn Earth explores the fragility and volatility of extreme landscapes through new works by Dale Rio and Ella Morton. In 2024, Dale documented the volcanic landscapes of Sicily, Italy, while Ella captured the contrast between the cold, arid deserts of Svalbard, Norway, and Atacama, Chile. Ella employs experimental techniques such as mordançage and film soup on large-format film to create surreal color shifts and emulsion lifts. Her work showcases landscapes of melting glaciers, floating ice, salt flats, volcanoes, and desert stars, reflecting the power of the earth and the rapid changes it is undergoing due to global warming. Meanwhile, Dale’s work explores how time manifests in volatile landscapes through sequenced images and photo installations that express the concepts of chronos and kairos. Both works address themes of deep time, human and non-human collaboration, and humanity’s relationship with the earth amid the ongoing climate crisis.
Kaleidocity
This project combines photography, graphics, video art, music, and games, offering a multifaceted artistic experience. It merges several photographic series by Amorosino, accompanied by original electronic music composed by Stefano G. Falcone, creating a dynamic dialogue between visual and auditory elements. The central series of the project, Mirage, consists of black-and-white mandalas, meticulously crafted by multiplying and merging copies of the same architectural photograph. These intricate compositions evoke a sense of rhythm and repetition, transforming urban structures into hypnotic patterns. In addition to the visual and musical elements, Kaleidocity also includes an interactive component: a card game inspired by the Mirage series. Each mandala is deconstructed into nine individual pieces that can be rearranged in multiple ways, allowing participants to create an ever-changing, infinite puzzle. This playful approach reinforces the project's theme of transformation and reinterpretation, encouraging viewers to engage with the artwork in a hands-on and immersive manner.
Placenta Sinestetica
Placenta Sinestetica is a photographic project that explores the deep connection between the human body and the natural environment. Inspired by Fellini’s reflection on reality, the project unfolds in the thermal springs of Sorgeto, Ischia, and in the canals of Venice. Through a collective ritual of immersion in the thermal waters, the participants aim to experience a state of pure consciousness, free from ego interference, observing nature without judgment. The black-and-white portraits of the bodies and their interaction with the landscape are complemented by psychedelic visions created through digital work. The photographs are “painted” with thermal and lagoon waters, then left to rest in a dark place for six months, allowing mold to grow on them. This process creates unexpected shapes and colors, merging human intention with natural effects.
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Blueprints
In the context of engineering and architecture, the term blueprint is commonly used to refer to any type of plan or detailed graphic representation. In this broad sense, it designates any technical image that contains detailed information about an object or structure. Blueprints is an exercise in reflection on the body and its representation, a search for what persists beyond physical presence. The proposal takes shape through a series of 1:1 scale cyanotypes, the result of a process involving essential elements such as sunlight, seawater, and the bodies themselves. The imprints of the body, turned into vestiges, move between presence and absence. Identity is no longer defined by individual features but by the accumulation of forms that belong to no one and, at the same time, contain us all.
My Irradiated Friends
My Irradiated Friends is an exploration of the invisible and the enduring. Through camera-less photographic techniques, performances, and artifacts, the project confronts the legacy of nuclear trauma, uncovering hidden stories and personifying the generational impact of radiation. As a third-generation survivor of the atomic bomb, Ito’s work emerges from a deeply personal experience. From birth, when his grandfather ensured he had no congenital defects, Ito’s work has explored mutation—first as a childhood fantasy, then as a painful reality upon witnessing his grandfather succumb to cancer. The true mark of radiation does not end with the explosion; it extends through genes and generations. My Irradiated Friends captures the shadows of these “irradiated mutants,” blurring the line between illusion and reality. These works stand as monuments to inherited trauma and present-day nuclear tensions, inviting audiences to honor the memories of both historical and contemporary nuclear tragedies.
Les Instants Physiques
Kevin Hoth's work explores the vital role of flowers in nature, often symbolizing purity, hope, and comfort—particularly in times of grief. His interest in this theme deepened in 2016 when he observed the presence of flowers in hospital settings, offering a sense of solace and resilience. This experience influenced projects such as Flowers for M and Freshly Shredded Flowers, ultimately leading to Immortal Chromatic. In this series, he incorporates images of flowers that retain their color even after death into large-scale instant film mosaics. His process begins with a photograph of a floral arrangement, which he fragments and transfers onto instant film tiles. Each fragment is manipulated using sunlight and heat, creating visual "scars" that transform disruption into an expressive, creative act. Over eight years of working with instant film, Hoth has developed a distinct visual language, referring to these works as Polawrongs, Hotharoids, or Les Instants Physiques.
(16) PSYCHE
The exhibition maps a journey where critical minerals float like fragments of an expanded geopolitics. These materials, essential to digital infrastructure, have not only transformed the terrestrial landscape but also shaped new ways of inhabiting it, replacing the experience of the world with its exploitation. Cosmic landscapes evoke the unreachable. The barren surface of celestial bodies becomes a mirror of our own desertification—emotional, cognitive, relational. On this journey, the binary becomes a projection of our otherness turned into a sign, confronting us with the image of our technological body. This transition has led us from the organic to the algorithmic, from presence to automation. Is an encounter with the other still possible, or must we accept that we are heading toward an electronic synapse? There are no definitive answers here—only a territory where the tension between longing and absence sharpens the consequences of an accelerated time. Where hyperconnectivity erodes the sense of human presence, we witness an irreversible shift in how we experience reality and face the unknown. Excerpt from a curatorial text by Isabel Hernández
Portrait of the Experimental 2024 Family
This installation is the result of a performative and collective action carried out during the V Experimental Photo Festival 2024. 80 artists, participants, and collaborators joined in the creation of a collective portrait—not from a figurative image, but from the shared experience and the physical trace the body leaves on the photosensitive space. The work consists of four large cyanotype fabrics, each preserving the unique imprints of a specific moment of participation, recording not only shapes but also energies, relationships, and shared decisions. There is no single authorship: each mark is the result of multiple presences and simultaneous actions, making this piece a literal and symbolic manifestation of what it means to be a community. More than an image, this collective portrait is a material and emotional memory. It is the echo of a community gathering around photographic experimentation as a vital, playful, and political act. Photography ceases to be a technique of capture and becomes a shared, processual, and expanded experience.
Musas: Mujeres que nos Inspiran
Musas: Women Who Inspire Us is a series of portraits of incarcerated women at the Brians 1 Penitentiary Center in Catalonia, created by artist, activist, and feminist Marta Fàbregas. As part of the "Traspasando el Objetivo" project by the SETBA Foundation, Fàbregas conducts portrait photography workshops for the inmates. The project aims to improve participants’ self-esteem and enhance their job reintegration, resulting in a series of images that explore empowerment through photography. After carefully selecting portraits she takes of them, on the final day, the artist uses her own technique, "Transphotography", a variant of photographic transfer, to create these unique large-format pieces that combine collage and textures, all sewn onto a canvas with string. With these unique pieces, Fàbregas positions these women as muses, thus bringing visibility to women as a collective and returning them to the light. The artist donated these pieces to the SETBA Foundation.
Slices of life
Images from the cameras I currently create use discontinued 1xN Sony linear sensors. The internal processing utilizes STM32 realtime processors with software, circuits & circuit boards designed explicitly for these cameras. The output of these cameras can be thought of as one dimensional movies where the frames are stacked next to each other. The resulting images can be imagined as X*T(time) when the sensor is in the vertical position. The resulting images are, to some extent, serendipitous, you only know if you have something interesting once it is viewed on the computer. Video to Still use free software and programs of my own creation to produce the resulting images. Video are created using Gopros & Nikon Z cameras(so far).
City of Ghosts
In City of Ghosts Rob Macdonald merges object and image with experimental photogram technique to create a visual language that reflects the tension between the benefits of tourism and its impact on local communities. Colour digital images taken in cities including Madrid and São Paulo are transformed into monochrome prints in the darkroom, combined with plastic signs that are turned into graphic black-and-white outlines. The series plays with patterns, lines, and structures that interrupt the image, creating a new aesthetic that explores the relationship between tourism and the city. The human figures are intentionally ambiguous, and the vintage signs from the 1960s evoke a romanticised view of travel in the past, serving as commentary on the contemporary reality of protests against mass tourism.
The Shape of my Memories
In this exhibition, the artist explores the relationship between photography and memory, questioning what is remembered, what is forgotten, and what is chosen to be preserved. She raises questions about truth in memories: does it reside in the precise details of an image or in the sensations that linger in the mind? The artist reflects on how photography is often considered a faithful representation of reality, even though time affects both the image and its process and photosensitive material. Usually, a photograph evokes a memory, but sometimes the memory no longer aligns with the captured image. For this reason, in this exhibition, she reverses the usual process: instead of starting from an image to remember, she uses photographic material to create "memory-objects," pieces that reflect her memory more than reality. Thus, her work transforms photography into a personal interpretation of time and memory.
Génesis: Fotografía de un Futuro Alternativo
A science fiction photography exhibition born from the encounter between two image artisans within the Foto Experimental community. Together, they imagine a dystopian future, a scenario where society survives on the fringes of high technology and with scarce resources. In this context, photographic communities become key, bringing together photographers, chemists, scientists, artists, and environmental advocates. Together, they rescue ancient photographic processes, using sunlight to print on plant-based surfaces, creating photosensitive objects with natural products, and refurbishing mechanical cameras. Four photographic techniques capture the essence of light and its influence on our world. With SIBUX and their cyanotypes, anthotypes, and chlorotypes, plus the instant solarigraphs with a lens by JB Cunillera.
Receptacle
—information transmitter—
Receptacle is a series about trees as ancient inhabitants of the planet. They are containers of information passed down from generation to generation, which we can turn to. They are the key to a prosperous and virtuous life; their seeds encompass the continuity of what is embodied. They transmit a teaching of unity, of shared identity for an inherent agreement. Trees are antennas to which we can reach out to teach us how to live and walk our path. By listening to their messages, we let go of our miserly and connect with our heart. By honoring their presence and persistence, we understand our place in the world.
The Cruelty of Grace
In this work, the artist creates a poetics of home, exploring dead objects, historical memories, and the feelings connected to them. She transformed fabrics, clothes, and old photographs, combining them with objects found in flea markets, such as wedding photos, portraits of women dedicated to domestic life, and soldiers in their uniforms. Through these elements, an uncomfortable contrast emerges between the fragility of feminine grace and the violence implicit in its imposition. The pieces in the series, which include sewing needles, broken glass, and other domestic objects, show wounds and fractures, reflecting a beauty that conceals suffering. Additionally, pieces of colored leather from her father’s work are incorporated, giving the work a personal and intimate character. The piece invites reflection on rights won through effort and the need to preserve and improve them in the future.
Customers
In this project, Wai-Hang Siu collects thermal paper receipts from individuals of diverse backgrounds, transforming these everyday transactions into intimate and singular portraits. Unlike conventional darkroom reproductions or digital prints, thermal receipts possess an irreproducible quality. Over time, they fade, reflecting the ephemeral nature of both the material and consumer habits. Each receipt, generated in a unique transaction, becomes a fleeting yet distinct record of consumption. The series examines the evolution of consumer behaviors, showing how identity is continuously shaped within capitalist culture. At the same time, it challenges traditional notions of photographic preservation and reflects on the materiality of photography in the contemporary era.
Echoes of the (in)visible
Curators: Arantxa Berganzo & Astrid Jacomme
What do rivers, mountains, and valleys sound like? And what about deforestation, pollution, and massive construction? Does the water flowing in rivers sound the same as the water that cools nuclear power plants? The dichotomy of Man's relationship with nature is disconcerting: they admire its beauty, but not enough to avoid storing radioactive waste in its depths or razing its forests to build concrete towers. Human artifacts take their place, while the original vegetation vanishes, transforming humans into masters of a domesticated, denaturalized, and arid territory.
"Echoes of the (in)visible" takes us on a journey through natural, abstract, and sonorous landscapes, to reflect on the visible and the invisible, and also to question the mark we are leaving on our environment. Do we really want that to be our legacy? We cannot look away from the ecological crisis we are living. It's time to act before the beauty of nature fades, as if it were an anthotype.
Collective of Processes
During their stay, each resident had one day to lead a theoretical and practical workshop in which they explained an experimental technique to the rest of the group. The residency aimed to create a small horizontal community of collaborative learning, where eight different techniques were explored, rather than serving as a space for each participant to individually develop their personal projects. The residency concluded with a group exhibition that showcased the learning process of the various techniques, rather than the final results, and was presented on the ground floor of the Institut d’Estudis Fotogràfics de Catalunya during the Experimental Photo Festival in Barcelona.
Coordinator: Célica Veliz
Artists: Annette G. Parra, Cara Coombe, Estefanía Montenegro, Juan Carlos Rodríguez Ogarrio, Lilian Barbon, Lorenzo Angelo Vecchio, Lucía Néspolo, Pilar Vezzani.
+ Visiting all exhibitions is free and there is no need to reserve tickets.