Private view 8 November 2017 at Centre d'Art Santa Mònica, Barcelona

09.11.2017 – 21.01.2018



Private view 19th October 2017 at CENTROCENTRO, Madrid

20.10.2017 – 04.02.2018

Máquinas de vivir. Flamenco y arquitectura en la ocupación y desocupación de espacios es un proyecto en torno al diálogo a tres bandas entre la arquitectura radical, la crítica social y las representaciones flamencas. Curated by Pedro G. Romero y María García.




IMBALANCE, Łaźnia Centre for Contemporary Art, Gdańsk, Poland.
22.09.2017 - 11.11.2017

Imbalance aims to provoke reflections on the potential of art as a useful path for reviewing our conceptions regarding some present-day environmental problems. The exhibition’s approach implies the understanding that our conceptions of natural fact and reality have to be re-examined, on the basis that our current situation of “ecocide” results — either directly or indirectly— from the way in which we have instrumentalized our natural environment. Curated by Blanca de la Torre




09.2017 – TRAFFICKING THE EARTH, a Traces of Nitrate installation of 336 photographs and texts, is now part of the collection of Museo de la Solidaridad Salvador Allende, Chile.




Private view 14th September 2017 at Katherine E. Nash Gallery, University of Minnesota, Minneapolis

14.09.2017 - 09.12.2017

Mobilizing Materialities brings together seven works produced by World of matter, an international art and media project investigating primary materials and complex ecologies in which they are embedded. World of Matter responds to the urgent need for new forms of representation that shift resource-related debates from a market driven domain to open platforms for engaged public discourse. [Installation photo: Frauke Huber]




Private view 7th September 2017 at Museo de Arte Contemporáneo Universidad de Chile, Santiago

08.09.2017 - 12.11.2017

Installation photo: Louise Oates




Private view 30th August 2017 at the Galería ProjecteSD, Barcelona

30.08.2017 - 16.09.2017





Private view 27th June 2017 at the Musée d'Art Contemporain de Bordeaux

4.543 BILLION: THE MATTER of MATTER. Curated by Latitudes
28.06.2017 - 05.11.2017

Installation of A History of Detonations [left wall, top]. Photographs Courtesy: Latitudes/RK

With contributions from more than 30 artists, ‘4.543 billion. The matter of matter’ is an exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.

More images HERE




Private view 14th June 2017 at the Centro de Arte y Naturaleza, Huesca

15.06.2017 - 24.09.2017

Concrete Geographies [Ceuta and Melilla Border Fences]




06.2017 NEW BOOK – IT WOULD NEVER BE QUITE THE SAME AGAIN. Fundació Antoni Tàpies, Barcelona.

Fundació Antoni Tàpies, Barcelona 2017
ISBN: 978-84-945596-4-8
12 pages, 29 x 39.5 cm, softbound
Three editions of 100 copies each in three languages [English, Spanish and Catalan], signed and numbered.

Artist book published on the occasion of the exhibition 1989. After the Conversations of Algiers. Delirium and Truce, curated by Carles Guerra, that took place at Artium, Vitoria-Gasteiz, from the 11th of August to the 16th of October 2016, and at the Fundació Antoni Tàpies, Barcelona, from the 11th of November 2016 to the 15th of January 2017.




Private view 6th June 2017 at the Whitechapel Gallery, London

A HANDFUL OF DUST. A group exhibition curated by David Campany
07.06.2017 - 03.09.2017

A limited edition print to support the Whitechapel Gallery is available for purchase HERE



Private view 17th February 2017 at CentroCentro, Madrid

18.02.2017 - 04.06.2017 CentroCentro

[Installation photograph: Pilar Ortega]




Private view 11th August 2016 at Artium, Vitoria-Gasteiz
Private view 11th November 2016 at Fundació Antoni Tàpies, Barcelona

11.08.2016 - 01.11.2016 Artium
12.11.2016 - 15.01.2017 Fundació Antoni Tàpies

1989 After the Conversations of Algiers. Delirium and Truce is a case study exhibition within Pedro G. Romero's curatorial project 'Peace Treaty', organised as part of the Donosti 2016 European Capital of Culture. The exhibition is hosted by Artium in Vitoria-Gasteiz and by Fundació Antoni Tàpies in Barcelona.

The “permanent ceasefire in armed violence” decreed by ETA in 2011 is the most recent and nearest example of the will to put an end to a period of history scarred by violence. Prior attempts to start a negotiated peace process, such as the Conversations of Algiers (1987-1989), which give this exhibition its title, did not conclude with any type of agreement. Despite all the meetings held between the Spanish government and ETA, peace has been repeatedly put off.




Private view 30th June 2016 at Centro Gallego de Arte Contemporáneo, Santiago de Compostela

30.06.2016 - 02.10.2016

Works by Johan Grimonprez, Thomas Ruff, Thomas Locher, Walid Raad, Jaicer Salloum, Valentín Vallhonrat, Xavier Ribas, Eskö Männikkö and Ana Teresa Ortega. PDF




Private view 23rd March 2016 at La Virreina Centre de la Imatge, Barcelona

24.03.2016 - 25.09.2016

Group exhibition exploring the iconographic photography of Barcelona’s urban development across one and a half centuries of history. The show follows the link between urban transformation – marked by the celebration of various major international events, from the 1888 World Fair to the 2004 Universal Forum of Cultures – and the historic role of photography in shaping public opinion and the general perception of the city throughout this period. It takes us from the emergence of multiple forms of photography technology in the 1850s to the explosion of digital technologies, the Internet, mobile telephony and social media at the turn of the 21st century.



Private view 20th November 2015 at Espai Visor, València

20.11.2015 - 22.01.2016

[Exhibition poster PDF]

Review by Paloma Villalobos at Revista Atlas Imaginarios Visuales, diciembre 2015 [Pdf]
Review by José Luís Clemente in El Cultural, 18.12.2015 [Pdf]



Private view 28th October 2015 at Museo Universidad de Navarra, Pamplona

28.10.2015 - 06.03.2016

MUN, Pamplona




Private view 15th October 2015 at LE BAL, Paris
Private view 6th June 2017 at the Whitechapel Gallery, London

A HANDFUL OF DUST. A group exhibition curated by David Campany
16.10.2015 - 17.01.2016 Le Bal
07.06.2017 - 03.09.2017 Whitechapel Gallery

Installation of NOMADS at LE BAL, Paris [Installation photograph: M. Arguroglo]




08.2015 – NITRATE book, Bronze Laus Prize 2015




07.2015 – NITRATE project joins WORLD OF MATTER, a multimedia project providing an open access archive on the global ecologies of resource exploitation and circulation.




Private view 16th April 2015 at Galeria ProjecteSD, Barcelona

11.04.2015 - 26.05.2015

Review by Ángela Molina at El País 02.05.2015 - [PDF]
Review by Max Andrews at FRIEZE 07.2015 - [PDF]
Exhibition poster designed by Xavier Ribas [PDF]




Private view 10th April 2015 at the Bluecoat, Liverpool.

11.04.2015 - 05.07.2015

The Bluecoat, Liverpool

This extensive collection of photographic and moving image works made across 2009-14 charts the history of nitrate extraction in the Chilean Atacama Desert. A non-renewable natural resource, Nitrate was extensively mined in Northern Chile between the 1870s and 1920s, mostly by British companies who, in a relatively short space of time, transformed a portion of the Atacama Desert into an industrial landscape. Sodium nitrate was traded mainly as a natural fertiliser but it was also used in the manufacture of explosives; a crucial ingredient for the acceleration of both life and death.

A limited edition print to support the Bluecoat is available for purchase HERE

Review by Simon Denison [En]



Private view 27th November 2014 at Centro Andaluz de Arte Contemporáneo (CAAC), Seville

28.11.2014 - 29.03.2015

Invisible Structures [1]. Centro Andaluz de Arte Contemporáneo (CAAC)



06.2014 NEW BOOK – NITRATE. Published by MACBA

176 pages, 23 x 31.5 cm. Softbound (jacket)
ISBN: 978-84-92505-66-1 (English edition)
ISBN: 978-84-92505-53-1 (Spanish edition)
Texts by: Carles Guerra, Louise Purbrick, Andrea Jösch, Max Jorge Hinderer,
Pablo Artaza, mabel Loomis Todd, and Alberto Martín.





Private view 4th June 2014 at the Museo d'Art Contemporani de Barcelona [MACBA]

05.06.2014 - 12.10.2014

Installation views HERE and HERE

This is the first solo exhibition by Xavier Ribas (Barcelona, 1960) to bring together a substantial body of work made by the photographer over the last decade. The exhibition takes its title from his latest investigative project into nitrate extraction. The system of colonial exploitation led by British companies in the Chilean Atacama Desert is a case study whose geographical and historical scope is held to question by Ribas’s photographic practice. This ambitious study, produced between 2009 and 2014, is presented here for the first time along with a selection of his earlier works. The first part of the exhibition – which prefaces the section dedicated specifically to Nitrate – includes four photographs from the Sanctuary series, 2002, and eight series from the most extensive group of works in the artist’s career, Concrete Geographies, 2002–9. Exhibition curated by Carles Guerra.

Review by Laura Vallés at CONCRETA [En] - [Cast]




Edited by Jason Fulford and Gregory Halpern

"The Photographer’s Playbook features photography assignments, as well as ideas, stories, and anecdotes from many of the world’s most talented photographers and photography professionals."

Aperture, 2014.
ISBN 978-1-59711-247-5



Private view 30th May 2014 at the Espai d'Art Contemporani de Castelló [EACC]

30.05.2014 - 31.08.2014

Una voz única e inevitable (2014)

La muestra Vestigios invisibles presenta los trabajos fotográficos de Mark Adams, Ana Teresa Ortega, Xavier Ribas, Ann Shelton y Vicente Tirado que son registros de unos territorios en donde acometieron acontecimientos de los cuales no quedan vestigios visibles que la fotografía pueda retratar. Estas fotografías ofrecen una reflexión sobre la representación del paisaje y su memoria.




Private view 29th May 2014 at the Museo Nacional Centro de Arte Reina Sofia [MNCARS]

30.04.2014 - 22.09.2014

Sundays (1994-1997)

Through a selection of works from different time periods and in different mediums (paintings, sculptures, installations, videos, photographs, archive devices…), this exhibition analyses the socialising, transgressive and political potential of play when it appears linked to public space. The premise of Playgrounds is twofold: on one side, the popular tradition of carnival shows how the possibility of using recreational logic to subvert, reinvent and transcend exists, if only temporarily. On the other side, there has been two fundamental constants in utopian imagery throughout history: the vindication of the need for free time (countering work time, productive time) and the acknowledged existence of a community of shared property, with a main sphere of materialisation in public space.




Private view 18th July 2013 at the Barcelona Museum of Contemporary Art [MACBA]

19.07.2013 - 06.01.2014

Sundays (1994-1997)

The Museu d’Art Contemporani de Barcelona (MACBA) and ”la Caixa” Foundation present for the first time in the city an unconventional story written with the art of today that questions the different episodes of agreements and disagreements between modernity and the avant-garde. While avant-garde and modernity have influenced and altered the conscience of the city since the late nineteenth century to the present, ART, TWO POINTS follows these tensions by confronting works and documents from the past with contemporary creations and new visual languages.




Private view 7th June 2013 at 'Lo Pati' Centre d'Art Terres de l'Ebre

08.06.2013 - 01.09.2013

LC (2002-2003)

The idea of landscape experiences a copernican revolution with the Oscar Wilde essay “The Decay of Lying”, published in 1891. It contains a very famous sentence: “Life imitates art far more than Art imitates life”, according to Alain Roger, one of the key contemporary thinkers on the subject, it represents a founding moment for a new interpretation of landscape as a cultural construction.




Private view 24th May 2013 at the Treignac Project

25.05.2013 - 29.09.2013

Nitrate_Caliche Fields (2010) 22 Pigment prints

An international group exhibition that explores ideas of cultivation with particular reference to Georges Bataille's writings on the Lascaux caves. Artists include: Fabienne Audeoud, Fleur van Dodewaard, Christian Jankowski, Bea McMahon, Kaspar Oppen Samuelsen, Ria Pacquée, Xavier Ribas, Florian Roithmayr, John Russell, Allan Sekula, Morten Torgersrud, Francis Upritchard, Anne de Vries.

frieze, Issue 158, October 2013. Review of the exhibition Oh Chair Oh Flesh, curated by Matt Packer at Treignac Project, by Chris Fite-Wassilak [En]





Concreta 01 recoge una serie de ensayos, conversaciones y proyectos que se aproximan a la idea de desplazamiento entendido no solo como traslación, movimiento u oscilación, sino como posicionamiento estético y político en la práctica artística contemporánea que investiga el territorio como lugar de lo común y espacio de diálogo, pero también como lugar de confrontación.



NEW BOOK – CONCRETE GEOGRAPHIES [NOMADS] - Photo-Eye's Best Books of 2012

"Ribas's intimate exploration — of the rubble, monoliths and sharp edges found at an abandoned industrial site, where the once smooth concrete surface has been violently destroyed in order to prevent the sixty Gypsy families that once lived there from returning — is a sad but striking (and beautifully photographed) testament to displacement and discrimination, subtly discovered by Ribas within the shapes and forms of an easily overlooked contemporary landscape." Aaron Schuman.

84 pages
Page size_ 24 x 30 cm. / 9,5 x 11,7 in.
33 tritone B/W + 3 CMYK photographs
Paper_ Gardapat 13 Kiara 115 g
Hardbound_ cloth

Edition of 687 copies signed and numbered

ISBN_ 978-84-615-7229-8
Published by Bside Books, with the support of the University of Brighton

from My Books Shop





As a response to their lack of visibility, these photographs intend to be statements towards a political cartography of the border fences of Ceuta and Melilla as the very edge of Europe. These two border fences are, perhaps, the contemporary public works that can best define, like monuments to inequality, the European landscape of the 21st century.

64 pages
Page size_ 20 x 16,5 cm.
33 colour + 14 b&w photographs
Soft bound_dust jacket
Text in Spanish only [Pdf English version available from this site]

Published by Universidad de Navarra




Private view 30th March 2012 at the Centro Huarte de Arte Contemporáneo, Pamplona

30.03.2012 - 01.07.2012

Greenhouse (2007), double channel HDV installation, sound, text. 23 min, looped.

Lugares en pérdida permite iniciar un viaje que revisa los sueños utópicos de urbanismos idealizados y aborda las derivas de los escenarios naturales domesticados. Y lo hace a través de la visión de Adrian Paci, Aleksandra Mir, Aleksander Komarov, Beate Gütschow, Caio Reisewitz, Carlos Garaicoa, David Maljkovic, Ibon Aranberri, Ignasi Aballí, Jeremiah Day, Jonathan Hernández, Jorge Macchi, Lara Almarcegui, Lynne Cohen, Marine Hugonnier, Mireya Masó, Patricia Dauder, Paulo Catrica, Raimond Chaves y Gilda Mantilla, Tacita Dean, Xavier Ribas, María Bleda y José María Rosa, y Carlos Irijalba. Una nueva topografía en la que las experiencias, vestigios, posesiones, conjeturas y fracasos componen unos escenarios donde, a menudo, no se distingue lo interno de lo externo, la identidad y el poder, la realidad y la narración y donde el pasado resuena en el futuro. En palabras, de Teresa Blanch, "los lugares han devenido asuntos socio-políticos y bio-políticos, enredados en la trama de sus propias arqueologías e ideologías, que los artistas ponen en revisión."




Private view 31st january 2012 at the Alhóndiga Bilbao

TOPOGRAFIAS DE LA MEMORIA. Fotografías de la Colección Ordóñez-Falcón.
01.02.2012 - 15.04.20-12

Sundays (1994-1997)

Topografías de la Memoria nos acerca a obras de referencia de algunos de los más destacados fotógrafos y artistas visuales, aquellos que con su mirada, han establecido las bases conceptuales de la fotografía contemporánea y de la vídeo-creación. El relato, el itinerario visual, la superposición de geografías tanto personales como públicas, etc. delimitan los contornos de los diversos escenarios de la memoria. Pese a lo breve del período aquí recogido, en su mayoría obras producidas en los últimos 30 años, y de estar enmarcadas dentro de lo que constituye el corpus de una colección, sorprende encontrarse en esta muestra colectiva con buena parte de las tendencias y prácticas discursivas que han marcado en el devenir de la creación artística actual.

Topografías de la Memoria



Private view January 30th 2012 at the Guggenheim Museum, Bilbao

THE INVERTED MIRROR. Art from the Collection of 'La Caixa' Foundation and MACBA
31.01.2012 - 02.09.2012

Sundays (1994-1997)

The Inverted Mirror presents both Barcelona-based collections together outside of their respective venues for the first time. This survey of art from the late 1940s to the present includes painting, sculpture, photography, and video and is organized into six thematic sections: Dau Al Set and El Paso Group; Function and Reenactment in Photography: Landschaft; Function and Reenactment in Photography: The Self and the Other; The Limits of Performance; The Inverted Mirror; and Levity, Gravity, and Other Impossibilities.

The Inverted Mirror @ Guggenheim Museum, Bilbao




Private view 8th Nov 2011 at the Barcelona Museum of Contemporary Art [MACBA]

VOLUME! Works from the Collection of 'La Caixa' Foundation and Macba
09.11.2011 - 23.04.2012

Habitus (2007), 67 C-Type prints size 35 x 43 cm.

Volume! proposes an interpretation of the transition from the 20th to the 21st century based on a paradigm shift in the art in terms of materials, sensory aspects and programme. Questioning the clichés that identify the 80s with the supremacy of painting, the exhibition places the pre-eminence of sculpture and photography at the centre of change at the turn of the new century.

Curated by Bartomeu Marí

Barcelona Museum of Contemporary Art - MACBA




Private view 8th July 2011 at the Stedelijk Museum Amsterdam

09.07.2011 - 31.07.2011

Greenhouse (2007), double channel HDV installation, sound, text. 23 min, looped.

The relationship between humans and nature has been a source of inspiration for many generations of artists. Organized around recently acquired works by Persijn Broersen & Margit Lukács (photo), Zachary Formwalt and Xavier Ribas, Cultured Nature presents video, photography and sculpture expressing very different visions and representations of the artistic genre of landscape and the cultivation of nature.

Artist duo Broersen & Lukács plunge the viewer into a constructed romantic landscape, while Formwalt critically addresses the connection between picturesque city parks and press and media images. In his video installation, Xavier Ribas shows how food production has radically redefined the landscape of West Friesland.

Shown alongside these three acquisitions is a selection of works from the collection in which artists construct, analyze and idealize nature and landscape. Cultured Nature traces the development of this theme from the 1970s to the present day. Included are Gilbert & George (who often picture themselves against the backdrop of the English landscape), as well as Adam Bartos, Ania Bien, Jan Dibbets, Richard Long and Robert Smithson. A section of the exhibition also highlights contemporary photography by Wout Berger, Jitka Hanzlová, Torbjørn Rødland, Johannes Schwartz and Wolfgang Tillmans.
Cultured Nature is an associative selection of works from the collection that envision the inspiring, capricious, contradictory and playful relationship between nature and culture.

Curated by Hripsimé Visser

Stedelijk Museum Amsterdam




Private view 10th March 2011 at Virreina Centre de la Imatge, Barcelona

11.03.2011 - 12.06.2011

"Curated by Carles Guerra and conceived as a ‘historical essay’, ‘1979, a Monument to Radical Moments’ is inspired by Peter Weiss’s The Aesthetics of Resistance (1975–81), a three-volume novel set between 1937 and 1945, which addresses the transformative power of culture. Like Weiss’s book, Guerra’s exhibition, which includes the work of 70 practitioners, concentrates on the confluence between art, politics and the worker via art, film, photojournalism, propaganda, archival material and everyday objects such as Billy, the shelf designed by Gillis Lundgren for IKEA in 1979. Guerra has treated every object on display equally, including reproduced art works and facsimiles of documents, embracing Weiss’s engagement with the ‘poor image’ manifested in the explorations by the novel’s characters of art works only available through reproductions." [Frieze review by Anna Colin]




Private view 16th Novembre 2010 at the Jerwood Space, London

17.11.2010 - 12.12.2010

Nomads (2008), 35 pigment prints size 59 x 75.5 cm, Google Earth composite, text.

With projects from Dakar, Barcelona, Shanghai, Dresden, California and London, This Must Be the Place, part of the Jerwood Encounters series, highlights the importance of location for today’s photography. As art reinvents itself as a context for experimental documentary practices, David Campanyi has brought together an international range of artistsii making work in a variety of forms: digital slideshows, films, composites, artists’ books, installation, photographic sequences, image/text and imagery derived from the internet. Whether surveying a city for its specific character, unearthing a hidden past, speculating on the future, or looking at the effects of globalization on particular sites, This Must Be the Place is a timely assessment of how we understand locality, and a suggestive indication of the place of photography in contemporary art.

Featuring works by: Camille Fallet, Mimi Mollica, Xavier Ribas, Eva Stenram, Lillian Wilkie, Tereza Zelenkova and David Campany.

Curated by David Campany

Jerwood Space




Private view 17th September 2010 at the Centro de Arte 2 de Mayo [CA2M], Madrid

18.09.2010 - 09.01.2011

MMDCCLXI A.V.C (2008) 3 C-Type prints size 121 x 155 cm each (triptych), text.

Before Everything is an attempt to delve into current artistic production from Spain. The exhibition, in which 56 artists will participate, will occupy the Center in its entirety. Undertaken by the exhibition’s curators Aimar Arriola and Manuela Moscoso, the selection does not set out to offer a totalizing vision of the here and now of Spanish art, but rather to confer an unprecedented level of visibility to productive modalities that have developed in specific locations in Spain; it will attend to the diversity of languages and ways of making art that have characterized the last 20 years. The recent change of decade offers an opportune moment to formulate an exploration of what’s to come and to take a look at the languages and ways of operating that have marked recent art.

Curated by: Aimar Arriola and Manuela Moscoso

Centro de Arte 2 de Mayo [CA2M]




Private view 20th June 2010 at Virreina Centre de la Imatge, Barcelona

21.06.2009 - 05.09.2009

LC (2002-2003), 22 C-Type prints sizes 47x39 cm and 47x57 cm.

Xavier Ribas documented the state of La Catalana neighbourhood over the course of 2002 and 2003. Urban decay and the systematic abandonment of public services had turned the area into a semi-functioning ruin. The twenty-two photographs that form his LC series show a devastated territory in its death throes. The exhibition is accompanied by historical documentation, videos and maps.

Curated by Carles Guerra. Documentation: Carmen Cazalla




Private view 9th June 2010 at the Museo de la Ciudad, Madrid

PROFECIAS. Un diálogo entre la fotografía española del siglo XIX y autores contemporáneos
11.06.2010 - 25.07.2010

Ceuta Border Fence (2009), 26 C-Type prints size 71 x 89 cm.

La exposición Profecías, un proyecto del Fondo Fotográfico de la Universidad de Navarra, es un diálogo entre el origen y el presente de la fotografía. La muestra incluye un centenar de fotografías del siglo XIX -obras maestras de la fotografía española-, y los desarrollos fotográficos de 13 autores contemporáneos que han creado nuevas obras a partir de una revisión de estas piezas.

Joan Fontcuberta, Roland Fischer, Bleda & Rosa, Lynne Cohen, Sergio Belinchón, Xavier Ribas, Jordi Bernadó, o Gabriele Basilíco son algunos de los autores que han construido su propio diálogo con la fotografía del siglo XIX, escogiendo para ello álbumes, autores o temas presentes en la colección histórica del Fondo Fotográfico, y subrayando en numerosas ocasiones el carácter profético o anticipador de los pioneros de la fotografía.

Curated by: Rafael Levenfeld and Valentín Vallhonrat

PhotoEspaña 2010




Private view 7th October 2009 at Belfast Exposed. Belfast, Northern Ireland

08.10.2009 - 24.11.2009

A solo exhibition by Catalan photographer Xavier Ribas, held jointly at Belfast Exposed and PLACE. The exhibition focuses on recent work presented in grid format and draws on Ribas’ longstanding interest in urban structure, archaeology and anthropology. The exhibition is presented in the context of Belfast Exposed’s ongoing examination of the city through archive and gallery projects, which explore social and political currents in ‘post conflict’ Belfast and the complex relationships between past and present, inscribed on public, private and commercial spaces.

Belfast Exposed




Private view 29th September 2009 at the Stanley Picker Gallery, London

30.09.2009 - 21.10.2009

Thresholds (2001-2002) 8 C-Type prints size 81 x 106 cm.

Strange Places brings together 11 international contemporary artists who propose an alternative mapping of the globalized urban condition. Whether gazing at ambiguous thresholds on the edges of the city, or tracing liminal spaces in its centre, these photographs explore themes of place, identity, boundaries and the uneasy encounter between land and built environment. The images do not capture urban life as action, but meditate on the spaces where it unfolds. What arises from this observation of traces and aftermath is a poetic quality hinting at the potential beauty of the most unlikely places.

Curated by Alexandra Stara

Stanley Picker Gallery, Faculty of Art, Design & Architecture. Kingston University




Private view 12th June 2009 at the George Eastman House, Rochester
Private view 9th September 2009 at the Aperture Gallery, New York

NATURE AS ARTIFICE. New Dutch Landscape in Photography and Video Art
George Eastman House 13.06.2009 - 16.08.2009
Aperture Gallery 10.09.2009 - 29.10.2009

Greenhouse (2007) 2 channel HDV installation, sound, text. 23 min, looped

Nature As Artifice places a new image of the Dutch landscape over and against the old ̂‘DutchDuyt Dutch landscape that is familiar chiefly from 17th century Dutch painting. Nature As Artifice stimulates the formation of a new mental image of a landscape which has changed radically in its function over the last century, and has thus also altered in its appearance.

The Netherlands boasts excellent landscape photographers who have thoroughly and competently examined the landscape over the last three decades, visualising it in an inspired manner in photography (and an occasional video work). They have in common their interest in the changing ways that the Dutch shape and use their landscape, coupled with a new manner of photographing and filming. Nature As Artifice is the first survey of their work, in the form of an exhibition and a book, both the result of extensive research. This research was financed in part by a research grant from the Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB).

Curated by Maartje van den Heuvel




Private view 14th May 2009 at the Barcelona Museum of Contemporary Art [MACBA]

TIME AS MATTER. MACBA Collection. New acquisitions 22
15.05.2009 - 31.08.2009

Sundays (1994-1997)

The exhibition features a presentation of the priority lines of interest and research at the MACBA in this new stage, initiated in 2008. While over recent years the Collection has started to gather together documents that function as works of art (Grup de Treball, Tucumán Arde (Tucuman is Burning), works by collectives of artists and activists and so on), this has not implied forgoing the collection of great works by significant artists of our time. Alongside the abundance of fragments, it is important to consolidate nuclei of singular and complementary works that can express discourses on the nature of artistic creation and the historical moment in which we live. The MACBA is ideally placed to build a collection which explains the passing from the 20th to the 21st century, which begins with formulations of the final utopias of the last century and speaks of its crises, and then follows the present century, with its complexities and contradictions.

Curated by: Bartomeu Marí and Antònia Maria Perelló

Museu d'Art Contemporani de Barcelona [MACBA]




Private view 22nd October 2008 at the Barcelona Museum of Contemporary Art [MACBA]

UNIVERSAL ARCHIVE. The Condition of the Document and the Modern Photographic Utopia
23.10.2008 - 06.01.2009

Habitus (2007), 67 C-Type prints size 35 x 43 cm.

This exhibition analyses the idea of a document in the history of photography on the basis of the study and staging of a number of debates about the genre during the 20th century. With the aim of assessing various hypotheses about the meanings and mechanisms of the documentary, it traces a historical itinerary that gets under way with the beginning of the hegemony of photography in the illustrated press in the first third of the 20th century, before arriving at the purported crisis of photographic realism in the digital era at the end of the century. For all that, the exhibition is not a history of the genre, nor does it exhaust its possible definitions, but instead attempts to study how the photographic document has been constituted — in a consistently ambivalent and polemical way — in certain historical contexts.

Curated by Jorge Ribalta

Museu d'Art Contemporani de Barcelona [MACBA]




Private view 11th June 2008 at the Kröller Müller Museum, Otterlo
Private view 21st October 2008 at the Neue Pinakhotek, München

NATURE AS ARTIFICE. New Dutch Landscape in Photography and Video Art
Kröller Müller Museum 12.06.2008 - 28.09.2008
Neue Pinakhotek 21.10.2008 - 18.01.2009

Greenhouse (2007) 2 channel HDV installation, sound, text. 23 min, looped

Nature As Artifice places a new image of the Dutch landscape over and against the old ̂‘DutchDuyt Dutch landscape that is familiar chiefly from 17th century Dutch painting. Nature As Artifice stimulates the formation of a new mental image of a landscape which has changed radically in its function over the last century, and has thus also altered in its appearance.

The Netherlands boasts excellent landscape photographers who have thoroughly and competently examined the landscape over the last three decades, visualising it in an inspired manner in photography (and an occasional video work). They have in common their interest in the changing ways that the Dutch shape and use their landscape, coupled with a new manner of photographing and filming. Nature As Artifice is the first survey of their work, in the form of an exhibition and a book, both the result of extensive research. This research was financed in part by a research grant from the Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB).

Curated by Maartje van den Heuvel




Private view 22nd July 2008 at the Centro Gallego de Arte Contemporaneo [CGAC], Santiago de Compostela

23.7.2008 - 05.10.2008

Mud (2006) 30 C-Type prints 50 x 60 cm.

No es la primera vez que nos topamos con el concepto de archivo y documento como espina dorsal de un proyecto expositivo, en tanto que referencian historia, memoria, pasado, consolidan presente y catapultan futuro. Aunque sí nos encontramos con una orquestación diferente siguiendo el discurso del propio proyecto de La Sombra de la historia. Los contextos que vienen, el proyecto que completa la trilogía (consecutiva en años desde 2006) del Proxecto-Edición que podemos ver en el Centro Gallego de Arte Contemporáneo estos primeros meses del año. Se reflexiona también sobre la manipulación del archivo y la construcción de realidad, sobre la autoría, la veracidad y crédito totalitarista de imágenes que nuestro ojo obliga a nuestro cerebro a creer, el almacenamiento y la difusión de documentos, la edición de los mismos o el exceso no sólo cuantitativo, sino cualitativo. 

Curated by Manuel Olveira

Centro Gallego de Arte Contemporáneo [CGAC]




Private view 9th May 2007 at the Fundació Espais, Girona

10.05.2007 - 23.06.2007

Invisible Structures (2006-2008) 19 C-Type prints size 120 x 155 cm.

Invisible is everything that is not perceptible through sight. Invisible also refers to what is imperceptible to our way of looking. Therefore a dual condition of invisibility emerges: that which has to do with sight, the physical incapacity to perceive some of the rays of the electromagnetic spectrum, and that which has to do with our way of looking, how our conceptual, cultural, psychological and personal baggage impedes us from seeing certain things. The works that make up this exhibition move between these two extremes.

Curated by Lluís Sabadell i Artiga

Fundació Espais




Private view 1st November 2007 at the Lewis Gluckman Gallery, Cork

BEYOND THE COUNTRY. Perspectives of the Land in Historic and Contemporary Art
02.11.2007 - 02.03.2008

Mud (2006) 30 C-Type prints 50 x 60 cm.

How does landscape relate to land? Do they refer to the same thing? How can representations of the land or the countryside carry positive and/or negative implications? Juxtaposing 19th and early 20th century paintings with contemporary art, the exhibition Beyond the country examines different ideas of the land and presents new ways of approaching its visual codes.

Curated by René Zechlin and Matt Packer.

Lewis Glucksman Gallery