PhotoEspaña has launched its annual festival in Madrid, featuring nearly 100 exhibitions showcasing over 300 visual artists. The programming explores themes of reimagination through works ranging from Alejandro Cartagena’s border studies to Laia Abril’s portraits on endometriosis, spanning various venues across the Spanish capital through September.
What are the central themes of PhotoEspaña this year?
The festival’s programming is loosely organized under the concept of reimagining. This theme is anchored by a diverse group exhibition featuring 13 distinct projects that explore different approaches to the photographic medium and its subjects.
Individual artists within this group show use varied lenses to examine modern life. Txema Salvans presents Wreckage of a Catastrophe, which offers a caustic look at the decline of road travel. Jon Gorospe utilizes audio and video in The Grid to study commuting routines, while Aleix Plademunt uses black-and-white photography to examine the colonial gaze in the Peruvian rainforest. Additionally, Eduardo Nave’s Espacio Disponible series documents rusting billboards to highlight the transition from physical to digital advertising.
The festival’s scale is massive, involving nearly 100 different exhibitions across Madrid and other regions in Spain, making it one of the most significant photography events in Europe.
How is the US-Mexico border depicted in current photography?
At Fundación Mapfre, photographer Alejandro Cartagena presents an expansive overview of his career. His exhibition focuses on the physical and psychological effects of the US-Mexico border through three specific series: Invisible Line, Between Borders, and Los Americanos.
Cartagena describes the border as a force that actively erases identity. According to the artist, the “jagged lines” and “massive concrete walls” serve to separate cultures and create an obsession with being distinct. He notes that the physicality of the wall causes individuals to become “generic” and “no one,” effectively dissolving the concept of personhood for those living around it.
How do photographers address physical pain and social protest?
The festival features works that move beyond traditional aesthetics to address visceral human experiences. At the Museo del Romanticismo, Laia Abril presents seven life-size portraits that explore the effects of endometriosis. Her subjects, including six women and one trans man, are captured in the specific postures they adopt to manage physical pain.
Abril explains that the portraits are taken from above to reference the “out-of-body experiences” associated with chronic pain. The triptych presentation is intended to mirror the internal struggle between bodily resilience and the need to disconnect from intense physical suffering.
In a different approach to social engagement, Rafal Milach uses his exhibition at Circulo de Bellas Artes to challenge traditional spectatorship. Milach avoids what he calls “boring” protest photography by utilizing the Archive of Public Protests. This platform uses banners, murals, and newspapers to address political tensions in Poland and Eastern Europe, aiming to strengthen solidarity networks rather than just providing static images.
Comparing Photographic Methodologies: Avedon vs. Frank
PhotoEspaña also includes retrospectives of two canonical photobook creators, highlighting how different technical approaches can achieve similar historical relevance. While both Richard Avedon and Robert Frank testified to American realities that bypassed political rhetoric, their methods were opposites.
| Feature | Richard Avedon | Robert Frank |
|---|---|---|
| Equipment | Large format camera | 35mm Leica |
| Workflow | Used a team of assistants; portraits could take up to two days. | Arrived unannounced; worked swiftly and moved on. |
| Exhibition Venue | Fundación Mapfre | Espacio Fundación Telefónica |
Despite these technical differences, both photographers achieved their most significant impact through book form. Their work remains relevant because it captured authentic social truths during the Cold War and the Reagan era.
Because PhotoEspaña exhibitions are spread across multiple venues like Fundación Mapfre and the Fernán Gómez centre, plan your route in advance to maximize your time in Madrid.
What can be learned from Viviane Sassen’s retrospective?
The “Lux and Umbra” exhibition at the Fernán Gómez centre explores the career of Dutch photographer Viviane Sassen. Her work is characterized by a “restless eclecticism” influenced by her childhood in Kenya and her background in fashion design and surrealism.
Sassen’s visual language often relies on ambiguity. Her use of “umbra,” or shadow, functions both literally and metaphorically, appearing in her work as either staged or natural. This ambiguity extends to her recurring themes of death, sexuality, and mourning, which are presented without definitive conclusions.
Frequently Asked Questions
What is the main theme of PhotoEspaña this year?
The festival is centered around the theme of “Reimagining,” featuring various projects that explore new approaches to subjects and the photographic medium.
Which major photographers are featured in the festival?
Featured artists include Alejandro Cartagena, Laia Abril, Viviane Sassen, Rafal Milach, Richard Avedon, and Robert Frank.
Where are the exhibitions located?
Exhibitions are held at various venues in Madrid, including Fundación Mapfre, Museo del Romanticismo, Fernán Gómez centre, and Circulo de Bellas Artes.
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