Image: Jordi Pou
Design of the poster: MANERA Estudi

Panoràmic, Film, Photography and more festival celebrates its 8th edition from October 10 to December 29. Opening the Granollers exhibitions on October 10, October 24 in Barcelona, and November 14 in Terrassa.

This year’s theme of the festival is linked to the idea of ‘Extrems’, from the extreme violence and totalitarian ideologies of the accelerated 20th century, to the economic and social paradigm changes of the 21st century. Panoràmic 2024 pays attention to the post-historical and post-capitalist society, with new ideologies, utopias and organizational models.

The festival has announced the 8 finalists of the Open Panoràmic, the artistic call for audiovisual projects, which will be part of the festival’s Official Selection. This year, coordinated by Houari Bouchenak and Xavier de Luca from Jiser Association .
The finalist authors are: Joel Jiménez Jara , Ramon Guimarães , Carmen Isasi , Izaro Ieregi , Jean Matthieu Gosselin and Ullic Morard , Miquel García, Aitana López and Osvaldo Cibils .

THE FIRST EXHIBITIONS OF THE EIGHTH EDITION OF THE PANORÀMIC FESTIVAL

Conceptual Ukraine by photographer Boris Mikhaïlov

“The penultimate temptation of an indomitable photographer”, by Boris Mikhaïlov Curated by Iván de la Nuez
Dents de Serra. Roca Umbert. Fàbrica de les arts, Granollers

Boris Mikhaïlov

The Panoramic festival dedicates an exhibition to Boris Mikhailov (Kharkov, Ukraine, 1938), one of the last great photographers of our time. For more than six decades, the Ukrainian photographer, rarely seen and known in our country, has created provocative photography that reflects the progress of his country. Framed in the current of conceptual photography, which opposes the realism imposed by the USSR, his maxim has always been subversion, the representation of a border between reality and fiction of the suffering of his people, through different works, painting the photographs or giving a new treatment to old images.

Boris Mikhailov is not a documentary photographer. The author has always created an alternative reality, rejecting the ultra-realistic documentary character of his images, as he has never hidden the fact that he pays his models for posing or that he alters the images. This praxis expresses his political and social vision, representing “the poverty, the pain, the abandonment, the animality, the detritus” that human beings suffer when capitalism arrives.

The Panoràmic festival inaugurates “The penultimate temptation of an indomitable photographer”, a large-format exhibition curated by Iván de la Nuez, which illustrates the photographer’s return to his native Ukraine, now in ruins. The exhibition illustrates the photographer’s return to a half-baked and abandoned crematorium in Soviet Kiev, a reunion with physical and architectural degradation, just as forceful as that of post-communist Ukraine. The exhibition, mounted in the form of 35 large-sized diptychs, combines the present and the past, and hints at a less encouraging future.

Boris Mikhailov has been awarded, among others, the Hasselblad Prize, and the Citibank Private Bank Photography Prize.

A return to ancestral beliefs from post-apartheid South Africa

“Vannie Kaap” , by Thania Petersen
Dents de Serra. Roca Umbert. Fàbrica de les arts, Granollers

Thania Petersen

With the aim of breaking away from a Eurocentric approach, the Panoràmic 2024 program looks to the southern hemisphere. The multidisciplinary South African artist Thania Petersen (1989, Cape Town), for the first time with a solo exhibition in Spain, addresses through photography, performance and installation the complexity of her identity in contemporary South Africa. The exhibition, entitled “Vannie Kaap” (“from Cape Town in the colloquial African dialect of the region), takes a journey from ancestral beliefs to today’s post-apartheid Cape Town, with the aim of resurrecting erased narratives and reviving figures from the past. She collaborates with artisans, musicians and Sufi choirs from Africa and Asia to dissolve the boundaries imposed by colonialism and re-establish historical narratives, now told with compassion and resistance, not conflict. Critical of contemporary Islamophobia, she highlights the enduring legacy of colonialism, European and American imperialism and the rise of right-wing ideologies, as well as the cultural implications of Westernized consumerism.

Understanding the indigenous knitting from the perspective of codes and algorithms

“Illasamay”, by aruma | Sandra De Berduccy
Curated by Valentina Montero
L’Adoberia, Granollers

aruma | Sandra De Berduccy

Bolivian artistaruma | Sandra De Berduccy, a weaver who works with traditional Andean textile techniques, presents“Illasamay. Tejidos de energía resplandeciente ” , a show that exhibits different textile works of millenary tradition and revitalizes them with the incorporation of modern materials such as synthetic fibers, LEDS and electrochemical and interactive processes to show how energy flows between fibers. Aruma, who is exhibiting for the first time in Spain, presents an artistic proposal that fuses experimentation with historical, archeological, and anthropological research. The artist, who has worked with weavers from all over Latin America, especially with Aymara and Quechua master weavers, specializes in the backstrap loom, in which the loom hangs from a tree branch at one end and is tied to the artist’s waist at the other, a circular movement that gives it energy and makes it part of a living ecosystem.

The neighborhood as a synonym of social hierarchy

“ Distanciaments ” by Ro Caminal (Panoràmic File)
Curated by Mercè Alsina
Tobella Archive, Terrassa

Ro Caminal

Panoràmic File , the project that invites artists to work with historical archives in Granollers, Barcelona and, as a novelty, Terrassa, with the aim of activating their collections and making them visible, will feature an intervention by visual artist Ro Caminal (Barcelona, ​​1966) in the Tobella Archive, which preserves and disseminates a documentary and graphic collection on the history of the city of Terrassa. The exhibition, entitled ” Distanciaments”, deals with the traditional location of social housing on the margins of the city, a geographical disconnection that creates a hierarchy between urban core and periphery that reproduces and maintains social distances. Both newly arrived immigrants and the middle strata of the native population have difficulties in accessing housing. This speculation began during the Spanish dictatorship and continues today more than ever, with the aggravating circumstance that there is now a large and empty housing stock.

The Montseny, from the idyll of the 20th century to the current stress

“ Ombres i clarianes “, by Enric Mauri (Panoràmic File)
Curated by Mercè Alsina
CEC. Photographic archive of the Centre Excursionista de Catalunya, Barcelona

Enric Maurí

The artist Enric Maurí (Cardedeu, 1957) presents “ Ombres i clarianes “, a dialogue between the part of the archive of the Centre Excursionista de Catalunya that refers to the Montseny, and two projects that the artist carried out on the natural space. The project contrasts an idyllic Montseny, photographed in the early and mid-twentieth century by members of the CEC, with a stressed Montseny that is one of the green lungs of the area of influence of the city of Barcelona.