“La Panadella” is a geographic (due to its location and its role as a passageway) and temporal (due to its aesthetics and nostalgic atmosphere) island where life manifests through moments, cycles, and silences. It is a place where different times, stories, and records coexist—a place haunted by its past, caught between existing and being forgotten.

This small village in the Anoia region of Catalonia bears scars that suggest a life seemingly suspended, while also reflecting a socio-cultural context of a ‘dead’ Spain, a mythology of oblivion caused by displacement.

Joel Jimenez Jara aims to metaphorically inhabit the memory of the landscape, establishing a connection with its inhabitants and visitors to explore sensory experiences and reveal the atmospheres where stories, myths, imagination, and reality coexist.

Joel Jiménez (Costa Rica, 1993) is a multidisciplinary artist living and working in Spain. His practice operates at the intersection of documentary and action, exploring the intersections between history and environmental psychology. Jiménez incorporates collective memories, histories, myths and the emotional resonance of space to disrupt linear historical narratives and examine the traces of trauma and power that shape our relationship between past and present. Her work analyzes spaces with layered histories, evolving identities, and stagnant conditions, providing a platform to reflect on the complexities of human relationships with the environment.

Jiménez’s projects span diverse media, including installations, film and books.

Accompanied by a visceral mix of natural elements and sounds of war, Kintsugi immerses us in the chaos and beauty of opposing forces. This dissonant symphony offers a bucolic perspective on the battlefield. Kintsugi confronts us with the dichotomy of ‘peace’ and ‘war,’ alternating these words in white and red on a black background. The words are displayed rapidly in twenty-one sentences about war and peace, creating a cycle of repetition. As the speed gradually decreases, the viewer can reflect on the profound statements about conflict and the quest for peace. The speed then increases again, mirroring the cyclical nature of extremism and polarization in society. Concurrently, an image of a sewing machine appears intermittently, using a golden thread to stitch together the flags of Israel and Palestine, among others. A weaver appears to carve and sew the flags with the golden thread, creating a patchwork flag symbolizing unity through the Japanese kintsugi technique. This juxtaposition of war’s brutality with peace’s idealism invites contemplation of the fragile balance between destruction and creation, chaos and harmony, and the possibility of healing and reconciliation amid extremism’s fractures.

Ramon Guimarães (Barcelona, 1968). He studied Fine Arts at the University of Barcelona, where he developed the ability to merge theory and practice, shaping his vision of art as a means of social intervention.

With a multidisciplinary approach, in his artistic practice lies the construction of fluid and dissident identities. His actions act as tools to trigger provocative dialogues and challenge conventional perceptions. To this end, he invites the audience to actively participate in the creation of new narratives, breaking with rigid structures and encouraging diversity of perspectives, awakening consciences, encouraging critical reflection and generating meaningful reflections on contemporary issues.

He has presented his performative works at MACBA, Arts Santa Mònica and Homesession in Barcelona; La Laboral in Gijón, Matadero in Madrid; ARBAR, la Muga Caula in Girona; and, Aire in Santiago de Compostela among others.

Trump’s presidency highlighted the appeal of populist authoritarianism for a significant portion of North Americans. The response to the attack on the US Capitol signifies the consolidation of this movement.

Politics has become binary, viral, and unreflective.

The election of political leaders is crucial, and understanding life and education is key to the future of democracy.

Political confrontation now relies on basic identities, simplistic assumptions, kitsch aesthetics, and procrastination. Polarization permeates all discussions—political, intellectual, social, artistic—fostering hatred, political and social exclusion, and prioritizing money as a fundamental value.

Trump is a significant symbol.

Trump Park: Donald Trump’s Intimate Photo Album is a graphic exploration by Jean-Matthieu Gosselin and Ullic Morard that denounces the absence of debate, political violence, ‘consented fascism,’ media monopolization, and pervasive falsehoods.

The album reflects on the words of Abraham Lincoln: ‘No man has a long memory for lying.’

Jean-Matthieu Gosselin (Libourne, 1960). Graduated in museology and art history (École du Louvre and Sorbonne). He worked for years as a journalist, editorial manager and, later, as Director and CEO of publishing houses in France, Italy, Spain, and Mexico.

In 2013, he suffered a big stroke. Over the next five years, he underwent a long rehabilitation at the Madrazo Medical Center in Barcelona. In 2015 he began phototherapy courses; then in 2017 and 2018 he followed “The professional photography studies course” at the Grisart Escola Internacional de Fotografía – Visual Culture Tech Education in Barcelona, from which he graduated.

His photographic works have been exhibited in different contexts and countries:

During the “Off” of Les Rencontres de la Photographie d’Arles 2019 as part of the La Roquette exhibition organized by “Regards Mémoires”; at the Grisart photography school (Barcelona, 2020 and 2022), with “No Surrender” (on his rehabilitation), then “Memorial Drive”; at the Panoràmic Festival (Granollers-Barcelona), 2020, with “No Surrender”, and in a summarized version at the Lumínic Festival (Sant Cugat, 2021).

In spring 2022, he presents “Memorial Drive” (on memory, artistic and aesthetic memories) in Barcelona, and then “Before memories fade” (on Barcelona its photographic territory) at BdB, still in the Catalan city; in the autumn of 2022, he exhibits this latter in Belmont-de-la-Loire in the Auvergne-Rhône-Alpes region in France; it will be exhibited in 2023 in the Rhône department in the town of Cours.

In May 2023 he exhibited his work “Au nom de l’amitié” (on his vision of the spiritual) at the Prieuré de Grandmont located in Villeloin-Coulangé (France); exhibition which will be presented in Sainte-Suzanne in the 1st quarter of 2024. He exhibited “Memorial Drive” at Les 54th Rencontres de la Photographie d’Arles 2023.

In July 2024 he exhibited in Las Corts in Barcelona a new work: “Getaway Memories”; and in October he will present “Before memories fade” in Fouchères-Saint-Valérien (Yonne – France).

Ullic Morard (France, 1980) born in France in 1980, lived most of his life in Italy, where he studied at the Faculty of Architecture of the Polytechnic of Turin. Then he took photography courses, including workshops with the “American agency Seven”. He graduated from the “Narrative Itinerary Course of the Grisart International School of Photography” in Barcelona in 2018.
For 16 years and the years 2008 he has been producing series of photographs including his project “Dark Night” completed in 2015, followed by participation in the “The Others” festival in Turin in 2015, then in the “Head On” photography festival in Sydney in 2016, which concludes the festival’s Finalist Awards.

He participated in a group exhibition at the 2018 “Turin Photography Festival”.

He participates in the “Off” of Les Rencontres de la Photographie d’Arles 2019 as part of the La Roquette exhibition organized by “Regards Mémoires”; the same year, Ullic worked on documentary projects: a report in Cambodia, then one in Ceylon, followed by reports in the Australian desert.

In 2020 he participated in an exhibition in France, in Annecy; and in 2021 he exhibited at the “Head On” photography festival in Sydney.

In 2022 he participates in a group exhibition in Annecy.

He presented a new work “Tesseract” during Les 54th Rencontres de la photographie d’Arles 2023.

Through his academic training Ullic approaches architecture, geometry, the purity of lines, textures, as well as nocturnal appearances, particularly in the landscape.

“A Piece of Paper” is an 8-minute video that examines a job layoff. Using real footage combined with AI-generated images, the video plays with form and choreography, as well as still and moving images, to highlight and critique the violence inherent in corporate language.

Aitana López (Madrid, 1994) is a Spanish artist working between Rotterdam and Madrid. She studied Fine Arts at the Complutense University of Madrid and the University of Paris 8, later obtaining an MA Fine Arts at the Piet Zwart Institute in Rotterdam.

Drawing on her own work and personal experiences, her work is based on a critique of the patriarchal and neoliberal values that surround us. With a language that lies between the audiovisual and the plastic, her practice also proposes an active reflection between form and content.

His work has been exhibited and screened in different art spaces and independent film festivals such as MediaLab Prado, Embajadores cinemas in Madrid, the Eye Film Museum in Amsterdam, WORM Central Station in Rotterdam or Frihamnstorget in Stockholm.