The exhibition is divided into 5 axes:

Prisons: they represent one of the oldest and most painful restrictions, not only because they are spaces that deprive of freedom but also because of the harassment of the watchman, the caretaker or the jailer, currently accompanied by cameras and video surveillance monitors of all kinds. First, they strip you of the fingerprint itself, then the image, and finally the name. The prisoner is a number, a subject who is under an attentive and constant gaze.

* With images of the La Modelo prison in Barcelona and its inmates, provided by the Democratic Memorial. . Images from El asesino de Pedralbes (Herralde, 1979) Salvador (M. Huerga, 2007) La Vampira de Barcelona (Ll. Danés, 2020)

Hospitals: We are also often denied privacy in specific situations in the name of our own interest (what a terrible expression!): for example, in hospitals and asylums, where we have access to certain care in exchange for always being in sight and under the criteria of professionals, inside and out. The rest of the patients are inevitable witnesses to this situation. As is the case at airports and other spaces where humiliating inconveniences designed for the docility of the individual and not so much for one’s own safety have been ritualized, the health space deprives us through a robe and insurmountable limits of basic freedoms that we deliver in the name of our own self-interest.

* With images of Mones like Becky (J Jordà. 1999)

Childhood: through institutions such as boarding schools or in practices such as religious initiation, she has come to know the fact of sacrificing her privacy as a tool for control and integration. Military institutions, in this sense, have been an example: nothing that happens there is intended for personal growth or retreat. Quite the contrary. Many works of fiction have reflected the importance of escaping these childhood intruders through art, excess, or rebellion.

* With images from the Barcelona Photographic Archive and photographs by Xavier Miserachs.

Public space: “The walls have ears” is an expression that used to be used to warn us of spies and gossip. Today, the walls have endless eyes and no one escapes. Public space sees nothing as alien, does not know the right to privacy and, in it, confuses “being” with “exhibiting”. On the street we are the target of anyone, whether we are in traffic or sleeping in an ATM or appear framed in our own window. Fifty years ago, the paparazzi understood the streets as a showcase. Today we do it all: corporations, authorities, influencers, tourists, artists and the curious. We’ve all become applied gossipers, accidental spies, and notaries without a career in history.

* With images of Txema Salvans Prostitutes on the roads, Joan Colom and Agus Prats. Film and video images: Barcelona Show (Carles Barba), El alegre paralelo (Ripoll Freixas and M. Ramon).

The Album: “To invent the train is to invent the train accident,” as the philosopher Paul Virilio put it. Well, to take a picture is to share it. Even if we plan to reserve it for our album or our secret box, all the captured images exist to be shared and their circulation will be inevitable, even if we don’t want to. The images, in pixels or on paper, end up being part of a fascinating public domain, a collective album full of beautiful errors and hilarious horrors that has its own hunters, thieves, collectors and collectors.

The exhibition is divided into 5 blocks composed of hundreds of images printed in mural format that recreate the visual imaginary to which they refer, both from the world of art, cinema and / or advertising. These murals are printed on glued paper and will fit the size of each center. The murals are accompanied by 4 audiovisuals showing the cinephile references.

Assembly requirements:

• Exhibition hall of minimum 30 m² and maximum 100 m² that can be glued or vinyled to the walls.
• 4 TV
• Table and display cases for books

The educational proposal is aimed at ESO, Baccalaureate and other educational environments and is driven by the Exit.

It takes the form of a “Pedagogical Device” that:

• It offers an educational itinerary with various moments (discovery and stimulation, creative action, visit-conversation and closing and assessment) that involve an experience of interaction with the exhibitions.

• It is based on the potential of art as the engine of learning and the expressive abilities of people.

• It is flexible and adaptable to the needs of each context and the interests of each group.

• It combines virtual and face-to-face sessions and receives the support and accompaniment of the Panoràmic educational team.