Aina Albo Puigserver (Palma, 1982), in El Esquivo Rayo Verde (2022), a two-dimensional work with a sculptural character, she uses materials and a geometric language inspired by elements of the landscape and forms of nature to express emotions, sensations and the astonishment produced by the contemplation of it.

Aina Albo Puigserver (Palma, 1982), en El Esquivo Rayo Verde (2022), obra bidimensional con carácter escultórico, se sirve de los materiales y de un lenguaje geométrico inspirado en elementos del paisaje y en formas de la naturaleza para expresar las emociones, sensaciones y el asombro que le produce la contemplación de la misma.

Erola Arcalís (Menorca, 1986) creates fictional narratives with a work that deals with the representation of memory and mythology. In her series Pecio (y otras utopias) (2017-2022), she rewrites a popular history, based on collected objects, the vestiges of an event and a familiar landscape, creating ephemeral sculptures that she then photographed as a still life.

Erola Arcalís (Menorca, 1986) crea narrativas ficticias con una obra que versa sobre la representación de la memoria y la mitología. Reescribe en su serie Pecio (y otras utopías) (2017-2022) una historia popular, a partir de objetos recogidos, los vestigios de un acontecimiento y de un paisaje familiar, originando esculturas efímeras que luego fotografía como naturalezas muertas.

Marta Armengol (Mallorca, 1988), multidisciplinary artist, experiments with the possibilities of materials and with the process in the conceptualization of spaces and objects. In The Third Fold (2020) she does it with borosilicate glass, blown and not blown, creating a beautiful structure, the result of chance in part, that sends us to cosmic worlds.

Marta Armengol (Mallorca, 1988), artista multidisciplinar, experimenta con las posibilidades de los materiales y con el proceso en la conceptualización de espacios y objetos. En The Third Fold (2020) lo hace con el vidrio de borosilicato, soplado y no soplado, creando una bella estructura, fruto en parte del azar, que nos remite a mundos cósmicos.

The works of Maria Bernat Caro (Sóller, 1997) want to challenge the viewer and make him reflect on different issues. Ajuda’m a Dormir (2022) is a sculptural piece inspired by a children's story that invites us to stop and reflect on the way we live in today's society.

Las obras de Maria Bernat Caro (Sóller, 1997) quieren interpelar al espectador y hacerlo reflexionar sobre diferentes cuestiones. Ajuda’m a dormir (2022) es una pieza escultórica inspirada en un cuento infantil que nos invita a pararnos y reflexionar sobre la forma en que vivimos en la sociedad actual.

Marina E. G. (Menorca, 1991) combines individual artistic practice with collective and also with artistic education so that her projects are not framed in a single discipline. Explores the body's relationship with nature, human emotions and stories. Untitled, (2020) made in collaboration with Cristian P. Coll under the artistic name ONION, is a video-recorded performance in which we talk about vulnerability, time, life and death of bodies and nature.

Marina E. G. (Menorca, 1991) aúna la práctica artística individual con la colectiva y también con la educación artística de manera que sus proyectos no se enmarcan en una sola disciplina. Explora la relación del cuerpo con la naturaleza, las emociones humanas y los relatos. Sense títol, (2020) realizada en colaboración con Cristian P. Coll bajo el nombre artístico ONION, es una performance recogida en vídeo en la que se habla de la vulnerabilidad, del tiempo, de la vida y la muerte de los cuerpos y de la naturaleza.

Rosa Antònia Fiol (Sa Pobla, 1999) is interested in space, materials and manual work. Interested in movement, A Través (2022) creates a scenographic space through which you transit. It is a sculptural work inspired by the act of weaving where she experiments with the possibilities of iron.

A Rosa Antònia Fiol (Sa Pobla, 1999) le interesa el espacio, los materiales y el trabajo manual. Interesándose por el movimiento, con A través (2022) crea un espacio escenográfico por donde transitar, es una obra escultórica inspirada en el acto de tejer en la que experimenta con las posibilidades del hierro.

Nathalie Kertesz Maor (Jerusalem, 1974. Lives in Ibiza) uses textiles for her creations, not only for their tactile and aesthetic condition but with narrative intent, in works that explore issues such as time, memory or power. Manipulating materials and transforming them into “relics”, intervening in public spaces and architecture, the textile sculpture Times (2021), made with a construction network, is installed for the first time inside a gallery.

Nathalie Kertesz Maor (Jerusalén, 1974. Vive en Ibiza) utiliza el textil para sus creaciones, no solo por sus condición táctil y estética sino con intención narrativa, en obras que exploran cuestiones como el tiempo, la memoria o el poder. Manipula los materiales y los transforma en “reliquias”, interviniendo espacios públicos y arquitecturas, la escultura textil Times (2021), hecha con una red de construcción, se instala por primera vez en el interior de una galería.

Laura Marte (Barcelona, ​​1976), from a political and activist perspective, with diverse formats and collaborative works, questions the imagination of our visual culture. In "Mujer Muerta" (2022), with her photomontages of false "dead women", images that can be downloaded from internet portals, she reflects on the visual representations of women, always very stereotyped, the eroticization of violence and the genre of violence.

Laura Marte (Barcelona, 1976), desde una perspectiva política y activista, con formatos diversos y trabajos colaborativos, cuestiona los imaginarios de nuestra cultura visual. En “Mujer Muerta” (2022), con sus fotomontajes de “mujeres muertas” falsas, imágenes que se pueden descargar de portales de internet, reflexiona sobre las representaciones visuales de las mujeres, siempre muy estereotipadas, la erotización de la violencia y la violencia de género.

The work of Françoise Polo (Hyeres, France, 1967. Lives in Mallorca) travels through different disciplines and experiments with video creation, documentary film, photography and, in her most recent works, with drawing. Dimensiones Silenciosas (2022), a panel made up of 20 ink drawings on paper, is a cosmological proposal related to invisible energies and places where the physical coexists with the spiritual.

La obra de Françoise Polo (Hyeres, Francia, 1967. Vive en Mallorca) transita por distintas disciplinas y experimenta con la videocreación, el cine documental, la fotografía y, en sus trabajos más recientes, con el dibujo. Dimensiones silenciosas (2022), un panel formado por 20 dibujos de tinta sobre papel, es una propuesta cosmológica relacionada con las energías invisibles y lugares donde lo físico coexiste con lo espiritual.

Silvia Prió (Barcelona. Lives in Esporles) studies human relationships and society through photography, with works that deal with the issue of identity, the passage of time, history, memory and oblivion as is seen in A las Abuelas (2022) the project of family photographs as a tribute to grandmothers.

Silvia Prió (Barcelona. Vive en Esporles) estudia las relaciones humanas y la sociedad a través de la fotografía, con obras que tratan sobre la cuestión de la identidad, el paso del tiempo, la historia, la memoria y el olvido como en el proyecto de fotografías de familia y homenaje A las Abuelas (2022).

Isabel Servera (Mallorca, 1986) focuses on pictorial practice and its action. Her works involve craft processes, always done by hand, involving repetition and accumulation routines, in which the important thing is the process. The repetition of a series of dots of thirteen colors, on the margins of the work in Enmarcado (2019) and filling the entire surface of the paper in Punt i Seguit (2019), works that we present as a diptych, is the central issue of these pieces.

El trabajo de Isabel Servera (Mallorca, 1986) se centra en la práctica pictórica y en la acción de la misma. Sus obras implican procesos artesanales, siempre realizados a mano, que implican rutinas de repetición y acumulación, en las que lo importante es el proceso. La repetición de una serie de puntos de trece colores, en los márgenes de la obra en Enmarcado (2019) y rellenando toda la superficie del papel en Punt i seguit (2019), obras que presentamos como un díptico, es la cuestión central de estas obras.

The concepts of series, variation and repetition are present in the installations of Sandra Val (Tarragona, 1979. She works in Mallorca). She uses traditional techniques, such as ceramics or glass, to create very aesthetic sculptural installations that are based on architectures related to the spiritual, scenes and stories that tell us about time and space. Symbolic universes that from tradition and the present tell us about the future. Del Agua Stilla (2022) and Jeu (2021) make up the exhibited installation.

Los conceptos de serie, variación y repetición están presentes en las instalaciones de Sandra Val (Tarragona, 1979. Trabaja en Mallorca). Usa técnicas tradicionales, como la cerámica o el vidrio, para crear instalaciones escultóricas muy estéticas que parten de arquitecturas relacionadas con lo espiritual, escenarios y relatos que nos hablan del tiempo y el espacio. Universos simbólicos que desde la tradición y el presente nos hablan del futuro. Del agua quieta (2022) y Jeu (2021) conforman la instalación expuesta.

Simona Aru (Sardinia, 1965) is an Italian photographer based in London. During the first lockdown in March of 2020, her garden became her own personal haven and the space where this photographic series blossomed. Isolated from the outside world, Aru began to explore every detail of her garden, where each flower and leaf was a source of inspiration and a vehicle of expression of her feelings. Shot on natural light with a deep contrast in the style of chiaroscuro, these images emphasize the main subject’s isolation from its natural habitat.

Olivia Bonnamour (Paris, 1982) is a French photographer based in Paris. During the lockdown, she wandered and documented the empty streets of a city known for its bursting energy and packed cafés. With a striking and warm contrast between light and shadow, this series of elegant analog photographs act as Bonnamour’s personal portrayal of a Parisian life on stand-by, marked by the loss of social encounters. Set within the unusual background of its shutdown cafés, these scenes capture a new reality where a hug or a small gathering of people felt like a sort of symbolic rebellious act.

In Valentin Bouré’s (Paris, 1984) works there is silence, quiet conviction and a hypnotizing sense of beauty, poetically captured in a series of four analog photographs like moments suspended in time. Bathed in rays of gold and green light, the images are reminiscent of traditional Impressionist paintings, and invite the viewer to navigate the tension between reality and fiction; the static and the dynamic; the bucolic and the visceral. Shot during the spring of 2020, the series show us that even at the time where the world had to stop, a parallel life—oblivious to the chaos of the unrivalled events—was in effect possible.

Pepe Cañabate (Palma, 1952) is a self-taught professional photographer based in Mallorca. During the extraordinary circumstance of lockdown, he decided to draw his attention to the rural environment he inhabits. And so, the series ‘Plants’ becomes the artist’s personal interpretation of nature: with the aim to create a dialogue between analog and digital procedures, this project brings nature to a rather artificial territory. Ultimately, these images remind us that, after all, nature’s essence and beauty were indifferent of that state of distorted reality.Description goes here

‘Apo’ is a prefix of Greek origin meaning ‘detached; separate.’ It is also the title of this black and white series by Bruno Daureo (Palma, 1983), photographer based in Mallorca who combines teaching with commissions and personal projects. Shot on black and white film from his home entrance, this project was born during the time of isolation and acts as chronic of the moments of pseudo-freedom during Spain’s state of alarm. Captured through an eye eager for signs of life from the outside world, these images aim to represent a new way of living determined by distances.

Margarito dela Guetto (Mallorca, 19XX) steps away from his usual themes or subjects to perform an ode to his parents. In this peculiar family portrait, however, the photographer doesn’t abandon the style that makes his work so recognisable. Using everyday objects that often go unnoticed, the subjects act as anonymous mannequins to recreate imaginary and surrealistic characters portraying a lockdown with humour and resilience. Ultimately, this series is the artist’s ode to his parents and a symbol of love and gratitude towards them.

During a two week mandate quarantine in a hotel at the Cayman Islands, artist Grace Denis (Los Angeles, 1990) found herself with the unique chance to develop ‘Quarantine Diary’, a study of the environment through the documentation of elements and specimens from the outside world. Thus, samples of sand, flowers, plants, dirt or ocean water were collected and delivered by external figures who became essential parties of the project, unintentionally fostering a heightened sense of attention to their peripheral surroundings. As the artist herself states, ‘Quarantine Diary’ reflects on the notion of time through organic material and its gradual degradation, therefore «illustrating time in its innately entropic state.»

For his ‘Chronicle of a Lockdown during Coronavirus Times’, Bruno Frerejean (France, 1953) put himself in front of the lens in order to document his emotions during a period of a nearly two months of self-isolation. In an effort to get distracted from the chaos and confusion created by the speculating news, and inspired by Sartre’s famous quote «Hell is other people», the photographer took a series of black and white self-portraits in double exposure. Enhanced by wide-angle compositions, these images represent the feeling of confinement and the coexistence with his other self. And so, the artist raises a question: what are the limits of fiction?

‘Les Autels’ by artist Mathilde Geldhof (Reims, 1988) is a collection of ceramic altars produced during the spring of 2020 in her apartment in Paris. Memories of past trips gained a special, almost mystic quality during our time in isolation, a factor the artist worked with when going back to her personal archives to reactivate and give a second life to the memorabilia. The works praise and celebrate memories of freedom in nature.

Ruth Hundeshagen (Bonn, 1984), photographer and architect based living between Mallorca and Germany, wanted to capture life during lockdown from another perspective. Her project ‘Neverland’ is a photographic report of the quarantine from rooftops in Palma. These images, just like a breath of fresh air, radiate a sense of freedom that only a few were able to experience while Spain was in a state of emergency. With an optimistic and playful take, Ruth’s eye is deeply interested in people and their stories.

The work of Marcus Magnier (Palma, 1975) is filled with a subtle and poetic sensuality where bodies and their divine, organic shapes are the true protagonists. Consisting of an analog photograph and an abstract collage, this diptych allows us to be the observers of a woman who becomes the immortalized subject of an isolated, delimited space—purposely recalling the experience of quarantine. The final outcome works as a meta-image which embodies the sense of oppression that the artist invites us to reflect on.

‘Postcards to Volcanoes’ is the result of Sabine Mirlesse’s (Bridgeport, 1986) ongoing fascination with, study on and work around volcanoes, both as magnificent and intriguing geological phenomena, and as symbols in mysticism and literature. Written on a typewriter, these poignant postcards at times resemble intimate letters to distant lovers who may never get to read them. Mirlesse, who was already an avid collector of postcards of volcanoes for years, started this project during lockdown in France last year and has continued ever since. As the artist herself states, «each day is another volcano, another set of questions, exclamation or lamentation, another way of marking the passing time.»

Cecilia Renard’s (Menorca, 1990) photographs capture idyllic, salty scenes bathed in the Mediterranean’s unique light. Shown here as three diptychs, these images were shot on film during the transition from spring to summer of 2020 in Mallorca. Consisting of one image of a landscape and one still life, each duo acts as a reflection of the other, and raises questions that inevitably emerged after the experience of lockdown—themes around freedom, desert nature, the desire to reconnect with our surroundings, with others, and ultimately, with ourselves.

'Solar’ is a series of experimental photographs by artist Laure Tiberghien (Paris, 1992), whose project prompts memories of an unfolding sunset or closed-eye hallucinations after looking at a bright light. Produced between March and April of 2020, these works were not developed with a camera, but by only using chemical products and different sources of light. It is exactly the exposure to light and these suggestive grading of colours what become the main topic here, and where other interesting themes arise—the passing of time and its impact, the play of chance, the burst of colour within darkness, or even the very origin of analog photography.

Charles Weinstein (Chicago, 1962) has been photographing powerful, Tolstoyan heroines of Williamsburg, Brooklyn for several years. During the pandemic, car traffic was halted on Berry Street for pedestrian exercise and so the area bloomed with a new kind of energy and human dynamism. ‘The Defiant Ones of Berry Street’ is a series of photographs that portray a sense of hope amidst uncertain times. Just like a phoenix rising from its ashes, New York and its people slowly but steadily regained their signature vibrancy. Through these images, we are invited as voyeurs into this optimistic reality, defined by the sporadic appearance and disappearance of face masks.

Carolina Amigó (Palma, 1969) is a multidisciplinary artist.

“Being is an accumulation of feelings and experiences, under a fragile and simple appearance, but powerful and full of complexity. The construction of this delicate framework is what gives us shape. We are an accumulation of small fragments, decisions, emotions, failed relationships and fabulous memories. The accumulation of those experiences is what makes us unique and builds the consistency of our lives by creating with force what we are today.”

Carmen Arbós is a visual artist from Mallorca,.

Arbós works with both digital and traditional mediums, usually experimenting and mixing differents techniques and disciplines, as illustration, painting, photography, ceramics and animations. Her practise often relates to cultures, nature and social critique. She likes to capture what surrounds her in it's very simple form, within a line between abstract and figurative. In this way, Arbós makes a composition of the elements that draw her attention. Every piece represents a moment, a feeling or an experience. At the end, Arbós sees art as a language that allows to speak with no words.

Divided between the natural landscape of her home region and the concrete city where she lives, between Mallorca and London, Mercedes Balle’s work consists of an exploration of the human relation to the natural world and an understanding of a landscape that has been modified in all aspects for human needs but in which nature resists its control.

Mercedes' choice of materials really characterises her work; she reuses discarded construction materials to evoke nature in her art. She uses these materials again and again saving them repeatedly from obsolescence. On the other hand, she uses natural materials that are completely biodegradable and will eventually disappear to continue the circle of life.

Cati Bauza has a degree in Fine Arts from the University of Barcelona, with a postgraduate degree in Significant and Spiritual Values from the UDG, and specialized in Landscape Design from the UIB.

In her work, the artist explores the infinite structures and plots with the attention to recover and show what is invisible and latent. The investigation of forms, composition and geometry as an internal / external landscape become a precise link to reconnect with the subtle.

Arantxa Boyero’s (Mallorca, 1982) projects are rituals that connect or disconnect her from the banalities and obsessions of modern society. She is interested in people, sensations, transcriptions, rhythms; she studies human behavior by observing the behavior of other living things, such as cats and plants. Boyero plays with her close environment, questioning traditions and affective phenomena. She drinks from anecdotes, readings, the Internet and accumulation of experiences. The artist enjoys processes and experimentation. She uses space as an excuse, symbolism as a seed, repetition as a principle, and color as a pedestal. Boyero calls all her projects mini-actions and uses techniques such as photography, performance or video to carry them out, waiting for time and the viewer to complete them.

Gracia de Juan (Palma 1988) is an urban and visual artist. In her work, the artist explores the plastic possibilities of methacrylate to build her own imaginary where an archetypal dualism is present: light-shadow, reason-instinct, reality-myth.

Around this binary nature, she recovers the symbology ancestral associated with the different mythologies creating structures that are a hybrid between sculpture and installation.At the same time, De Juan experiments with visual perception through lighting that allows her to generate a double reading of the pieces. The subtle play of transparencies and flashes generated by daylight contrasts with the fluorescence of the material and the graphics, which take on an extra-ordinary dimension thanks to the black light. In this dreamlike atmosphere, past and present meet in an exercise that combines mythical language with an absolutely contemporary plasticity.

Mar Guerrero’s (Mallorca, 1991) research focuses on the fields of arts, humanities and astronomy. She investigates the symbolic relationships between reality and fiction, as well as ideas of error and failure in the relationship between models of historical thought, whose responsibility is perceptible in the contemporary productive and visual consciousness. Her work reflects ideas of time, combining concepts of speed, duration and temporal experience. In this way, she questions the use of spaces and objects, linking ideas as renewal and waste using seemingly insignificant objects, ideas and events. Doing an exploration of the traces of a society in constant change towards a new one, to carry out an archeology of time that investigates the memory of spaces.

Marina Planas (Palma, 1983) is a visual artist, researcher and cultural producer. Planas is also the director of the Casa Planas Contemporary Culture and Research Center. Planas family dedicated themselves to the production of postcards during the decades of the 50s, 60s and 70s for the tourism industry, thus generating the iconography and vacation images of the Balearic Islands. In recent years, her work has focused on postcards and the idea of ​​generating a fiction and a desire through the tourism utopia. Her work mainly revolves around the borders between art and life, reality and visual representation, fiction and memory.

Marijo Ribas is a multidisciplinary artist.

"I believe in the capacity of art as a thought activator, for this reason each of my projects is born from an investigation and narrative. I am interested in the intersection between disciplines: art / history, art / science, art / life. I formalize my work according to the characteristics of each project, especially from video, photography or installation."

Alicia Santamaria (Palma, 1994) currently resides in Barcelona, where she formalized her Bachelor's studies in Fine Arts (Universitat de Barcelona).

"The body of her work corresponds to an introspective work, based on biographical experiences, and is characterized by a project methodology. Research plays an important role in its production, intersecting with ethnography; and the practice of it is multidisciplinary

Mariana Sarraute (Buenos Aires, 1971) is a multidisciplinary artist based in Mallorca.

Trained in Fine Arts at the University of Barcelona, in recent years Sarraute delves into the referent forms of apocalyptic imagery. These shapes crumble, blur, simplify and become curved lines that function as building codes for the image. In the artist's imagery, the paintings constructed with images of multiple eyes looking at the viewer are repeated. These motifs appear in works in Art History that have visually marked the artist throughout her life, such as the Catalan Romanesque murals in the church of Santa Maria de Taüll on the Apocalypse, the Garden of Delights of Bosco or Hildegard Von Bingen's miniatures.

Alba Suau (Pollença, 1997) is a multidisciplinary artist. She studied Fine Arts between the University of Barcelona and École supérieure d’art et de design Marseille-Méditerranée.

Suau exhibited individually at TACA (Mallorca) with her project Dentro, and at Kaplan Projects (Mallorca) with Moi Moi.

Among her group exhibitions are Marine Aspirations (TACA, Mallorca), Space is the place (Atelier Hyph, Marseille), Uncommon Ground (Friche le Belle de Mai, Marseille) and in the permanent exhibition of the Hotel Son Brull in Mallorca. In her career, she also did a residency at Creative Center of Stöðvarfjörður, Stöðvarfjörður.

“In the cave there is no time, there is no noise. I like the silence, its slowness. A space in a space, a place in a place. Her dialogue is blind. A refuge. Its colors surround me and isolate me. Exterior and interior. The exterior exposes the interior protects. Parenthesis. Stop, stay."