Javier Peñafiel works in long-term projects as ‘egolactante’ (1997-2007), ‘agencia de intervención en la sentimentalidad’ (1997-2001) or the latest ‘Latido antecedente’ (2009-2013) – books and notebooks extended in multimedia collage and dramatized readings. Since 1997 he has produced: ‘Escritorio’, ‘Mera coincidencia’, ‘Os acasos convenientes’, ‘Agenda de caducidad de los tiempos drásticos’ (28 Bienal de São Paulo), ‘Locución Merkel Bachelet’. His books and publications ‘Conquista básica, te vuelvo a pedir que te definas’; ‘CRU006’ or ‘No todo tanto’ both arise as co-laboratories. He also works in shared curatorial processes such as ‘Voz entre líneas’. He has written plays for video as ‘Tragedia de las corporaciones. Ignorancia’ (2000), ‘Voz contraria’ (2009) and ‘Palacio Polifonía’ (2010).

©Diana Padrón

Last update May 5th, 2016

Pedro Torres (Brazil, 1982) focuses his artistic practice on subjects related to the notions of time, distance, memory, language, and image, using a variety of media to develop his works and research projects. His works have been recently displayed at Aragon Park II (Madrid), The Green Parrot (Barcelona), Casal Solleric (Palma de Mallorca), Centro Párraga* (Murcia), Casa Seat* / LOOP Barcelona 2020, Chiquita Room* (Barcelona), Errant. Itinerarios de arte y pensamiento* (Iglesia vieja de El Pont de Suert), Festival Poesia i + (Caldes d’Estrach), Fabra i Coats: Centre d’Art Contemporani de Barcelona, OTR. espacio de arte (Madrid), Swab Barcelona, Dilalica (Barcelona), the Cuenca Biennale (Ecuador), ArtBo (Bogotá, Colombia), CaixaForum Barcelona, BienalSUR (Casa Nacional del Bicentenario, Buenos Aires, Argentina), Festival Embarrat (Tárrega), NC-arte (Bogotá, Colombia), ARCO Lisboa (Portugal), at the Galería Travesía Cuatro and La Casa Encendida (Madrid), Galería Luis Adelantado* (Valencia), the Mardin Biennale (Turkey), the Las Fronteras Biennale (Mexico), the Blueproject Foundation* and the Fundació Antoni Tàpies (Barcelona). His videos have been screened at a number of festivals in Europe, South America, and Asia. He has been awarded scholarships and prizes including PostBrossa (2021), the Exchange art3/Homesession scholarship (2021), the S.O.S ARTE/CULTURA endowments for creation from Vegap (2021), the Production Awards from the “la Caixa” foundation (2020), he was a finalist at the Antoni Gelabert visual arts award of the city of Palma (2020), the research scholarship from the department of culture of the Catalan regional government (2020, 2013), the production award from the Sala d’Art Jove of Barcelona (2013) and the Fundación Botín scholarship (2007), among others. He has been a resident artist in Skagaströnd (Iceland), Seoul (South Korea), Berlin (Germany) and Barcelona (Spain). Some of his works and publications have been featured in the collections of institutions such as MadridAbierto, Fundación Botín, the Blueproject Foundation, the olorVISUAL collection, ICP New York, UPV/Colección de libros de artista and other private collections. He lives and works in Barcelona, where he is a resident artist at the Hangar visual arts production and research centre.

* individual exhibitions

Last update 5th November 2021

Fito Conesa studied Fine Arts at the University of Barcelona, the city where he lives and works. With a multifaceted work that encompasses installation, video and sound exploration, some of his works are conceived as an exhibition of the artist himself and his geographical context of origin; others incorporate different elements of cultural history and the contemporary world; and others dissect the everyday.

Since 2008, he has exhibited in spaces such as the Aparador del Museu Abelló in Mollet del Vallès (2008), CaixaForum in Tarragona (2009), Centro Cultural Español in Santo Domingo, Dominican Republic (2014), La Naval in Cartagena (2015) and Espai 13 at the Fundació Joan Miró in Barcelona (2018). His work can be found in collections such as the Fundació Banc Sabadell, the University of Granada, the City Council of Valls and MACBA in Barcelona.

Núria Güell (Girona, 1981) flirts with the powers that be, joins forces with collaborators who are in on the project, and takes advantage of the privileges offered by the artistic institutions she works with, as well as those she enjoys as a Spaniard and European, to analyze the way in which power structures affect our subjectivity and attempt to change those connections. Güell’s recent solo shows include exhibitions at MUSAC, Léon (Spain) and at Maczul Museo de Arte Contemporáneo de Maracaibo (Venezuela) in 2018, the Middlesbrough Institute of Modern Art and the Project Arts Centre in Dublin in 2016, the Vienna Brut Konzerthaus in 2015, and Salle Zéro in Havana in 2013. She also works regularly with a number of self-managed art and social centers. Núria Güell is represented by the ADN Gallery in Barcelona.Güell’s artistic practice is about the analysis of how power devices affect our subjectivity, subjecting it to law and hegemonic moral. The main resources that she uses in her work are to flirt with the established powers, complicity with different allies and the uses of privileges that artistic institutions she works with have, as well as those socially granted to her for being a Spanish and European. These tactics, diluted into her own life, are developed in specific contexts intending to question commonly-assumed identifications and cause a disruption in power relations.

Rosa Lleó is the founder and director, since April 2014, of the small-scale organization The Green Parrot in Barcelona, Spain. Since its opening, it has established itself as a reference space in the city with a collection of exhibitions, publications, and activities with local and international artists such as Oriol Vilanova, Shana Moulton, Marc Camille Chaimowicz, Basim Magdy, Lúa Coderch, Teresa Solar, among others. She is currently a resident curator at the Fundació Antoni Tàpies where she prepares an individual exhibition of the Brazilian artist Ana Vaz. He has also collaborated with institutions such as MACBA and during 2013 he was part of the Curatorlab research program (Konstfack University, Stockholm). He has also curated exhibitions and projects at ARCO Madrid (2018), Fundaçao Iberé Camargo, Porto Alegre (2018), Art-o-Rama Marseille (2016), Can Felipa – Museu de l’Empordà (2014) Sant Andreu Contemporani (2011). Formerly appointed as an editor at Actar and as an editorial assistant at Afterall magazine (London). He writes occasionally for newspaper supplements and other magazines, in addition to teaching at the Pompeu Fabra University, Barcelona.

Last update: November 11th, 2019

Chus Martínez is head of the Institute Art Gender Nature at the Basel Academy of Art and Design FHNW. She is also an associate curator for TBA21 Academy, curator-at-large at the Vuslat Foundation, and Artistic Director of the 36th Ljubljana Biennale of Graphic Arts (2025). Martínez lectures and writes regularly, including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international journals. Recent publications include Coding Care: Towards a Technology for Nature (2022) and Like This: Natural Intelligence as Seen by Art (2022). Martínez has curated numerous exhibitions globally and continues to play a key role in shaping contemporary art discourse through her projects and writing.