Horarios espacios expositivos
From October 9th to 12th: 9 a.m.-12 p.m; 4 p.m.- 8 p.m.
From October 13rd to 15th:
Amo la vida, amo a mi gente by Joan Guerrero
“I love life above anything else and, above all, I love my people...
I love photography because its fidelity keeps me alive and enables me
to experience a relationship that gives me a raison d'être.
I want to be honest and direct …”.
“Joan Guerrero talks of the tangible world, of reality linked invisibly to the soul; he talks of that which is the other, convinced, in this case, that the other is himself”. This is how Josep Gol referred to the work and figure of Joan Guerrero, as something indistinct, as a whole that is projected and reflected in its environment.
The catalogue from which Gol’s quote is taken was published by the Asociación de Fotógrafos de Prensa y Comunicación in 1992. Almost thirty years later, it is just as valid as it was then.
Joan and his environment continued to merge through his images, by virtue of their coherence. At 81 years old, he still hangs his camera round his neck when he leaves his house, ready to let himself be captivated by the details of the reality offered in his suburb, his neighbourhood of immigrants: “the everyday does not let you see the greatness of something you have on your doorstep”, he says. With his images, he invites us not only to contemplate the “everyday”, but also to seek and understand its “greatness”.
The selection of images that we present in this exhibition is not designed to sum up the extensive work of Joan Guerrero; any other space would be just as limited. However, each one of his photographs serves as a reference for local documentary photography.
Isidre Puntí - Director of SantPolDOC
Mans negres en palmell blanc by Josep Gol
February 1982. Cemetery of Sant Pol de Mar. Burial of a Senegalese farm labourer beside the white gravestones of families from Sant Pol.
This event was the start of these images that I present to try to recover the memory.
Black hands with white palms that came from Gambia, Senegal, Guinea and other places, seeking a better future for themselves and their families. More than a continent full of obstacles to be able to work the land in the Maresme that needed hands to create wealth and life.
In a sea of rolling hills surrounded by the Montnegre mountain range and bathed by the Mediterranean, an infinite number of white greenhouses hid hands that gathered sweet, juicy red fruits: the strawberries were the gold and the silver.
By train or bicycle from Mataró, Calella and other surrounding towns, they came to Sant Pol de Mar and Sant Cebrià to meet landowners who needed the work of their young, strong bodies to farm a strange land, two thousand kilometres from their homes.
Some, the luckiest, created a small community around shacks to spend the night, cook and talk and laugh over board games, as was the case of Can Rata.
On Sundays, next to the road in front of the Cooperativa Agrícola, several would play football matches in which boys of their age from the town also took part. A good example of coexistence that made the injustice more bearable.
Forty years have passed and I ask myself: “Where are they now? Do we have their children beside us, with a future?”
The Land of Conflict by Avijit Ghosh
Winner Project of the Joan Guerrero's Award
The Sundarbans is not only the largest mangrove and a UNESCO World Heritage site, but also one of the largest mangrove reserves for the endangered Bengal tiger.
Occupying over 10,200 sq. km, the delta of mangrove forests spreads over India and Bangladesh.
Many Sundarbans islands in India have become uninhabited because of the constant impact of climate change. The sea level has risen by an average of three centimetres every year over the past two decades, leading to one of the fastest rates of coastal erosion in the world. In the last decade, a steady rise in sea surface temperature has intensified the number of severe cyclones. In 2020 and 2021, two consecutive severe cyclones called Amphan and Yaas devastated the Sundarbans and the islanders.
The mud embankments, which are supposed to stop tidal waters from entering villages, have proven futile. As a result, salt flood water destroys agricultural lands. The inhabitants have to either migrate or depend on jungle livelihoods like honey collection, fishing and crab hunting.
Furthermore, the high level of salt water is destroying mangroves, which eliminates one of the main resources for animals like deer on which the Bengal tiger is heavily dependent. In turn, this leads to tigers entering villages, as humans are easy prey. Due to constant floods, the Sundarbans tigers have developed the unique skill of swimming that helps them to cross rivers and penetrate villages. This human-animal conflict led to 21 official and 50 unofficial reported deaths in 2020. The government only provides financial compensation in cases where people did not venture into no-entry zones.
Very little has been discussed about the link between climate change and human-tiger conflict in this region.
Avijit Ghosh is a 28-year-old freelance photojournalist based in Kolkata, India. His work mostly focuses on the socio-environmental impact of climate change and humanitarian issues.
He was born and brought up in a rural village of West Bengal and later moved to a suburb of Kolkata to pursue a bachelor’s degree in arts. On completion, he took a diploma in social work and in photography. He worked for a local newspaper in 2015.
Now he is a contributing photographer with SOPA Images, which distributes his photographs through agencies like Getty Images and AP. His work has been published on news sites including the BBC, Huffington Post, CNN, Bloomberg and many others.
He has won awards in photo contests organised by organisations like the UN, UNESCO and the Ramsar Convention, and some of his works are exhibited globally.
Atrapats (trapped) by Mireia Comas
Finalist project in the Joan Guerrero Prize
When the state of alarm began, I met a group of young men from Morocco who live in Terrassa (my city) and are migrants in an irregular situation. They had to confine themselves in an abandoned, dirty warehouse that had no water and was full of rats.
They were shut in without being able to obtain the most basic necessities, as they normally look in the city’s bins for metal and second-hand objects that they sell to make 5 or 10 euros a day to eat and smoke.
They are a group of 14 young men, who don’t want to give their names, but we could call them Joan, Miquel, David, Marc, Pere. We don’t need to know their names to find out their story, to understand that close to our homes some young men are living in poverty and suffering every day. They are trapped in a system that rejects them in a city where they are ignored.
Immigration law forces them to remain in an irregular situation for at least three years. The first step to obtaining the residence permit is being on the register of inhabitants; a basic right that many town councils in Catalonia deny or make extremely difficult for people without fixed abode to obtain.
If you are not on the register of inhabitants, you have no right to healthcare, or education, if you are not on this register you have no rights as a citizen.
In Terrassa there are currently over 150 young people in this situation. Trapped.
Freelance documentary photojournalist based in Terrassa (Barcelona). Her work is focused mainly on social movements in her country and reporting the injustices of the most vulnerable.
She studied photography at the Institute of Photographic Studies of Catalonia (IEFC) and has a postgraduate qualification in photojournalism from the Autonomous University of Barcelona (UAB). She has furthered her training with monographic courses and seminars on travel photography, author photography and photojournalism, among other subjects.
Since 2003 and as a freelance professional, she has worked with public and private entities to provide photographic services and photography workshops.
She has collaborated with news outlets such El País, La Vanguardia, El Món and El Nacional.
Her work has been recognised with grants and awards in various competitions, such as the Repsol Castellera photography award, organised by the Fòrum Casteller, and the competition Todos somos Diferentes (We are all Different), organised by the Fundación de Derechos Civiles and the Spanish Ministry for Employment and Social Affairs.
Hores (tristes) de Prat by David Airob
Finalist project in the Joan Guerrero Prize
On 17 November 2019, China announced the first case of infection by an unknown virus. Since then, the virus has spread rapidly all over the planet, causing a deadly pandemic.
Little did we think that those first infections with Covid-19 in Wuhan would change our way of life so much.
As soon as the state of alarm was declared in Spain, I decided to photograph how this exceptional situation was experienced in Prat de Llobregat, where I live. The virus did not differentiate between territories and it seemed important to stay in my place to explain, first-hand, how the pandemic affected its inhabitants and its environment and to photograph home visits of health workers, nights of solitude illuminated by the green crosses of duty pharmacies, solitary burials, the fear and collective suffering.
However, I was also witness to how life adapted to the health crisis. As the months passed, we fought for life and did not give up a strange Christmas, a start of the school year without welcome hugs, elections held under strict safety measures, and hope, with the arrival of the first vaccinations.
David Airob was a photographer for La Vanguardia from 1990 to 2018, covering all kinds of information: political, international, sports, etc. In parallel to his work for the newspaper, —of which he was editor-in-chief of the photography section—he has carried out various personal projects that have won awards in competitions such as World Press Photo, Sony World Photography Awards, Poy Latam and the Agustí Centelles photojournalism award.
He has published in international media such as: TIME, Paris-Match, Der Spiegel or Aftenposten.
In 2013, he started work as a videographer codirecting the short film Calcio Storico which won World Press Photo and POY Latam (“Multimedia” category) awards and the Award for the Best Documentary from the BCN Sports Film Festival.
In 2014, he released his first full length documentary La Caja de Cerilla (The Match Box) based on the personal and professional experience of Spanish photojournalist Joan Guerrero. He recently released his documentary short film 103, based on the letter written by the first patient to leave intensive at the Hospital de Bellvitge alive after recovering from Covid-19. Currently, he combines his work as a freelance photographer and videographer photojournalist in various journalism projects.
Lo real no destiñe by Erica Voget and Bernardo Greco
Finalist project in the Joan Guerrero Prize
Documentary photography project in the context of imprisonment of transexual and transgender people. Blocks of gender diversity / Unidad Penitenciaria de Florencia Varela, Buenos Aires Argentina
People from the trans community live with one of the most widespread patterns of violence and discrimination in society.
Marlene Wayar, an Argentinian trans activist and psychologist, helped to write a text that describes her feelings about this reality, to amplify the voice of companions and reflect a struggle to gain rights that advances slowly:
“Locked up in their small cells, they pose as if the bed were any flower, they show their skin and our marks on it, they reveal the wounds that we have caused so we can see that they are immaterial. The wounds appear in their frowns, their gazes at nothing, their forced smiles. All beings are born for freedom, they run towards it, but in abandonment, and a lack of guidance and protection, they go out into the world to mutilate all self-determination. And these are the consequences of their childhood and considering themselves free. An entire world has predesigned prisons for those who do not adapt to the cell of man and woman. Family abandonment, expulsion from school, lack of employment and hunger lead to prostitution and exposing yourself to everything there; surviving by escaping, migrating, falling, not being able to escape, being easy or obvious prey, not having a believable voice and being open to any barbarity. And so the strategy is to convince themselves of their own beauty, accept the game and be able to turn it around, be free in their imprisonment and ask with their gazes: what type of prison am I in?”.
Marlene Wayar, March 2021
Erica Voget and Bernardo Greco
Erica Voget and Bernardo Greco are a couple of photographers who have created various self-managed documentary projects such as Memoria escolar (School Report) (www.memoriaescolar.org – Fotografía y Educación rural), Bajo el mismo sueño (Under the Same Dream) and Lo Real no Destiñe (What is Real Does not Fade).
They use photography as a tool for social investigation and seek to contribute elements to address social, documentary and political themes.
Erica Voget, fotógrafa, se ha graduado en Calígrafía pública en la Facultad de Derecho de la Universidad de Buenos Aires y es diplomada en Investigación y Conservación de Fotografía Documental por la Facultad de Filosofía y Letras de la Universidad de Buenos Aires.
Bernardo Grego, director de arte y fotógrafo, ha estudiado Diseño en el grado de Comunicación visual de la Universidad Nacional de La Plata.
Oír un río by Baltasar López García
Winner project in the Josep Gol Grant
In 2004, the botanist-landscaper Gilles Clement wrote The Third Landscape to defend unattended spaces: those that remain outside of urban planning, spaces “expressing neither power nor suppression”.
These places have an inviting dynamic: they are fragile and rich at the same time. In them, mixture prevails. They are located on riverbanks in corners that are most forgotten by society. Their maintenance is almost non-existent and they depend on collective conscience.
The river Vinalopó crosses the province of Alicante, and is, with its 81 km, the longest river in this autonomous community. It crosses 15 towns, gives its name to three districts and thus has become a hidden witness to history.
Its low flow, impoverished by discharge of all kinds, and its high salinity and toxicity have led to abandonment of the river and contempt for it, with inhabitants living with their backs to it. The abandonment does not protect the Vinalopó but punishes it at a critical time, in which the environment globally it is mortally wounded and close to the point of no return.
Oír un río is a journey along the banks of the river in which I played as a child. It draws attention to our surroundings and their inhabitants, and through their discovery, makes the case for their protection.
Some of the images have been developed by the river itself using the cyanotype technique, so that the polluted water could reveal its condition of a wounded river.
Nurse by profession and student of photography, Baltasar studied at the Escuela Mistos in Alicante and has furthered his studies by attending workshops organised and taught in the Petrer photography group (Alicante).
His work Baixamarwas exhibited individually in Novelda (Alicante) and O Grove (Pontevedra) in 2015.— This work reflects the daily work of Galician shellfish harvesters. It aims to graphically document the effort and the overcoming of obstacles in one of the hardest jobs, which is almost exclusively done by women: shellfish harvesting on foot.