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    • 2020-2021
      • mounir fatmi - the observer effect
      • abdelkader benchamma. rayon fossile
      • ella, el ojo, el dedo, la mano
    • 2019-2020
      • laura llaneli - palpitar palpar
      • carlos pazos - interrogantes suspendidos o déjà vu?
      • carlos aires - nothing new
      • 5994 is just a number
      • alán carrasco - a soviet militiaman eats a mcdonald's hamburger in moscow
    • 2018-2019
      • democracia - order act i. eat the rich - kill the poor
      • federico solmi - mundus novus
      • kendell geers - #iprotestthereforeiam
      • domènec - y la tierra será el paraíso
      • margaret harrison - it hasn't changed: and babies?
    • 2017-2018
      • núria güell · levi orta · adelita husni-bey - al final de todos los sueños humanos no hay más que polvo
      • marcos ávila forero - desde las montañas
      • adrian melis - memoria selectiva
      • pep vidal - who wants to be an impatient gardener?
      • jordi colomer - baixar al carrer / bajar a la calle / descendre dans la rue / going down into the street
      • salim bayri - welcoming
    • 2016-2017
      • eugenio merino, home swiss home / tobias bernstrup, south of heaven
      • democracia - order. act iii. dinner at the dorchester
      • virginie barré & bruno peinado - soft power
      • kendell geers - propagandada
    • 2015-2016
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      • carlos pazos - naufragios recientes
      • iván argote - la puesta en marcha de un sistema
      • bouchra khalili - foreign office
    • 2014-2015
      • pep vidal - trees, treelines and global patterns
      • avelino sala - walk to the end of the world
      • adrian melis - surplus production line
      • marcos ávila forero - paisajes revoltosos
      • mounir fatmi - light and fire
      • democracia - os protegemos de vosotros mismos
      • luz broto - 17m (artnou)
    • 2013-2014
      • cómplices y testigos
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      • adrian melis - time to relax
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    • 2012-2013
      • "ten is more than a number" - exposición colectiva de artistas de adn galería por su 10º aniversario
      • iván argote - un millón de amigos
      • núria güell - alegaciones desplazadas
      • chus garcía fraile - cuestión de fe
      • democracia - ser y durar
    • 2011-2012
      • igor eskinja - right constructions
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      • kendell geers - hellraiser
      • abdelkader benchamma - le signal faible
      • ulrich vogl - she brings the rain
    • 2010-2011
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      • bruno peinado - wild angle
      • carlos aires - let's get physical
      • democracia - ser y durar
      • regina josé galindo - xx
      • santiago cirugeda - for sale
      • eugenio merino - we don't need another hero
      • tobias bernstrup - body 5 arrives
    • 2009-2010
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      • daniel & geo fuchs - forces
      • jean-luc moerman - hybrid icons
      • scratch
      • democracia - ne vous laissez pas consoler
      • concha pérez - lo que nos queda
    • 2008-2009
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      • sin estado
      • ismael iglesias - red skywalker
      • fermín moreno - zeropean
      • abdelkader benchamma - même les choses invisibles se cachent
      • eugenio merino - global warming
    • 2007-2008
      • five is only a number
      • paperless marks
      • federico solmi - evil empire
      • igor eskinja - fleeting (fugaz)
      • judas arrieta - monday
      • daniel & geo fuchs - works of a decade
      • concha pérez - refugios / ausencias / abandonos
    • 2006-2007
      • marc quintana - ad hóminem
      • drawing & dreaming
      • tobias bernstrup - enemies of the earth
      • virginie barré & bruno peinado - blissfully
      • te mando un colega
      • ismael iglesias - dancing with your eyes
      • chus garcía-fraile - se vende
    • 2005-2006
      • shiro masuyama - intervention
      • federico solmi - king kong and the end of the world
      • wolf hamm - a vida o muerto
      • fermín moreno - double top
      • concha pérez - alojamientos
      • tobias bernstrup - killing spree
      • screening 1
      • valérie prot - oh my god!
      • nic hess - a room with a window
    • 2004-2005
      • tengo que cortarme una oreja
      • adn 2
      • marc quintana - ikons 2
      • situaciones urbanas: unidades de ejecución 2 y 15
      • architecture parallax: the blind architect - t.b.a.
      • carlos noria & carmen gómez - contrapeso y... sobre las íes
      • virginie barré & bruno peinado - el corte francés
      • ismael iglesias - let us play
      • alejandro vidal - protecting idols
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Concha Pérez - Lo que nos queda
documents  ·  images
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Concha Pérez - Lo que nos queda
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Concha Pérez, Lo que nos queda, 2009
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Concha Pérez, Lo que nos queda, 2009
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Concha Pérez, Lo que nos queda, 2009
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Concha Pérez, Lo que nos queda, 2009
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Concha Pérez, Lo que nos queda, 2009
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Concha Pérez, Lo que nos queda, 2009. (Preguntas 2, 2009)
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Concha Pérez, Lo que nos queda, 2009. (Rejas, 2009)
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Concha Pérez, Lo que nos queda, 2009. (Preguntas 1, 2009)
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Concha Pérez, Lo que nos queda, 2009. (Oikonomia, 2009)

Concha Pérez (Madrid, 1969) develops her work in the context of edited digital photography, using this medium to carry out a deep investigation about architectonical articulation. Her reflection is constantly changing and declining itself to express through her images feelings and sensations derivaded from the creative praxis. But not only because of the technical condidions of her work it is possible (and necessary) to state that Concha is an entirely contemporary artist, but also in a more conceptual way, she shows an absolute commitment to the present context. Although her work is not political art in its most dialectical sense, it shows an unquestionable interest towards a sociological analysis of contemporary world and the consequences of the hegemonical gentrification process. In a more formal way, her works do not develop a simple documental and registration function, but the edition of the photography denotes a clear poetical purpose, not strictly aesthetical, but dignifying the chosen spaces.

Concha introduces LO QUE NOS QUEDA through the laws of thermodynamics: Energy can neither be created nor destroyed, it can only change forms; the change of energy implicates increment of chaos. This chaos generated by the change, by the transformation derived from the flux of life and especially by the action of human being, is made clear on her photographs. Uninhabited places, ruins of a past routine, of habitats and habits that today seem remote, hidden by the flowing of time.

 

Her photographs talk about the empty content of some spaces, but it is the emptyness itself that shows its content to us. They are not dead places. The change that makes this places look desert, obsolete, is the same change that express their kind of life. Her images do not represent an inanimate thing. The disuse, the desertion, not only refers to the transit and movement that one day took up those spaces, but also to the displacement of the activity to another place, so the energy only changes forms. It is the inertia of life that has been generating the place, and places that by the use and by the change we throw to caos show again theirselves, now through Concha’s look and under the form of a photograph.

It is possible to consider that dissociation between content and contingent generates the strange. Life flow, its evolution, the everyday changes, unavoidably produce spaces to which what was bringing sense to them belong to the past. Concha’s photographs show the stangeness of the life at present-time of the spaces forgotten by the flux of time.

 

What happen when a present space is habited by the past? How does this space, where two different times coexist, shows to us? Probably ghostly, generating inevitably an excess of sense, printing in the imagination of the spectator an image of what it was sometime, continously appearing, in an involuntery way and impossible to control by the spectrum of the reality that one day habited the space giving sense to it.  

Is a school still a school even though its total unuse? What are the microphones of unexistent lecturers talking about? Why are the tables so ordenated if there is nobody to feed? It seems that some of the elements introduced in the photograph by the artist herself are talking about those spectrum, about the strangeness of an empty place, abandoned. This effect is made clearar by the difficulty to distinguish what is real and what is manipulation.

 

It is a dialectical game between the essences and appearance. The tension between what is, what was and what it seems to be, solves finally in the conclusion that things happen because we make them happen. What we get from those spaces, which are being and also were, is the question that Concha is presenting now, closed by a high technical ability and a remarkable sense of framing, an absolute control of the space perception.

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