{"id":59931,"guid":{"rendered":"https:\/\/graf.cat\/?post_type=event&p=59931"},"modified":"2026-09-15T11:15:54","modified_gmt":"2026-09-15T09:15:54","slug":"forms-of-presence-media-loop","status":"publish","type":"event","link":"https:\/\/graf.cat\/en\/events\/event\/forms-of-presence-media-loop\/","title":{"rendered":"FORMS OF PRESENCE: MEDIA LOOP"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":117,"featured_media":59928,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false},"event-venues":[100],"event-tags":[],"class_list":["post-59931","event","type-event","status-publish","has-post-thumbnail","hentry","event-venue-espronceda","event-category-exposicio"],"acf":{"title_ca":"FORMS OF PRESENCE: MEDIA LOOP","title_es":"FORMS OF PRESENCE: MEDIA LOOP","title_en":"FORMS OF PRESENCE: MEDIA LOOP","desc_ca":"

Presenta:\u00a0<\/strong>ESPRONCEDA \u2013 Institute of Art & Culture<\/h3>\r\n

Lloc:\u00a0<\/strong>Carrer d\u2019Espronceda 326, Nau 5, 08027 Barcelona<\/h3>\r\n

Inauguraci\u00f3:\u00a0<\/strong>dijous, 1 d\u2019octubre del 2026 \u00b7 19:00 \u2013 21:30 h<\/h3>\r\nESPRONCEDA \u2013 Institute of Art & Culture anuncia\u00a0Forms of Presence: Media Loop<\/i>, que s\u2019inaugura l\u20191 d\u2019octubre de 2026 i es podr\u00e0 visitar\u00a0fins al 9 d\u2019octubre\u00a0a Carrer d\u2019Espronceda 326, Nau 5. L\u2019exposici\u00f3 marca la culminaci\u00f3 de\u00a0Professional Media Presence (PMP)<\/strong>, que recull els resultats de tot el recorregut del projecte (incloent-hi seminaris en l\u00ednia, setmanes de tallers i resid\u00e8ncies art\u00edstiques) i s\u2019inaugura simult\u00e0niament en set seus de sis pa\u00efsos: Finl\u00e0ndia (Turku i Lap\u00f2nia), Malta, Cro\u00e0cia, It\u00e0lia, Eslov\u00e0quia i Barcelona.\r\n\r\nForms of Presence: Media Loop<\/i>\u00a0reuneix\u00a0vuit artistes\u00a0que exploren com la identitat mai no es construeix en solitud, sin\u00f3 que es constitueix en la trobada amb els altres \u2014 una trobada que avui est\u00e0 cada cop m\u00e9s mediatitzada per dades, pantalles i dispositius. L\u2019exposici\u00f3 pren el nom de la mateixa paraula MEDIA, on les lletres ID apareixen contingudes de manera invertida, com reflectides en un mirall: la identitat emergeix des de dins del mitj\u00e0, per\u00f2 ens \u00e9s retornada transformada en representaci\u00f3. A trav\u00e9s del v\u00eddeo, la cer\u00e0mica, la instal\u00b7laci\u00f3, la pintura i la intel\u00b7lig\u00e8ncia artificial generativa, els artistes tracen com els mitjans ens connecten amb l\u2019altre i, alhora, produeixen les pr\u00f2pies imatges a trav\u00e9s de les quals ens reconeixem o ens diferenciem \u2014 recorrent a arxius heretats, rituals religiosos i digitals, la mem\u00f2ria \u00edntima i les arquitectures dels dispositius contemporanis.\r\n\r\nEstructurada com un circuit, la mostra dona nom a la seva pr\u00f2pia paradoxa:\u00a0els mitjans multipliquen les nostres possibilitats d\u2019arribar a l\u2019altre sense garantir mai que aquest acc\u00e9s esdevingui una trobada real, ampliant la dist\u00e0ncia entre connexi\u00f3 i relaci\u00f3 fins i tot mentre prometen escur\u00e7ar-la.\u00a0<\/i>Comissariat per\u00a0Natasha Lelenco<\/strong>\u00a0i\u00a0Lorena Pellicero<\/strong>.\r\n

LLISTA D\u2019OBRES<\/b><\/h3>\r\nElisa de la Torre<\/strong>\r\nCartograf\u00edas de la Intimidad Digital<\/i>\r\n<\/i>T\u00e8cnica: mapes de calor digitals, pintura sobre tela<\/i><\/strong>\r\n\r\nElisa de la Torre<\/strong>\u00a0aborda la identitat a trav\u00e9s de la relaci\u00f3 \u00edntima i t\u00e0ctil que mantenim di\u00e0riament amb els nostres dispositius. La pantalla del m\u00f2bil registra patrons d\u2019\u00fas que l\u2019artista transforma en mapes de calor, fent visible una identitat capturada a trav\u00e9s de la repetici\u00f3 \u2014 el cos deixant una inscripci\u00f3 digital que ella tradueix en taques org\u00e0niques. L\u2019acci\u00f3 es concentra en el gest m\u00ednim de tocar i lliscar, per\u00f2 aquest gest es desplega dins de possibilitats ja organitzades pel mateix dispositiu; les seves repeticions i recorreguts generen bucles de conducta que, acumulats, dibuixen una forma, un paisatge \u2014 una cartografia abstracta del contacte quotidi\u00e0 amb la tecnologia. En aquesta etapa final, l\u2019artista inverteix el proc\u00e9s una vegada m\u00e9s: la dada torna a convertir-se en mat\u00e8ria, tradu\u00efda en pintura sobre tela, tancant un circuit entre cos i algorisme.\r\n\r\nMiguel Ripoll<\/strong>\r\nGrand Tour<\/i>\r\n<\/i>T\u00e8cnica: arxiu de domini p\u00fablic, processos computacionals, intervenci\u00f3 manual<\/i><\/strong>\r\n\r\nMiguel Ripoll<\/strong>\u00a0ens porta cap a la construcci\u00f3 hist\u00f2rica de l\u2019alteritat. La seva s\u00e8rie\u00a0Grand Tour<\/i>\u00a0recupera el nom d\u2019una pr\u00e0ctica que acabaria formant part de la genealogia del turisme modern \u2014 vinculada a la cultura il\u00b7lustrada del segle XVIII, en qu\u00e8 joves arist\u00f2crates recorrien Fran\u00e7a i It\u00e0lia en un viatge que era, en certa manera, inici\u00e0tic, per\u00f2 que implicava tamb\u00e9 una posici\u00f3 concreta des de la qual observar i consumir altres territoris i cultures. A partir d\u2019arxius de domini p\u00fablic, els seus processos computacionals recuperen materials produ\u00efts per sistemes de representaci\u00f3 anteriors, que l\u2019artista recompon i torna a intervenir manualment. En aquestes obres, la tecnologia processa mirades heretades i posa de manifest que la imatge de l\u2019altre \u00e9s sempre una construcci\u00f3 \u2014 en el sentit plantejat per Victor I. Stoichita, \u201cla difer\u00e8ncia existeix, per\u00f2 l\u2019alteritat es construeix\u201d: la representaci\u00f3 com a resultat de sistemes hist\u00f2rics que determinen qui mira, com mira i a qui converteix en objecte d\u2019aquesta mirada. Formalment, les obres conserven aquesta condici\u00f3 de palimpsest, on capes d\u2019arxiu, proc\u00e9s algor\u00edtmic i intervenci\u00f3 manual se superposen.\r\n\r\nDavid Feroce<\/strong>\r\nLos nuevos pecados \/ Hagiograf\u00eda del Glitch<\/i>\r\n<\/i>T\u00e8cnica: cer\u00e0mica, projecci\u00f3 en moviment<\/i><\/strong>\r\n\r\nDavid Feroce<\/strong>\u00a0recupera repertoris religiosos i rituals i els trasllada, en un registre directe i ir\u00f2nic, a comportaments propis de la cultura digital. Si parlem de maneres de veure heretades, no podem obviar els antics repertoris simb\u00f2lics: el fil\u00f2sof Byung-Chul Han ha assenyalat la dimensi\u00f3 gaireb\u00e9 lit\u00fargica de determinades pr\u00e0ctiques digitals, on seguidors i influencers configuren rituals contemporanis de pertinen\u00e7a \u2014 el like com a gest d\u2019adhesi\u00f3, compartir com a comuni\u00f3, el conjunt com a pr\u00e0ctica lit\u00fargica. A\u00a0Los nuevos pecados<\/i>, quatre pomes de cer\u00e0mica reprenen el s\u00edmbol del pecat per assenyalar la captura de l\u2019atenci\u00f3, el consum excessiu i el deteriorament del vincle; el rostre de les xarxes socials es personifica mitjan\u00e7ant una m\u00e0scara, atorgant una pres\u00e8ncia antropom\u00f2rfica i arca\u00eftzant a una estructura per la resta abstracta. A\u00a0Hagiograf\u00eda del Glitch<\/i>, una figura cer\u00e0mica d\u2019eri\u00e7\u00f3 s\u2019acompanya de la seva pr\u00f2pia projecci\u00f3 en moviment: el glitch esdev\u00e9 una interrupci\u00f3 del flux, un petit esdeveniment que transforma la fallada tecnol\u00f2gica en una aparici\u00f3 carregada de resson\u00e0ncia espiritual.\r\n\r\nElvira Martos<\/strong>\r\nT\u00e8cnica: collage, t\u00e8cnica mixta<\/i><\/strong>\r\n\r\nElvira Martos<\/strong>\u00a0posa en relaci\u00f3 la identitat amb la teoria computacional de la ment, entesa com un sistema de processament d\u2019informaci\u00f3. La pe\u00e7a aborda les empremtes que l\u2019experi\u00e8ncia deixa en el cos i en la mem\u00f2ria, constru\u00efda a partir d\u2019un collage de somnis sorgits durant un proc\u00e9s terap\u00e8utic, que reuneix elements aparentment inconnexos en una \u00fanica imatge amalgamada \u2014 gaireb\u00e9 un sistema de codis. Les figures semblen recon\u00e8ixer-se i duplicar-se entre elles, com si fossin familiars, o potser versions o moments diferents d\u2019una mateixa identitat, mentre el paisatge amena\u00e7ador converteix el propi entorn en un agent actiu de la interpretaci\u00f3. Aquesta inestabilitat s\u2019est\u00e9n tamb\u00e9 als altres elements: criatures estranyes o h\u00edbrides introdueixen formes la identitat de les quals tampoc no acaba de fixar-se. La instal\u00b7laci\u00f3 prolonga aquesta l\u00f2gica mitjan\u00e7ant capes de representaci\u00f3 \u2014 Cem se superposa a Cordon Bleu, ocultant part de la imatge i alterant-ne la lectura, mentre Puppy Jr. se situa en di\u00e0leg amb el conjunt.\r\n\r\nNatasha Lelenco<\/strong>\r\nURthe1<\/i>\r\n<\/i>T\u00e8cnica: imatgeria digital<\/i><\/strong>\r\n\r\nEn l\u2019obra de\u00a0Natasha Lelenco<\/strong>, la identitat es revela com una construcci\u00f3 serial de codis compartits. La s\u00e8rie\u00a0URthe1<\/i>\u00a0recorre als repertoris de la imatgeria digital, on la repetici\u00f3 i la \u201cdopaminitzaci\u00f3\u201d perceptiva participen en l\u2019economia de l\u2019atenci\u00f3. Els retrats es presenten com a construccions deliberadament artificials: els rostres parteixen d\u2019una morfologia propera a l\u2019arc de mig punt, la qual cosa els confereix una qualitat de t\u00fanel o d\u2019interf\u00edcie hipn\u00f2tica, mentre la inadequaci\u00f3 anat\u00f2mica s\u2019empra com a t\u00e8cnica d\u2019antropomorfitzaci\u00f3 \u2014 les figures exhibeixen el seu propi artifici, adoptant una frontalitat que oscil\u00b7la entre l\u2019avatar i la icona, com a variacions m\u00ednimes dins d\u2019un mateix sistema. Els motius florals que componen els fons recorren als mecanismes de la pareid\u00f2lia, formes que s\u2019aproximen a un rostre i multipliquen la seva pres\u00e8ncia. La s\u00e8rie troba el seu sentit en la multiplicitat i la circulaci\u00f3, fent ress\u00f2 del flux incessant d\u2019imatges i models que dona forma a nous imaginaris col\u00b7lectius.\r\n\r\nMarla Jacarilla<\/strong>\r\nLiminal State<\/i>\r\n<\/i>T\u00e8cnica: videocreaci\u00f3, intel\u00b7lig\u00e8ncia artificial generativa<\/i><\/strong>\r\n\r\nUn d\u2019aquests imaginaris contemporanis compartits travessa la pe\u00e7a de videocreaci\u00f3 de\u00a0Marla Jacarilla<\/strong>.\u00a0Liminal State<\/i>\u00a0adopta la forma d\u2019un diari organitzat en diferents moments de 2025, on l\u2019experi\u00e8ncia \u00edntima, els esdeveniments col\u00b7lectius i les lectures es van superposant sobre una successi\u00f3 d\u2019espais liminals reconstru\u00efts mitjan\u00e7ant intel\u00b7lig\u00e8ncia artificial generativa. En una de les entrades, Jacarilla introdueix la seva lectura de\u00a0Realisme capitalista<\/i>, de Mark Fisher: agafant Fredric Jameson, Fisher assenyala com un ritme incessant de canvi pot conviure amb una estandarditzaci\u00f3 tamb\u00e9 extrema \u2014 quan tot se sotmet al canvi perpetu de la imatge medi\u00e0tica, \u201cres no pot canviar ja mai m\u00e9s\u201d. Els espais liminals es poden llegir, des d\u2019aqu\u00ed, com a imatges d\u2019aquest imp\u00e0s: llocs reconeixibles per\u00f2 suspesos, atrapats entre una familiaritat heretada i un futur que no acaba d\u2019arribar. La pe\u00e7a produeix aix\u00ed dos registres diferenciats \u2014 un territori col\u00b7lectiu, heretat i alhora artificial, i una escriptura que hi reinscriu una subjectivitat concreta \u2014, amb el subjecte romanent fora de camp, present \u00fanicament a trav\u00e9s del relat escrit.\r\n\r\nEdo Garc\u00eda<\/strong>\r\n#UNBOXING<\/i>\r\n<\/i>T\u00e8cnica: instal\u00b7laci\u00f3<\/i><\/strong>\r\n\r\nEdo Garc\u00eda<\/strong>\u00a0desplega la seva instal\u00b7laci\u00f3 a partir del contrast entre dos registres d\u2019intimitat: d\u2019una banda, un espai dom\u00e8stic lligat al recer i a una certa vulnerabilitat; de l\u2019altra, la intimitat exposada de diferents usuaris de YouTube que converteixen les seves llars en escenaris per exhibir armes davant una audi\u00e8ncia an\u00f2nima. Viol\u00e8ncia, por, consum i exhibici\u00f3 entren aqu\u00ed en un mateix circuit \u2014 l\u2019arma esdev\u00e9 objecte de desig, la viol\u00e8ncia i la por en contingut viralitzable, i l\u2019espai dom\u00e8stic oscil\u00b7la entre refugi i aparador.\u00a0#UNBOXING<\/i>\u00a0trasllada aquesta tensi\u00f3 al cos de l\u2019espectador, que ha de jeure en un llit desfet per accedir a les imatges, contraposant una intimitat espectacularitzada a una altra d\u2019encarnada i vulnerable. La relaci\u00f3 amb l\u2019altre s\u2019estableix \u00fanicament a trav\u00e9s de la mirada \u2014 es rep intimitat, es consumeix, per\u00f2, en no existir reciprocitat, la proximitat produeix a penes la il\u00b7lusi\u00f3 de la trobada.\r\n\r\nLorena Ruiz Pellicero<\/strong>\r\nYou Blink Your Eyes, We Do the Rest<\/i>\r\n<\/i>T\u00e8cnica: instal\u00b7laci\u00f3, dispositiu interactiu<\/i><\/strong>\r\n\r\nLorena Ruiz Pellicero<\/strong>\u00a0situa la mediaci\u00f3 en el propi acte de mirar en la seva instal\u00b7laci\u00f3.\u00a0You Blink Your Eyes, We Do the Rest<\/i>\u00a0proposa un dispositiu en qu\u00e8 unes lents de contacte intel\u00b7ligents converteixen la visi\u00f3 en una interf\u00edcie tecnol\u00f2gica: per mirar cal subscriure\u2019s, acceptar condicions, cedir dades. Si la trobada amb els altres constitueix una part fonamental de la construcci\u00f3 del jo, la pe\u00e7a ironitza sobre les condicions que els dispositius imposen a aquesta trobada, portant a l\u2019absurd la promesa d\u2019una \u201cvisi\u00f3 assistida\u201d. Com afirma l\u2019artista, \u201cla visi\u00f3 esdev\u00e9 servei, el parpelleig interf\u00edcie i la intimitat un recurs explotable\u201d.\r\n

Sobre PMP<\/b><\/h3>\r\nForms of Presence: Media Loop<\/i>\u00a0es presenta en el marc de\u00a0Professional Media Presence (PMP)<\/strong>, cofinan\u00e7at pel programa\u00a0Europa Creativa<\/strong>\u00a0de la Uni\u00f3 Europea, i marca la culminaci\u00f3 del projecte \u2014 reunint els resultats de tot el seu recorregut. L\u2019exposici\u00f3 s\u2019inaugura simult\u00e0niament en set seus de sis pa\u00efsos: Finl\u00e0ndia (Turku i Lap\u00f2nia), Malta, Cro\u00e0cia, It\u00e0lia, Eslov\u00e0quia i Barcelona.\r\n\r\nPMP respon a la creixent influ\u00e8ncia dels mitjans en la construcci\u00f3 de la identitat art\u00edstica, abordant reptes com la desinformaci\u00f3, la precarietat i les eines digitals en constant canvi que els artistes han d\u2019afrontar. En dotar els artistes de compet\u00e8ncies digitals i fomentar la col\u00b7laboraci\u00f3 transfronterera, el projecte refor\u00e7a la resili\u00e8ncia i la diversitat cultural a tot el continent.\r\n\r\nEntre el 2023 i el 2025, PMP va organitzar\u00a0cinc seminaris en l\u00ednia, setmanes de tallers i resid\u00e8ncies art\u00edstiques<\/strong>\u00a0per a la creaci\u00f3 col\u00b7laborativa i el desenvolupament de compet\u00e8ncies, connectant artistes de sis pa\u00efsos de la UE \u2014 Finl\u00e0ndia, Cro\u00e0cia, It\u00e0lia, Malta, Eslov\u00e0quia i Espanya. En total, hi van participar 113 artistes de diferents disciplines i etapes de la seva carrera, amb un fort focus en la inclusi\u00f3: el projecte prioritza artistes que afronten barreres com la discapacitat, problemes de salut, dificultats econ\u00f2miques, reptes socials o pol\u00edtics, a\u00efllament geogr\u00e0fic o difer\u00e8ncia cultural.\r\n\r\nEl projecte s\u2019estructura al voltant de cinc eixos tem\u00e0tics:\u00a0Media & Art<\/strong>, que explora com els mitjans donen forma a l\u2019expressi\u00f3 art\u00edstica i a les narratives culturals;\u00a0Online Media & Digital Storytelling<\/strong>, centrat en la creaci\u00f3 i difusi\u00f3 efica\u00e7 de relats digitals;\u00a0Social Media & Media Readership<\/strong>, que aborda la participaci\u00f3 de les audi\u00e8ncies i l\u2019\u00fas responsable dels mitjans;\u00a0Future Media<\/strong>, que examina tecnologies emergents com la intel\u00b7lig\u00e8ncia artificial i la realitat virtual i les seves aplicacions \u00e8tiques en l\u2019art; i\u00a0Media & Professional Identity<\/strong>, que guia els artistes en la construcci\u00f3 d\u2019una pres\u00e8ncia online aut\u00e8ntica.\r\n\r\nEl consorci de PMP reuneix Turku University of Applied Sciences (coordinador) i Lapland University of Applied Sciences (Finl\u00e0ndia), Youth for Equality (Eslov\u00e0quia), ESPRONCEDA \u2013 Institute of Art & Culture (Espanya), Perypezye Urbane (It\u00e0lia), Culture Hub Croatia i Prisms (Malta).","desc_es":"

Presenta:\u00a0<\/strong>ESPRONCEDA \u2013 Institute of Art & Culture<\/h3>\r\n

Lugar:\u00a0<\/strong>Carrer d\u2019Espronceda 326, Nau 5, 08027 Barcelona<\/h3>\r\n

Inauguraci\u00f3n:\u00a0<\/strong>jueves, 1 de octubre de 2026 \u00b7 19:00 \u2013 21:30 h<\/h3>\r\nESPRONCEDA \u2013 Institute of Art & Culture announces\u00a0Forms of Presence: Media Loop<\/i>, opening on October 1st, 2026, on view\u00a0through October 9th\u00a0at Carrer d\u2019Espronceda 326, Nau 5. The exhibition marks the culmination of\u00a0Professional Media Presence (PMP)<\/strong>, gathering the results of the project\u2019s full trajectory (including online seminars, workshop weeks and artist residencies) and opens simultaneously across seven venues in six countries: Finland (Turku and Lapland), Malta, Croatia, Italy, Slovakia and Barcelona.\r\n\r\nForms of Presence: Media Loop<\/i>\u00a0brings together\u00a0eight artists<\/strong>\u00a0exploring how identity is never built in solitude but constituted in encounter with others \u2014 an encounter that today is increasingly mediated by data, screens and devices. The exhibition takes its name from the word MEDIA itself, where the letters ID appear contained in reverse, as if reflected in a mirror: identity emerges from within the medium, but is returned to us transformed into representation. Across video, ceramics, installation, painting and generative AI, the artists trace how media both connect us to the other and produce the very images through which we recognize or differentiate ourselves \u2014 drawing on inherited archives, religious and digital rituals, intimate memory, and the architectures of contemporary devices.\r\n\r\nStructured as a circuit, the show gives its own paradox a name:\u00a0media multiply our possibilities for reaching the other without ever guaranteeing that this access becomes true encounter, widening the distance between connection and relation even as it promises to close it.\u00a0<\/i>Comisariado porNatasha Lelenco<\/strong>\u00a0&\u00a0Lorena Pellicero<\/strong>.\r\n

LIST OF WORKS<\/b><\/h3>\r\nElisa de la Torre\r\nCartograf\u00edas de la Intimidad Digital<\/i>\r\n<\/i>Medium: digital heat maps, painting on canvas<\/i><\/strong>\r\n\r\nElisa de la Torre<\/strong>\u00a0approaches identity through the intimate, tactile relationship we maintain daily with our devices. The mobile screen registers patterns of use that the artist transforms into heat maps, making visible an identity captured through repetition \u2014 the body leaving a digital inscription that she translates into organic stains. The action concentrates on the minimal gesture of touching and swiping, yet that gesture unfolds within possibilities already organized by the device itself; its repetitions and pathways generate loops of behaviour that, accumulated, draw out a shape, a landscape \u2014 an abstract cartography of everyday contact with technology. In this final stage, the artist reverses the process once more: data becomes matter again, translated into painting on canvas, closing a circuit between body and algorithm.\r\n\r\nMiguel Ripoll\r\n<\/i>Grand Tour<\/i>\r\n<\/i>Medium: public domain archive, computational processes, manual intervention<\/i><\/strong>\r\n\r\nMiguel Ripoll<\/strong>\u2018s work leads us toward the historical construction of otherness. His series\u00a0Grand Tour<\/i>\u00a0recovers the name of a practice that would go on to shape the genealogy of modern tourism \u2014 one linked to eighteenth-century Enlightenment culture, in which young aristocrats travelled through France and Italy on a journey that was, in a sense, initiatory, but that also implied a specific position from which to observe and consume other territories and cultures. Drawing on public domain archives, his computational processes retrieve materials produced by earlier systems of representation, which the artist recomposes and manually intervenes upon once again. In these works, technology processes inherited ways of looking and reveals that the image of the other is always a construction \u2014 in the sense proposed by Victor I. Stoichita, \u00abdifference exists, but alterity is constructed\u00bb: representation as the result of historical systems that determine who looks, how they look, and whom they turn into the object of that gaze. Formally, the works retain a palimpsest-like condition, where layers of archive, algorithmic process and manual intervention overlap.\r\n\r\nDavid Feroce\r\n<\/i>Los nuevos pecados \/ Hagiograf\u00eda del Glitch<\/i>\r\n<\/i>Medium: ceramic, moving image projection<\/i><\/strong>\r\n\r\nDavid Feroce<\/strong>\u00a0recovers religious and ritual repertoires and transposes them, in a direct and ironic register, onto behaviours typical of digital culture. If we speak of inherited ways of seeing, we cannot overlook older symbolic repertoires: philosopher Byung-Chul Han has pointed to the almost liturgical dimension of certain digital practices, where followers and influencers configure contemporary rituals of belonging \u2014 the like as a gesture of adhesion, sharing as communion, the whole as liturgical practice. In\u00a0Los nuevos pecados<\/i>, four ceramic apples revisit the symbol of sin to point to the capture of attention, excessive consumption and the erosion of connection; the face of social networks is personified through a mask, granting an anthropomorphic, archaizing presence to an otherwise abstract structure. In\u00a0Hagiograf\u00eda del Glitch<\/i>, a ceramic hedgehog figure is accompanied by its own moving projection: the glitch becomes an interruption of flow, a small event that turns technological failure into an apparition charged with spiritual resonance.\r\n\r\nElvira Martos<\/strong>\r\nMedium: collage, mixed media<\/i><\/strong>\r\n\r\nElvira Martos<\/strong>\u2018s work relates identity to the computational theory of mind, understood as a system of information processing. The piece addresses the traces that experience leaves on the body and memory, built from a collage of dreams that emerged during a therapeutic process, gathering seemingly disconnected elements into a single amalgamated image \u2014 almost a system of codes. The figures appear to recognize and duplicate one another, as though they were relatives, or perhaps different versions or moments of a single identity, while the threatening landscape turns the setting itself into an active agent of interpretation. This instability extends to the other elements too: strange or hybrid creatures introduce forms whose identity never quite settles. The installation extends this logic through layers of representation \u2014 Cem overlapping Cordon Bleu, concealing part of the image and altering its reading, while Puppy Jr. is placed in dialogue with the whole.\r\n\r\nNatasha Lelenco\r\n<\/i>URthe1<\/i>\r\n<\/i>Medium: digital imagery<\/i><\/strong>\r\n\r\nIn\u00a0Natasha Lelenco<\/strong>\u2018s work, identity reveals itself as a serial construction of shared codes. The series\u00a0URthe1<\/i>\u00a0draws on the repertoires of digital imagery, where repetition and perceptual \u00abdopaminization\u00bb play into the economy of attention. The portraits present themselves as deliberately artificial constructions: the faces stem from a morphology close to the round arch, lending them the quality of a tunnel or a hypnotic interface, while anatomical inadequacy is used as a technique of anthropomorphization \u2014 the figures display their own artifice, adopting a frontality that oscillates between avatar and icon, like minimal variations within a single system. The floral motifs that compose the backgrounds draw on the mechanisms of pareidolia, forms that approximate a face and multiply its presence. The series finds its meaning in multiplicity and circulation, echoing the incessant flow of images and models that shapes new collective imaginaries.\r\n\r\nMarla Jacarilla<\/strong>\r\nLiminal State<\/i>\r\n<\/i>Medium: video art, generative artificial intelligence<\/i><\/strong>\r\n\r\nOne of these shared contemporary imaginaries runs through\u00a0Marla Jacarilla<\/strong>\u2018s video piece.\u00a0Liminal State<\/i>\u00a0takes the form of a diary organized across different moments of 2025, where intimate experience, collective events and readings layer onto a succession of liminal spaces reconstructed through generative artificial intelligence. In one entry, Jacarilla introduces her reading of Mark Fisher\u2019s\u00a0Capitalist Realism<\/i>: drawing on Fredric Jameson, Fisher notes how an incessant rhythm of change can coexist with an extreme standardization \u2014 when everything is subjected to the perpetual change of the media image, \u00abnothing can ever really change again.\u00bb The liminal spaces can be read, from there, as images of that impasse: recognizable places suspended between an inherited familiarity and a future that never quite arrives. The piece thus produces two distinct registers \u2014 a collective, inherited yet artificial territory, and a writing that\u00a0 reinscribes within it a concrete subjectivity \u2014 with the subject remaining off-screen, made present only through the written account.\r\n\r\nEdo Garc\u00eda<\/strong>\r\n#UNBOXING<\/i>\r\n<\/i>Medium: installation<\/i><\/strong>\r\n\r\nEdo Garc\u00eda<\/strong>\u2018s installation unfolds from the contrast between two registers of intimacy: on one side, a domestic space tied to shelter and a certain vulnerability; on the other, the exposed intimacy of YouTube users who turn their homes into stages for displaying weapons to an anonymous audience. Violence, fear, consumption and exhibition enter into a single circuit \u2014 the weapon becomes an object of desire, violence and fear become viral content, and the domestic space oscillates between refuge and shop window.\u00a0#UNBOXING<\/i>\u00a0transfers this tension onto the viewer\u2019s own body, who must lie down on an unmade bed to access the images, setting a spectacularized intimacy against another, embodied and vulnerable one. The relation to the other is established only through looking \u2014 intimacy is received, consumed, but without reciprocity, so proximity produces little more than the illusion of encounter.\r\n\r\nLorena Ruiz Pellicero<\/strong>\r\nYou Blink Your Eyes, We Do the Rest<\/i>\r\n<\/i>Medium: installation, interactive device<\/i><\/strong>\r\n\r\nLorena Ruiz Pellicero<\/strong>\u2018s installation locates mediation within the very act of looking.\u00a0You Blink Your Eyes, We Do the Rest<\/i>\u00a0proposes a device in which smart contact lenses turn vision into a technological interface: to see, one must subscribe, accept terms, surrender data. If encountering others is a fundamental part of how the self is constructed, the piece ironizes on the conditions that devices impose on that encounter, pushing the promise of \u00abassisted vision\u00bb to its absurd extreme. As the artist states, \u00abvision becomes a service, blinking becomes an interface, and intimacy becomes an exploitable resource.\u00bb\r\n

About PMP<\/b><\/h3>\r\nForms of Presence: Media Loop<\/i>\u00a0is presented within the framework of\u00a0Professional Media Presence (PMP)<\/strong>, co-funded by the\u00a0Creative Europe<\/strong>\u00a0programme of the European Union, and marks the culmination of the project \u2014 bringing together the results of its full trajectory. The exhibition opens simultaneously in seven venues across six countries: Finland (Turku and Lapland), Malta, Croatia, Italy, Slovakia and Barcelona.\r\n\r\nPMP responds to the growing influence of media in shaping artistic identity, addressing challenges such as misinformation, precarity and the constantly shifting digital tools artists are expected to navigate. By equipping artists with digital skills and fostering cross-border collaboration, the project strengthens cultural resilience and diversity across the continent.\r\n\r\nBetween 2023 and 2025, PMP organised\u00a0five online seminars, workshop weeks and artist residencies<\/strong>\u00a0for collaborative creation and skill-building, connecting artists from six EU countries \u2014 Finland, Croatia, Italy, Malta, Slovakia and Spain. In total, 113 artists across different artistic fields and career stages took part, with a strong focus on inclusion: the project prioritises artists facing barriers such as disability, health issues, economic hardship, social or political challenges, geographic isolation or cultural difference.\r\n\r\nThe project is structured around five core themes:\u00a0Media & Art<\/strong>, exploring how media shapes artistic expression and cultural narratives;\u00a0Online Media & Digital Storytelling<\/strong>, focused on creating and sharing digital stories effectively;\u00a0Social Media & Media Readership<\/strong>, addressing audience engagement and responsible media use;\u00a0Future Media<\/strong>, examining emerging technologies such as artificial intelligence and virtual reality and their ethical applications in art; and\u00a0Media & Professional Identity<\/strong>, guiding artists in building an authentic online presence.\r\n\r\nThe consortium behind PMP brings together Turku University of Applied Sciences (coordinator) and Lapland University of Applied Sciences (Finland), Youth for Equality (Slovakia), ESPRONCEDA \u2013 Institute of Art & Culture (Spain), Perypezye Urbane (Italy), Culture Hub Croatia and Prisms (Malta).","desc_en":"

Presented by:<\/strong>\u00a0ESPRONCEDA \u2013 Institute of Art & Culture<\/h3>\r\n

Venue:\u00a0<\/b>Carrer d\u2019Espronceda 326, Nau 5, 08027 Barcelona<\/h3>\r\n

Opening:\u00a0<\/b>Thursday, October 1, 2026 \u00b7 7:00 PM \u2013 9:30 PM<\/h3>\r\nESPRONCEDA \u2013 Institute of Art & Culture announces\u00a0Forms of Presence: Media Loop<\/i>, opening on October 1st, 2026, on view\u00a0through October 9th\u00a0at Carrer d\u2019Espronceda 326, Nau 5. The exhibition marks the culmination of\u00a0Professional Media Presence (PMP)<\/strong>, gathering the results of the project\u2019s full trajectory (including online seminars, workshop weeks and artist residencies) and opens simultaneously across seven venues in six countries: Finland (Turku and Lapland), Malta, Croatia, Italy, Slovakia and Barcelona.\r\n\r\nForms of Presence: Media Loop<\/i>\u00a0brings together\u00a0eight artists<\/strong>\u00a0exploring how identity is never built in solitude but constituted in encounter with others \u2014 an encounter that today is increasingly mediated by data, screens and devices. The exhibition takes its name from the word MEDIA itself, where the letters ID appear contained in reverse, as if reflected in a mirror: identity emerges from within the medium, but is returned to us transformed into representation. Across video, ceramics, installation, painting and generative AI, the artists trace how media both connect us to the other and produce the very images through which we recognize or differentiate ourselves \u2014 drawing on inherited archives, religious and digital rituals, intimate memory, and the architectures of contemporary devices.\r\n\r\nStructured as a circuit, the show gives its own paradox a name:\u00a0media multiply our possibilities for reaching the other without ever guaranteeing that this access becomes true encounter, widening the distance between connection and relation even as it promises to close it.\u00a0<\/i>Comisariado porNatasha Lelenco<\/strong>\u00a0&\u00a0Lorena Pellicero<\/strong>.\r\n

LIST OF WORKS<\/b><\/h3>\r\nElisa de la Torre\r\nCartograf\u00edas de la Intimidad Digital<\/i>\r\n<\/i>Medium: digital heat maps, painting on canvas<\/i><\/strong>\r\n\r\nElisa de la Torre<\/strong>\u00a0approaches identity through the intimate, tactile relationship we maintain daily with our devices. The mobile screen registers patterns of use that the artist transforms into heat maps, making visible an identity captured through repetition \u2014 the body leaving a digital inscription that she translates into organic stains. The action concentrates on the minimal gesture of touching and swiping, yet that gesture unfolds within possibilities already organized by the device itself; its repetitions and pathways generate loops of behaviour that, accumulated, draw out a shape, a landscape \u2014 an abstract cartography of everyday contact with technology. In this final stage, the artist reverses the process once more: data becomes matter again, translated into painting on canvas, closing a circuit between body and algorithm.\r\n\r\nMiguel Ripoll\r\n<\/i>Grand Tour<\/i>\r\n<\/i>Medium: public domain archive, computational processes, manual intervention<\/i><\/strong>\r\n\r\nMiguel Ripoll<\/strong>\u2018s work leads us toward the historical construction of otherness. His series\u00a0Grand Tour<\/i>\u00a0recovers the name of a practice that would go on to shape the genealogy of modern tourism \u2014 one linked to eighteenth-century Enlightenment culture, in which young aristocrats travelled through France and Italy on a journey that was, in a sense, initiatory, but that also implied a specific position from which to observe and consume other territories and cultures. Drawing on public domain archives, his computational processes retrieve materials produced by earlier systems of representation, which the artist recomposes and manually intervenes upon once again. In these works, technology processes inherited ways of looking and reveals that the image of the other is always a construction \u2014 in the sense proposed by Victor I. Stoichita, \u00abdifference exists, but alterity is constructed\u00bb: representation as the result of historical systems that determine who looks, how they look, and whom they turn into the object of that gaze. Formally, the works retain a palimpsest-like condition, where layers of archive, algorithmic process and manual intervention overlap.\r\n\r\nDavid Feroce\r\n<\/i>Los nuevos pecados \/ Hagiograf\u00eda del Glitch<\/i>\r\n<\/i>Medium: ceramic, moving image projection<\/i><\/strong>\r\n\r\nDavid Feroce<\/strong>\u00a0recovers religious and ritual repertoires and transposes them, in a direct and ironic register, onto behaviours typical of digital culture. If we speak of inherited ways of seeing, we cannot overlook older symbolic repertoires: philosopher Byung-Chul Han has pointed to the almost liturgical dimension of certain digital practices, where followers and influencers configure contemporary rituals of belonging \u2014 the like as a gesture of adhesion, sharing as communion, the whole as liturgical practice. In\u00a0Los nuevos pecados<\/i>, four ceramic apples revisit the symbol of sin to point to the capture of attention, excessive consumption and the erosion of connection; the face of social networks is personified through a mask, granting an anthropomorphic, archaizing presence to an otherwise abstract structure. In\u00a0Hagiograf\u00eda del Glitch<\/i>, a ceramic hedgehog figure is accompanied by its own moving projection: the glitch becomes an interruption of flow, a small event that turns technological failure into an apparition charged with spiritual resonance.\r\n\r\nElvira Martos<\/strong>\r\nMedium: collage, mixed media<\/i><\/strong>\r\n\r\nElvira Martos<\/strong>\u2018s work relates identity to the computational theory of mind, understood as a system of information processing. The piece addresses the traces that experience leaves on the body and memory, built from a collage of dreams that emerged during a therapeutic process, gathering seemingly disconnected elements into a single amalgamated image \u2014 almost a system of codes. The figures appear to recognize and duplicate one another, as though they were relatives, or perhaps different versions or moments of a single identity, while the threatening landscape turns the setting itself into an active agent of interpretation. This instability extends to the other elements too: strange or hybrid creatures introduce forms whose identity never quite settles. The installation extends this logic through layers of representation \u2014 Cem overlapping Cordon Bleu, concealing part of the image and altering its reading, while Puppy Jr. is placed in dialogue with the whole.\r\n\r\nNatasha Lelenco\r\n<\/i>URthe1<\/i>\r\n<\/i>Medium: digital imagery<\/i><\/strong>\r\n\r\nIn\u00a0Natasha Lelenco<\/strong>\u2018s work, identity reveals itself as a serial construction of shared codes. The series\u00a0URthe1<\/i>\u00a0draws on the repertoires of digital imagery, where repetition and perceptual \u00abdopaminization\u00bb play into the economy of attention. The portraits present themselves as deliberately artificial constructions: the faces stem from a morphology close to the round arch, lending them the quality of a tunnel or a hypnotic interface, while anatomical inadequacy is used as a technique of anthropomorphization \u2014 the figures display their own artifice, adopting a frontality that oscillates between avatar and icon, like minimal variations within a single system. The floral motifs that compose the backgrounds draw on the mechanisms of pareidolia, forms that approximate a face and multiply its presence. The series finds its meaning in multiplicity and circulation, echoing the incessant flow of images and models that shapes new collective imaginaries.\r\n\r\nMarla Jacarilla<\/strong>\r\nLiminal State<\/i>\r\n<\/i>Medium: video art, generative artificial intelligence<\/i><\/strong>\r\n\r\nOne of these shared contemporary imaginaries runs through\u00a0Marla Jacarilla<\/strong>\u2018s video piece.\u00a0Liminal State<\/i>\u00a0takes the form of a diary organized across different moments of 2025, where intimate experience, collective events and readings layer onto a succession of liminal spaces reconstructed through generative artificial intelligence. In one entry, Jacarilla introduces her reading of Mark Fisher\u2019s\u00a0Capitalist Realism<\/i>: drawing on Fredric Jameson, Fisher notes how an incessant rhythm of change can coexist with an extreme standardization \u2014 when everything is subjected to the perpetual change of the media image, \u00abnothing can ever really change again.\u00bb The liminal spaces can be read, from there, as images of that impasse: recognizable places suspended between an inherited familiarity and a future that never quite arrives. The piece thus produces two distinct registers \u2014 a collective, inherited yet artificial territory, and a writing that\u00a0 reinscribes within it a concrete subjectivity \u2014 with the subject remaining off-screen, made present only through the written account.\r\n\r\nEdo Garc\u00eda<\/strong>\r\n#UNBOXING<\/i>\r\n<\/i>Medium: installation<\/i><\/strong>\r\n\r\nEdo Garc\u00eda<\/strong>\u2018s installation unfolds from the contrast between two registers of intimacy: on one side, a domestic space tied to shelter and a certain vulnerability; on the other, the exposed intimacy of YouTube users who turn their homes into stages for displaying weapons to an anonymous audience. Violence, fear, consumption and exhibition enter into a single circuit \u2014 the weapon becomes an object of desire, violence and fear become viral content, and the domestic space oscillates between refuge and shop window.\u00a0#UNBOXING<\/i>\u00a0transfers this tension onto the viewer\u2019s own body, who must lie down on an unmade bed to access the images, setting a spectacularized intimacy against another, embodied and vulnerable one. The relation to the other is established only through looking \u2014 intimacy is received, consumed, but without reciprocity, so proximity produces little more than the illusion of encounter.\r\n\r\nLorena Ruiz Pellicero<\/strong>\r\nYou Blink Your Eyes, We Do the Rest<\/i>\r\n<\/i>Medium: installation, interactive device<\/i><\/strong>\r\n\r\nLorena Ruiz Pellicero<\/strong>\u2018s installation locates mediation within the very act of looking.\u00a0You Blink Your Eyes, We Do the Rest<\/i>\u00a0proposes a device in which smart contact lenses turn vision into a technological interface: to see, one must subscribe, accept terms, surrender data. If encountering others is a fundamental part of how the self is constructed, the piece ironizes on the conditions that devices impose on that encounter, pushing the promise of \u00abassisted vision\u00bb to its absurd extreme. As the artist states, \u00abvision becomes a service, blinking becomes an interface, and intimacy becomes an exploitable resource.\u00bb\r\n

About PMP<\/b><\/h3>\r\nForms of Presence: Media Loop<\/i>\u00a0is presented within the framework of\u00a0Professional Media Presence (PMP)<\/strong>, co-funded by the\u00a0Creative Europe<\/strong>\u00a0programme of the European Union, and marks the culmination of the project \u2014 bringing together the results of its full trajectory. The exhibition opens simultaneously in seven venues across six countries: Finland (Turku and Lapland), Malta, Croatia, Italy, Slovakia and Barcelona.\r\n\r\nPMP responds to the growing influence of media in shaping artistic identity, addressing challenges such as misinformation, precarity and the constantly shifting digital tools artists are expected to navigate. By equipping artists with digital skills and fostering cross-border collaboration, the project strengthens cultural resilience and diversity across the continent.\r\n\r\nBetween 2023 and 2025, PMP organised\u00a0five online seminars, workshop weeks and artist residencies<\/strong>\u00a0for collaborative creation and skill-building, connecting artists from six EU countries \u2014 Finland, Croatia, Italy, Malta, Slovakia and Spain. In total, 113 artists across different artistic fields and career stages took part, with a strong focus on inclusion: the project prioritises artists facing barriers such as disability, health issues, economic hardship, social or political challenges, geographic isolation or cultural difference.\r\n\r\nThe project is structured around five core themes:\u00a0Media & Art<\/strong>, exploring how media shapes artistic expression and cultural narratives;\u00a0Online Media & Digital Storytelling<\/strong>, focused on creating and sharing digital stories effectively;\u00a0Social Media & Media Readership<\/strong>, addressing audience engagement and responsible media use;\u00a0Future Media<\/strong>, examining emerging technologies such as artificial intelligence and virtual reality and their ethical applications in art; and\u00a0Media & Professional Identity<\/strong>, guiding artists in building an authentic online presence.\r\n\r\nThe consortium behind PMP brings together Turku University of Applied Sciences (coordinator) and Lapland University of Applied Sciences (Finland), Youth for Equality (Slovakia), ESPRONCEDA \u2013 Institute of Art & Culture (Spain), Perypezye Urbane (Italy), Culture Hub Croatia and Prisms (Malta).","event_category":103,"event_show_only_own_date":true,"_event_confirmed":true,"_event_public":true,"_event_free":true,"_event_price-min":"","_event_price-max":"","_event_web_ca":"https:\/\/www.espronceda.net\/ca\/forms-of-presence-media-loop\/","_event_web_es":"https:\/\/www.espronceda.net\/es\/forms-of-presence-media-loop\/","_event_web_en":"https:\/\/www.espronceda.net\/forms-of-presence-media-loop\/","event_contact_email":"info@espronceda.net","event_apply_email":"info@espronceda.net","is_online_event":false,"is_art_nou_event":false,"is_bgw_event":false,"date_text":"","register_deadline":null,"altres_organitzadors":""},"abe_event_venue":"Espronceda","abe_event_category":"Exposici\u00f3","start":"2026-10-01 19:00:00","end":"2026-10-09 19:00:00","schedule":"once","schedule_meta":"","frequency":1,"all_day":0,"until":"2026-10-01 19:00:00","include":[],"exclude":[],"_links":{"self":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/59931","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/users\/117"}],"occurrences":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/59931\/occurrences"}],"acf:term":[{"embeddable":true,"taxonomy":"event-category","href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-category\/103"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media\/59928"}],"wp:attachment":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media?parent=59931"}],"wp:term":[{"taxonomy":"event-venue","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-venues?post=59931"},{"taxonomy":"event-tag","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-tags?post=59931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}