Madrid, June 5, 2024 – As the Spanish sun cast a golden hue over Madrid's streets, PHotoESPAÑA 2024 officially kicked off, ushering in a season of visual storytelling that spans from June 5 to September 22. With 70 exhibitions across Madrid, Alcalá de Henares, Barcelona, and other cities, this 28th edition centers on the theme "Photography, Places of Memory." It's a poignant exploration of how images anchor our collective past, blending iconic Spanish masters like Pablo Picasso and Salvador Dalí with global contemporary talents such as Zanele Muholi and Cristina García Rodero.
I sat down with Claudia Cárdenas, the festival's artistic director, moments after the opening ceremony at the Reina Sofía Museum. Cárdenas, a curator with a deep-rooted passion for Latin American and Spanish photography, brought her vision to life in a program that not only celebrates photography's archival power but also questions its role in an era of digital proliferation. Our conversation delved into curation challenges, the intersection of technology and art, and the enduring magic of the medium.
Visura Magazine: Claudia, welcome to PHotoESPAÑA 2024. The theme 'Photography, Places of Memory' feels especially resonant today. What inspired this focus?
Claudia Cárdenas: Thank you, it's a thrill to be here. The idea stems from photography's unique ability to freeze moments and create shared memory banks. In Spain, with our layered history—from the Civil War to the democratic transition—images have been witnesses and architects of identity. But globally, we're seeing memory fragmented by social media. This edition invites viewers to rediscover deliberate, curated visuals that build lasting narratives. Exhibitions like Joan Fontcuberta's From Here On challenge manipulated images, urging us to question what's real.
VM: The program features heavyweights like Picasso's early photographs and Dalí's surrealist experiments alongside emerging voices. How did you balance historical reverence with contemporary urgency?
CC: Balance was key. Picasso's 1901-1904 portraits at the Pablo Picasso Foundation reveal a young artist grappling with loss, tying directly to memory. Dalí at the Thyssen-Bornemisza pushes boundaries with his photomontages. Then, we have Cristina García Rodero's España Oculta, a Magnum classic exposing hidden rituals. For the now, Zanele Muholi's self-portraits confront identity and violence in South Africa, while Carlos Cánovas's Atlas de Lugares Invisibles uses aerial tech to map forgotten landscapes. It's a dialogue across time—past informing present.
VM: Technology is reshaping photography, from smartphone cameras to AI tools. As a tech enthusiast covering visual arts, how do you see these innovations impacting cultural memory?
CC: Exciting and precarious. Smartphones democratize image-making; everyone is a photographer now, generating petabytes daily. But curation is crucial to avoid overload. AI, like generative models, raises ethical questions—Fontcuberta's work prefigures this by exploring post-photographic futures. At PHotoESPAÑA, we showcase hybrid practices: Moisés Mahiques uses drones for immersive memory landscapes. Yet, I advocate for analog roots; exhibitions at Círculo de Bellas Artes highlight gelatin silver prints' tactility. Tech enhances, but human intent preserves memory.
VM: Madrid as the epicenter—with venues like Matadero and La Casa Encendida—creates an immersive urban gallery. Any standout installations?
CC: Matadero's The Eyes of the War by Robert Capa and Gerda Taro is devastating, showing Spanish Civil War grit. La Casa Encendida hosts collective shows like Memory Exercises, with artists like Jorge Fuembuena rephotographing family albums. Off-site, Alcalá de Henares features public interventions. It's designed for wandering, serendipity fueling discovery.
VM: Diversity is prominent—Latin American, African, and female artists abound. Is this intentional programming?
CC: Absolutely. Photography's history was male-dominated, Eurocentric. We've amplified voices like Sofía Ayarzaguena's feminist archives and Pablo Ortiz Monasterio's Mexican series. Zanele Muholi represents queer Black narratives. It's about inclusive memory; without diverse perspectives, history is incomplete.
VM: Sustainability and accessibility are buzzwords. How does PHotoESPAÑA address them?
CC: We've gone digital with virtual tours for global reach, reducing travel emissions. Tickets are affordable, many free. Partnerships with local communities ensure cultural exchange. Post-pandemic, hybrid formats persist.
VM: Looking ahead, what's photography's future role in culture?
CC: As a tool for empathy and resistance. In polarized times, images bridge divides. With VR and AR emerging, photography evolves into experiential memory. But core remains: light capturing emotion. PHotoESPAÑA pushes this evolution.
VM: Final thoughts for attendees?
CC: Lose yourself in the images. Touch the prints, question the narratives. Photography isn't passive—it's a memory maker. See you in Madrid!
Cárdenas's enthusiasm is infectious, mirroring the festival's vibrancy. PHotoESPAÑA 2024 isn't just exhibitions; it's a call to reflect on how we remember. Running through September, it's a must for visual arts lovers. For full program, visit photoespana.org.
Interview conducted by [Your Name], Senior Tech Journalist, Visura Magazine.
