‘‘Poor images are the contemporary Wretched of the Screen. They testify to the violent dislocation, transferrals, and displacement of images—their acceleration and circulation within the vicious cycles of audiovisual capitalism. Poor images show the rare, the obvious, and the unbelievable—that is, if we can still manage to decipher it.’’
—Hito Steyerl

‘‘The polis, properly speaking, is not the city-state in its physical location; it is the organization of the people as it arises out of acting and speaking together, and its true space lies between people living together for this purpose, no matter where they happen to be’’.
—Hannah Arendt, ‘The Human Condition’

‘‘The dream of love that has conditioned women to undertake the care work of their husbands and children is today transformed into the care that knowledge workers exercise over the body of the company through the sentimental relationship that they tend to develop with their own projects (research, pages, photographs, drawings, words, films, etc.).’’
—Cristina Morini

“A few years back, I was walking in Granada with Manuel de Falla. He was talking about the degeneration of our old songs when, just as he was complaining, a pure old song came out of a window. We peered in and through the green blinds we saw a white, aseptic room without a single picture, just like a machine for living in by the architect Corbusier.”
—Federico García Lorca, ‘Arquitectura del cante jondo’ (circa 1932)

‘‘All theoretical discourse falters when the dialectic of the ‘foreign’ and the ‘same’ emerges. Barcelona, Besòs View is based on an internalisation of the identical, of the same, and not on an observation of the foreign. When rooted in the portrait, pure description becomes blurred. Isn’t it always the foreigner’s gaze that lays bare the figures of crisis?’’
—Jean-François Chevrier

Taking as title a phrase from ‘Far Away Eyes’, the song of The Rolling Stones, Max Esteban (Barcelona, 1959) critically investigates the grammars of financial capitalism, the architectures that symbolize its supremacy, as well as those monetary algorithms - virtual and abstracts - from which this economic system executes its enormous social influence.

‘‘What is all the clamor over space? (…) The love of space is there, and painting functions in space like everything else because it is a communal fact –it can be held in common. Only time can be felt in private. Space is common property. Only time is personal, a private experience.’’
—Barnett Newman

‘This project It is not a ‘celebratory exhibition’, an ‘iconographic chronicle’ or a ‘historical account’. It does not aspire to critical balance, exultant hagiography or comfortable melancholy either. What we hope to do is to present a ‘report on the current state of the Soviet revolution of 1917’ in order to facilitate a reading of the voices and echoes of the event in the light of today.’

This exhibition uses drawings, maps and documents to reconstruct the life of Simón Radowitzky, the Ukrainian Argentine anarchist. Following the brutal police repression during Red Week in Buenos Aires in 1909, Radowitzky attacked Ramón Lorenzo Falcón, the chief of police responsible, and was sentenced to life imprisonment in the notorious Ushuaia Prison.

‘‘My story is one of a tranquil darkness, of roots dormant in their strength, of scent without perfume. And in none of this does the abstract exist. It’s the figurative of the unnameable.’’
—Clarice Lispector

Video, installations, projections and loops are the media that Robert Cahen uses in his representations of travel, landscape, passage (crossroads) and portrait, as he goes beyond appearances to explore the thresholds of the images, sounds and silences of the world, of all those who live in it and pass through it.