Bleda y Rosa


Bleda y Rosa

Castellon / Albacete


An image should evoke not describe.

The landscape, space infused with memories, together with the idea of travel and an interest in history are the main themes of Bleda y Rosa‘s work, authentic research projects which manage to reveal the impact of the human being on different spaces and the traces of the lives lived in them. A stroll through a memory and through recollections which are not one’s own individually but collectively, and which enable us to think about their evocative capacity. Bleda and Rosa tell a story with what they reveal and say but, more importantly, with everything they do not say and show: in their work, that which is lying dormant is brought center stage and enables the creation of an intense but fleeting connection between the observer and each work, where this silence, this empty space, takes on a unique meaning. The reflection process that brought the work into being demands a response from the viewer.

Bleda (Castellón, 1969) and Rosa (Albacete, 1970) are two creators that work as a single artist, doing so methodically, and in a balanced and profound way. They met at the School of Applied Arts in Valencia where they were studying and defining photography in order to explore it as an appropriate platform for their art. Photography as documentation and the concept of archiving as a way of conserving history are statements that are often linked to their work, while they respond by trying to make the definitions given to their work, which inevitably restrict its scope, more precise and nuanced. By the same token, it is impossible for the names of Bernd and Hilla Becher not to be referenced on numerous occasions when talking about their work, although this artistic pair cite other influences and references as having affected them more, such as the walker Hamish FultonFischli and WeissBaldessari and Eugène Atget.

Football grounds, BattlefieldsCitiesOrigin and Architectures are some of the major series that they were working on up until 2013. Campos de fútbol focused on spaces that had been used for this sport and its spectacle, but were subsequently abandoned and in some cases repurposed for other uses. Since they first started out, their treatment of the space, the architecture of that space and within the space has been one of their hallmarks of their work. Empty spaces previously inhabited by human beings. Spaces where the lives left behind still pulsate if we scratch the surface.
These works invite us to unravel our thought process; to undergo an evolution that involves experience and leaves contemplation to one side; to realize that something happens to us on discovering them; to discover and dig deeper into the discovery; ultimately, and in a strange way, to live. Having won the
Premio PHotoEspaña Fotógrafo Revelación [Young Photographer Award] in 2005 and the Spanish National Photography Prize in 2008, Bleda y Rosa’s work can be found in collections such as the ARTIUM in Vitoria, the MNCARS (Museo Nacional Centro de Arte Reina Sofía) in Madrid, the MUSAC (Museo de Arte Contemporáneo de Castilla y León) in Leon, and in the EPCC (Musée d´Art Moderne de Ceret), the Musée d´Art Moderne de Collioure and the FNAC (Fonds National d´Art Contemporain) in France. Their work also features in the CGAC (Centro Galego de Arte Contemporánea), the CAAC (Centro Andaluz de Arte Contemporáneo) and the CAB (Centro de Arte Caja de Burgos), as well as in private collections such as Altadis, Fundación Coca-Cola, Ordoñez-Falcón and Rafael Tous.

We want the viewer to use their imagination to read the image, they have declared. A virtually scientific creative process that gives rise to poetry.