Travelling exhibitions

27.MAR.2026 – 31.JUN.2026

Centro Cultural Antiguo Instituto Jovellanos (Gijón, Asturias)

Night. Nudity. Blur.

The Japanese photographer Sakiko Nomura (1967) worked for twenty years as an assistant to Nobuyoshi Araki (Tokyo, 1940), one of Japan’s best-known photographers. Beginning in 1993, the artist exhibited regularly in Japan and other Asian countries, as well as in Europe and Mexico. Alongside her images, photobooks make up a large body of her work; to date she has published thirty-four.

The cover of Nomura’s first book, Naked Room, published in 1994, features the blurred profile of the torso of a nude young man. These are some of the characteristics that would come to define her work from that time on. By focusing on the male body, Nomura subverts the conventions of nude photography—generally produced by men—and challenges the stereotypes of a long-standing tradition deeply rooted in both the West and the East, and particularly in Japan.

Drawn to darkness as the reverse of light, Nomura’s photographs are shaped by night and shadow, dim light, and blurring, as if the artist were searching for a way out, or for a light at the end of the journey.

02.MAR.2026 – 28.JUN.2026

Sala Rekalde (Bilbao, Vizcaya)

Portraiture. Simplicity. Emotion.

Nicholas Nixon (Detroit, Michigan, 1947) occupies a prominent place in recent photographic history. Focused primarily on portraiture, and with a clear interest in the camera’s descriptive possibilities, his work reveals a tension between the visible, the subject matter, and the invisible, the thoughts and concerns that surface in his images.

His series explore singular worlds with notable social awareness. Slowness, extended periods of time, and the absence of dramatic elements are the hallmarks of his work. Nixon employs a simple, almost obsolete yet impeccable technique, using large-format cameras that require proximity and cooperation from his sitters in order to portray the intimate worlds on which he fixes his gaze: the elderly, the sick, the intimacy of couples, and family life.

In his photographs we find a clear guiding thread and an extraordinary capacity for renewal. They lead us from cool urban views of New York and Boston in the 1970s to the celebrated The Brown Sisters series, one of the most perceptive reflections on the passage of time in the history of photography.

22.FEB.2026 – 21.JUN.2026

Meadows Museum (Dallas, USA)

Elegance. Tradition. Mastery.

The work of Raimundo de Madrazo (Rome, 1841 – Versailles, 1920), regarded in his time as a symbol of elegance, emulation of the past, and respect for tradition, established him as a central figure on the artistic scene and in the most distinguished and international social circles of the late 19th and early 20th centuries. Over time, however, and with the emergence of new artistic movements, his oeuvre was relegated to the margins of later art-history narratives.

Together with Mariano Fortuny and Eduardo Zamacois, Raimundo de Madrazo specialized in small-format paintings, which were highly appreciated by the general public of the period. Art ceased to be merely a private concern of the monarchy and aristocracy and became a matter “for everyone.”

Raimundo de Madrazo’s work can be categorized as juste milieu painting, produced between 1830 and 1848 and representative of mainstream taste. As a result, he enjoyed considerable commercial and critical success during the second half of the 19th century. However, his decline was as swift as his rise had been, and only recently has his work begun to receive the recognition it deserves.

14.FEB.2026 – 07.JUN.2026

San Diego Museum of Art (San Diego, USA)

Mystical. Social. Poetic.

Graciela Iturbide (Mexico City, 1942) is one of the most prominent Mexican photographers on the international contemporary scene. Her entirely unique body of work is key to understanding the development of photography in Mexico and throughout Latin America.

Straddling the documentary and the poetic, her singular gaze brings together lived experience and dreams in a complex web of historical, social, and cultural references. Her work is characterized by an ongoing dialogue between images, times, and symbols, in a poetic unfolding where dreams, rituals, religion, travel, and community come together.

Celebrated for her portraits of the Seri people, for her vision of the women of Juchitán, and for her fascinating long-term study of birds, Graciela Iturbide’s visual journey has taken her beyond her native Mexico to countries as diverse as Spain, the United States, India, Italy, and Madagascar.

Her talent for framing what draws her attention can produce an almost mystical vision of the everyday; at other times, it brings us to the very heart of crucial issues in our society.

12.FEB.2026 – 02.JUN.2026

CAMERA Turin (Turin, Italy)

Aesthetics. Formalism. Realism.

The photographer Edward Weston (Highland Park, Illinois, 1886 – Carmel Highlands, California, 1958) was one of the early advocates, together with Alfred Stieglitz and Paul Strand, of emancipating photography from other artistic disciplines. In this sense, his work is essential for understanding the early aesthetic and perceptual potential of the medium.

Weston’s technical mastery led him toward a formalism in which framing became one of the most important elements. Indeed, he eliminated any anecdotal aspect and focused on the subject that interested him, rendering it with such realism and such emphasis on the two-dimensional character of photography that the result often became an abstract image. In this way, the artist demonstrated that representation and abstraction are not mutually exclusive, but are actually perfectly compatible.

Weston’s work, strongly connected to landscape and to American cultural history, offers a unique perspective on the process through which photography became established as an artistic medium and on its important role within the context of modernity in the visual arts.

09.FEB.2026 – 24.MAY.2026

Maison Européenne de la Photographie (Paris, France)

Compromise. Respect. Portraiture.

Born in Amsterdam, Dana Lixenberg settled in New York in 1989, where she developed a photographic approach grounded in slowness, listening, and attentiveness to human relationships. As a foreign artist observing the United States from a lucid distance shaped by her progressive education, Lixenberg gently questions the myths of the American dream. Her portraits are a counterpoint to the prevailing representations of the United States.

At the heart of her work, the human being remains the central subject. Lixenberg constructs a living portrait of different communities, from public figures to people relegated to the margins, honoring the full humanity of each individual beyond their social status. Her portraits, often stripped of contextual clues, resist reductive readings: celebrities appear more restrained, while lesser-known individuals are offered a space in which to affirm their uniqueness. Through sustained attention to detail and nuance, she distances herself from stereotypes. At the center of her practice is the “slow dance” with her subjects. Her calm approach and deep respect facilitate an authentic and lasting bond.

08.NOV.2025 – 29.MAR.2026

Carré d’Art Nimes (Nimes, France)

Border. Conflict. Visual reflection.

Felipe Romero Beltrán’s photographic practice (Bogotá, 1992) sits at the edges of documentary photography, using elements typical of the genre—such as direct recordings of everyday life and the creation of documents about a defined historical reality—and placing them in dialogue with artistic, painterly, or performative elements. The result is a body of images that go beyond the purely photographic to encompass the full scope of visuality.

Throughout his career, Romero Beltrán has consistently been drawn to territories that are, or have been, sites of tension, conflict, and visual reflection. A prime example is his project Bravo, which won the 2023 edition of the KBr Photo Award, the award that supports new projects through a cash prize, an exhibition of the project in our two galleries (Barcelona and Madrid), and the publication of the corresponding catalog.

Set in the space where those hoping to cross the river into the United States wait for the right moment, Bravo is, in the photographer’s own words, an essay documenting the bodies, objects, and architecture of a place that, during this period of waiting, precedes the border.

23.OCT.2025 – 25.JAN.2026

José Guerrero Center (Granada)

Intrigue. Seriality. Renewal.

José Guerrero (Granada, 1979) conceives landscape as an active and dynamic entity where the sociopolitical, cultural, and collective imaginary intertwine in intriguing ways.

For Guerrero, photographing a territory, landscape, or place involves engaging with the relationships of proximity, the alterations, and the tensions they embody, thereby rejecting the modern conception of landscape as something purely natural and detached from us.

His artistic output is characterized by a meticulous organization into series, which together form a fluid mosaic of meanings.  In some of these series, Guerrero deliberately employs certain conventions of natural and architectural landscape inherited from modern photography, such as defined horizons, the theatricality of the sky and clouds, or color saturation. This approach invites the viewer to experience a renewed way of seeing, beyond mere contemplation.

20.OCT.2025 – 11.JAN.2026

The Grand Master’s Palace (La Valletta, Malta)

Reformism. Reflection. Testimony.

Francisco de Goya y Lucientes was born in 1746, in Fuendetodos, Zaragoza. There he studied with José Luzán, through whom he came into contact with the art of engraving. His work is the result of constant experience and reflection, shaped by his enlightened reformism, which opposed the traditionalism deeply rooted in Spanish society. Unlike many of his contemporaries, Goya left us a profoundly lucid and conscious testimony of his time.

In the months following the French invasion and the beginning of the Peninsular War (1808–1814), a conflict that pitted the Spanish people against the French troops, the artist experienced the numerous upheavals accompanying the fall of the Ancien Régime.

In 1810, he began the etching series “The Disasters of War”, consisting of 80 titled and numbered plates, executed primarily in etching with a number of additions in drypoint and aquatint, and printed in black ink. They were first published by the Royal Academy of Fine Arts of San Fernando, and the fourth edition, which forms part of the Fundación Mapfre Collections, was produced in 1906 at the Calcografía Nacional.