Travelling exhibitions

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.

16.OCT.2025 – 12.JAN.2026

International Center of Photography (ICP)

Ritual. Nature. Culture.

The work of Graciela Iturbide, one of the most prominent Mexican photographers on the international contemporary scene, is key to understanding the evolution of photography in Mexico and across Latin America.

Straddling the documentary and the poetic, her singular way of seeing integrates lived experience and dreams into a complex web of historical, social, and cultural references. The fragility of ancestral traditions and their precarious survival, the interaction between nature and culture, the importance of ritual in everyday gestures, and the symbolic dimension of landscapes and found objects occupy a central place in her prolific career.  Her work is characterized by a continuous dialogue between images, time, and symbols, unfolding in a poetic display where dream, ritual, religion, travel, and community converge.

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

19.JUL.2025 – 05.OCT.2025

Milton Keynes Gallery (London, UK)

Transgression. Respect. Humanity.

Self-taught, Chilean photographer Paz Errazuriz began her career in the 1970s.  Under the political regime of the time, her photographic projects broke the rules by depicting spaces and environments dominated by marginalization, confinement, and characters whose behavior was outside the norm or the established order.

The lack of freedom of movement in a country under a dictatorship from 1973 to 1990 prompted the photographer to look for the reasons behind the confinement of certain people. She repeatedly visited the Philippe Pinel Psychiatric Hospital in Putaendo, where she found people neglected by their own families. There, her eye focused on the human bonds and romantic relationships formed in the psychiatric ward.

She has also turned her attention to the world of prostitution and the social infantilization that affects the elderly.

This artist’s courageous gaze reveals the most hidden aspects of everyday life in Chile, working closely with her subjects and building relationships based on trust and mutual respect.

04.JUL.2025 – 28.SEP.2025

Gustavo de Maeztu Museum (Estella, Navarre)

New art. Vanguardism. Modernity.

Daniel Vázquez Díaz (1882-1969) was interested in painting from a very young age. At the Ateneo de Sevilla, he met Ricard Canals, Ignacio Zuloaga, and Francisco Iturrino, who would influence his early works. After spending time in Madrid, he moved to Paris in 1906, where he lived for nearly twelve years. There he became acquainted with Spanish artists like Ignacio Zuloaga, Joaquim Sunyer, Hernén Anglada Camarasa, Juan de Echevarría, Pablo Picasso, and Juan Gris, among others, and immersed himself in the work of Paul Gauguin, Paul Cézanne, and Pierre-Auguste Renoir through the art dealer Ambroise Vollard.

When he settled permanently in Madrid in 1918, Vázquez Díaz’s work was recognized by critics as what has come to be known as tempered Cubism, which draws on the post-Impressionist legacy of Cézanne and his constructive approach combined with the use of color in expansive, faceted planes.

His pre-Spanish Civil War work is one of the most interesting chapters in the artistic and cultural landscape of a country that was trying to forge its own path into modernity.

14.JUN.2025 – 25.SEP.2025

Photo Arsenale Wien (Vienna, Austria)

Timeless. Observant. Instinctive.

Henri Cartier-Bresson (1908 – 2004), was a photojournalist, artistic photographer and portraitist, he crafted timeless compositions and shaped the style of later generations of photographers. In 1947, he founded the Magnum photo agency alongside Robert Capa, George Rodger and David “Chim” Seymour.

A patient and silent observer, yet nimble and expeditious, the artist captured scenes of people and key events in 20th-century history, earning him the nickname “the eye of the century”. With his talent for finding the “decisive moment”, he captured spontaneous encounters and situations and became one of the most important representatives of street photography. His works, many of which have become iconic today, depict, as if he were an anthropologist, some of the most important events of the 20th century.

With a diverse and varied oeuvre, the exhibition presented by Fundación MAPFRE traces his entire career; from his beginnings, influenced by Surrealism and the New Vision, through photojournalism, where some of his lesser-known reports from the 1960s are particularly noteworthy, to the intimate style of his later years.

12.JUN.2025 – 30.SEP.2025

Fundación Tony Catany (Llucmajor, Mallorca)

Humanism. Commitment. Social document.

In Mallorca, Fundación MAPFRE is presenting a retrospective exhibition on the photographer Christer Strömholm (Stockholm, 1918-2002), one of the most emblematic European photographers of the post-war period, whose work, imbued with humanism and social commitment, has a certain documentary character.

From a very young age, Strömholm traveled extensively around the world. After the war, in 1947, he returned to Paris, where he realized that photography allowed him to express himself in line with his desired style. From that moment on, he never stopped taking pictures. In his own words: “I don’t take photographs, I create images. That’s what I’ve done all my life.”

Strömholm finds valuable messages in everything, even in the most humble of objects, to which he gives meaning and resonance through his photographs, which are simply an extension of his own life.

14.MAR.2025 – 03.AUG.2025

Brooklyn Museum of Art (New York, USA)

Modernity. Social justice. Unconventional.

This exhibition covers the six decades of work by Consuelo Kanaga (1894-1978), a key figure in the history of modern photography, both for her contribution to women being recognized in this field and for her images that confront the viewer with some of the major social issues of the 20th century.

The life and photography of this American photographer reflected her concern for social justice. She was truly interested in people and their problems: social marginalization, poverty, racial harassment, and inequality, especially in relation to the African American population in the United States.

An unconventional figure deeply committed to social justice, Consuelo Kanaga was ahead of her time. She worked as a photojournalist and was one of the few women to maintain close ties with the American avant-garde circles in San Francisco and New York.