Travelling exhibitions

19.JUN.2026 – 27.SEP.2026

Museo San Telmo (San Sebastián, Guipuzkoa)

Modernity. Heterogeneity. Avant-garde.

In 1997, we embarked on a collection focused on works on paper and the path to modernity during the transition from the 19th to the 20th century. Today, it comprises more than 100 works by Spanish artists who were still linked to tradition—such as Mariano Fortuny, Joaquín Sorolla, and Francisco Pradilla y Ortiz—but who were nonetheless open to the shifting tides of the new century. Many of them personally encountered key figures such as Degas, Rodin, and Schiele while traveling outside Spain; these artists are also represented in the collection. Of particular note is Pablo Picasso, whose presence in Paris became a bridge between European avant-garde movements and Spanish art.

In addition to drawings by Joaquim Sunyer, Enric Casanovas, Joaquín Torres García, and Francis Picabia, the exhibition places special emphasis on Surrealism, featuring key figures such as Dalí, Miró, Luis Fernández, and Óscar Domínguez.

After the Civil War, the avant-garde gave way to melancholic and realistic art, as exemplified by the watercolors of Arturo Souto. And new developments emerged, leading to Informalism, represented in the late works of Tàpies and Chillida, bringing to a close a coherent and sensitive overview of 20th-century art history on paper.

18.JUN.2026 – 11.OCT.2026

Museo de Bellas Artes de Castellón (Castellón)

Desire. Tenderness. Intuition.

The 1990s in Japan were a time of globalization and change, not least in the fields of art and photography. It was also a time when Japanese society was highly discriminatory toward women. Against this backdrop, a new generation of female artists emerged whose work was often derisively labeled “girl photography.” One of these pioneers was Sakiko Nomura (Shimonoseki, Yamaguchi Prefecture, 1967).

Nomura’s subjects are attractive young people. They embody the power and tension of erotic desire, yet also exude great tenderness. Her nudes, almost always in black and white, set in nocturnal, mysterious, and shadow-filled tableaux—with visible grain or out of focus—alternate with other images of animals, still lifes (especially flowers), cityscapes, hotel room interiors, atmospheric phenomena, and moving lights and reflections. Her photographs refer to a specific date, events, or people, and, in general, are intuitive scenes, laden with allegorical meaning, such as the transience of things, the fleeting nature of moments, and, ultimately, the passage of life.

11.JUN.2026 – 25.OCT.2026

Museo del Patrimonio Municipal (Málaga)

Self-taught. Respect. Resistance.

Paz Errázuriz (Santiago, Chile, 1944) has spent most of her career in Chile, and her work constantly references the country’s political and sociological context. Her deeply committed images seek to lend a voice to those who are rarely heard; her depictions of marginalization portray their subjects with trust, respect, and solidarity.

Self-taught, Errázuriz co-founded the Association of Independent Photographers (AFI) in 1981. Moved by her interest in exploring the reality of individuals on the fringes of society, the artist began to photograph children, the elderly, men and women in psychiatric institutions, transsexuals, prostitutes, people sleeping unprotected in the street and, more recently, Native Americans. Errázuriz delves into the most uncomfortable nooks and crannies of everyday life in Chile, presenting figures who, from the periphery, reveal, even without an explicit desire to criticize, different forms of resistance to the imposed norms.

Over time, this interest evolved into a sense of camaraderie, trust, and respect for her subjects.

30.MAY.2026 – 04.OCT.2026

Kunsthall Rotterdam (Rotterdam, the Netherlands)

Ambiguity. Emotion. Connection.

Helen Levitt (New York, 1913–2009) was one of the first women to make her mark in the world of photography, particularly street photography. Although she preferred never to discuss her images, her photographs connect with the viewer thanks to the universal emotions they convey.

Her work, marked by ambiguity and restrained emotion, has been recognized for its ability to capture fleeting moments of human connection in complex urban settings.

In 1934 she bought her first camera and, shortly thereafter, joined the New York Film and Photo League, a collective committed to social change through images. There she met Henri Cartier-Bresson, whose influence was decisive in Levitt’s decision to pursue photography as an independent artist.

Between 1938 and 1942, she shot many of the images that would establish her as one of the great 20th-century photographers.  She roamed neighborhoods, including Spanish Harlem, the Lower East Side, and Brooklyn, documenting everyday life on the streets—especially that of children—with a sensitive and uncontrived eye.

26.MAR.2026 – 24.MAY.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.