Political maternity

This photographic series is a testimony of motherhood in a specific cultural context, in which it is complicated to reconcile work with domestic servitudes and the chaotic situations which occur when trying to carry it forward.

They are visual stories that show normative policies in the social or emotional space of women with their children and the places they live or transit.

In these images captured in daily life, power relations are silenced, which does not mean that they can not be taken into account in their impact on real life.

Those of us who have intervened in this project and in the first place the mothers who have agreed to be photographed in their privacy, have perceived the transformative power of our customs when the usual action is carried out and we are able to reflect upon what it means to be.

Political maternity makes us think of the mutual support and recognition that allows us to live together, by inserting the incarnate limits of our own subjectivity, into those shared with others in the cultural-institutional context of human behavior.

Mil y un viajes

To commemorate 100 years of Madrid Metro, the artist Darya von Berner proposes a work consisting of a single large ticket, like a large tapestry, as result of sewing a thousand and one tickets, some of the tickets with Ferlingethis poem, comes from In Love With Unreality  the artist’s book edition.

A thousand and one trips together on a single large ticket, visible on both sides, about spatial and emotional distances of all those who have traveled along its lines over the years.

This small pink ticket, now replaced by a digital transport card, has marked an era in the recent history of Madrid.

One thousand used Metro de Madrid tickets stitched together to make a single large ticket, visible on both sides.

Collaboration: Lala Cifuentes

Date: 2019

Dimensions: 290 x 131.5 cm., Double sided

Technique: machine-sewn metro tickets

Una nube para Tono

The Phenomenon is what happens with all its complexity and allows us to know something with certainty.

The virtual is what happens in a reduced way, devoid of most of its attributes, it may surprise us, but it will probably not give us the security of being real.

Although this small cloud was a real phenomenon of microscopic drops in the atmosphere, the virtual sound of rain inside the Cock Bar came from the internet it does not refresh us.

Nor can we walk sitting at the Cock while listening the story telling by José Tono Martínez about his travel off 135 km from coast to coast along the Hadrian’s Wall Path.

33 Aves de Presa

Retrato de Eleonora d´Arborea

Por encargo de la Universidad Carlos III de Madrid (UC3M), llevé a cabo esta pintura en mayo de 1992.

La naturaleza y actualmente la relación hombre-animal, es en mi, una inquietud constante, que de modo recurrente, motiva un comportamiento que a falta de otra definición más adecuada, es calificado de artístico.


Consecuentemente con esto, realicé un trabajo de campo, que llevó mi atención a seleccionar un ave de presa local, el cernícalo –antes abundante en la localidad y ahora en trance de desaparición- como ejemplo de naturaleza desplazada por el hombre, así como otras rapaces en las mismas circunstancias. Quizá acertadamente, a mi entender, en vista de la relación que siempre pretendo establecer con el entorno he sido calificada hace poco tiempo por un crítico, de artista post-estudio, con lo que se quiere señalar una cierta aspiración a superar, la autoreferencia en el arte.

Las corrientes térmicas propias de la zona, son las adecuadas para el vuelo de las rapaces, y es verosímil que por esta misma razón en Getafe, se instalara el primer aeródromo de España.

Al representarlas en el techo de la biblioteca, en un insólito encuentro, estas aves volverían, al menos en efigie, al lugar donde después se ha construido la universidad.

Justamente con mis intervenciones in situ, trato recuperar el contrato animal, es decir, aquella relación perdida entre el ser humano y su entorno vital.

Por lo general la pintura de animales que realizo sobre las paredes, tiene una duración intencional limitada en el tiempo, es decir, debe ser destruida a continuación, en solidaridad con las especies naturales que desaparecen cada día. Se trata pues, de asumir simbólicamente el compromiso de su destrucción.

Hace ahora seiscientos años, en 1392, otra mujer, la jueza Eleonora d´Arborea, promulgó la Carta de Logue, una de las primeras constituciones del mundo y, entre otras cosas un edicto en defensa de las aves de presa. En homenaje a ella, los naturalistas dieron su nombre a un hermoso halcón, Falco Eleonorae, hoy en peligro de extinción y también representado en esta pintura.


“… En el vuelo de las aves de presa estaba escrito para los pueblos antiguos, el destino del hombre.”
Darya von Berner, 1992

  1. Buteo Buteo ( Aguila Ratonera)
  2. Falco Biarmicus  (Halcón Común)
  3. Falco Peregrinus  (Halcón peregrino)
  4. Falco Naumanni  (Cernícalo Primilla)
  5. Falco Tinnunculuc  (Cernícalo)
  6. Falco Peregrinus  (Halcón peregrino)
  7. Circaetus Gallicus (Aguila Culebrera)
  8. Circus Cyaneus  (Aguilucho Pálido)
  9. Falco Peregrinus  (Halcón peregrino)
  10. Elanus Caeruleus  (Elanio Azul)
  11. Falco Tinnunculus (Cernícalo)
  12. Buteo Rufinus  (Ratonero)
  13. Haliaeetus Albicilla  (Pigaro Coliblanco)
  14. Hieraaëtus Fasciatus (Aguila del Bonelli)
  15. Pernis Apivorus   (Abejero)
  16. Aquila Claga  (Aguila Moteada)
  17. Milvus Migrans  (Milano)
  18. Falco Eleonorae  (Halcón de Eleonor)
  19. Aquila Clanga  (Aguila Moteada)
  20. Milvus milvus  (Milano Real)
  21. Circus Cyaneus  (Aguilucho Pálido)
  22. Accipiter Gentilis  (Azor)
  23. Circus Aeruginosus (Aguilucho Lagunero)
  24. Circaetus Gallicus  (Aguila Culebrera)
  25. Circaetus Gallicus  (Aguila Culebrera)
  26. Circaetus Gallicus (Aguila Culebrera)
  27. Circus Cyaneus (Aguilucho Pálido)
  28. Gypaetus Barbatus  (Quebrantahuesos)
  29. X
  30. Falco Tinnunculus (Cernícalo)
  31. Hieraaëtus Pennatus  (Aguila Calzada fase oscuro)
  32. Hieraaëtus Pennatus (Aguila Calzada fase clara)
  33. Falco Tinnunculus  (Cernícalo)



14-17 June 2018

With the support of Iberdrola and the collaboration of Ayuntamiento de Salamanca

Organized by Estudio de Comunicación

Curated by Lorena Martínez de Corral

official selection: Darya von Berner, Charles Sandison, Eugenio Ampudia and Juan Lopez.
Patio de Escuelas of the University,  outside of the Catedral Nueva,
the convent of San Esteban and the Palacio de Monterrey, respectively.


Darya von Berner 

Patio de Escuelas, Salamanca



Animation: Valeria Scaloni

Audio: Sarah Perez

Photos: Enrique Carrascal, DvB

Acknowledgments: Jesús Castillo Oli, Fundación Santa María la Real

The Bechdel test measures the active presence of female characters in the cinema and the importance of their roles. Applying this test to the University of Salamanca´s historical façade, it is established that of the 26 human representations (not counting angels and fauns), 21 are masculine and 4 or 5 are feminine (according to different investigators): a visibility of four to one.

The myth of Venus Genetrix, the mother goddess, has the potential to make visible, not so much that ancient world, but above all a world of which is ours in which women are missing.

When the figure of Venus appears in fullness, the public is illuminated in the Patio de Escuelas, converted into a space of self-expression, mutual recognition and transmission where social networks act as a space for citizen participation.

Share in: #veravenus




Alle meine Grenzen haben Eile, Frankfurt



This light art to share online, is an invitation to the game of getting the right selfie poses on the wall of the existing sculpture gallery in the entrance of the Museum of History in Frankfurt. An ideal setting for an identity art to associate yourself with something bigger than yourself, confirming existing identities or exploring alternative selves while interlacing the historical sculptures into your own identity. Spotlights are installed opposite the sculpture gallery. As soon as you step into the cone of light, you will cast an oversized shadow.

As evidenced by recent studies, museums are the perfect site for selfie taking, designed for exhibitions and performance of meaning, are controversial spaces where we are urged to enlighten and shade what we ourselves are.

There the selfie phenomenon combines history, culture and education in a multi-layered shadow theatre in which the mimicry, the social norms, the past and the present of this dynamic art behavior reveals far more than narcissism. The phenomenon of identity is a process always fragmentary and incomplete.

Online selves influence one another. Selfies are public reflections of the way we see, present ourselves and persuade others to believe in our desired identity. Between the one who chooses to act and the structure that provides the opportunities for acting, there are alternatives among which actions, and the consequences of acting may be chosen.

Hence it is about humans in general in an intriguing combination of inward and outward looking that have a long history, projecting the constructed past into the imagined future.


Historisches Museum Frankfurt
Skulpturengalerie, Museumsplatz
Saalhof 1
60311 Frankfurt am Main


There isn’t any work of art that exists without the gaze of a visitor.
This fact literally is key point of the artistic installation #nuestrocerebroestáiluminado (English: our mind is enlightened), which is situated in a fully dark space. The circular text on the wall*, is written in phosphorescent paint and only becomes visible when lit by a visitor’s mobile phone, who charges it with this action for a few minutes. The individual audience members convert into performers, who form an essential part of the artwork itself. Without this participation the artwork doesn’t have any sense.

Your eyes need several hours to fully adapt to a low light condition, therefore it is recommended to remain at least several minutes inside the space, to be able to see the writing on the wall. If you are pressed for time, you can enhance the luminosity of the letters by using your mobile phone as a lantern.

* installation wall text:







Others in Mind

Others in Mind is Darya von Berner’s adaptation of Victor Ullmann’s Kaiser von Atlantis (1943). It is a musical exploration of the theme of narcissism, exacerbated in the character of dictator Kaiser Überall, the main protagonist, and his journey to self-recognition and to his own death.
The beauty of Ullmann’s opera lies in the final realisation of its protagonist that he has to take the others into account and through his own death makes space for the ones to come.

Viktor Ullmann wrote Der Kaiser von Atlantis in 1943 under excruciating conditions whilst being imprisoned in the concentration camp of Theresienstadt in the Czech Republic, where he also died. He never saw the opera performed but miraculously managed to save the score. In von Berner’s adaptation, the French baritone Boris Grappe embodied the following characters: Kaiser Überall, Lautsprecher, Harlekin and Death, in a seemingly schizophrenic inner-monologue, which intends to mirror the modern, cultural individualism and its limitations.


Stage director & ArtistDarya von Berner
BaritoneBoris Grappe
PianoAlexander Stessin
Sound designMario Wittig
Light designDevon Miles
CuratorStéphanie Delcroix

Produced by Kunstkraftwerk Leipzig


Deviation on the basic of the standard

Painting, 1997

Painting with an iron 

Paul Klee’s drawings about the  “abnormal movements within the normal internal construction” are ussefull also to open  the configurative possibilities of “abnormal” or “irregular” on some social norms.

Mat(t)er, photobook 2016

In the video related to this photobook, the meaning of images and words through new communication platforms online is explored.

Mat(t)er* Photobook, explores how nature information is transmitted, wich ones are their struggels and updates? It’s language, are the signs of carbon, nitrogen and phosphorus, water and other chemicals, as well as hormones – all of that is information as well.The physical world seems to operate independently of our possibilities of interpretation and understanding.

The oceanic relationship between a mother and her child is extended beyond by symbiotic interconnections of complex systems, which together create a single body of infinite physical pathways. A world of mutual connection between individuals, not only of the same species or nature, that functions as a digital network but of huge sophistication.

*A play on mother/matter.


Values such as the sharing and redistributing of wealth throughout the community, developed in the aftermath of the industrial revolution have been largely deemed utopian and abandoned in favour of the pursuit of individual fulfilment. Participatory art installations such as #SELFIE_LEIPZIG have the ability of reconciling past with present aspirations and of yielding an enjoyable collective experience and a sense of community. As visitors share their selfies on social networks, #SELFIE_LEIZPIG acquires an online alter ego and an existence beyond the physical site of the machine hall and the timeframe of the installation. The Kunstkraftwerk was once a community infrastructure supplying heating to a network of local houses and factories. With the installation created by Darya von Berner, the industrial relic regains its role as a generator by being at the centre of a new social media community forming around the hashtag of its title.

Stéphanie Delcroix


This year’s “Nuit de la culture” of Belval/ Esch-sur-Alzette coincides with the anniversary of the birth of Pyotr Tchaikovsky. For this occasion Darya von Berner has programmed “Why haven’t I known this before?” the first aria of Tchaikovsky’s opera Iolanta in a performatic version that will take place at Haut Fourneau A, en Belval.

The Princess Yo_Land became blind when she was a baby, but no one has ever told her, nor does she know she is a princess. She lives in a beautiful enclosed garden on the king’s estate, secluded from the world. Her father has ordered that she must under no circumstance know that she is blind. In this aria, the princess declares her sadness, and her vague sense that she is missing something important that other people can experience. Whilst wading around the pond, her voice expresses a deep feeling. At the end of the aria she lies down weary and falls asleep.

In this aria the role of princess Yo_Land will be sung by the soprano Anahita Ahsef, accompanied on piano by Richard Wieser, and the students of the Lycée Hubert Clément (Jennifer Server, Thea Lepage, Luana Capus). This operatic scene with a duration of 15 minutes will be interpreted in the original Russian version.

The complete operatic performance Yo_Land will take place on July 2nd and 3 nd, at the occasion of Fête des Hauts Fourneaux of Belval, this time again with the participation of Anahita Ahsef (Princess Yo_Land) y con la incorporación de Ethan Herschenfeld (rey René), Felipe Rojas (Vaudémont), Boris Grappe (Ibn-Hakia el médico árabe) joined by Ethan Herschenfeld (King René), Felipe Rojas (Vaudémont), Boris Grappe (Ibn-Hakia the Arabian doctor) and the pianist Kevin Tamanini, all of them acompanied by the choir cantoLX and the students of the Lycée Hubert Clément.


The digital camera is a technological revolution that, in addition to fomenting the secularisation, democratisation and trivialisation of photography, has led to a radical shift in how we express ourselves, share our life and communicate with others. Platforms such as Instagram, Flickr, Photobucket, Tumblr and Picasa have changed the way we write our biographies and have heralded the death of the traditional family photo album. The recent rise of the selfie, has engendered a new generation of photography that straddles the self-portrait and “conversational” photography; today, images are photographic messages or visual stories.

The (SELFI)* exhibition by Darya von Berner, produced for the old cold storage room at the former Madrid Municipal slaughterhouse, is a perspective on the perception, attention, ecology and the selfie culture.

There are two key figures in this art project: the Abierto x Obras gallery and its active visitors. Thanks to the organic and creative lighting, the visitors can enjoy the site in its totality for the first time. The architectural space itself has been doubled, implying a selfie of itself, an imaginary and magnificent self-portrait. Only by paying close attention to the work is a new image of themselves revealed to its visitors through observing themselves and by being observed by others.

Carlota Alvarez Basso

* SELFI: a Spanish adaptation of the English term selfie, which has been chosen as the word of the year by FUNDEU (Fundación del Español Urgente).


(SELFI) is a public art experience where the content and the interaction level are equal. Inside the light installation a spotlight on the floor attracts the visitors towards the back of the exhibition space. When positioning themselves inside of this light circle, their reflection appears in the large mural mirror at the end of the room. From this point in the room, they can either take a picture of their reflection, from a rational Renaissance perspective point of view or they press the ‘twist icon’ to front-facing camera to take a selfie to share their experience with others (conversational photography). The interaction has a socio-political relevance, since viewers are invited to share their interaction via their interfaces, thus a potential is generated which expands the reach of human action. The historical point of view and understanding of selfhood is somewhat reconstructed from a modern point of view of selfhood.

breathe( )red

breathe( )red celebrates the 25th anniversary of an existential space, created by the Swiss architect Bernard Tschumi on the occasion of the event What a Wonderful World!  to display music videos. Originally intended as a temporary structure this extraordinary pavilion in the centre of Groningen has remained very much alive – with constantly changing exhibitions – thanks to its current director Marinus de Vries.

breathe( )red redraws – from sunset to midnight – the architectural structure of the pavilion with artificial light. Darya von Berner thus transforms the completely transparent pavilion into a floating mirroring object. Harry de Wit composed a soundtrack that interacts with the travelling of light coming from the inside of the pavilion. His sound waves originate in the trees that surround the pavilion and are sent from the trees to the glass panels of the pavilion, which then resonate with them.

Bernard Tschumi looked through the lens of phenomenological philosophy of Merleau-Ponty. Here, the conceptual reflection cannot be separated from the sensory experience of the phenomena. For Tschumi, red is not a colour, it is a concept that comes from experience.
breathe( )red is an artistic intervention inspired by Tschumi’s original concept – looking for the intersection of reality and the virtual ¬– in an ever and rapidly changing time in which reality and fiction are interwoven.

breathe( )red was commissioned by Tschumipaviljoen, with the kind support of Light Tape, the City of Groningen, Kunstraad Groningen, GasTerra, Beringer Haezewinkel Fonds and Time Shift.

Amice Suavissime… (Dearest Friend…)

Amsterdam Light Festival 2015/16

Zwanenburgwal / Amstel, Amsterdam

Floating light sculpture, a letter from Baruch Spinoza to Lodewijk Meijer

In the 17th century Spinoza’s radical ideas opened the doors for Enlightenment in Europe. After his death, all of his papers which were kept in his writing desk, were saved by his friends. They put them on a boat, following Spinoza’s instructions, that after his passing away, the desk should be sent directly to an Amsterdam publisher. The individuals who saved Spinozas writings put themselves into great danger. But since they shared Spinozas completely new views on religion, politics and philosophy, they were willing to put their lives at risk for their ideals. Thus, this act of friendship should become invaluable to humankind, for it preserved Spinozas brilliant ideas, which should lay the foundation for much of what we now regard as modern.

Original letter from Spinoza University of Amsterdam

Angelus Novus / Cielo Invertido

Angelus Novus/ Cielo Invertido
Teatro del Canal, Madrid, 2015

Reverse sky, light sculpture for the chamber opera by Jorge Fernández Guerra

Based on the drawing Angelus Novus by Paul Klee.

A reverse falling sky, switching off bit by bit until complete darkness. Despite the disaster, Walter Benjamin holds on to his faith in the light, which illuminates the mind. The last light fragment that lies on the floor represents the small drawing Angelus Novus by Paul Klee, which accompanied Benjamin till the end.

Light drawing (Light Tape®) by Darya von Berner, based on the painting of Paul Klee, for the homonymous opera by Jorge Fernández Guerra

Teatros del Canal (Madrid) – May 2015

Photo: Joaquín Cortés / Román Lores

Meister Klee!

Performance and three-dimesional light drawing in architectural dimensions on the balconies of the ‘Atelierhaus’ facade by Walter Gropius (Bauhaus, Dessau). The original drawing is from Paul Klee, who was professor of ‘Formenvermittlung’ (mediation of form) at the Bauhaus university. In his teachings he emphasized the importance of dynamism and the opening of form as such.
The performance was layed out as a collaborative interplay with the residents, who stood on each balcony, in order to attach an turn the individual Light Tape lines on.

with kind support from Light Tape and Bauhaus Dessau

photos: Sven Hertel, Stadtarchiv Dessau Rosslau and Darya von Berner


Darya von Berner , 2014

Video online
Duration: 4:22 min

In memoriam Dr. Phil. Hans-Peter Dürr

Lilli und Georgina Hartmann

Translation: Lilli Hartmann
Editing: Valeria Scaloni
Studio: daryavonberner, Madrid

In Mat(t)er* multiple windows open on a computer screen when, during a skype conversation with her collaborator Lilli Hartmann, who is visiting her mother’s home in Germany and holding her baby in her arms, Darya von Berner, in her studio in Madrid, has an intuition that something special is occurring as Hartmann’s private and public spheres seamlessly invade and pervade each other as she attempts to reconcile the traditionally restrictive role of mother and nurturer with that of artist and working woman.

After asking Hartman for permission, von Berner begins to record the conversation and when, in one of the windows of Mat(t)er the mother says, “I am real”, our response might be “no, you’re a virtual image” inviting us to reflect upon the contradictory interpretations of words as we struggle to pin down their meaning in order to use them to improve the world.

To show how even scientific language can be treacherous, the artist then googles a video conference in which Professor Hans-Peter Dürr, former director of the department of physics of the Max Planck Institute, explains how quantum mechanics has redefined the terms “matter” and “form” in ways that transcend the meanings that classical physics traditionally bestowed upon them. The listeners respond on different levels, the baby tunes into the soothing tone of the scientist’s voice and the calm state of her mother whereas she (the mother) concentrates on the significance of the concepts expounded by the words, while the artist and the spectators are equally affected by both of these facets as we are drawn into intimacy.
The discovery and analysis of contradictions drives the evolution of the meanings of words as they adapt themselves to suit the changing requirements of a world constantly reinventing itself and the resultant new ideas and tools in turn provoke further evolutions that deepen the understanding of the traps and snares inherent in inherited patriarchal language.

Digital networks, when combined with basic and fundamental human technologies such as language and logic, become a powerful tool for the transformation of hierarchical, unidirectional and homogeneous culture into another that values the heterogeneous, creating space for new kinds of relationships no longer subject to subordination.

*A play on mother/matter.


1st image

Ferrara 1991, Wall painting
Dimensions: 4m x 3m

2nd image

Madrid 1996, Wall painting
Dimensions: 4m x 3m

Imágenes rescatadas Series

Photo 1

Lectus I
1,20m x 0,80m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 2

1,20m x 0,80m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 3

1,99m x 0,99m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2001

Photo 4

Resonancia 1
1,83m x 1,18m x 0,04m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 5

Resonancia 2
1,84m x 1,18m x 0,04m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 6

1,19m x 0,78m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 7

Codicis 1
1,20m x 0,80m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 8

Codicis 2
0,80m x 1,20m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Photo 9

Gamma 1
1,19m x 0,80m x 0,05m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
Madrid, 2000

Investments Series

The photographic series ‘Inversiones’, documents the imposing buildings of Frankfurt’s financial district. They are represented, tilted on their head, in a symbolical attempt, to shake the truth out of them.
Von Berner began this work in 2002, the same year in which the Euro was introduced as the single currency, only ten years after the Maastricht treaty was signed. In 2003, the record year of mortgage loans in Spain, the photo ‘S.O, Banco Bilbao Vizcaya’ was created.

Photo 1

Transfer 2
0,89m x 1,33m x 0,02m
Photographic paper and armoured glass
2004, Frankfurt

Photo 2

F5, Financial District, Frankfurt
0,89m x 0,78m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 3

Oeste f, Financial District, Frankfurt
0,70m x 0,70m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 4

SSEF1, Financial District, Frankfurt
0,31m x 0,18m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 5

SSWF2, Financial District, Frankfurt
0,31m x 0,18m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 6

WP2, Financial District, Frankfurt
Dimensions: 0,30m x 0,18m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 7

S. O. , Banco Bilbao Vizcaya
1,23m x 1,79m x 0,03m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
2002, Madrid

Photo 8

1,24m x 1,79m
Photographic paper Ilford Flex, silicon-coated plexiglass and wooden frame
2002, Madrid

Photo 9

CF1, Dom, Frankfurt
0,22m x 0,14m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2002

Photo 10

SLF2, Bankenviertel Skyline, Frankfurt
Dimensions: 0,20m x 0,24m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2002

Photo 11

SSF3, Financial District, Frankfurt
0,18m x 0,27m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 12

EF4, Financial District, Frankfurt
0,29m x 0,18m x 0,02m
Photographic paper and armoured glass
Frankfurt, 2003

Photo 13

0,60m x 0,42m x 0,02m
Photographic paper and armoured glass
2002, Frankfurt

November Boughs Series

The photographic series November Boughs, comments on the controversial urbanization project in Seseña. 2006 is the year in which the European parliament requests to reconsider the volatility of the housing market, and the effect it has on business cycles, creating potential systemic risks.

Photo 1

NB2 03º 40´w, 40º07´
1,25m x1,77m
Laminado permaflex aluminio 2mm. Infinity rc b/n
Seseña, Madrid, 2006

Photo 2

NB2 03º 40´w, 40º07´
1,25m x1,77m
Laminado permaflex aluminio 2mm. Infinity rc b/n
Seseña, Madrid, 2006

Atmospheres Series

Photo 1

Ceci n´est pas un nuage / Atmosphère
0,68m x 1,00m
Brussels, 2009

Photo 2

La nube de la Puerta de Alcalá / Atmósfera
1,50m x 2,00m
Photography lambda-print on dibond, glass and frame of pinewood
Madrid, 2007

Photo 3

La nube de Córdoba / Atmósfera
1,00m x 0,80m
Cordoba, Spain, 2009

Serie voluntario

Photo 1

Voluntario 1
0,71m x 0,90m x 0,02m
Photographic paper Ilford Flex, silicon-coated plexiglass over aluminium
Madrid, 2004

Photo 2

Voluntario 2
0,71m x 0,90m x 0,02m
Photographic paper Ilford Flex, silicon-coated plexiglass over aluminium
Madrid, 2004

Photo 3

Voluntario 3
0,71m x 0,90m x 0,02m
Photographic paper Ilford Flex, silicon-coated plexiglass over aluminium
Madrid, 2004

Photo 4

El número marcado no existe
0,80m x 0,80m
Photographic paper Ilford Flex, silicon-coated plexiglass over aluminium
Madrid, 2004

Photo 5

0,85m x 0,99m x 0,02m
Photographic paper Ilford Flex, silicon-coated plexiglass over aluminium
Madrid, 2004