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Get out of the known channels, from the faces that are already familiar faces, from the paths passed through inertia. Don’t go to the action, go to the meeting. At the meeting of the speech, the play, the space. The Artists’ House calls me because it opens up the possibility of another encounter, of a new field of non-commercialised relations where it can be used for the unexpected, for an island in making it affect the provisions of the bodies and their relations.


In my research I focus on contemporary curatorial practices and how they are generated and transferred from them

Knowledge in art exhibitions in museums.I have worked as a documenter, curator and exhibition coordinator in the Picasso Museum, the Josep Guinovart Foundation and the Joan Brossa Foundation, respectively. Experience in these centres has enabled me to focus my doctoral thesis on a way in which practice and theory go hand in hand.


Sample Filosophic Driver, broadcast on Ràdio Far Menorca



ReDesComponiendo Las Meninas

Isabel Val (Barcelona, 1988) is a visual artist who combines photography, video and drawing in his projects. His work explores the relationship between past and pressure and reflects the concept of nostalgia. His projects have been exhibited in Barcelona, Budapest, Berlin and Timisoara. It is currently represented by Mymuseum Gallery in Budapest.


My work explores the presence of the past in our day-to-day lives and seeks to deepen the dynamics established between personal memories and collective memory.

Within the art practice, I found a way to catch everything that, per day, goes unnoticed in the eyes of history and to preserve its legacy. Sometimes it is urban furniture or neon signs that fall into pieces; others, a memory about to be forgotten. I am fascinated by the concept of nostalgia and it is a recurring theme within my research, from its political instrumentalization to the individual and collective need to create an imaginary and narrative that helps us deal with the past. I am also interested in deepening the mutability of memory and how we impregnate our possessions of it.

My intention is to establish a dialogue with the spectator that will allow personal vivence to be transmuted collectively, thus finding new points in common through which to relate us more empathy and humanely. I’m facing every project from curiosity and experimentation, either by working with photography, drawing or video. It pains me to experiment plastically with each discipline and to investigate the possibilities that each support offers beyond pre-established methods.


Artist selected in the collaboration framework with Stripart




Estiu Robat


Since I was a child, the only way to feel connected, alive and real, has been experimenting through different plastic materials. Being older, he hasn’t walked, and maybe that’s why you’re reading these lines now, because I’ve chosen art as a way of life. I’ve practically just “left the egg”, I did form myself on his day (artistic baccalaureate, graphic design, illustration, art therapy, etc.) but, as you know, it’s not always possible to dedicate myself exclusively to it.

Now, however, YES: I’m betting everything, doing a garlic in, and not for not having tried. Amongst others, by cutting your door, so as not to miss the opportunity to try, because as an experience I think I can be very favourable at the point of my career where I find myself, already so much so that I can learn from the journey and experiences by sharing with the other artists selected, and also share the fears and adversities of the sector, opportunities in other projects… As well as other disciplines, such as myself and the creative process in a project with this format, it would be the first time for me. In short, “putting the first leg out of the egg”.

Well, humbly, I’ll tell you I’m still hard to present myself as an artist. I consider myself a creative person, with everything I do and am. This creative component in my essence has managed to speak so loudly that I can only follow it, as well as if it were the compass of my intuition. Although I was young, I have been travelling for over half a life, living in different countries and shared and interwoven with other cultures, acquiring different languages as well. Where I have gone there has always been a common denominator: Nature, who in one way or another is always present in my creations.


For many years I devoted myself to film production, cultural events, festivals, etc.But a few years ago I was sitting in a wheelchair, told I would not get up again, but instead, with the help of the sea, I walk again. “no” we already have, so that’s why I’m also scribing, to go get the yes. This is one of the reasons why my creations are always made from seawater. When I ran out of legs, I returned to my hands, and I changed the ingredients that made up the dish that I ate on the day-to-day day of my life. The art is there.

In this “re-walk” physical and metaphorical, I’ve been experimenting with different techniques and materials, leaving the illustration to go to the tails of large-format paintings. I often look for textures in the environment, either from objects found in nature, recycling materials, etc. It’s your hand as the House of Artistes, with whom as a creative being, I’d like to be able to deepen in this inner shell by my environment, and to be able to plasma it together with everything I think, I feel, I listen, I see, I learn… It’s going to be a large-format newspaper, where I want both a captured message when I share a debate or conversation, an emotion generated by a music, the essence of allo that I’ve heard, etc; as if I changed the words for emotional strokes that I plasma through color and this infinite texture.

Let my inner child flow, as if it was the first time I’ve ever experienced it. And to do this from watercolor.thes, collage, acrylics, dags, rotators, sea water, coffee, transferring textures, with recycled materials, or found from nature, etc. It is an expression of essence in the spirit of sharing it from your walls.



Mixmedia i aigua de mar sobre lli


Marta L. Lázaro (Saragossa 1982)  moved to Madrid in 2005 to become a camera operator: “The red from the viewer of a betacam Sp was only dark gray”. He worked for over ten years in film and television, combining with the expansion of his studies. In wanting decent hours in his profession he decided to stop and travel where he found work. It has been and is present in cinema and video art shows such as the Barcelona Show Underground, within the 2014 LOOP, the Madrid International Videoart Festival, IVAHM 2019, the InternationalFilm . Art Festival Buenos Aires, ANSFF 2020, among others. She has performed several collective exhibitions, as well as an individual entitled Calipso No Es, in the Gallery Window Estudio, Zaragoza 2017. In 2015 he participated in the Middle Façana Academy in Etopia, Centre d’Art and Technology, Zaragoza, where he was awarded the Hedy Lamarr art residence five years later. The result of this residence is the exhibition Grandma, an illuminated memory (March-July 2021). Last October, he won the Art House Madrid scholarship, a Càrstica residence, and he is currently preparing an intervention on video art to reveal everything that was available in the last year, by the people responsible for Laneomudéjar, Madrid.


Thanks to my latest projects, I have come up against what is called territorial identity. Having been out of the house for so long, searching for solutions far away, is like a kind of Ulysses syndrome. You go home only to count your exploits, you go far, far, but you always come back because you don’t manage to stay. So the rooting is lost? Where am I from?

And suddenly, through an art residence, you’re given the opportunity to investigate. At last, time. You realize the inspiration comes from your grandmother, your mother, your aunts. What you’ve hidden, because you’re always updating yourself, looking to the future. You forgot what kind of girl you were, always looking at a window that forces you to over-inform, a window that individualizes you increasing your loneliness. So I decided to use technology, my video art tools, to connect with my ancestors. I feel comfortable if, in my projects, I can claim the undervalued work that women have done.





Grandma, un recuerdo iluminado