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	<title>Iván Cáceres</title>
	<link>https://ivancaceres.com</link>
	<description>Iván Cáceres</description>
	<pubDate>Wed, 20 Jul 2022 14:30:17 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://ivancaceres.com/Home</link>

		<pubDate>Mon, 17 Feb 2020 20:18:00 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

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		<description>
	iván cáceres
	

Photographer, media artist &#38;amp; professorBased in Madrid&#38;nbsp;
I think of my body of work as a photographic dialectic between our past and present through architecture and landscape. A territory identity is constructed over time through architecture and landscape modifications to communicate who the region, country or city is and its distinctiveness.
Often referencing European history, my work explores the varying relationships between forms, geometries and composition that shape the places where we live. My compositions are usually frontal, geometrical, from certain distance, assuming a neutral position. Historical memory and disappearance are issues that are always present in my photos. Although there may not always be material similarities between the different projects they are linked by recurring formal concerns and through the subject matter. 
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		<title>Firmitas</title>
				
		<link>https://ivancaceres.com/Firmitas</link>

		<pubDate>Wed, 20 Jul 2022 14:30:17 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

		<guid isPermaLink="true">https://ivancaceres.com/Firmitas</guid>

		<description>
	Firmitas
Within the development framework of a project for the renewal and redefinition of our current democratic system, it is essential to tackle the problem of historical memory, especially in relation to the Spanish Civil War, by questioning the past and the present with a critical eye. The city, as an organic and changing scenography, can be taken as a living museum and can be inhabited in many different ways. As a didactic entity, it is capable of educating, thrilling and moving.

Firmitas is a photographic project still in progress 
















on
the most emblematic arquitectures charged with Francoist ideology



 erected during the 1940s and 1950s in the urban centre of Madrid, a city of intense change that facilitates the broad development of post-memorial proposals of a photographic nature. If for Vitruvius an architectural work had to obey 3 fundamental principles: Firmitas (firmness), Utilitas (utility) and Venustas (beauty); for the anachronistic taste of the regime, propaganda architecture had to suffer from a clear hypertrophy of the first principle. This series of images therefore tries to emphasise this, avoiding idealised, glorifying and excessively aestheticising points of view.

This series attempts to intensify the gaze directed towards different focal points of memory in order to denaturalise these architectures which, even today, constitute a kind of Francoist topography and, finally, to contribute to their integration into the "museum" that the city of Madrid can become, as it has happened in cities from other countries that have suffered the barbarity of the war.




	Firmitas
En el marco de desarrollo de un proyecto de renovación y redefinición de nuestro sistema democrático actual, es imprescindible abordar el problema de la memoria histórica, especialmente en lo relativo a la Guerra Civil Española, poniendo en cuestión pasado y presente con mirada crítica. La ciudad, en tanto que escenografía orgánica y cambiante, puede ser tomada como museo vivo y habitarse de muy diversas maneras. Como ente didáctico, es capaz de educar, emocionar y conmover.


Firmitas se trata de un proyecto fotográfico aún en proceso que coloca la mirada en las arquitecturas franquistas más emblemáticas y cargadas de ideología levantadas durante los años 40 y 50 en el centro urbano de Madrid, ciudad de intensos cambios que facilita el amplio desarrollo de propuestas posmemoriales de carácter fotográfico. Si para Vitruvio una obra arquitectónica debía obedecer a 3 principios fundamentales: Firmitas (firmeza), Utilitas (utilidad) y Venustas (belleza); para el anacrónico gusto del régimen la arquitectura de propaganda debía padecer una clara hipertrofia del primer principio. Esta serie de imágenes trata de poner énfasis en ello, evitando puntos de vista idealizados, glorificadores y excesivamente estetizantes.


Esta serie intenta intensificar la mirada dirigida hacia distintos focos de memoria con el fin de desnaturalizar estas arquitecturas que, aún hoy, constituyen una suerte de topografía franquista y, finalmente, contribuir a su integración dentro del “museo” que la ciudad de Madrid puede llegar a ser, tal y como ha ocurrido en ciudades de otros países que han sufrido la barbarie de la guerra.








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Published on:&#38;gt; “Iván Cáceres: Firmitas”. Al-Tiba9: Contemporary Art Magazine Issue14 (2023).
&#38;gt; “Firmitas by Iván Cáceres”. Dodho Magazine (2022). Retrieved from&#38;nbsp;https://www.dodho.com/firmitas-by-ivan-caceres/

	
	Publicado en:&#38;gt; “Iván Cáceres: Firmitas”. Al-Tiba9: Contemporary Art Magazine Issue14 (2023).&#38;gt; “Firmitas by Iván Cáceres”. Dodho Magazine&#38;nbsp;(2022). Recuperado de&#38;nbsp;https://www.dodho.com/firmitas-by-ivan-caceres/

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		<title>El Gran Verde</title>
				
		<link>https://ivancaceres.com/El-Gran-Verde</link>

		<pubDate>Mon, 17 Feb 2020 20:18:01 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

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		<description>
	The Great Green
This photographic project questions the nature of authenticity in archaeological sites and museumified architectures, where the true and the seemingly true intertwine in an ambiguous coexistence. What were once vestiges of the past have today been transformed into an experience that increasingly resembles a visit to a theme park, where carefully crafted reconstructions are presented as reality. The ruin becomes scenography.


The images captured in this archive (begun in 2013 and still perpetually growing) reveal archaeological landscapes in which the viewer accepts the apparent as true, perpetuating a mythologized vision of our past. The archive not only documents the material remains, but also the historical fictions that have been erected through them, constructing a distorted memory that is presented as unquestionable. A deferred memory, where elements from distant times coexist, integrate and merge with current elements in a singular postmodern syncretism.


The Mediterranean basin, a place where cultural interactions have been intense and constant over millennia, serves as the setting for this project, from Classical Antiquity to the Middle Ages. Here, the traces of the past coexist with modern reconstructions, creating a palimpsest in which the authentic and the recreated blend indistinguishably. Mare Nostrum ("Our Sea") in Imperial Rome, the “Great Sea” of the early Hebrew communities, or the “Great Green” (Wadj-wer) in Ancient Egyptian times. One sea, one sun, and survival and development strategies that frequently overlap and blur.


The project is organized into three chapters: Myth (burials and infrastructure), Progress (columns and structure), and War (walls, temples, and fortifications). Each image forms part of a visual grid that suggests the fragmentation of the past, with gaps and absences that invite the imagination to fill in what history cannot reveal. These voids not only evoke historical uncertainties but also reflect how, in the absence of certainties, the apparent takes the place of the true. In a world where distances seem to be shrinking, yet the construction of historical narratives becomes increasingly artificial, this photographic archive seeks to uncover the fragility of that "apparent truth" that dominates our perception of the vestiges of the past.








	El Gran Verde
Este proyecto fotográfico cuestiona la naturaleza de la autenticidad en los yacimientos arqueológicos y arquitecturas museificadas, donde lo verdadero y lo aparentemente verdadero se entrelazan en una ambigua convivencia. Lo que en otros tiempos eran vestigios del pasado, hoy se ha transformado en una experiencia que cada vez se asemeja más a la visita a un parque temático, donde las reconstrucciones cuidadosamente elaboradas se presentan como realidad. La ruina deviene escenografía.


Las imágenes capturadas en este archivo (iniciado en 2013 y que aún está en perpetuo crecimiento) revelan paisajes arqueológicos en el que el espectador acepta lo aparente como verdadero, perpetuando una visión mitificada de nuestro pasado. El archivo no solo documenta los restos materiales, sino también las ficciones históricas que se han erigido a través de ellos, construyendo una memoria distorsionada que se presenta como incuestionable. Una memoria en diferido, donde conviven, se integran y se funden elementos procedentes de épocas lejanas junto con elementos actuales en un singular sincretismo postmoderno. 


La cuenca mediterránea, un lugar donde las interacciones culturales han sido intensas y constantes a lo largo de milenios, sirve de escenario para este proyecto, desde la Antigüedad Clásica hasta la Edad Media. Aquí, las huellas del pasado conviven con las reconstrucciones modernas, creando un palimpsesto en el que lo auténtico y lo recreado se funden de manera indistinguible. Mare Nostrum (“Nuestro Mar”) en la Roma Imperial, el “Gran Mar” de las primeras comunidades hebreas o el “Gran Verde” (Wadj-wer) en tiempos del Antiguo Egipto. Un mismo mar, un mismo sol y estrategias de supervivencia y desarrollo que frecuentemente se solapan y se confunden.


El proyecto se articula en tres capítulos: El Mito (enterramientos e infraestructura), El Progreso (columnas y estructura) y La Guerra (muros, templos y fortificaciones). Cada imagen forma parte de una retícula visual que sugiere la fragmentación del pasado, con huecos y ausencias que invitan a la imaginación a rellenar lo que la historia no puede desvelar. Estos vacíos no solo evocan las incógnitas históricas, sino que también reflejan cómo, en ausencia de certezas, lo aparente ocupa el lugar de lo verdadero. En un mundo en el que las distancias parecen reducirse, pero la construcción de narrativas históricas se vuelve cada vez más artificial, este archivo fotográfico busca desvelar la fragilidad de esa "verdad" aparente que domina nuestra percepción de los vestigios del pasado.&#38;nbsp;









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Published on:&#38;gt; “Iván Cáceres: The Great Green”. Al-Tiba9: Contemporary Art Magazine Issue06 (2019).

	Publicado en:&#38;gt; “Iván Cáceres: The Great Green”. Al-Tiba9: Contemporary Art Magazine Issue06 (2019).</description>
		
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	<item>
		<title>Wipe out</title>
				
		<link>https://ivancaceres.com/Wipe-out</link>

		<pubDate>Mon, 17 Feb 2020 22:18:14 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

		<guid isPermaLink="true">https://ivancaceres.com/Wipe-out</guid>

		<description>
	Wipe out
It is seven o'clock in the morning. The alarm clock goes off. A quick splash of water on the face. Remember the wave report given the previous evening. Order a coffee at the bar on the corner while, from the window, the direction of the waves in the distance can be seen. There is no "galician wind" today, that's good. The period seems to be just right. The height of the waves can be a good thing. Hurry up with the coffee and hurry back to adjust the neoprene suit, which still smells of rubber and salt. The board still has enough paraffin on it. Walk to the best entry point, away from the breaker. Put on the leash. Maybe this afternoon, at the end of the day, it will be good for another swim. Here we go.

Those who are fully dedicated to surfing know that there is a whole protocol surrounding this practice. But this ritual space is much broader, encompassing a whole daily routine that includes long silences in which nothing happens, the same conversations about how the day has gone and what the forecast is for the following day, light meals and drinks that spice up anecdotes.

This documentary photographic project entitled Wipe out (which in surfer's jargon refers to the moment when the surfer falls off the board when trying to get up), tries to show everything that happens out of the water and that forms part of the surfer's everyday life from the point of view of a layman who is not yet able to stand up on the board.
	Wipe out











Son las siete de la mañana. Suena el despertador. Un agua rápida en la cara. Recordar el parte de olas que dieron la tarde anterior. Pedirse un cortado en el bar de la esquina mientras, desde la ventana, se puede observar a lo lejos la dirección de la olas. Hoy no hace “gallego”, eso es bueno. El periodo parece el adecuado. La altura de las olas puede dar juego. Apurar el café y regresar rápido para ajustarse el neopreno que todavía huele a goma y sal. La tabla aún tiene suficiente parafina. Caminar hasta el mejor punto de entrada, lejos de la rompiente. Ponerse el “invento”. Quizás esta tarde, a última hora, esté bien para darse otro baño. Vamos allá.

Aquellos que se dedican por completo al surf saben que existe todo un protocolo en torno a esta práctica. Pero este espacio ritual es mucho más amplio, abarcando toda una rutina diaria que incluye largos silencios en los que nada ocurre, las mismas conversaciones acerca de cómo se ha dado el día y qué previsión dan para el día siguiente, comidas ligeras y bebidas que animan anécdotas.

Este proyecto fotográfico de carácter documental titulado Wipe out (que en la jerga de los surfistas hace referencia al momento en el que el surfista se cae de la tabla en el momento de intentar levantarse), trata de mostrar todo aquello que acontece fuera del agua y que forma parte del día a día del surfista desde el punto de vista de un profano que todavía no es capaz de mantenerse en pie sobre la tabla.









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Published on:&#38;gt; “Surfing; Wipe Out by Iván Cáceres”. Dodho Magazine (2019). Retrieved from https://www.dodho.com/surfing-wipe-out-by-ivan-caceres/

	Publicado en:&#38;gt; “Surfing; Wipe Out by Iván Cáceres”. Dodho Magazine (2019). Recuperado de&#38;nbsp;https://www.dodho.com/surfing-wipe-out-by-ivan-caceres/</description>
		
	</item>
		
		
	<item>
		<title>La última marcha</title>
				
		<link>https://ivancaceres.com/La-ultima-marcha</link>

		<pubDate>Mon, 17 Feb 2020 20:18:01 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

		<guid isPermaLink="true">https://ivancaceres.com/La-ultima-marcha</guid>

		<description>
	The last march
The so-called "Death Marches" were the last episode of many of the prisoners in the large number of german Concentration Camps, who were forced to travel hundreds of kilometers in difficult conditions in order to be relocated far away from the battlefront. This project talks about the Sachsenhausen Concentration Camp (the closest to Berlin) and about the Marches that began shortly before the end of the war.


I followed the same paths and main locations by which the Death Marches happened and took photos from those landscapes the prisoners saw and from memorials that referred to this event. “The Last March” tries to create a temporary tension between the value of "this was" and "this is", that is to say, a dialogue between past and present that plainly frames the discussion about Historical Memory.
	La última marcha
Las llamadas “Marchas de la Muerte” configuraron el último episodio de muchos de los presos de los distintos campos de concentración alemanes, que fueron obligados a recorrer cientos de kilómetros en penosas condiciones para ser reubicados en campos alejados del frente de batalla. Este proyecto se centra en el caso del campo de concentración de Sachsenhausen (el más cercano a Berlín) y en las marchas que desde él se iniciaron poco antes del final de la guerra.Me propuse recorrer los mismos caminos y enclaves principales por los que las Marchas de la Muerte discurrieron y registrar fotográficamente aquellos paisajes de los que los prisioneros fueron testigos o elementos conmemorativos que hacían referencia a este acontecimiento. Con esto se trató de generar una tensión temporal entre el valor del “esto fue” y el “esto es”, es decir, una dialéctica entre pasado y presente que enmarca de manera clara la cuestión de la Memoria Histórica.






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		<title>Heridas de la ciudad. Suturas</title>
				
		<link>https://ivancaceres.com/Heridas-de-la-ciudad-Suturas</link>

		<pubDate>Mon, 17 Feb 2020 20:33:06 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

		<guid isPermaLink="true">https://ivancaceres.com/Heridas-de-la-ciudad-Suturas</guid>

		<description>
	Wounds of the city. Sutures
I propose a reconstruction project for those abandoned places that are the consequence of not solving properly the requests of a big city like Valencia. It is a reconstruction through the image. The images show us architectures that may have existed or could exist. A sum of layers and changes (such as those that have been building the city, a huge palimpsest that has been emerging over many generations). The camera becomes the tool that gives back to us the framed, concentrated and interpreted image of what we see.A very particular location has been chosen as the perfect example of this problem. It is the Cabañal district in Valencia, a place that has suffered an important decay. After choosing some interesting locations that worked as symbolic reconstructions, many photos were taken, trying not to show any human presence. In this way, the traces and footsteps that people have left all over the place are good enough as a reflection of this social problem.
	Heridas de la ciudad. Suturas
Ante el imperativo de encontrar cumplimiento a las necesidades básicas que se generan en una gran ciudad como Valencia, propongo una labor de reconstrucción en estos espacios abandonados que surgen en consecuencia. Se trata de una reconstrucción a través de la imagen. Se proponen arquitecturas que pudieron haber existido o que nunca lo hicieron, pero que en cualquier caso podrían existir. Una acumulación de capas e intervenciones (como las que han ido construyendo la ciudad, un enorme palimpsesto que ha ido tomando forma a lo largo de numerosas generaciones). La cámara fotográfica deviene aquel instrumento que nos devuelve la imagen parcializada, concentrada e interpretada de aquello que observamos.Se ha escogido un entorno muy concreto que ejemplifica perfectamente esta problemática. Se trata del barrio del Cabañal en Valencia, un barrio que ha sufrido un importante deterioro. Una vez escogidos algunos puntos interesantes que se prestaban a esta simbólica reconstrucción, se realizaron una serie de fotografías intentando obviar, en su mayoría, la presencia humana. De esta manera se focaliza el problema en el escenario, es decir, las huellas e indicios que las personas han dejado en el entorno son suficientes para hablar de esta problemática social.





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		<title>BIO &#38; CV</title>
				
		<link>https://ivancaceres.com/BIO-CV</link>

		<pubDate>Mon, 17 Feb 2020 20:18:00 +0000</pubDate>

		<dc:creator>Iván Cáceres</dc:creator>

		<guid isPermaLink="true">https://ivancaceres.com/BIO-CV</guid>

		<description>BIO &#38;amp; CVBIO &#38;amp; CV


	











Iván Cáceres (Madrid, 1984) is a visual artist, researcher and university lecturer. He graduated in Fine Arts from the Polytechnic University of Valencia in 2010 after having studied Architecture at the Higher Technical School of Architecture of Madrid for 3 years. Subsequently, he deepened in the development of photographic projects during the Master in Artistic Production -2012- and during the Master in Photography, Art and Technique -2016- (both at the Polytechnic University of Valencia) with the project La última marcha, developed during a 3-year stay in Berlin, where he worked in parallel as a photographer and graphic designer for various cultural marketing companies.


In his photographic works he reflects on the relationship between history and the present through landscape and architecture, emphasising themes such as the recovery of historical memory, post-memory, urban space and the conservation of historical heritage. In addition to his artistic work, he is dedicated to research in arts.


His artistic works have been shown in different art festivals, such as Art-Sur 2017, the International Art Festival Incubarte VI and the international festival Trieste Photo Days 2019. He has been selected in competitions such as the URBAN2019 AND URBAN2022 Photo Awards and the Felix Schoeller Photo Awards, Carpetes Obertes and Descubrimientos 2020 PHE. Finally, his work has been published in magazines such as Dodho Magazine and Al-Tiba9 Magazine.




EXHIBITIONS
2019:&#38;gt; Collective Exhibition URBAN 2019 Photo Awards. ITIS Public Personal Services Company (Trieste, Italy).&#38;gt; Trieste Photo Fringe 2019. Lettera Viva (Trieste, Italy).
2017:&#38;gt; ArtSur 2017 - Contemporary Art Festival (La Victoria, Spain).&#38;gt; Finalists Exhibition - Carpetes Obertes. EASD Escola d’Art i Superior de Disseny de València (Valencia, Spain).
2014:&#38;gt; Vive-Arte Project. 9ocre Gallery (Montemor-o-Novo, Portugal).&#38;gt; Awarded Artists at Incubarte VI. Espai d’Art Fotogràfc (Valencia, Spain).&#38;gt; Vive-Arte 2014, VI International Contemporary Art Exhibition of Extremadura. María Nieves Martín Gallery (Villafranca de los
Barros, Spain).
2013:&#38;gt; Incubarte VI: International Art Festival. Espai d’Art Fotogràfc (Valencia, Spain).&#38;gt; V Colectiva of National Artists. María Nieves Martín Gallery (Villafranca de los Barros, Spain).
2012:&#38;gt; [EN]Cuadre: Espacialidad Ciudadana. La Calderería (Valencia, Spain).&#38;gt; The face, the Other. Bamboo Atrium, Palau de la Música (Valencia, Spain).
2011:&#38;gt; 1st Festival of art &#38;amp; clothing Ciudad de Algemesí. Museu Valencià de la Festa (Algemesí, España).&#38;gt; Photographic exhibition. Cultural Center of Burjassot (Valencia, Spain).
2010:&#38;gt; Solidarity art auction. Terminal Rodoviário of Valparaíso (Valparaíso, Chile).
2009:&#38;gt; Kunst in der Stadt. Exhibition hall at the Frankfurter Hof (Mainz, Germany).&#38;gt; Secuencies. Sporting Club Russafa - espai de les arts contra les arts (Valencia, Spain).
2008:&#38;gt; Instintivament. Espai Cultural La Petxina (Valencia, Spain).

CURATORIAL PROJECTS
2012:&#38;gt; [EN]Cuadre: Espacialidad Ciudadana. La Calderería (Valencia, Spain).

AWARDS2022:&#38;gt; Shortlisted artist. URBAN2022 Photo Awards (Trieste, Italy).

2020:&#38;gt; Shortlisted artist. Descubrimientos 2020 PHE (Madrid, Spain).

2019:&#38;gt; Shortlisted artist. Felix Schoeller Photo Award (Osnabrück, Germany).&#38;gt; Shortlisted artist. URBAN2019 Photo Awards (Trieste, Italy).
2017:&#38;gt; Shortlisted artist. Carpetes Obertes Contest (Valencia, Spain).
2013:&#38;gt; Jury Prize at the International Art Festival Incubarte VI (Valencia, Spain).

	










Iván Cáceres (Madrid, 1984) es artista visual, investigador y docente universitario. Se licencia en Bellas Artes por la Universitat Politècnica de València en 2010 tras haber estudiado Arquitectura durante 3 años en la Escuela Técnica Superior de Arquitectura de Madrid. Posteriormente profundiza en el desarrollo de proyectos fotográficos durante el Máster en Producción Artística, -2012- y durante el Máster en Fotografía, Arte y Técnica -2016- (ambas titulaciones cursadas en la Universitat Politècnica de València) con el proyecto La última marcha, elaborado durante una estancia de 3 años en Berlín, donde trabajó en paralelo como fotógrafo y diseñador gráfico para distintas empresas dedicadas al marketing cultural.


En sus trabajos fotográficos reflexiona sobre la relación entre la historia y el presente a través del paisaje y la arquitectura, poniendo énfasis en temas como la recuperación de la memoria histórica, la posmemoria, el espacio urbano y la conservación del patrimonio histórico. Además de desarrollar obra artística, se dedica a la investigación en las artes.


Sus trabajos artísticos se han podido ver en distintos festivales de arte, como Art-Sur 2017, el Festival Internacional de Arte Incubarte VI y el Festival Internacional de Fotografía Trieste Photo Days. Ha sido artista seleccionado en certámenes como los URBAN2019 y URBAN2022 Photo Awards y en los Felix Schoeller Photo Awards, Carpetes Obertes y Descubrimientos 2020 PHE. Por último, su trabajo ha sido publicado en revistas como Dodho Magazine y Al-Tiba9 Magazine.




EXPOSICIONES
2019:&#38;gt; Exposición Colectiva URBAN2019 Photo Awards. ITIS (Trieste, Italia).&#38;gt; Trieste Photo Fringe 2019. Sala Lettera Viva (Trieste, Italia).2017:&#38;gt; ArtSur 2017 - Festival de Arte Contemporáneo (La Victoria, España).&#38;gt; Exposición de Trabajos Finalistas - Carpetes Obertes. Escuela de Arte y Superior de Diseño de Valencia EASD (Valencia, España).2014:&#38;gt; Proyecto Vive-Arte. Galería 9ocre (Montemor-o-Novo, Portugal).&#38;gt; Premiados en Incubarte VI. Espai d’Art Fotogràfc (Valencia, España).&#38;gt; Vive-Arte 2014, VI Exposición Internacional de Art Contemporáneo de Extremadura. Galería María Nieves Martín (Villafranca de los Barros, España).2013:&#38;gt; Incubarte VI: Festival Internacional de Arte. Espai d’Art Fotogràfc (Valencia, España).&#38;gt; V Colectiva de Artistas Nacionales. Galería María Nieves Martín (Villafranca de los Barros, España).Vive-Arte.
2012:&#38;gt; [EN]Cuadre: Espacialidad Ciudadana. Espacio La Calderería (Valencia, España).&#38;gt; El rostro, el Otro. Atrio de los Bambús, Palau de la Música (Valencia, España).2011:&#38;gt; I Festival de arte y vestimenta ciudad de Algemesí. Museu Valencià de la Festa (Algemesí, España).&#38;gt; Exposición Fotográfca. Casa de Cultura de Burjassot (Valencia, España).2010:&#38;gt; Subasta de Arte Solidario. Terminal de Viajeros Valparaíso (Valparaíso, Chile).2009:&#38;gt; Kunst in der Stadt. Sala de exposiciones del Frankfurter Hof (Mainz, Alemania).&#38;gt; Secuencias. Sporting Club Russafa, espai de les arts contra les arts (Valencia, España).2008:&#38;gt; Instintivament. Espai Cultural Biblioteca La Petxina (Valencia, España).
COMISARIADO
2012:&#38;gt; [EN]Cuadre: Espacialidad Ciudadana. Comisariado colectivo. Espacio La Calderería (Valencia, España).
PREMIOS2022:&#38;gt; Seleccionado en el concurso URBAN2022 Photo Awards (Trieste, Italia).

2020:&#38;gt; Seleccionado en “Descubrimientos 2020 PHE” (Madrid, España)

2019:&#38;gt; Seleccionado en el concurso Felix Schoeller Photo Award - German Peace Prize for Photography (Osnabrück, Alemania).&#38;gt; Seleccionado en el concurso URBAN2019 Photo Awards (Trieste, Italia).2017:&#38;gt; Finalista en el concurso Carpetes Obertes (Valencia, España).2013:&#38;gt; Premio del Jurado en el Festival Internacional de Arte Incubarte VI (Valencia, España).






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