Exposiciones 2026

El proyecto se configura así como un espacio de resonancia en el que ambas prácticas conviven, invitando al espectador a suspender la inmediatez de la mirada. No se trata de descifrar las imágenes, sino de habitar su ambigüedad, entendiendo que es precisamente en esa inestabilidad donde reside su potencia crítica.

Gema Polanco (Valencia) is a visual artist. Her work, primarily installation-based, also incorporates textiles, drawing, music, and photography. She questions the traditional feminine roles that confine and categorize women, constantly seeking new spaces, alter egos, that allow us to be who we want to be. She appropriates and aligns herself with punk aesthetics, the rebellious, and the spontaneous, to make new forms of care— honest, accessible, and peaceful—possible.

“Meditaciones sobre las distancias infinitas” is the new exhibition by Valencian artist Ana Císcar at Jorge López Gallery. “Meditaciones sobre las distancias infinitas” is the new exhibition by Valencian artist Ana Císcar at Jorge López Gallery.

The artist's work explores the value of the image and its narrative potential. In her pieces, she delves into the tension that arises from attributing to documentary photography the quality of faithfully representing reality, contrasting it with the interpretive, constructed narrative character attributed to the arts, and particularly to painting. Císcar specializes in the field of Contemporary Thought and Visual Culture.

Ana begins by appropriating old photographs, from archives and newspapers, which she translates into visual language through a complex process of image montage, based on blurring, recomposing, and juxtaposing the originals. This unique deconstructive strategy allows her to rethink and reactivate the material used, turning certain imaginaries on their head and questioning the politics of visuality. The result is hybrid paintings that, while they may retain the appearance of a document of reality, possess a tone of unsettling strangeness.

Javier Moral Martín, autor del texto de sala interpreta: Javier Moral Martín, author of the exhibition text, interprets: “There are ways to survive a world replaced by its image. We can deny its representations and try to look at the world directly, but we can also take the opposite path: recovering the world through the exhaustion of images. Of the two options, Ana chooses the second… she collects, looks and explores, digs, gathers and piles up, amasses images—but also images of images. She then puts them in succession and confronts them, cuts them, folds and tears them, interweaves them, subjects them to the alchemy of montage and chance, disconnects them from their immediate meaning until they break, until they bend so that at the end of the process, in their translation to the pictorial format, they end up revealing a glimmer ”

From an awareness of travel—of what we carry, lose, or transform along the way—a different way of inhabiting the world may emerge.

Every politics of identity is, in essence, a politics of narrative: who speaks, from where, and in what language. The migrant artist—precarious, displaced, decentered—is no longer an exception, but a structural figure within contemporary art; a witness to shifting borders, invisible archives, and unmapped geographies.

What we once called “form” now reveals itself as surface, a taut skin upon which fragments of history are inscribed. Matter—light, paper, color, image—is never neutral; it speaks through contact, friction, and touch. In this return to the material and the sensorial, a different aesthetic experience emerges: more embodied, slower, uncertain.

The artists presented by Jorge López Galería at ARCO 2026 constitute an unofficial archive, an affective palimpsest that engages peripheral memories, personal narratives, traces, and forms of care rendered invisible or neutralized by history books. They practice a poetics of care—at once a form of resistance—and understand travel not as tourism, but as a displacement of meaning, as critical wandering. In a context where thought dissolves into data and fragile connections, the space of art must render the residual legible, thereby linking history and the present, the intimate and the geopolitical, the global and the vernacular. The gallery thus becomes a narrative space in tension, where the imagined dialogues with the lost, and the image ceases to illustrate in order to pierce.

The artists: Valeria Maculan (Argentina), Álvaro Porras Soriano (Ciudad Real), Miguel Rothschild (Argentina), Inma Femenía (Pego) y Ana Císcar (Valencia)

The collaboration between Ponce + Robles Gallery and Jorge López Gallery unfolds as a shared territory from which to reflect on the notion of inhabiting—not as a fixed state, but as a process in constant displacement. The project proposes an understanding of home as an unstable construction, shaped by travel, distance, and memory, where the body—nomadic, vulnerable, attentive—becomes the first form of architecture. The works brought together explore movement as a formative experience: that which is carried, lost, or transformed along the way. Within this continuous displacement, space ceases to function as a mere container and instead becomes an active interlocutor. The artists engage in dialogue with the spaces they inhabit, marking their own trajectories—paths inscribed both in physical territory and in the imagination—tracing affective and symbolic maps. Through ceramics as a shared practice—an ancestral medium linked to the earth, gesture, and time—Patricia Camet, María García Ibáñez, Javier Bravo de Rueda, and Chuiqui García address ideas of ecology, spirituality, travel, and memory. Ceramics emerges here as a slow form of resistance to contemporary acceleration: a language that preserves the imprint of the body and the environment, and that activates a deep attentiveness to material and process. The project thus brings together two galleries and four artistic perspectives that understand inhabiting as a relational practice—with the land, with history, with the spiritual, and with others. Rather than offering closed answers, the works pose open questions about how we construct meaning through displacement, and how matter itself can become a living archive of our trajectories. In this fragile yet persistent in-between space, an aesthetic of travel takes shape, proposing new ways of being in the world.

Las obras reunidas exploran el tránsito como experiencia formativa: aquello que se arrastra, se pierde o se transforma en el trayecto. En este desplazamiento continuo, el espacio deja de ser un mero contenedor para convertirse en interlocutor activo. Los artistas dialogan con los lugares que ocupan, señalando recorridos propios que se inscriben tanto en el territorio físico como en el imaginario, trazando mapas afectivos y simbólicos.

Desde la cerámica como práctica común —material ancestral, vinculada a la tierra, al gesto y al tiempo—, Patricia Camet, María García Ibáñez, Javier Bravo de Rueda y Chuiqui García abordan cuestiones relacionadas con la ecología, la espiritualidad, el viaje y la memoria. La cerámica aparece aquí como un medio de resistencia lenta frente a la aceleración contemporánea, un lenguaje que conserva la huella del cuerpo y del entorno, y que activa una escucha profunda del material y de sus procesos.

El proyecto conjuga así dos galerías y cuatro miradas artísticas que entienden el habitar como una práctica relacional: con la tierra, con la historia, con lo espiritual y con los otros. Más que ofrecer respuestas cerradas, las obras plantean preguntas abiertas sobre cómo construimos sentido en el desplazamiento y de qué manera la materia puede convertirse en archivo vivo de nuestras trayectorias. En ese entre-lugar, frágil y persistente, se configura una estética del viaje que propone nuevas formas de estar en el mundo.