Error-horror

This exhibition explores the interplay of meanings that emerges from a single deformed word: error and horror. It is a visual and conceptual fusion that addresses a territory where machine and imagination collapse, and where the misunderstanding between human will and the algorithm opens spaces for radical creation.

The showcase gathers the results of over three years of research and experimentation with flawed models and artificial intelligence tools in their rudimentary state. From this process, the exhibition proposes a visual and sensory immersion through a mutant landscape composed of images, videos, and digital textures that document the evolution of the machine. The project includes a real-time video generation piece where visitors will see themselves reflected as an imperfect digital creature, turning glitches and censorship into artistic material that opens the door to an aesthetic and symbolic confrontation with one’s own reflection. ERROR-HORROR proposes that an error is not a failure, but a fissure through which the machine returns a deformed truth about ourselves.

About the artist:

Franc Aleu (Barcelona, 1966) is a visual creator renowned for integrating light scenography and video projections in international opera, dance, and theater performances. He was awarded the National Culture Prize in 2012 for his audiovisual contributions and has collaborated closely with companies such as La Fura dels Baus and directors on stages like the Liceu, La Scala in Milan, and the Teatro Real in Madrid. With a visionary and multidisciplinary approach, he currently explores the vast creative possibilities of artificial intelligence and new immersive stage languages.

Reconfigurations. Images in Transit

About the curatorship:

Curated by Anna Surroca Gibert, this exhibition brings together the works of three artists who explore the political, affective, and material power of the image through different languages and methodologies. The exhibition proposes a journey through ways of looking that do not settle for reproducing the world, but rather reconfigure it. In this space, the image ceases to be a surface and becomes manipulable matter; a territory where it can be intervened, woven, inverted, or rewritten. The projects selected by Surroca Gibert share a concern with how photographs and archival images shape our relationship with memory, territory, and the body, reactivating them to generate active forms of reading and resistance.

Participating works and artists

I Also Wanted to Be Robert Capa, But Not Take His Photos (2021–present)

The work materializes in a framework of photographs woven in wool that explore the visual fabric that traverses us and embeds itself in our collective imagination. The work unfolds as an autoethnographic research project born from the author’s internal conversation to confront her contradictions regarding the photographic medium, leading her to translate the image into a textile format in search of a personal space of freedom.

About the artist:

Laura Aranda Lavado (🔗 www.arandalaura.com) (Granollers, 1994). She is a visual artist and anthropologist who graduated from the Universitat de Barcelona. Her artistic practice takes place between research and creation, reflecting on memory, representation, and visual culture through experimentation with analog and alternative photographic processes. Her work has been exhibited at the KBr Fundació MAPFRE in Barcelona and in festivals such as Panoràmic, Art Photo BCN, and FineArt Igualada. She is the founder of Colectivo Vigilia and maintains a constant role in university teaching.

Accions àcrates (2018–2024)

A photography and public space intervention project that explores the friction between the image and power. It documents a series of actions carried out on the facades of buildings in the Lleida area historically linked to the army or the police. At the door of each building, a poster with the word “autoridad” (authority) backwards was hung, forcing the spectator to rotate the photograph to read it, thus executing an iconoclastic action that places the building in a position of denial or punishment.

About the artist:

Joan Pallé (🔗 www.joanpalle.com) (Lleida, 1989). Visual artist, researcher, and artistic director. He is a doctoral candidate at the Universitat de Barcelona and holds a Master of Fine Arts from the FHNW Institut Kunst in Basel, Switzerland. His prolific work reflects on institutional and urban structures and has been exhibited internationally in prestigious spaces such as the Centre d’Art La Panera, ADN Galería, Fondation Beyeler, and Kunsthaus Baselland.

Sobre el descans (2025)

This photographic and archival project proposes rethinking the rural-urban dichotomy to respond to the context of personal and social exhaustion that surrounds us. Based on in-depth research in the Archive of Ethnography and Folklore of Catalonia, the work reuses and intervenes photographs taken in the early 20th century by Tomas Carreras i Artau in cereal fields. The images highlight the garberas (traditional structures of straw sheaves), which evoke ideas of rest, collective effort, care for the environment, and ways of life based on resistance to accelerated modernity.

About the artist:

Natalia Lazaro Prevost (🔗 acidamentestudio.com/investigación) She is a visual researcher whose artistic projects are linked to movement and the relationship of objects with the space they occupy. With a degree in Journalism from Barcelona and Santiago de Chile, she specialized in artistic photography at the University of the Arts London. Her work focuses on recovering social and heritage contexts from the past to reflect on the role of women and the environment today. Her projects have been presented and published by entities such as MACBA, La Panera, the Joan Brossa Foundation, and The Guardian.