Exhibitions
Here you can find information and pictures of my recent exhibitions.
Mujeres
The work of Marta Fàbregas, exhibited for the first time in a solo exhibition in Italy, captivates and seduces us towards distant and different worlds, where each woman is represented, hence the title "Women". Their image crystallizes in a work of art. Her contribution to the passage of time, to the writing of history, her personal history, and the history of all of us.
The exhibition itinerary catapults us from Africa to the middle East, suggesting habits, customs, and traditions that are part of the history of these continents, and does so through the images of women who seem to form secret alliances made of sacrifices, abnegation, and anonymity, and precisely these elements are what cohesion and constitute the strength of the exhibition's message, a message that is not shouted but whispered with elegance.
The artist gives visibility to those who are often forgotten, to those who, with their daily and sometimes marginal work, have contributed to the civilizing process from which we all benefit today, and she does so in an original and exclusive way: starting from the opening of the drawer of memory, today facilitated by the digital world, using the technique of 'transphotography', Fàbregas makes her interventions with different materials, printing fragments of images and reassembling them until she herself becomes the demiurge of a new identity for each of the women represented.
Inmaculadas
This exhibition can be seen from 16.3.23 to 20.4.23 at Pigment Gallery Paris.
In her series Inmaculadas, Marta Fàbregas offers a reflection on the role of women in our society, their strength, and their dignity. From photos of Moroccan and Algerian prostitutes, recovered from collections and archives, she creates works using the technique of transfography. With this process, she allows the posthumous restoration of their dignity.
With Satori, Marta Fàbregas tries to translate an experience of harmony, transcendence, and liberation. The artist explains: "When one reaches satori, the person is capable of seeing beyond the limits of physical reality and connecting with what lies beyond. It is a deep and transformative experience that helps us find a new sense of purpose and understanding. It is a spiritual enlightenment that allows us to see the world in a completely new way." It is with this concept in mind that Marta Fàbregas, for whom satori, femininity, and feminism are related, talks about her latest project. The artist invites us to look beyond what surrounds us, always proposing figures of historically oppressed and marginalized women, and invites us, through a feminist reading of her work, to transcend the limits of reality, finding a deeper and more meaningful reading of these images.
Infinita Magnitud
Magnitude as such is a physical property capable of being measured and this is what the artist Marta Fàbregas Aragall uses to endow and quantify the profound importance that women have had throughout human history. In this way, through her artistic action, she breaks down and reflects on the scope of magnitude in this topic.
On the one hand, she gives voice to the silenced, fundamental, and basic impact of women in past societies, and on the other hand, in the work that still needs to be done, both globally and locally, in terms of gender equality.
The word "infinite", then, is added to the title of this exhibition as a form of semantic wordplay, since an infinite element cannot be measured, so if we stick to the definition of magnitude, it could never be quantified. But, if we go further, the apparent contradiction is explained as a small clarification in itself, since it is precisely where we find the profound meaning of her proposal: the figure and role of women throughout history is a topic of immeasurable magnitude, which had an impact from the beginning of time, which still holds true today, and which will surely have in our future, which makes it infinite.
Through the selected works from the well-known series Colonized, Kairos, and Perfectly Imperfect, along with those from the unpublished Garden of the Hesperides, presented for the first time in this exhibition, Marta Fàbregas Aragall highlights the importance of historical memory through women of the past, and thus ensures that their stories and contributions do not go unnoticed.
The artist, guided by a delicate instinct, fits the sensitive fragments of each self together. She composes the work with sepia-colored cutouts joined together with patient craftsmanship. She works the patinas seeking the color of dreams. She sprinkles surfaces under the rhythm of chance. Irregular atmospheres cover the characters with poetic scars on pure skin. The paper shows wear and tear, of epidermis and of life. Each environment exudes a silence that speaks. We reach that place where the words of that mass of anonymous women do not reach, those whose lives did not seem to be relevant within the prevailing patriarchy, but who joined with the same purpose: the fight for gender equality.
Berta Navarro Aragall
Art historian
ReBeladas
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In this accelerated age, we hesitate to stop before an image, for doing so requires resistance. We are afraid of being penetrated by what would encounter us when in communion with the eyes of the other. The enigmatic faces of the great works by Marta Fàbregas both question and challenge us. They immerse us in an imaginary story of a life, inevitably transporting us to an unknown world. When the veil which separates us is torn, we fleetingly glimpse their mystery: a revelation of women. The eternal truths belong in the race of women, daughters of Eve, Lilith or Pandora. Art is the play of mirrors through time.
The artist, guided by a delicate instinct, fits together the sensitive fragments of each self. She composes her work with sepia-colored cutouts stitched together with patient craft. She works the patinas looking for the color of dreams. She splashes surfaces under the compass of chance. Irregular atmospheres cover the characters with poetic scars on pure skin. The paper shows wear, at the epidermis and in life. Each environment gives off a silence that talks. We reach a place that words cannot reach. Images and essences are revealed.
They are all female figures, solitary, isolated. Together, they make up a gallery of unique characters in a choral work. They come from other times, other lands, other rites. We sense burning deserts, aromas of spices, walled cities, bamboo forests. When observed, their remote pasts become present. They emerge from empty spaces without traces or references. Embellished with the ornaments of their own. Dignified, elegant, heirs, survivors of a lineage. Links of an infinite chain. Between golden lights and hidden darkness, sparks of soul and common wounds from the five continents can be glimpsed. The body as a home, the flesh as land, the woman as a temple in sacred territories. From their box, distant and close at the same time, reBeladas reveals what they are and what they embody.
Mireia Rosich
Director of the Victor Balaguer Museum-Library in Vilanova i la Geltrú and author of the book “En la estela del Mito”
