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  • 00:00 · About Per Amor a l’Art Foundation
  • 01:20 · About the exhibition
  • 03:40 · Artworks in Room 3A
  • 08:00 · Artworks in Room 3B
  • 12:00 · Artworks in Room 4
  • 20:00 · About the catalogue

Llum II 01.10.13 10.00 p.m. [Light]
, 2013
Digitalised light transfer on transparent polyurethane. 155 x 145 cm
Per Amor l’Art Collection

, 2020
UV print on PVC. Variable dimensions
Courtesy of the artist*

In these works, the artist proposes a reflection about light within the exhibition space, and plays with the natural and artificial light of the art centre. Femenía is interested in working with materials with specific intrinsic qualities, specially those that, because of their reflective and transparency properties, interact with the surrounding light — such as metal and plastic. In the case of the Llum series, Femenía registers light digitally with a scanner, in order to explore and investigate the machine’s ability to “see”: she selects the smallest fragment of a digital image and increases its size in order to show how the primary colours (red, green and blue) are present. The works in this series always include in their title the date and time when the light was captured. Transversal is an installation also made specifically for the show with PVC, a material that, because of its lack of colour, is capable of makingher interventions tangible, showing theway in which the properties of light-matter respond to a gaze shaped by the digital.

*Work conceived specifically for the exhibition, and produced by Fundació Per Amor a l’Art / Bombas Gens Centre d’Art



3 – 4
In Tension n. 2 / In Tension n. 3, 2016
UV impression, modified aluminum and natural rubber. Variable dimensions
Per Amor a l’Art Collection


Liminal XX, 2020
Synthetic painting and varnish on handled aluminium and natural rubber. Variable dimensions
Courtesy of the artist*

Taking as her starting point the idea that the digital world is no longer exclusively behind the screen, the artist relates daily life perception —connected to memory and recognition— to digital language. In the In Tension works and the installation Liminal XX —which originates in that series— the point of reference is colour: the colours we perceive in our environment are mimetised with the digital chromatic range, as Femenía interprets such natural phenomenon through a direct digital impression on the surface. The metallic plates reveal the printing process, and show the separation of colours characteristic of the digital plotting. The surfaces, treated as photographs, become tridimensional pieces when they are modified by the visitors’ body — the works have an implicit performative nature. Such reference to the body is perceived in the manipulation of the material, and also in the use of rubber, which alludes to a second skin with which she creates tension and new perceptions.

*Work conceived specifically for the exhibition, and produced by Fundació Per Amor a l’Art / Bombas Gens Centre d’Art



Black Mirror, 2014-2020
Black methacrylate. 250 x 600 cm
Courtesy of the artist*

This installation, which is a new version of the piece conceived in 2014, makes reference to a mobile telephone screen that hasn’t been turned on, to “that moment in which [the telephone] is not working, and therefore doesn’t show us virtual reality, but rather offers us a reflection of physical reality”. Femenía allows the spectator, through her reflection on the “screen”, to be a physical part in a discussion on perception as shaped by digital media, which she understands as a language that modifies the appearance of forms.

*Work conceived specifically for the exhibition, and produced by Fundació Per Amor a l’Art / Bombas Gens Centre d’Art


Hold, 2020
PVC and metal. Variable dimensions
Courtesy of the artist*

Mehr Licht!, Hold and Black Mirror are interpretations of the concept of “poor image”, coined by Hito Steyerl — a theory on the circulation of the digital image and the distortion of our ways of looking. These works, as did Free Fall (2017), from which Hold originates, render visible the becomings of the digital image, which is increasingly conditioned by our need to connect and the speed of the exchanges, and expose the fact that the quality of images (for example those taken from security cameras) and their real-time reading push images towards abstraction. As in Femenía’s other works, Hold also refers to concepts and shapes she perceives in daily life: in this case the leftover plastics sheets she finds in the agricultural fields of rural Valencia, where her studio is located.

*Work conceived specifically for the exhibition, and produced by Fundació Per Amor a l’Art / Bombas Gens Centre d’Art


Mehr Licht! [More light!], 2018-20
LED screen. 250 x 400 cm
Courtesy of the artist*

For this exhibition, the artist presents adapted versions of earlier works, including Mehr Licht!, an installation in which she abandons matter, the use of photography techniques, or the search for surface gestures. Instead, she makes reference to the ecosystem of big cities and their urban centres, where largescale advertising screens and their light emissions attract the attention of the passers-by, influencing their behaviour. Such digital light impregnates the spaces —in this case, an exhibition space— beyond content: the spectator doesn’t perceive the publicised content, but rather the environment generated by the colour’s properties and their reflection on surfaces. The title is taken from Goethe’s last words in his deathbed, which Femenía considers a premonition of today’s reality.

*Work conceived specifically for the exhibition, and produced by Fundació Per Amor a l’Art / Bombas Gens Centre d’Art

The artist researches the materiality of the digital and reveals new ways of perception determined by light. An invitation to the spectator to confront different phenomena that put in tension and challenge the limits of the perceptible.


The exhibition “Infrathin” is the result of Inma Femenía’s investigation on perception as shaped by digital media, and the resulting experience of physical reality. A perception that is understood as a tool that modifies the appearance of forms, and that Femenía attempts to capture by using different surfaces. The artist approaches the agreed limits of what is perceptible, and furthers them in order to remain on that threshold and reveal new modes of perception, informed by the light of screens and its temporary reflection on things.

The processes of pixelation, wear and dissolution of images in our screens echoes a vanishing reality that is reconfigured as if it were a shadow theatre. This “digital” approach brings us to Marcel Duchamp’s notion of “infrathin”: moments relating to the physical body and to space, extracted from the lightness of daily life, and in which the true essence of art can be found. Moments such as the warmth of a surface where someone has been sitting, the sound made by the fabric of a pair trousers while walking, caresses, or a drawing made by steam or breath on a polished surface, mirror or glass.

In this project, Femenía presents a series of works created specifically for the spaces of Bombas Gens Centre d’Art, together with others that are part of the Per Amor a l’Art Collection. Light is the absolute protagonist in all of them, not just in the process of their creation and conception, but also in their staging, which plays with the natural and artificial light of the exhibition halls. Processes such as UV printing on industrial materials result in an organic appearance, an iridescent skin.

In Femenía’s work, light printing and the investigation of the materiality of digital technology is perfectly matched by her manipulation of materials. The light she extracts from the screens is no longer two-dimensional; it has become an object, as well as a witness of an action carried out by the artist, which gives it both warmth and tension. In this exhibition the viewer is a key component, invited by Femenía to be part of the show as a body that walks and moves, turned into a participant in the act of perception, obliged to face her reflection in the simulated screens, her retina forced to make an effort and led to feel uneasy about the process.

Lastly, “Infrathin” is also the result of Fundació Per Amor a l’Art’s support and commitment to the work of young artists; one of the foundation’s goals is the promotion of artistic practices that explore diverse visual languages.


This exhibition, curated by Julia Castelló and Nuria Enguita, and organised by Bombas Gens Centre d’Art / Fundació Per Amor a l’Art, is accompanied by a publication that includes a text by Joseph Constable and an interview with the artist.