The 2021 exhibitions in Bombas Gens

A few days after the new year, Bombas Gens has already defined the exhibition program that it will offer in 2021. If the health crisis does not prevent it, the art centre of the Fundació Per Amor a l’Art plans to exhibit two solo exhibitions of the artists Juan Uslé and Irma Blank, and a collective exhibition of documentary style photography from the Per Amor a l’Art Collection.

The three exhibitions will be accompanied by the publication of a catalogue in order to promote their dissemination.


The first of them, Juan Uslé. Ojo y paisaje (Eye and Landscape), will open on February 12th. This exhibition, curated by Nuria Enguita and Vicent Todolí, presents a selection of works by the artist from the late eighties —with expressionist, abstract and robust brushwork landscapes— to a sample from the Soñé que Revelabas (I Dreamed that you Revealed) series, with works made in the last ten years.

It will be a unique opportunity to contemplate an exceptional set of works that spans forty years of experience and covers different stages of Uslé’s work.

Juan Uslé (Santander, 1954) is one of the Spanish artists with the most international recognition and was awarded in 2002 with the National Prize of Plastic Arts from the Ministry of Culture. His exhibition at Bombas Gens was born from the study of Uslé’s works belonging to the Per Amor a l’Art Collection, which in this way continues to support its artists through exhibitions and individual publications of their career.


In spring, one of the highlights of the program will arrive: a new group show from the Per Amor a l’Art Collection, which this time focuses on documentary style photography.

Curated by Julia Castelló, Sandra Guimarães and Vicent Todolí, this exhibition tries to review the concept of “documentary style” as defined by Olivier Lugon: understanding the document as form (and even aesthetics). This “style” would be founded by Walker Evans and would have a great influence on all photography from the 1930s.

At first, this type of photography was understood as something related to reporting, to photojournalism, but in a short time it was affected by the need to experiment with photographic language, as Lee Friedlander or Garry Winogrand would do.

These authors used seriality to reflect the reality of the society that surrounded them. But this seriality can also be related to the need to classify in order to understand similarities and differences in structure and appearance, as Bernd and Hilla Becher or David Goldblatt would do in the 1970s, and Tod Papageorge and Anthony Hernández in the 1980s in colour.

This exhibition once again highlights the importance of research in the Bombas Gens programme. In addition to those mentioned, it will include artists such as Manuel Álvarez Bravo, Helen Levitt, Louis Faurer, Susan Meiselas, Edward Rusha or Xavier Ribas, among others.



Following the research line, the second of the individual exhibitions programmed by Bombas Gens will arrive in autumn, which will be dedicated to the artist Irma Blank (Celle, Germany, 1934 – lives and works in Milan).

Curated by Johanna Carrier, Joana Neves and Sandra Guimarães, this exhibition is part of a tour through different international institutions (Culturgest, Lisbon; MAMCO, Genoa; CAPC, Bordeaux; CCA, Tel Aviv; ICA, Milan and Museo Villa Dei Cedri, Bellinzona) where the work of the artist Irma Blank is presented from different points of view: from her first works with the Eigenschriften series (1968) to the most recent, Gehen (2017)

Through different forms and connotations, all her work develops from the relationships produced between writing with drawing and painting. However, the lines and signs represented by the artist are stripped of the meaning associated with language, giving them their own and radical value, not linked to perception or understanding.

Thought especially for the Bombas Gens space, this exhibition will be one of the most extensive on Blank’s career and will constitute a unique opportunity to discover and delve into the work of one of the most idiosyncratic artists of our time.



David Goldblatt, While in traffic, 1967. Per Amor a l’Art Collection © David Goldblatt

Irma Blank, Radical Writings, Rosa geatmet, Rosa geschrieben, 1987. Per Amor a l’Art Collection © Irma Blank

Juan Uslé, Sin lugar, 1997. Per Amor a l’Art Collection © Juan Uslé / VEGAP, València, 2020



“Botánicas” at the Royal Botanical Garden of Madrid



Exhibition “Sculpting Reality” in the “Per Amor a l’Art Collection



Catalogues on sale