Current exhibition

Cristina García Rodero

Con la boca abierta

24 Apr - 21 Jun 2025

Con la boca abierta is a deeply personal project by Cristina García Rodero, born from an intimate observation of her creative process. It is a unique thematic retrospective that spans nearly all the places and subjects the artist has explored over the past half-century.
Unlike the eyes, which are often considered the focal point of the face, the mouth—despite its complex musculature and its rich expressive potential—tends to be overlooked. Yet, it is the most perfect translator of human emotion. The accumulation of images depicting people with their mouths open, and all the emotions this conveys—ranging from excitement and enthusiasm to exclamations of joy or deep sorrow—turns the mouth into a profoundly nuanced element, capable of revealing our innermost feelings like nothing else.
Open mouths connect us to the universe: it is through them that we breathe in and out, engaging in a silent dialogue with the world around us. Open mouths sustain us in life and allow us to communicate with everything that surrounds us—they are the vehicle through which we shout, scream, suffer, nourish ourselves, laugh, yawn. Every possible shade of emotion is condensed in this essential organ, where feeling takes form. This project represents fifty years of artistic exploration of the human body and soul, approached through this singular perspective—perhaps as it has never been seen before.
The resulting series of photographs, beyond their remarkable formal quality, possess an expressive depth—sometimes theatrical or grotesque, sometimes more naturalistic. Carnivals, music festivals, and popular celebrations intertwine with moments at the beach, religious ceremonies, and spiritualist rites. "The thematic breadth makes this series a fascinating polyhedron of life's many facets," explains Cristina García Rodero.

The project follows the natural cycle of life, beginning with the cry and open mouth of a newborn and ending with the grimace of death. "I chose to start with the cry of life because an open mouth also expresses suffering. But I specifically chose birth because the moment a baby cries is the moment it begins to breathe on its own—it is no longer breathing through the mother, but through itself. So, I started with birth and ended with death, capturing different situations where people have their mouths open. The truth is, it was a fun process—there is humor, there is tragedy, because life is all of that."
Juan Carlos Moya played a crucial role in bringing this project to life at CEART Fuenlabrada in late 2014, and since then, it has evolved in various ways.
This special exhibition, curated by Juan Carlos Moya and Rafael Doctor, distills half a century of Cristina García Rodero’s intense artistic work. At the same time, it inaugurates the new gallery project in Barcelona, SELTZ by Ritter Ferrer, which aspires to become a key reference in the city's cultural and artistic scene.

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Mateo Maté

Timeless Landscapes

26 Jun - 12 Sep 2025

This series of works aims to empirically demonstrate a theory born from an intuition. I am attempting to carry out an act of justice—to denounce a silent and malicious theft. I seek to return to art what war has stolen from it. Military camouflage would not exist without the discovery and development of a visual language and iconography particular to pre-Impressionism and Impressionism. These movements stripped all the natural elements of the landscape down to their basic forms and reinterpreted them as impressions of spots and colors, perceived by the human retina in a single glance. From the very moment of that discovery—and proving that no human invention is ever innocuous or free from the risk of perverse application—military uniforms around the world changed radically in concept. They ceased to be merely symbols of representation and power and became offensive, albeit passive, weapons. From that point on, through a basic yet highly sophisticated iconography, uniforms began to imitate the natural environment in which different military units were to be deployed. Artists from across the Western world contributed to the development of both applications of the same invention: Impressionism as the civilian application, and camouflage as the military one. Using the uniforms of various armies around the world, I am trying to recompose and return this iconography to its artistic origins. For every texture, type of terrain, vegetation, or weather phenomenon that might define a landscape in a painting, there exists, within some military force on the planet, a uniform that can serve as the raw material—as if it were a tube of paint. Mateo Maté

Miaz Brothers

L´immagine che aspetta

26 Jun - 12 Sep 2025

At its core, it’s always the same game. To subtract in order to open. To blur the edges and make room for the breath of another. Each time we exhibit again, we ask ourselves: what will they truly see? We never set out to show a face. What moves us is the motion that begins when one tries to recognize it. The distance between what you know and what you long to see. For us, painting has never been about confirming reality, but dissolving it — a way to create fertile voids, shadow zones where awareness stirs. The viewer becomes a co-author, compelled to imagine, to recall, to misread. And to us, that is the most human gesture there is. In the age of total surveillance, facial recognition, and identity as a scannable code, we work in reverse: we offer our subjects a face you’ll never be able to decode. An enigma. A precious anonymity. A presence that slips away like a dream, yet lingers within. Here, we’ve opened the form even further, letting something breathe on its own: a trace, an echo, a figure that only exists if you come close enough to lose it again. Each piece is a quiet exercise for the one who looks: don’t try to focus — let the image emerge from within. In the end, we are still just the two of us. Two brothers who chose the mist over the spotlight. Not to tell you what to see, but to offer a space where you might better see yourself.