CROSSWORDS collective

Marta Juvanteny, Lucia Royo, Juano Ortiz, Monica Plans, Teresa Pera, Hannah Berestizhevsky, Yosman Botero, Alejandro Palacín, Irene Bou and Mireia de Juan, we are a group of artists that coincided at the Master’s Degree in Artistic Production and Research in the Faculty of Fine Arts of Barcelona. During this period we had the opportunity to share spaces, experiences and concerns.

The exhibition that we present at the Espronceda Center for Art and Culture is born from the desire to keep this dialogue open between research and interests. In a certain way, Crosswords could be explained as a curating exercise shared from within the artistic praxis. With it we highlight those meeting points from which heterogeneous lines of research and artistic creation flee, based on the game of multiple and unlimited relationships of a crossword puzzle.

about the artists:

Àlex Palacín. Barcelona, 1989. Is interested in the limits that words impose on our eyes when thinking about the idea of ​​things, the configurating power of reality of the mind and language, and also how to use it in our favor, or at least his own . In this sense, he considers that creative practice is, among many other things, a form of mental reconfiguration, a self-brainwashing, and investigates that facet.


Mònica Planes. Barcelona, 1992. Create objects that explain the experience of the spaces that inhabit. If narrating consists of ordering an experience in a linear time and containing it at the beginning and the end, with the objects that it produces, it explains but does not tell. It also orders but through a spatial order, not temporary. Therefore, it is not a narration process but rather an objectualization of the landscape, that is, to synthesize and compress the experience of the environment in one or more objects. These objects are, therefore, compressed space and involve a return to dumb experience. <<>>

Irene Bou. Caracas, 1982. Her artistic practice consists of expression through the plasticity of materials. The topics that concern her are the relationship with the public, the relationship with “the other”, the clashes, the accidents, the limits between the mental and the physical, the cultural and the intuitive, their place of confluence , as well as its vanishing points. <<>>

Juano Oritz. Barcelona, 1987. Drawings that overlap narratively, as the most honest and close way to talk about what worries and occupies him. <<Insta:>>

Teresa Pera. Vilassar de Mar, 1983. Her most recent work investigates the poetic relationships that are established between nature and artifice. <<>>

Marta Juvanteny. Sant Feliu de Llobregat, 1981. Her proposals revolve around concepts of refuge-trip, zone-time. Nuclei and introspective spaces of isolation from technological abduction. A hybrid experience between art, science and technology in search of temporal and spatial transliterations. << // insta: martajuvantenycolell>>

Yosman Botero. Colombia, 1983. His last work, Derivas, reflects on the migrant’s condition in the face of the dynamics of globalization in a dysfunctional world.


Hannah Berestizhevsky. Born in Ukraine and raised in Israel, 1988A contemporary portrait of my family’s memory, based on low-resolution skype videos. The image fades, the pixels evaporate as drops in time. From degraded complex relationships and proxemics, I represent and investigate disconnections and encounters with oneself.<<>>

Lucia Royo. Tortosa, 1975. With my works I do not try to express an idea, at least directly, but I try that the spectator has an experience; and the feeling that precedes the idea arises in him; ideas of balance, permanence, struggle against the inevitable, … For this I embrace the materiality of the world, the perceptions that we obtain through our senses. <<>>

Mireia de Juan. Barcelona, 1987. Modus Tollendo Tollens (Mode that negates denies) refers to the formula of valid argument that was central to the falsificationist model of science proposed by Karl Popper. According to his epistemological theory, a universal proposition is false when it is possible to demonstrate, through experience, that an observable statement is false.



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