Exhibitions
Claudio Zulian turns polyphony into a tool to rethink the present
The Miró Mallorca Foundation presents La montagna incantata, an exhibition that covers more than two decades of the career of an artist who places listening, memory and shared experience at the center of his practice.
Contemporary reality can hardly be explained from a single perspective. It is a mosaic of voices, memories and experiences that coexist, confront and constantly transform. Polyphony thus becomes a way of understanding the present: not as the ordered sum of stories, but as the possibility of listening to them simultaneously, without establishing hierarchies or reducing complexity to a single narrative. This is one of the keys that run through the entire artistic career of Claudio Zulian.
Filmmaker, video artist, musician and writer, Zulian has developed a body of work in which cinema, audiovisual installations and theatre become spaces for encounter between people, territories and stories. His gaze focuses on the social and political from a close perspective, constructing stories that are born from shared experience and that situate everyday life as a privileged space for understanding the processes of transformation of our time.
From April 15 to September 6, 2026, the Fundació Miró Mallorca presents La montagna incantata in the exhibition space of the Auditori, an exhibition that covers some of the artist's most representative works. The show includes works such as L'Avenir (2004), A través del Carmel (2006), A lo mejor (2007) and La montaña mágica (2023), pieces that share the same desire to build open stories, where testimonies, memories and different ways of inhabiting the world converge.
Zulian's musical training continues to resonate throughout his production. Listening, rhythm and dialogue between different registers are part of a conception of creation understood as a collective process, in which each voice retains its uniqueness and the whole is articulated from relationships, not from hierarchies. This way of working translates into audiovisual compositions that assume the complexity of reality and leave space for multiple perspectives to dialogue with each other.
Far from constructing closed discourses, his works are based on situated experience and direct contact with territories and communities. The political dimension of his work emerges from attention to small gestures, rhythms of life, work, travel and memories that shape shared spaces. Memory, in this sense, does not appear as an immutable archive, but as a living process in constant reconstruction.
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