Exhibitions
KBr Flama '26 intimacy as a territory of resistance
Four young perspectives explore the links between identity, memory, heritage and dissidence based on personal experience.
Beginning and end, but photography can start with oneself and end up talking about many others. This is one of the ideas that runs through KBr Flama '26, the sixth edition of the project promoted by Fundación Mapfre to give visibility to new generations of photographers in the early years of their professional careers. From October 1, 2026 to January 17, 2027, the KBr Barcelona space brings together the works of Sara Bravo (Girona, 1999), Elena Bulet i Llopis (Barcelona, 1997), Meghan Mathews (Winston-Salem, North Carolina, 1995) and Luca Gaetano Pira (Modena, 1987), under the curatorship of Carolina Ciuti.
The four projects start from intimate territories, but they do not remain in autobiography. Family, places of origin, the construction of identity, everyday violence, memory and the representation of sexual and gender dissidence become tools to interrogate shared realities. Photography thus appears as a space of negotiation between what we remember and what we want to preserve, between individual experience and the social structures that condition it.
The tour begins with It Was Good Enough For Our Mothers , by Meghan Mathews, an investigation into the tension between family heritage and the desire for self-determination. Through the relationship with the territory and inherited social models, the artist poses the extent to which identities are constructed on what we receive and the need, at the same time, to question it. The family past ceases to be a simple archive to become a field of forces in which belonging, freedom and identity confront each other.
With Pink Elephant in the Room , Sara Bravo focuses on the experiences of non-binary people and forms of violence that often go unnoticed precisely because they are part of everyday life. Her work constructs a visual universe of tensions, displacements and imbalances, in which what does not fit into established categories becomes a way of questioning them. Photography functions here as a tool to make visible what the social gaze prefers to keep in the background.
Sara Bravo, s/t, Pink Elephant in the Room project, 2025. Digital photography © Sara Bravo.
Memory and territory are at the heart of Zarcillo , by Elena Bulet i Llopis. The project stems from the artist's connection with Almayate, in the Malaga region of Axarquia, and unfolds a constellation of images in which the landscape becomes a repository of memories, absences and transformations. The past does not appear as an immutable reality, but as a fragile matter that changes over time, which can persist in objects and spaces or disappear almost imperceptibly.
Elena Bulet i Llopis, Enter, 2025. Digital photography with external flash © Elena Bulet i Llopis.
Finally, Cárcel, tacones y libertad , by Luca Gaetano Pira, recovers the trajectory of Tania Navarro Amo (Barcelona, 1956), one of the last trans women survivors of Franco's repression and an activist linked to the defense of the rights of the LGBTIQA+ community. The project converts individual memory into political memory and claims a life marked by persecution, but also by resistance and the ability to build spaces of freedom. In this case, photographing also means preserving a history that has been relegated to the margins for too long.
Luca Gaetano Pira, s/t, Cárcel, Tacones y Libertad project, 2025. Digital photography © Luca Gaetano Pira.
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