#xavierribas

[moriras-lejos]

Analysis Xavier Ribas #estudiosvisuales

[doragarciathebook]

POSTCARDS POSTCARDS Se les olvidó etiquetarme #pharmakos Posted @withregram • @projectesd THIS SUMMER, SEND A POSTCARD ProjecteSD is launching an edition of 17 postcards, each an unpublished new image proposed by the following 17 artists: IÑAKI BONILLAS, RAIMOND CHAVES & GILDA MANTILLA, PATRICIA DAUDER, KOENRAAD DEDOBBELEER, HANS-PETER FELDMANN, DORA GARCÍA, ANA JOTTA, GUILLAUME LEBLON, JOCHEN LEMPERT, ASIER MENDIZABAL, MATT MULLICAN, MARC NAGTZAAM, PETER PILLER, XAVIER RIBAS, ALLEN RUPPERSBERG, PIETER VERMEERSCH, CHRISTOPH WEBER The postcards are only offered as a set of 17, Ed. 60 (of which 18 are not for sale). Price: 39 € + postal costs to your location. Free delivery within Spain. Do not wait too long to place an order. Many thanks. #projectesd#mailart#edition#iñakibonillas#peterpiller#anajotta#pietervermeersch#christophweber#asiermendizabal#patriciadauder#jochenlempert#xavierribas#mattmullican#allenruppersberg#marcnagtzaam #koenraaddedobbeleer #gildamantillayraimondchaves #guillaumeleblon https://www.instagram.com/p/CCnq9dSK3mQ/?igshid=tgfxrntem535

[germandejuana]

jordiborras : RT PedroInsua1: xavierriba neusfeliu jordinogueras61 Los catalanistas... sois tirando a nazis, sí. (…… https://t.co/uEtQ3yrGu9

jordiborras : RT PedroInsua1: xavierriba neusfeliu jordinogueras61 Los catalanistas... sois tirando a nazis, sí. (… https://t.co/mtHMWi1ToA) http://pic.twitter.com/kUIgSCrMIb

— German d Juana DUI (@GermanDeJuana) August 14, 2017

via Twitter https://twitter.com/GermanDeJuana August 14, 2017 at 10:55PM

[borderscaping]

Concrete Geographies / Ceuta and Melilla Border Fences - 2009

Xavier Ribas

“It could be argued that the border fences of Ceuta and Melilla are to the European landscape of the 21st century what bridges, tunnels and railroads were to the landscape of the late 19th century. Like them, they also make a ‘new’ landscape, but this time it is a landscape of secession, an architecture of exclusion, emerging from poverty and overtly racialized, where certain bodies are marked out, stigmatized, or eliminated. The aim of these two photographic journeys through the landscapes defined by the border fences of Ceuta and Melilla is to bear witness to these places, to give them more visibility, and to contextualize them historically and politically. The photographs were taken along the whole length of the border fences, from sea to sea, on the Spanish side looking south towards Morocco, within the limits of authorized photography. I believed that these border landscapes had to be photographed from public access points, without mediation or intimacy with the institutions that regulate them. In this respect, the photographs don't offer unusual vantage points or hidden inside views, but the quotidian presence that both sides are used to living with. They are mostly open views of a messed up landscape shaped by centuries of disagreement, of mobile borders, relocated defensive lines, divided communities and differential military technologies. As a response to their lack of visibility, these photographs intend to be statements towards a political cartography of the border fences of Ceuta and Melilla as the very edge of Europe. These two border fences are, perhaps, the contemporary public works that can best define, like monuments to inequality, the European landscape of the 21st century”.

http://www.xavierribas.com/Contents/Ceuta/Ceuta.html

© Xavier Ribas