ORIOL ESPINAL {archive}

PhotoPoems Book C3 brings together series 9, 10, 11 y 12 of PhotoPoems in color, each composed of 12 photographs captured in different places and moments. These sets of images do not merely form a visual sequence; rather, their individual components intertwine to take shape as visual poems.

PhotoPoems Book C2 brings together the first five color series of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

In The Observed Ones, the photographer approaches the museum space as if it were a theatrical stage. Rather than recording the collections or the architecture that houses them, his gaze focuses on the relational fabric that emerges when visitors interact with the exhibited works.

Presented in a bilingual edition, Letters, Poetic Works brings together a fundamental selection from the literary legacy of Arthur Rimbaud. The volume includes an extensive biographical note, the two letters of the "seer" —accompanied by the appended poems— and a dozen of his most representative compositions, in addition to the complete texts of his two major works: A Season in Hell and Illuminations.

This study offers a critical and contextualized reading of Arthur Rimbaud’s life and literary trajectory. It presents a rigorous biographical approach, grounded in the extant documents, which reconstructs the poet’s complex figure both from a perspective informed by debates on modern subjectivity and from those that engage with the aesthetics of avant-garde rupture.

On the Road does not aim to document what the photographer’s eyes perceive from the passenger seat, but rather to show how the camera merges its own gaze with that of the author, thus constituting a genuine form of otherness. The result is not an objective record, but a translation of the journey into a new visual language, capable of turning physical displacement into a poetics of movement.

Stripping a Dark Forest was composed in 2023 as the first in a series inspired by The Divine Comedy. Written for narrator and orchestra, the work traces a symbolic journey from the darkness of Inferno to the luminosity of the end of Purgatorio, musically articulating a kind of inner transformation.

Reflections 2.0 is a digital version of the piece Reflexos, originally conceived in 1991 as part of the installation El Agua y el Silencio. The new composition preserves the original structure but replaces the musical block performed by eight clarinets with a version executed by eight different instruments. The new recording was digitally processed using filters that stretch the sound, producing a timbre similar to that of an organ. The result creates a much more immersive and hypnotic atmosphere than the original version.

Crossroads is a digital art project conceived between the years 2000 and 2002, developed using Adobe Flash technology, at a time when this platform enabled the exploration of new forms of interaction on the Internet. In its original conception, the piece offered the user an immersive experience, articulated through a non-linear visual and narrative structure.

In August 2015, one month after the passing of my friend Pepe Gutiérrez, I carried out the action Dismantling a Mandala at the Fernán Pérez mill (Almería). Conceived as an intimate tribute, this intervention explored the relationship between sound, memory, and transience, in harmony with the Tibetan Buddhist practice that Pepe followed. The interior of the mill was transformed into a farewell setting, where the music from my guitar engaged in a dialogue with the gradual dissolution of the mandala...

In Stages for a Journey the artist proposes an initiatory journey through a triad of spaces, objects or scenarios that invite the experience of art as a pilgrimage to reach sacredness, immortality, absolute reality or the search for a center as utopia. Between alchemy and esotericism, Oriol Espinal presents the labyrinth as an imago mundi, and its center as a symbol of the absolute purpose of man or the image of paradise.

Codex Viatoris occupies, within Scenarios for a Journey, the axial position of a sanctuary-book. Embedded in the sculpture Shelter for Walkers, its placement at the very core of the cubic structure endows the work with the status of both geometric and symbolic center. Enclosed beneath the cover bearing a circle of scales—an unmistakable allusion to the sleeping dragon—the book could only be opened after a liminal experience: passing through the narrow gate, traversing the floor labyrinth, and culminating at the central altar.

Poetic Production {1990-2006} brings together, in a bilingual Catalan-Spanish edition, my three poetry collections written in the Catalan language. The first, Cròniques del fracàs (Chronicles of Failure), written between 1990 and 2001, gathers a series of prose poems whose theme revolves around the impossibility of achieving perfection and the inevitable condemnation to failure that comes with any human project. The second, L’univers en tres versos (The Universe in Three Verses), written in October 2003, presents a collection of haikus arranged in a sort of tripartite poem, where each element is connected to the others and to none at the same time...

In this second volume of Poetic Production {2012-2023}, the seven poetry collections in Spanish published up to 2023 are gathered. The first three —Luz (2012), Muerte (2013), and Viento (2014)— were conceived within the poetic cycle Periferias, while the last three —Mares y jardines (2017-2018), Resurrecciones (2020-2022), and Agua oculta (2022-2023)— emerged independently, without the initial intention of forming a trilogy. Nevertheless, from a certain perspective, and considering the elements that connect them, it can be said that these three books constitute the pieces of a new and as yet unnamed poetic cycle.

Amar a Mar was written between November 2023 and April 2024. Its tripartite structure—twelve poems per section, each preceded by a liminal sonnet—was not conceived from the outset, but rather emerged gradually as the texts unfolded, revealing a latent order that gave coherence to the whole. The final number—thirty-nine poems—can be read as a multiple of three or as the conjunction of three prime numbers (3 × 13): an incidental fact that nonetheless resonates with the book’s inner cadence. Adding to this play of symmetries is a singular device: the three sonnets share the same final words in their fourteen verses. This repetition...

The exhibition The Poems I Will Never Write was presented in parallel to the installation The Purity of Your Smile. Although it was installed on the upper floor of the mill and its formal conception is completely different from the proposal exhibited on the ground floor, both share the same starting point: a poem from my book Peripheries, in this case a sonnet whose title gives the exhibition its name. Composed of fourteen deliberately pompous and empty lines - though not without a certain aesthetic brilliance - the sonnet is no more than a list of titles of collections of poems that might one day exist, though I will not be the one to take on the commitment of providing them with content...

Quadern de nit (Night Notebook) is a book conceived as an inseparable part of the sculpture The Chasm of the Freedmen, the third piece of the cycle Scenarios for a Journey. It is presented as the testimony left by the visionary who, after an inner journey, returns transformed to shared reality. Each double page of the volume articulates a dual structure: on the even pages, sequential drawings representing the progression of the steps of the ascending spiral; and on the odd ones, a poetic text that establishes a dialogue among multilingual voices.

The commission from the Oficina de Gestió de Monuments de la Generalitat de Catalunya arose with the purpose of improving the versatility of the apsidal space of the Collegiate Church of Sant Vicenç de Cardona. Given its frequent use as a concert hall and recording room for early music, the new altar had to combine a profound symbolism with the necessary functionality to facilitate its relocation.

Almost in parallel with my other poetry collection, Amar a Mar, and once the long poetic cycle spanning from 2012 to 2023 had come to a close, Las islas was written between April and October 2024, in various places but under a single disposition of spirit—or soul: that of someone who quietly withdraws from the outside world in order to observe more clearly what unfolds within their inner territory. It is not a radical retreat, nor a closing off. It is also not a form of alienation or irresponsible escape, but rather an isolation that does not enclose but opens—embracing the insularity that whispers to those who wish to listen and perceive those “murmurs, sounds and sweet airs, that give delight and hurt not.”

The common theme of the poems in Chronicles of failure, the first of my three poetry collections written in Catalan, is rooted in the impossibility of achieving perfection and the inescapable condemnation to failure to which every human endeavor is doomed—whether due to the limits imposed by talent, insecurity in the storm of daily life, strategic mistakes, emotional traps, or outright fatality tout court.

A stranger knocked on my door one autumn afternoon. He handed me an envelope filled with verses and entrusted me with a task subject to unusual conditions. Before leaving, he wrote on the doorframe: “Matter spins and the spirit rests.” From that improbable encounter emerged the four books and the calligram I presented in this exhibition in 1996. Final Cantos is the result of a task dictated on the threshold of wakefulness, where what was dreamt would ultimately take on tangible matter and visible form.

Chamber of Solitude is an installation project that recreates the scenography in which the poet —embodied in the figure of the viewer— embarks on an itinerary that leads him to delve into himself: into his jungle, his sea, his cave. It consists of three stages of an initiatory journey —a threshold, a center, and an altarpiece— represented through three sculptural pieces.

The three books that comprise the poetic cycle Peripheries (Light, Death, and Wind) were written in 2012, 2013, and 2014, respectively. Although I initially set certain constraints for myself, over time I gradually let go of any central governing principle and chose instead to allow the poem itself to determine its form—its own periphery—through a natural and, to some extent, automatic flow. The final result unfolds as a series of compositions that are formally and thematically diverse, whose only intentional and unifying structural feature lies in the opening and closing poems of each book.

Hidden Water is a natural continuation of Resurrections, just as Resurrections was of Seas and Gardens. Consequently, it would not be inaccurate to say that the three titles constitute sections of a single book—a poetic diary that begins in 2017 and concludes in 2023. In the case of Hidden Water, as in Seas and Gardens, some of its poems are born of the dramas, tragedies, and joys that emerged in my life during the writing process...

The installation The Water and the Silence is structured as a transdisciplinary proposal that explores the intersection between the visual, the textual, and the sonic. From a phenomenological perspective, the work invites a process of signification in which each of these languages emerges and converges into a systemic unity, operating under a logic of semantic interdependence. In this sense, the elements that comprise it cannot be dissociated without losing their expressive and hermeneutic potential.

Observatory of the Origin proposes a reflection on the act of observing and the transformation of inner experience when translated into material representation. The piece is structured around a dialectic between the eye and the gaze, the inside and the outside, light and shadow, challenging the viewer not merely as a passive observer, but as an active participant in a perceptual and symbolic process.

After several years spent writing letters to his deceased wife—each one filled with scientific arguments related to a fossil fish—ichthyologist Santiago Miralda composes what will be the final letter in the series, written just before taking his own life. This letter, however, differs markedly from the previous ones: except for its opening lines, Professor Miralda makes no mention of his obsessions. The rest of the text is entirely devoted to recounting a dream the scientist had experienced some time earlier...

Conceived as an allegory about the impossibility of escaping the tentacles of the system, The Southern Circles speaks to us, as Cernuda might say, of the high price paid by those who break away from everything. The protagonist of the story, Mario Mundi—a multifaceted and cosmopolitan artist—decides to make a radical change in his life and acquires a small estate in a remote, depopulated region. Upon the ruins of the old dwelling, he builds a circular house, where he settles with his wife. Shortly after their arrival in the region, the couple undergoes an apocalyptic experience that...

The Waters is a project conceived as a visual meditation on time and cosmic order — or disorder. Through the symbolic representation of water in its multiple forms and meanings, it is articulated as a large-scale triptych — three paintings on paper, each measuring 200 x 200 cm — where a poetics of fluidity, cyclicality, and the transcendence of the universe unfold.

From the most primitive cultures to the present day, the figure of the dragon - Drache in German - has been a universal symbol that has endured both in the East and in the West. It embodies both the myth of the monster and the representation of the devil, as well as the image of the animal or that which is animal in ourselves. With the name Drache, Oriol Espinal has titled his most recent body of work...

12 Inventions for piano represents a turning point in my musical production, having been conceived specifically for a solo instrument. Unlike my previous compositions, focused on musique concrète, both analog and digital, this series remains within less experimental boundaries, where the emotional dimension does not turn away from mathematical and contrapuntal transformation processes.

The Bards of the Tower of Babel is a work situated within the tradition of musique concrète, in which I explore the limits of language from both an acoustic and structural perspective. Its point of departure is my poem The Purity of Your Smile, which I conceive not only as articulated speech but as a manifestation of metalanguage—where poetry functions as a device that transcends conventional communicative purpose and delves into the symbolic, rhythmic, and phonetic dimensions of language.

The Eye of gold (L’ull d’or) is a book-object conceived as the symbolic nucleus of the Tabernacle for a Manual, one of the pieces presented in the exhibition Scenarios for a Journey. Kept inside this sculptural tabernacle, it appears as a territory of restricted access whose opening entails a gesture of ritual transgression. Its sequence of sixteen pages is arranged in four rows of four elements each, forming a kind of stanza of a visual poem in which image, word, and color are intertwined.

Presented within the framework of the exhibition Final Cantos, as well the other three books in the series, Final Cantos, Book I is built under the sign of a dreamlike, Borgesian narrative: an anonymous visitor bursts into the artist’s studio and delivers two envelopes —one with sixty-six anaphoric verses in Catalan, the response-verse “It is time to erect the temple,” and eleven loose letters that would eventually form the title Cants Finals; the other with an esoteric diagram setting the rules of the work.

Although they incorporate a more pronounced lyricism than usual, the poems that make up Resurrecciones do not stray from the path outlined by personal experiences in my previous collection, nor do they renounce some of my recurring themes: the poem and the very act of composing it, love in its dual nature—both carnal and spiritual (if love can indeed be subjected to such categories or dualities), and the seas and gardens, whether of Almería or from the land of dreams...

Finales takes shape as a narrative diptych composed of two independent stories, “Ángel Salvador” and “Salvador Alas.” While both maintain their autonomy, they are interwoven through a shared atmosphere and a set of related formal and conceptual elements. But what inevitably binds the two stories is the ultimate decision made by their protagonists: the conscious choice to abandon existence, whether through voluntary euthanasia or considered suicide.

In her introductory text for the Unity exhibition, art critic Maria Lluïsa Borràs wrote: In the work of Oriol Espinal, the word is both content and form, theme and structure, a morphology of the verb —the sacred word “capable —as the artist himself says— of generating its own graphic heart and, at the same time, the periphery that frames and protects it.” In the various preparatory studies, as well as in the final version of this unsettling and enigmatic work, Espinal draws on two images: the word and the hand. Two elements from which arises a contrast between unified thought and uniform thought.

The Rumor of Other Worlds is a piece created specifically for the collective exhibition Para Goya. The work’s uniqueness lies in a conceptual interplay of chalcographic techniques; for the portrait, I drew upon an original print of the self-portrait with which the Aragonese painter preludes his Los Caprichos series.

In August 2013, I composed the poem La pureza de tu sonrisa (The purity of your smile) in different scenarios in Cabo de Gata. Two years later, I used it as the conceptual axis of a multidisciplinary exhibition that integrated music, poetry, photography, drawing and sculpture. The exhibition, which bore the same title as the poem, explored the implicit interconnection between the arts and how a genre, in this case poetry, can shift and transform into other forms of expression, generating an interdisciplinary "body" whose elements dialogue with each other while maintaining their expressive autonomy.

The contemporary city is a discursive territory in constant reconfiguration, where institutionalized visual communication coexists with spontaneous forms of civic intervention. Overlaps explores the semiotic tension between commercial advertising and anonymous actions that alter its meaning through graffiti, stickers, or overlapping posters. These interventions, often political in nature, not only challenge the unidirectionality of the original message but also generate new layers of meaning...

The paintings in the Flight to the Center series stem from an urgent need to flee—not outward, but toward the innermost core of the self. Far from escapism, this body of work proposes an introspective journey in which existential suffocation transforms into a search for meaning. Through the isolated figure, symbolic space, and suspended gesture, the paintings speak of trance, spiritual struggle, and creative action. In this passage, the artist places themself in a realm where fleeing from the self becomes a return to a transformed self—a deeper, more serene form of consciousness.

Drei Tage Berlin is part of an aesthetic and epistemological exploration of how the contemporary urban environment is represented through the photographic medium. Built from images captured during a three-day stay in Berlin in 2021, the series did not emerge from prior planning or an initial documentary intent. Instead, it takes shape as a subjective visual cartography, composed of images taken while walking through the city...

Flora is a series in which I aim to present vegetation from an aesthetic and sensory perspective, distancing myself from a merely descriptive or documentary approach. My goal is to highlight the form and texture of plants, decontextualizing them to generate new visual and symbolic interpretations.

Fauna is the outcome of my chance encounters with the animal world, recorded without prior planning during walks and excursions. Far from any documentary or taxonomic intent, the series moves within a zone of perceptual ambiguity, exploring the relationship between the animal and its environment through a fragmented and decontextualised gaze. In many of the images, the framing tends to isolate fragments of the body or place the subject in an uncertain relation to the landscape, creating a tension between form and its dissolution within the surroundings.

The correspondence Marian Espinal kept in her desk consists of a collection of letters and postcards the painter wrote to his family between 1916 and 1931, as well as a compilation of letters and postcards sent to him by friends, colleagues, and other individuals between 1915 and 1965. Of particular interest in the first group are the letters and postcards sent from Paris between 1919 and 1921, as well as the postcards sent from Tossa during the summer of 1918, and the letters he wrote to Maria Vancells during their courtship. All of these are delightful documents that reveal the worldview of a young artist...

In 2018, with the aim of rescuing my grandfather, the painter and collector Marian Espinal, from oblivion, I developed a website dedicated to promoting his work. The platform offers a catalog of his paintings and art collection, as well as making available his complete correspondence and other information. Through this compilation, the website not only preserves his legacy but also provides a fundamental tool for researchers and scholars of Catalan art.

In 2014, shortly before finishing the third book of Periferias, I conceived a new poetic project titled Sources and Tributaries. My aim was to select a line from another poet and use it as the starting point for a new poem. The project was ultimately postponed, and it wasn’t until July 2016—after reading a poem by Emily Dickinson—that I decided to revise the initial idea: the new project would be titled Prolongations, and the rules of the game would consist of taking the final lines of twenty poems—or entire poems if they were very short—by twenty great poets, and then prolonging them at will.

Months after completing the book Prolongaciones, I resumed my poetic activity by composing a few standalone pieces, always groping my way forward and without the concurrence of any premises or rules of the game. Nevertheless, I soon noticed that these new poems shared certain traits—traits that were far from insignificant. Namely, all the texts had been written in one go, while I was either in a garden or facing the sea, with the natural environment acting as a triggering agent for my most subtle intuitions.

Strings Editions was founded in 2020 with the purpose of providing free access to a specialized repertoire for plucked string instruments from the Renaissance, Baroque, and Classical-Romantic periods. Its catalog brings together carefully fingered editions and high-quality transcriptions specifically adapted for the modern guitar. Additionally, the platform offers an extensive directory of original sources, as well as a selection of audiovisual materials produced by leading specialists in the field of historically informed performance

Throughout the 16th to 18th centuries, tablature—or intavolatura—was the predominant system for writing music for the vihuela, lute, and baroque guitar. In Intavolatura, recorded in 1999, Oriol Espinal brings us closer to this sonic universe, long hidden in archives and libraries. Ranging from Renaissance refinement to Baroque expressivity, the album features modern guitar renditions of works by Capirola, Milán, Narváez, Dowland, Sanz, Weiss, and Bach, among others, interpreted with an approach that honors tradition without forgoing a contemporary vision.

In the urban environment, painting has historically served utilitarian functions: beautifying facades, concealing unwanted interventions, or marking traffic signs on the asphalt. However, when the artist's eye focuses on these worn, intervened, and repainted surfaces, a new interpretation emerges, a transfiguration that turns them into aesthetic objects. New Old Paintings is a photographic series based on this premise: to transform, through framing and compositional selection, fragments of the city into pictorial abstractions.

Portraits is a photographic project initiated in 1995. Unlike a series conceived under strictly defined premises, this collection has taken shape progressively through various creative strategies and production contexts, allowing for its analysis from different methodological approaches. From a structural perspective, it can be divided into four main categories. The first corresponds to portraits of scientists created to illustrate web pages personally designed...

Black Diptych is composed of the poems Still Life and August 15, both written in Catalan in 2006 and 2003 respectively. The first draws from invented dreams and personal experiences related to death, as well as reflections on the poetic act and the poem itself. The second focuses on a remembrance of the death, wake, and burial of my maternal grandfather—a narrative where borrowed verses (some dedicated to my ancestor) intertwine with fleeting, perhaps delirious, visions conjured by the memory of a world that no longer exists...

Retalations is a fictional work inspired by two personal experiences. The first, having been the victim of sexual abuse at the hands of a pedophile priest; the second, encountering my abuser—two decades later and entirely by chance—when fate had brought him to officiate the funeral of one of my brothers. Overcome with astonishment and suppressing my most primal instincts, I simply looked at the priest from the emotional position of one who laughs last...

Originally written in Catalan and completed in just seven days, this book can be read either as a simple collection of haikus or as a tripartite poem in which each piece is linked to the others while also containing its own self-contained world. Its verses are sprinkled with the wonder that reality arouses in the individual, the (always mistaken) idea of death, certain paradoxes, poetic self-reference, the celebration of love, and the evocation of the shadows of the last century. The Universe in Three Verses thus stands as an example of the intersection between haiku tradition and formal experimentation, fusing an objective poetics with a subjective ethical commitment.

Bibliophile edition, part of number 4 of the Tríptic collection, published by Ediciones de Antonio Agra, featuring three poems by Àlex Susanna and an original print by Oriol Espinal, hand-enhanced by the artist and printed by Masafumi Yamamoto.
Printed on 250 g Michel paper with Bodoni typeface. Limited edition of 75 copies, numbered and signed by the authors, along with a special series of 25 copies on handmade paper by Lluís Morera.
Published in Barcelona, December 1989.

The purpose of the installation Molino en Fragmento was to explore the relationship between the represented object and its own representation through photography. To this end, I arranged images on the inside face of the mill that captured details of its exterior. This procedure established a specular link in which the mill, in addition to being the object represented, simultaneously became the material support of its own image. In this way, I sought to articulate two dimensions of the same entity that, despite coexisting, remained alien to each other, without the possibility of discerning whether anything existed beyond their respective interior and exterior spaces.

The first version of Fernando Prats's theatrical piece Motif and Variation on the Fortuitous Encounter with Thomas Bernhard was performed live in Buenos Aires, July 1999, with the following production credits: Actors: Eleonora Mónaco, Alejo Recalde, Sony Báez, Fernando Prats; Original music: Sony Báez and Fernando Prats; Produced by: Teatro del Vértice; Assistant Director: Mónica Castaño; Actor Direction: Eleonora Mónaco; Playwriting and General Direction: Fernando Prats. In 2009, at the author’s request and on the occasion of the publication of the text in book format, I wrote the prologue Motif and Derivation.

PhotoPoems Book 1 brings together the first four series of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 2 brings together series 5, 6, 7, and 8 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 3 brings together series 9, 10, 11, and 12 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 4 brings together series 13, 14, 15, and 16 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 5 brings together series 17, 18, 19, and 20 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 6 brings together series 21, 22, 23, and 24 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 7 brings together series 25, 26, 27, and 28 PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 8 brings together series 29, 30, 31, and 32 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 9 brings together series 33, 34, 35, and 36 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

PhotoPoems Book 10 brings together series 37, 38, 39, and 40 of PhotoPoems, each composed of 12 photographs taken in different places and moments. These sets of images not only form a sequence, but their elements intertwine to become visual poems.

Issue 14 of Y Sin Embargo magazine explores the modern mechanics of accumulation. Within this framework, I presented the photographic series Photo(a)cúmulos, a reflection on contained excess or excessive containers: goods, objects, and information that pile up—whether deliberately or haphazardly, in action or in potential. In an age of absolute access, connections multiply, but where does discernment go? When does order turn into saturation? Why do we want to “have” when we have neither the time nor the desire?

Issue 16 of Y Sin Embargo magazine delves into the concepts of Marcel Duchamp. Within the scope of this exploration, I presented the text Rrose Always Speaks in S. and the photographic piece Nourishing Concepts. In an exercise of appropriation and displacement, the text recreates a dreamlike epiphany in which Rrose Sélavy dictates her manifesto of disbelief, while the image encapsulates the conceptual ready-made in an edible reinterpretation of anesthetized aesthetics. Both works engage in a dialogue with the notion of the “definitively unfinished” artwork and semantic slippage as a trigger for new meanings.

In issue 17 of Y Sin Embargo magazine, dedicated to exploring the limits and resistances of graphic media, I presented the text Words and Their Universes and the double photomontage Infinite Loop, in which I explore the overload of meanings, codification, and the reach of messages. How much text can a text hold? How much meaning can a message bear? Through play, critique, and irony, I test the elasticity of the medium, pushing its invisible architecture to the limit.

Issue 18 of Y Sin Embargo magazine poses an urgent question: how can we define new codes and channels of communication in a world where noise drowns out meaning? In this context, I presented the poem Bestiary and the photographic piece Trues, an exploration of the tensions between freedom and society, between message and distortion. How can one avoid being assimilated by a system that absorbs everything? Where does the outside remain? Or is the outside merely another echo within the labyrinth?

Issue 19 of Y Sin Embargo magazine addresses the nature of convention and the phenomenon of discourse depletion within a society marked by centrifugal inertia, amnesia, and a constant flight from meaning. In response to the editorial premises, I presented the photographic piece History and the text Question and Answer for a New Catechism, where I examine, through irony, the collapse of the message within a saturated and self-referential communicative structure.

Issue 20 of Y Sin Embargo magazine questions the possibility of another development, of another state of affairs. What happens when everything is shared but nothing is communicated? Amidst mutating links and emptied discourses, constant interaction becomes a hollow reflection. Is there still the possibility of another meaning, another way of being? On this occasion, I tried to answer the editor’s questions with the silence of the dual photomontage Música callada and the voice of the poem Fuga.

Issue 21 of Y Sin Embargo magazine examines the role of the analog book in a dominant digital context. Within this framework, I created the text Sueño tal vez no soñado and the photomontage Destinos, where I reflect on the fragility of the physical object in the face of digital immediacy. Is the book a refuge or a symbol of resistance? How do we redefine its value in an era of unlimited access and constant transformation?

Issue 22 of Y Sin Embargo magazine analyzes digitalization as a phenomenon that deconstructs capitalist materialism. From this perspective, in Fragmento 1.0 and the photomontage Jokers, I explore the impact of the digital object, whose reproduction and circulation destabilize traditional value systems. How is ownership redefined when the immaterial gains autonomy and emancipates itself from the physical medium?

Issue 23 of Y Sin Embargo magazine probes the drive to possess in the digital age. From this reflection, I developed the photomontage Le dur désir de durer de mon disque dur, exploring how possession is redefined when access is unlimited. Do we continue to value what we own or only the possibility of owning? Is digital accumulation a necessity or a remnant of the habit of material possession?

Issue 24 of Y Sin Embargo magazine asks if contemporary disenchantment is, in reality, the disenchantment of social networks. Through the photomontage Muestra de laboratorio & Formulario, I examine the paradox of a hyperconnection that isolates. Is digital memory a simulacrum of permanence? Does the “Like” politics replace the act of protest?

Issue 25 of Y Sin Embargo magazine explores memory and its transformations in the digital age. With the poem Obertura and the piece Presentausencias, I analyze the fleeting nature of remembrance in an environment where information is erased or rewritten. How does memory change when it ceases to be a subjective construct and becomes a mutable, externalized archive?

Issue 26 of Y Sin Embargo magazine investigates human adaptability in an era of technological saturation. In the poem Sibila 1.0 and the piece Acción/Contemplación, I question the transformation of the individual in a hyper-stimulated environment. Do we adapt out of necessity, or because the system pushes us into perpetual adjustment?

Issue 27 of Y Sin Embargo magazine examines the dissolution of meaning in a society saturated with signs. Starting from a fragment of my novel Los círculos del sur and the photomontage Tupidos velos, I reflect on how language empties itself and turns into noise. Is it still possible to construct meaningful discourse when everything is redefined according to its circulation?

Issue 28 of Y Sin Embargo magazine analyzes the obsession with updating and discarding. In Díptico de la prosperidad Nº1, I propose a critique of the logic of accelerated consumption and planned obsolescence. Does the desire for novelty stem from choice, or is it systemic programming that prevents us from stopping?

Issue 29 of Y Sin Embargo magazine bids farewell by questioning whether digital communication truly amounts to genuine sharing. Through the poem Flows and the photomontage Everything Must Change, I explore the paradox of a hyper-communicative age in which dialogue dissolves into an incessant stream of messages. Are we still sharing ideas, or are we merely inserting ourselves into a flood of information that overwhelms us?