Joan Fontcuberta (Barcelona, 1955) has been active as an artist in the field of photography for more than four decades, as well as being a highly prolific teacher, critic, exhibitions curator and historian. His creative work addresses the conflicts between nature, technology, photography and truth. His work has been exhibited in and is in the collections of art and science museums the world over, from MoMA in New York to the London Science Museum.
He is the author of a dozen books of history and essays on photography, including El beso de Judas. Fotografía y verdad
(1997), Ciencia y fricción
(1998), La cámara de Pandora. La fotografí@ después de la fotografía
(2010), La furia de las imágenes. Notas sobre la postfotografía
(2016), and Revelacions. Dos assaigs sobre fotografia
(2019), this latter co-authored with Xavier Antich.
He has received numerous awards, including the Spanish National Photography Prize (1998), the Spanish National Essay Prize (2011) and the Hasselblad International Award in Photography, in recognition of his entire career.
Valère Novarina (Ginebra, 1947) spent his childhood and adolescence in Thonon, on the French side of Lake Geneva. In Paris he studied literature and philosophy, and met Roger Blin, Marcel Maréchal, Jean-Noël Vuarnet and Jean Dubuffet. His initial idea was to be an actor, although he quickly changed his mind. He wrote daily starting in 1958 but did not publish until 1978. He slowly developed his activity in the graphic arts as well, while his artwork later became pictorial, set quite apart from his literary production: he drew figures and later did stage painting, starting in 1986, just when some of his theatrical pieces began to be performed and were translated into various languages.
In his extensive biography we can make a distinction between works that are directly meant for the theatre, such as L’Atelier volant
(1974), Vous qui habitez le temps
(1989), L’Opérette imaginaire
(1998) and L’Acte inconnu
(2007), and ‘utopian theatre’, along with dialogued novels, monologues for many voices and poetry organised into acts, such as Le Drame de la vie
(1986), Le Discours aux animaux
(1987), La Chair de l’homme
(1995), Le Vivier des noms
(2015) and L’Homme hors de lui
(2017). He has furthermore written “theoretical” works that explore the actor’s body, where respiration is the intersection between space and the word: Pour Louis de Funès
(1986), Pendant la matière
(1991), Devant la parole
(1999), Lumières du corps
(2006), L’Envers de l’esprit
(2009), La Quatrième Personne du singulier
(2012) and Voie negative
(2017). In Novarina’s insatiably powerful writings, language appears as a figure of matter.