“Almost There” de Aleix Plademunt en La Vanguardia.
Presentaciones de fotolibros en el suplemento CULTURA(S) de LaVanguardia.
“Almost There presenta una desafiante constelación de imágenes; amplios terrenos canadienses preceden a imágenes arqueológicas de restos neandertales depositados entre objetos encontrados. Paisajes y cielos se combinan con animales e interiores, generando una imperiosa sensación de distancia y desubicación. Almost There es un viaje de constante retorno, la exploración de lo más cercano y lo más lejano. En definitiva, Plademunt expresa su frustración de no estar nunca suficientemente cerca ni suficientemente lejos. Sólo consigue estar “casi allí”.



Aleix Plademunt / Juan Diego Valera / Roger Guaus
Co-Published by Ca l’Isidret Edicions and Temple
This book is a reinterpretation of the original book MOVIMIENTOS DE SUELO published by Ca l’Isidret Edicions in 2011.

Standard edition of 45 copies.
18 booklets, 208 pages printed in Risography, 16,3 x 23,3 cm in a cardbox.

Available at

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Please join us and members of the photography community, for a glass of wine to celebrate Spanish photography, the theme of BJP´s July issue, which is now on sale.
Thursday 10 July 2014 at Cosmos, 2 Rue de la paid, 13200, Arles.



Ricardo Cases, Óscar Monzon, Aleix Plademunt & Antonio Xoubanova are featured in British Journal of Photography dedicated to Spanish Photography. July issue 2014.



Spanish Photography. British Journal of Photography´s July issue.
The Spanish are coming! A Golden Generation Emerges.



“Casa de campo” de Antonio M. Xoubanova en La Vanguardia.
Presentaciones de fotolibros en el suplemento CULTURA(S) de LaVanguardia.
Antonio Xoubanova presenta Casa de Campo, una fábula fotográfica enraizada en la realidad del parque público más grande de Madrid.



Almost There published at Elephant magazine.
Review by Amandas Ong. Summer 2014.


The Serendipity of a Misplaced Postcard
It was a rather nondescript object that helped me condense some inchoate ideas together to form Almost There. In 1909, a man named John mailed Miss Essie Turner a postcard on which he had ex pressed his intention to visit her in ‘the south’. She never did receive the message, and in an uncanny twist of fate, I ended up with the postcard just over a century later. I found myself thinking about the relativity of everything that exists around us, and the lack of a simple approach from which we can think of emotions, distance and time. Almost There steers clear of a coherent narrative, and is full of questions that aren’t answered. I have, however, taken great care to edit the images and arrange them in a particular sequence that makes sense to me as a totality.

On the Incomprehensibility of Distance
Some of my photographs are of overwhelmingly huge and distant spaces. These include VY Canis Majoris, which is one of the largest stars known to us today, and the Andromeda Galaxy, which is the nearest galaxy to Earth but still 2.5 million light years away. These are juxtaposed against entities that are much smaller, like Catalunya, Winnipeg and even a horse. Almost There is an exercise in futility. I have acknowledged the impossibility of measuring what can not be measured you see, none of these things have anything in common, but they also have everything in common at the same time. Distance must be evaluated in relation to something, and we only care about that distance if we ascribe value to the two ends of that distance. My project is all about distances and how they can never be truly experienced these distances can be emotional, physical, temporal or even photographic. The photographs of my red blood cells and of my father were aimed at capturing something infini- tesimally small and close to me, even inside me. Contrast this with the Andromeda Galaxy, which contains 1 trillion stars. Imagine taking a photograph of the Andromeda Galaxy in the sky. What you’re looking at is an image that took millions of years to reach us. These are facts that are quite simply inconceivable and we cannot arrive at them in reality. That’s the same principle that is demon strated by John’s postcard to Miss Turner.

A Constant Return Journey
The marvellous, lyrical work of the writer Borja Bagunyà elucidates my description of Almost There as ‘a constant return journey’. He states: ‘If a journey is truly a journey, it simultaneously brings us closer to, and takes us further away from, the place to which we are going. Perhaps this has to do with what we addressed previously: that the place is not a mere cartographic anecdote, but rather a cluster of imaginings, expectations, dialogues that change as we move as we get closer… We should not be surprised then that sometimes, halfway down the path, we realize that there is no longer any mean- ing to going where we wanted to go when we left the house. Or that sometimes we arrive at a space that, during the journey, has ceased to be a place and has therefore ceased to have meaning.’ That is what Almost There is about: the projection of places and distances that are simultaneously real and unreal.

The Ambiguity of Photographic Meaning
To me, the practice of photography itself embodies the philosophies that I am communicating through Almost There. I am interested in the tension that our subconscious generates through the use of photographic language. Photographs are not deceptive, as many would claim. They are neither true nor false, since they can be placed in an endless array of contexts that will in turn imbue them with in- exhaustibly diverse meanings. That is the strength and beauty of photography.

To Infinity and Beyond
I like very much to think about the seemingly infinite nature of outer space because it flies in the face of our obsession with things that we can count and which exist in finite quantities. Then we’re confronted with outer space, and we need to discard this need to measure the world around us. This is something that is very difficult, and causes me anguish and helplessness, which I paradoxically enjoy. Just as we get too complacent as a species and start believing that we have control over everything, the concept of outer space reminds us that we don’t.