ExhibitionIVAM Alcoi

Juana Francés began her artistic activity in the 1950s, when the first symptoms of artistic renewal started to appear in Francoist Spain. Establishing connections with the avant-garde circles that gathered in Madrid, Juana Francés was the only female member of El Paso, a group born under the influence of American Abstract Expressionism and its gestural and material violence. However, she left the group in 1957, precisely because of the contempt for her art and her condition as a woman shown by some of the other members at a time when art was still an area dominated by men.

Until 1960, Juana produced works in which she aggregated different textures, sober colours (blacks, whites and earth tones) and new materials like river sands. From 1963, and for nearly twenty years, she produced her series El hombre y la ciudad (Man and the City), a depiction of a stifling and distressing human environment resulting from the growing industrialisation and economic development in urban Spain after the application of the Stabilisation Plan of 1959. Later, in the 1980s, the artist returned to abstraction. Between 1986 and 1990, the year of her death, she produced her series Fondos Submarinos (Submarine Depths), Cometas (Comets) and Escudos (Shields), where she experimented once more with material and gesture in an attempt to transfer movement to the support, drawing inspiration from the cosmos or the depths of the sea, and using the circle and rectangle as principal motifs.

In the framework of An Indefinitely Smooth Common Continuum. With El Conde de Torrefiel, Eva Brazo and Tono Vizcaíno, and Diana Guijarro

ConversationsTheatreVisitsIVAM Alcoi

As part of An Indefinitely Smooth Common Continuum. Screenings on the Contemporary in the IVAM Collection, curated by Diana Guijarro, we propose a number of activities, detours and connections with the exhibition. Specific actions designed in dialogue with the show and meetings with its curator, arising from the research and perspectives of our guest writers, and add new layers over time and different readings.

El Conde de Torrefiel with Si el meu cos esta nit parlara (If my body were to speak tonight) invite us to observe a body in movement, which narrates without speaking and, as it crosses the accidental scenography of the exhibition, is able to construct a different image, another possible story.

Eva Bravo y Tono Vizcaíno will ask us to take part in a dialogue between contemporary art and archaeology in a visit that will extend beyond the exhibition space to seek echoes and connections with some of the pieces on display at the Museu Arqueològic Municipal «Camilo Visedo Moltó».

Accompanied by Diana Guijarro and the exhibition publication, we will move between art and text, text and speech/images of speech, and possibly ask ourselves, is there a history behind this language? What empty spaces might be filled, or might arise?


Un contínuum común indefinidamente liso (An endlessly smooth common continuum)

10 jun. 2022 – 23 apr. 2023
CollectionIVAM Alcoi

Visit "An endlessly smooth common continuum" from an archaeological perspective

MediationIVAM AlcoiTerritory

For more information, please check the Spanish version.


Un contínuum común indefinidamente liso (An endlessly smooth common continuum)

10 jun. 2022 – 23 apr. 2023
CollectionIVAM Alcoi

Reflections of the Contemporary. A Common Continuum

04 mar. 2023
ConversationsTheatreVisitsIVAM Alcoi
WorkshopsIVAM Alcoi
  • Day: Saturday, May 7th/li>
  • Time: 10:30
  • Duration: Approx. 2 hours
  • Capacity: 20 people

Edurne Vaello and Sara Sierra present the Fil per randa. The aim of the workshop is to try to discover, from memory, the role of women throughout the 20th century and the key elements that determined where and how they participated.

Some of its protagonists will be part of the activity, and they will talk to us about the industrial textile society of Alcoy from their point of view. The women’s work has been one of the essential pillars of Alcoy’s textile industry, both inside and outside of the factory spaces. Discovering the web of different factors that have defined this context is vital in order to understand it, but also to see these protagonists who have a voice, but all too often haven’t been listened to.

Edurne is currently completing her PhD at the University of Valencia and her area of study is linked mainly to the intangible heritage, feminism and memory. She is also an active member of various associative movements in l’Alcoià and Comtat, such as Teixidora, el Guaret or Moniàtic Festival.

Sara has a PhD in Social Sciences from the University of Valencia and her interests have been linked to heritage and memory, and also the anthropology of conversation. She currently forms part of the management team of the Valencian Anthropology Association.

Projections about contemporaneity in the IVAM collection

CollectionIVAM Alcoi

This curatorial proposal delves into the IVAM collection to project other insights towards the contemporary. And it does so by inviting us to approach the pieces from a broader and more complex perspective, a new angle which leaves the door open to the potential connections and interpretations that may arise in this space of the exhibition.

With it, an exercise is configured through which artistic, social and cultural contexts are analyzed from another point of view, events that can be tracked throughout the works and which reveal the impulses or vacuums that put the identity of history at risk.
In this sense, the exhibition doesn’t teach; it simply accompanies us on a journey so we can feel free to fill those voids with our own meanings. The exhibition is configured as a tool that offers us the opportunity to generate other readings of the works, viewpoints that are equally valid, given that they are based on the uniqueness of each experience.

This project uses the pieces as a necessary central thread which helps us to reflect on various themes, such as the changing nature of the museum institution, the role of the artist and their identity, or the anticipations of different movements that changed our responses to art. It does this using different artistic languages that bring us a little closer to that concept of what we understand as contemporaneity.

The pieces displayed will take on other meanings depending on the perspective from which they are analyzed. They also show us that, in this present that surrounds us where everything can mean anything, there is nothing better than coming to a blurred territory to discover that perhaps the interesting thing is not defining what is contemporary, but discovering when it is.



Visit “Offset the object / Prospect the room”

29 oct. 2022 – 22 apr. 2023
MediationIVAM AlcoiTerritory

Reflections of the Contemporary. A Common Continuum

04 mar. 2023
ConversationsTheatreVisitsIVAM Alcoi
VisitsIVAM Alcoi

Duration: 2.5 – 3 hours

A new activity is proposed within the framework of the projectIndustria / Matrices, tramas y sonidos, coordinated for IVAM by Lorenzo Sandoval and Tono Vizcaíno: a tour of Alcoi in the company of Salomé Moltó, to learn about some of the voices and key locations of the collectivization process for factories during the Civil War.

The suggested route is a tour of biographies that are interlinked through an urban space. On the one hand, it includes the biographies of some of the workers that took part in the collectivizing experience, who Salomé Moltó interviewed in the 1980s and 90s, which gave rise to a work of great documentary value, and on the other hand, Salomé’s own experience as a researcher and activist.

Salomé Moltó (Cocentaina) is a sociologist, a writer and is passionate about literature. In her youth, she migrated to Paris, where she studied French Language and Literature and the «Civilisation Française». Among her publications are, Retazos históricos de la posguerra 1939-1953 (2011) (Historical Post-War Fragments 1939-1953) and Alcoy (1936-1950). Socialización, colectivización y represión (2015) (Socialization, collectivization and repression). Among other publications, she has contributed to journals such as Evocación from París, Orto from Barcelona, Tierra y Libertad from Madrid, and is a member of the editorial committee of Siembra. Her works aim to promote awareness-raising and to inform on the problems that concern our society.

NOTE: in case of rain the activity will be covered in the exposure zone in the IVAM Alcoi.


Industry/Matrices, threads and sounds

28 jan. 2022 – 08 may. 2022
ExhibitionIVAM Alcoi
EducationalIVAM Alcoi

Photography tells us about events, but it also inspires us to create content. In this workshop you will create your own family tale through the characters and scenarios found in the exhibition works La fotografía en medio [The photograph in the middle] (18 noviembre 2021 – 24 abril 2022).

Language: valenciano.
Target Group: familias.
Mediation: Mari Llanos Iborra, Inés Vicens.


Photography in the middle

18 nov. 2021 – 08 may. 2022
CollectionIVAM Alcoi

This Christmas… we’ll see you at the IVAM!

13 dec. 2021 – 06 jan. 2022
OthersIVAM Centre Julio González

A project by Lorenzo Sandoval and Tono Vizcaíno

ExhibitionIVAM Alcoi

Industry. Matrices, threads and sounds is a hybrid proposal that is situated between the creation of an archive and an artistic project. Its objective is to offer a necessarily partial reading of Valencian industrial heritage based on the sound, the intangible and social movements. The proposal is developed through the compilation of sounds, processes, images, videos, music, art pieces and discourses linked to factories in their original context of use, but also in their abandonment and their conversion into heritage spaces. Industry focuses particularly on the proactive uses of industrial heritage driven by citizens.

In addition to the archive and the meetings (called matrices) to debate and reflection,the project has been presented in the expositive format at the IVAM-Centre Julio González (May–October 2021) and in the IVAM Alcoi (January–April 2022). This exhibit is proposed as the museographic adaptation of the archive in the form of installation, inspired by the “Working Club” of Aleksandr Rodchenko.

Industry. Matrices, threads and sound is a process of memory that remains open to negotiation and new readings. The project is positioned outside the romanticizing image of industrial ruin. Understanding heritage and history as living processes that allow us to generate conceptual tools to understand the past, present and future of the history of labor and its relationship with culture. The proposal is developed by Lorenzo Sandoval, artist and curator, and Tono Vizcaíno, archaeologist and heritage manager.

The elements that make up this archive come from numerous personal and institutional archives: Salomé Moltó (CNT), Floreal Rodríguez de la Paz (CNT), Josep Fuster, Edurne Vaello, Nando Hervido, Damià Llorens / We Are not Brothers, Arxiu Municipal d’Alcoi, Universitat Politècnica de València – Campus d’Alcoi, Club d’Amigues i Amics de la Unesco d’Alcoi, Radio Alcoy, Vicent Cortés, Ateneu Cultural El Panical, Josep Tormo Colomina, Alcoy Industrial, Fani Grande, CCOO Camp de Morvedre – Alt Palància, Fundació de la Comunitat Valenciana de Patrimoni Industrial i Memòria Obrera de Port de Sagunt, Vic Pereiró, Miguel Ángel Martín, AMIMO – Associació Memòria Industrial i Moviment Obrer, Maria Hebenstreit, César Novella, Sagunt Territori Acústic, Arxiu Municipal de Sagunt, Arxiu Històric de CCOOPV «José Luis Borbolla», El Punt – Espai de Lliure Aprenentatge, Miguel Molina, Laboratorio de Creaciones Intermedia, Departament d’Escultura de la Facultat de Belles Arts de la Universitat Politècnica de València, Alfonso Civantos / Komakino / Subsist Records, José Miguel Requena Roselló / Excesivo.net, Txuki, Colectivo APA, Colectivo La Flem, Colectivo Resiste, Fran Lenaers, Für alle Fälle, José Azkárraga, Víctor Algarra y Paloma Berrocal, Diana Sánchez Mustieles, APIVA – Associació de Patrimoni Industrial Valencià, Cor de cambra Ad Libitum de l’Escola Coral Veus Juntes, Ajuntament de Quart de Poblet, Institut Valencià de Cultura de la Generalitat Valenciana, Josep Vicent Frechina, Biblioteca Històrica de la Universitat de València, Biblioteca Valenciana «Nicolau Primitiu», Arxiu de la Democràcia y Fonoteca de la Universitat d’Alacant, Arxiu Històric Provincial d’Alacant, CanPop – Cançoner Popular Valencià, Teresa Lanceta, Coral Tabaquera Alicantina, Francisco Moreno, Vicent Oncina, Manuel Carreres, Biblioteca de la Universitat Jaume I de Castelló, Arxiu Municipal d’Onda, Museu del Taulell d’Onda “Manolo Safont”, Caixa Popular d’Onda, Fundació Caixa Benicarló, Manel Francesc Navarro i del Alar, Alejandro Torres Tomás, Pilar Beltrán, Museu de Ceràmica de l’Alcora, Juan Carlos Olària, Fundación Centro Etnográfico «Joaquín Díaz» de la Diputación de Valladolid, Centro Documental de la Memoria Histórica, e IVAM.


MusicIVAM Alcoi

The second edition of the cycle Esplai IVAM moves to the headquarters of IVAM Alcoi, to present two outdoor concerts on Friday June 25 and July 2.

This cycle tries to show current musical proposals and introduce new languages to the museum through the experimental proposal of the artist Clara Peya, who combines the classical piano with electronic synthesizers, and the Valencian folk of the group Senior i el Cor Brutal, which does it with sounds of wood, keys and strings, following the tradition of North American folk-rock.

Limited capacity.
Free admission with prior reservation: https://home.ticketalcoi.com/


  • June 25th, 2021
  • 20:00 h.

Pianist and composer, Clara Peya is considered one of the most original and unique creators that have emerged in recent times in the music scene of the country. A frenetic biography that moves between music, theater and activism.

Musically, Clara Peya is unclassifiable: she moves between chamber music, jazz, pop and electronic music, keeping the piano as her center of gravity. She is energy and feeling in its purest state, and in this concert we will be able to see her alone at the piano playing with the keys and synthesizers, to generate that unique and unclassifiable atmosphere.

Clara Peya makes a route through her musical career adapting songs already published in previous albums and also presenting unpublished ones.


  • July 2nd, 2021
  • 20:00 h.
  • Pre-registration. Limited capacity

Landete (Senior) started this musical project in 2007 and, from the beginning, he was joined by the musicians of the multifaceted Cor Brutal. In his style are recognizable influences of alternative country and American folk with songs in Valencian language. For this reason, and as they say, they make compositions “in the Valencian style, that is to say, American music, but from Valencia”. Throughout their career they have published the following works:

La experiencia gratificant (2009), Gran (2011), València, California (2013), El poder del voler (2014) and Valenciana Vol. 1 (2017).
In duo formation, the public will be able to enjoy a review of the more than 10 years of the band’s career with sounds of wood, keys and strings. According to Senior, “it’s about going to the roots to make the songs talk one-on-one with the listener and, in this way, increase the interaction in an intimate and direct way”. Thus, they will exhibit a more European and less Yankee sensibility, in the style of “Ute Lemper, Kurt Weill or Edith Piaf”, adds the singer.

Photography in the IVAM collection after 1950

CollectionIVAM Alcoi

This exhibition project focuses on the role of the photographic image as a device of special significance within artistic practices after 1950. Questions related to the body and identity, memory and history, the public and political sphere, the role of the media or the phenomenon of mass consumption have permeated artistic proposals, which have incorporated photography as an expressive language, code or document in a process of hybridisation of the artistic media.

From 1950, the date taken as a starting point, the collection of the IVAM includes a number of key works and artists ranging from the New Documentalism of Robert Frank and Lee Friedlander to the Pop and Post-pop productions of Baldessari, Sherman and Prince, the various courses taken by conceptual art and action art with Matta-Clark, Fulton, Pane and Export, the theme of the archive with the Bechers, the visual potency of the German New Objectivity of Ruff and Höffer, the narrative strategies of Gordon or Wearing, and the archival work of Zaatari, among others.

In addition to this series of international figures, the show also presents work by essential Spanish artists like Fontcuberta, Soto and Valldosera. Such names are ample proof of the richness and diversity of the IVAM collections.


CollectionIVAM Alcoi

Infinite Sculpture (Escultura infinita) brings together the work of forty one Spanish artists through ninety one works mainly from the collections of IVAM-Institut Valencià d’Art Modern, Museo Nacional Centro de Arte Reina Sofía, Museo Patio Herreriano de Arte Contemporáneo Español and Fundació Antoni Tàpies. This exhibition offers a look at Spanish sculpture in the central core of the twentieth century. The exhibition is presented within a limited chronological framework (1930-1997) and restricted to one country (Spain) or one nationality (Spanish), and proposes an approach to the irruption of the modern art in the field of sculpture. In this sense, the exhibition Infinite Sculpture combines works of art by representatives of Spanish modernity of the 1930s, such as Alberto Sánchez, Ángel Ferrant or Pablo Palazuelo, who acted as a springboard and inspiration for authors of later generations such as Sergi Aguilar, Cristina Iglesias or Fernando Sinaga.


Atlas Naturae: White Island

IVAM ProduceIVAM Alcoi

Story no. 1
In 1769, the explorer James Cook discovered an almost circular island with an active volcano in the South Pacific. The only visible mountain was a conglomerate of igneous rock, andesite. Its other name, Whakaari, is Maori for “the dramatic volcano”, but Cook preferred White Island because of the visible exhalation from the inside of the Earth; the clouds that formed in its centre constantly shrouding the relief of the island.
Coordinates: 37°31’23.2”S 177°10’57.1”E

Nature is still a mystery for the human species. We might know its rhythms and its functioning but unpredictable randomness is an element we can never manage to trap despite the attempts undertaken by our technological being which has made us believe in the possibility of a Homo Deus.

Story no. 2
In 1539, Pedro Sánchez de la Hoz was appointed lord and governor of Terra Australis Incognita, a continent imagined by Aristoteles and which Ptolomy represented as a large extension of land around the South Pole much larger than Antarctica, situating its limits a little bit further north. James Cook debunked the myth of this legendary continent and erased it from his maps and instead drew White Island where Terra Incognita was once thought to be.
Coordinates: an undetermined place in the Antarctic ocean (without coordinates).

Atlas Naturae: White Island is an artistic intervention made specifically for the hall/workshop at IVAM Alcoi thanks to the IVAM Produces programme to support artistic production. The title of the project proposes a double play; first of all, it creates a visual atlas of nature, and for this purpose it engages with the work of the botanist Cavanilles which is then connected with James Cook’s voyage to White Island, generating a taxonomy of discoveries in images and words. Secondly, the installational mise en scène of the paintings, drawings, objects and videos identifies the analogue world with naturalia and the digital world with artificialia.

The dialogue we strike with our natural environment is wide-ranging and diverse. We have been able to date the creation of the Earth to around 4550 million years ago and also to visualize the Big Bang theory in a laboratory. We have studied the reproduction of bacteria in order to understand the beginning of the first life form and we have chronicled the voyage of Homo Sapiens through the Mediterranean, southern Europe and Asia since over 50,000 years ago through the remains we have discovered, while the other extension of ourselves travelled towards the confines of Ptolomy. Our memory is a memory of fragments, a mix of stories told by firelight. We have sculpted Demeter and painted Saturn devouring his children. At the same time, we have decoded the DNA sequence that recognizes Darwin’s theories on the evolution of the species and, now, we can watch online, as a result of our reckless ambition, as tonnes of ice melt into the sea from the coldest place on the planet, the land close to White Island and the imagined Terra Incognita.

My previous project, called Sistema Humboldt. Pensar/Pintar, proposed a random network of relationships between the University of Valencia’s Natural History collections, the naturalist Alexander von Humboldt and the artistic production derived from this encounter through a glossary of paired words that opposed the world of intuitive randomness with the digital world of algorithms, the place where bodies disappear behind the liquid screen. However, the times of nature are different, and Atlas Naturae: White Island posits a new taxonomy, a tree of categories in order to reflect on what Humboldt defined as “that inextricable network of organisms by turns developed and destroyed—each step that we make in the more intimate knowledge of nature leads to the entrance of new labyrinths”.