The 2026 Mountain Photography Awards already have winners. In an event held at La Misericòrdia, the names of the winning authors have been announced in the call launched by the Balearic Federation of Mountaineering and Climbing and the Palma Mountain Film Showcase, with the support of Colonya Caixa Pollença.

There are looks that not only document the world, but shake it. This is what we find at the Toni Catany International Photography Centre in Llucmajor, which this Friday, March 27, opened two exhibitions that fully align with this tradition: The insolent revolution of bodies, by Pilar Aymerich –curated by Laura Terré– and Honorary box, by Paula Artés. Two proposals that are part of the cycle Committed female photographers and which, from different times, contexts, and languages, share the desire to make visible that which often remains out of frame or dissolves into normality. From two very different generations and also from two diverse ways of expressing themselves through photography, both Aymerich and Artés understand photography not as a solitary gesture, but as a practice permeated by the relationship with others and with the surrounding context.

Three years after its official opening, and eighteen years after those in charge first began discussing it, the Toni Catany International Photography Center in Llucmajor will experience its definitive consolidation in 2026. This is confirmed by an exhibition program that will fill the center with works by leading figures in contemporary photography such as Joan Fontcuberta, Pilar Aymerich, and Manuel Álvarez Bravo; the addition of a new exhibition space within the center itself, in the former wine cellar; and the organization of activities that will establish partnerships with the Sorbonne University. To round it all out, they are launching a new website, created in collaboration with the Llucmajor City Council, which reflects this stage of maturity.

There are names that become part of a city's history, even if they've remained silent for years. The name of photographer Javier Inés is one of them, not because he was a marginal figure, but precisely the opposite: because for a time he was fully integrated into the creative Barcelona of the 1980s, photographing it from within, and because his career was abruptly cut short when he still had so much to say. Today, as his work is being exhibited again in Pollença, in the Cloister of Sant Domingo until April 6, we wonder why a photographer like him disappeared from the scene for decades.

Sergi Cámara (Vic, 1970) left local journalism, tired of the repetitive schedule, spurred on by the need to find his own path within photojournalism, and aware of the opportunities this work offers to denounce what happens (and what we don't see) every day outside our comfortable sphere. For example, at the borders erected by European countries when it comes to allowing passage to migrants or refugees seeking the peace of a better life.

The tools for combating the speed of today's world are very limited. And few possess the power and, at the same time, the subtlety of photography. Joaquim Seguí (Palma, 1951) demonstrates this once again in his fourth book, Islands and desertswhere he invokes silence and stillness, so absent from our daily lives, through a dialogue between images, poetry, and thought. "We are no longer even capable of reading a book calmly; too often we solve the problem with a distracted glance, which is the exact opposite of what any cultural creation demands," argues the photographer based in Ibiza. "Given this, it is necessary to defend a little rest. We have become accustomed to responding as soon as we receive a..." WhatsApp "And it's absurd. We must be able to think; we can't turn everything into a formality," he says. This idea underlies the more than two hundred pages that make up this new volume, published by Balàfia Postals, which the author will present this Friday, November 21, at Ca n'Oleo in Palma, accompanied by Diana de la de la, editor of Balàfia Postals, as well as sociolinguist Isidor Marí and philologist, actress, and theater director Àngels Escandell. The latter two, in fact, have contributed to Islands and deserts with texts that reflect on Seguí's proposal, which, according to Escandell, is defined as a "sublimation of images and words." In addition to them, other contributors include historians Rosa Rodríguez Branchat and Fanny Tur, and poet Bartomeu Ribes, who oversaw the poetic direction of the work. Thus, the images captured over more than 40 years by Seguí, a cardiologist by profession and photographer by vocation, are presented alongside verses by authors such as Charles Baudelaire, Miquel Costa i Llobera, Fernando Pessoa, Nora Albert, and Iolanda Bonet, to name a few.I was born to know. / That's why I don't want to be taught / to slander the essence of things."," says one of the quoted fragments by Blai Bonet.

Almost six years ago, the Marilles Foundation recognized the importance of raising awareness about the conservation of the Balearic Sea through the visual arts and created MARE, an annual image and video competition whose main discipline is underwater digital photography, to inspire action for the Balearic Sea. The project coordinator, Amador Garcia, explains that art "has the power to stir consciences and touch hearts." He also believes that this positive initiative "has more impact than a catastrophic campaign that conveys a negative message." This year, MADRE celebrates its sixth edition with the MADRE25 Conference, "The Sea Moves Us," a space for meeting, inspiration, and action for the conservation of the Balearic Sea. This year, the project program has been expanded, and in addition to the awards ceremony taking place this Friday at 6:00 p.m. at the CaixaForum in Palma, other activities will be held throughout the weekend.

It's not common, but sometimes, the pages of the history of a certain discipline record the origin of a passion, a connection with art that began at a specific time and place. This is the case of the Sondra Gilman - Celso González-Falla collection, considered one of the most prestigious photography collections in the world, with more than 1,500 works, and which has its beginnings in a handful of images acquired during the 1970s.

Two apples, side by side, representing the same thing and, at the same time, two very different things: they are accompanied by a handwritten note that says "healthy apple and rotten apple." This is the image chosen to illustrate the exhibition poster. The capture of time, which will open next Friday, September 12, at the Toni Catany International Photography Center in Llucmajor. And it's no coincidence that this was the photograph selected, because it could be one of the still lifes created by the Mallorcan photographer, but it is, in fact, a snapshot taken by Pasqual Maragall (Barcelona, ​​​​1941) shortly after being diagnosed with Alzheimer's. Photography was an essential tool in his relationship with the early stages of the disease.

It must be acknowledged that the Church is improving its facilities, and that today's confessionals are, at first glance, considerably more comfortable than those of the past. In the past, confessionals were usually rather precarious wooden booths, sometimes thickened, within which the priest had to squeeze himself as best he could. For their part, the parishioners almost always had to kneel to one side of the booth, often in full view of everyone, and therefore with their privacy and confidentiality compromised. They chatted quietly through the barred shutter, yes, but the result could hardly be said to be a triumph of discretion: everyone knew whether So-and-so had gone to confession, and then it was all conjecture and rumor. Even spectacular cases could occur, such as that of the confessional at the end of The Regent, which almost literally blew up in the air due to the pressure of the illicit desire that the masterful Fermín de Paso felt for Ana, the protagonist of the novel (The Regent It was a novel that was usually read in high school in the subject of Spanish Language and Literature, I don't know if it is still used).