“This is pure Mexico.” So says Aurelia Álvarez Urbajtel, daughter of Manuel Álvarez Bravo, as she walks through the rooms of the Toni Catany Foundation (FTC) in Llucmajor, where Cuerpos, almas, calles has just been inaugurated, a selection of more than a hundred photographs by the man considered one of the great representatives of 20th-century Mexican photography. She says this in front of images that, rather than explaining Mexico, seem to contain it: the people of the streets, the bodies, the faces, the religion, the death, the symbols, and the silences. “They seem like very simple photos, but they have a lot of mystery,” notes the curator of the exhibition, Horacio Fernández.

The Toni Catany International Photography Centre already has an Advisory Council, a consultative body provided for in the management agreement signed in 2023 between the Toni Catany Foundation and the Ministry of Tourism, Culture and Sports. Its function will be to advise on matters of artistic and cultural management of the centre.

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.