Derivations provides a panoramic view of three decades of Spanish photography, taking as its respective points of departure and arrival two moments in its history in the second half of the twentieth century: firstly, the renewal movement that took shape from the mid-1950s onwards, and secondly, the progressive standardisation and institutionalisation of photography that took place in the 1980s.
The main thread guiding this retrospective vision lies in the attention to the process of the articulation of photography and its configuration through various generational, territorial, programmatic, functional and aesthetic gestures, and the reaction at each moment to the contextual conditions. This process also shapes the progressive consideration of photography as an autonomous artistic practice in its own right, whose culmination on the border of the 1990s marks the limit of this exhibition.
The exhibition seeks a balance between the reflection and representation of the different stages, movements and positions that characterise Spanish photography in these three decades, and the individual presence of the different photographers, suggesting the interplay of resonances, dialogues and correspondences, together with dissonances and divisions between aesthetics, territories and periods.
Three different aspects guided the selection of the content for the exhibition and structured its narrative thread. Firstly, the diverse relationship and attitude that the different groups and photographers maintain with the real, which is particularly significant in view of the determining historical conditions experienced in Spain over these three decades. Secondly, there is the tension between function and expression, utility and creation, that developed in the shaping of photography in the period with regard to image. Finally, there is the major role played by certain journals that served as binders for the deployment of new positions and especially for the configuration of decisive generational impulses and changes.