Joaquin Sorolla station (València)

North station (València)

Atocha station (Madrid)

Sans station (Barcelona)

May 3rd | 12:00h

This project is a journey proposed by the artists Paula Bonet and her collective La madriguera, Marta Negre, Anaïs Florin and Juan Díaz-Faes through the train stations of the three main Spanish capitals: Valencia (Estación del Norte and Joaquín Sorolla Station), Madrid (Almudena Grandes Station) and Barcelona (Sants Station). The pieces on display will be visited by passengers, accompanying persons, workers, visitors and the curious. Anyone can participate in the immersion that each of these pieces created around the concept of LOVE, the slogan proposed by the Festival 10 Sentidos in 2022.

This project connects our cities through art and emotions. Love, present in all these works from very different conceptions and visions, both formal and plastic, coexist in a space of passage. It is precisely here, in train stations, where so many encounters, farewells, comings and goings take place and, therefore, love is very present on a daily basis, that this proposal, which invites us to stop, contemplate and reflect, comes to a halt.

Anaïs Florin was born in Cannes (France), but she currently lives in Valencia. Her artistic practice is mainly inscribed in the field of practices in context, with a special interest in the stories, memories and struggles associated with territorial transformations.

El abrazo (Me cuidan mis amigas, no la policía) consists of the installation of a large-format image on a metal structure at the Joanquín Sorolla station. The piece aims to focus on the affective bonds that are generated within collective processes, giving rise to strong support networks that often make the continuity of certain movements possible. Thinking about love as an opportunity to expand our capacity to build in the face of adversity and from a complex, heterogeneous and situated us.

With an unpretentious approach to artistic creation and a fun visual language, this artist manages to bring friendly characters to life thanks to geometric shapes, lines and bustling patterns.

Born in Oviedo, Juan Díaz-Faes grew up drawing before studying Fine Arts at the University of Salamanca and has developed his career in graphic design, illustration, and muralism.

Since 2017, cities such as Miami, Austin, Guangzhou, Uruguay, Hamburg and Madrid have had his large murals, and he has exhibited in Paris, Madrid, Barcelona, Taipei and Hamburg, among others. His work is also part of the exhibition at the Espacio SOLO Museum in Madrid.

Pitarra wine is something homemade and made with love. Vino de casa or Wine House, as the singer. The sphere on her head is reminiscent of her hairstyle, but it is also an impossible balancing act in sculpture. All the weight on our heads.

Marta Negre is a visual artist. In her audiovisual capsules she reflects on the influence of certain paradigms of thought in our society. With a marked experimental character, her work aims to address the crisis of contemporary identity, revisiting and generating new rereadings of authors through current audiovisual narratives.

In a society in which artificial intelligence, big data and algorithms evolve at a speed multiplied exponentially in time and use, the affective ritual mutates in its praxis. The concept of organic love is replaced by a digital recreation through lenses that annul any kind of contact or physical-affective connection, expanding the physical body into a body of data. BIG_LOVE_DATA proposes a fictionalised reflection on the reminiscences of obsolete love through a staging with retro-futuristic aesthetics and dystopian overtones.

In a passing place like Sants Station, we break with the greyness of everyday life with an image that brings into play a way of relating to each other that is not usually part of the station’s daily traffic.

This piece is an approach to a conception of love in which not everything goes and which breaks with the rules and the established path. In love there are no impositions or power games. We start from the classic game of Twister and the intertwining and connections it generates. We are inspired by its shape, the space it occupies on the floor and its nature to be stepped on. We broke with its structured four-colour scheme and inverted it so that the floor itself has a place in the work. We intertwine not only people but also colours: the elements embrace, caress, separate, look at each other and form a whole that mutates as each one of us mutates daily and our affections mutate.

We abandon the idea of romantic love and the ways of relating with which we grew up, we emphasise that only yes is yes, that love has to be cared for, that it goes beyond the core of the conventional couple and that if we make it one of the centres of our existence it will be richer and more complete.