The Mapfre Foundation Bárbara de Braganza showroom opens on Thursday, May 31st, an exhibition dedicated to Brassaï, a Hungarian photographer who began his career in the interwar period and achieved wide recognition with his personal work.

This is the second retrospective dedicated to the artist in our country since that exhibition organised in the Antoni Tàpies Foundation in 1993. 25 years later, the Mapfre Foundation approaches the work of Brassaï thanks to the collaboration of numerous institutions that have made possible the montage.

He was born in Brasov (in 1899, when it still belonged to Hungary). The European journey of this artist was diverse, and he lived in several cities before moving to France. Also, his education began at the Faculty of Fine Arts in Budapest, but then he quitted his studies to fight in the First World War. At the end of the conflict, he began working as a journalist in Berlin and later in Paris, at which point he turned his career around. In the French capital, he experienced an immediate connection with the surrealist language, and this interest led him to collaborate with Dalí, Picasso, Giacometti and Matisse, among others. The result of the creative alliance with Dalí is the collection of images "Involuntary sculptures", with which he began his personal path within photography.

Brassaï collected many elements of his day-to-day life and that he integrated into his compositions, often as mosaics or as story-boards with which to deconstruct, reform and interpret reality, something very typical of the artistic current he belonged to. However, his work is difficult to classify. We find the images of the urban graffiti of the Paris of the slums, the exploration of the nightlife, with "unfiltered" portraits of the brothels and the district police stations...

"Whether they like it or not, the painters of modern life are the photographers," said Brassaï in 1949. His fascination with the French capital led him to explore all its corners, to go beyond the magnificent and monumental beauty of the city, to look for the pulse of its busy and vertiginous life at the peak of the artistic movements of the first third of the century. This exhibition covers the broad career of this artist and his versatility in its purest form.

The artistic practice of Chamo San (Barcelona, 1987) revolves around a poetics of attention, in which the seemingly insignificant acquires a singular reflective intensity. His works emerge from a persistent observation of everyday life, understood not as a narrative repertoire but as a field of shared experience. Within this framework, the minimal gesture becomes a form of sensitive knowledge, placing the viewer before scenes that are both recognizable and, at the same time, estranged by their temporal suspension.

The progressive shift toward a more atmospheric painting has allowed the environment to cease functioning as a mere support and become an active agent of meaning. Restrained color ranges and carefully constructed spaces generate a sense of stillness that evokes a pictorial tradition attentive to duration and waiting. The human figure—a constant presence in his work—is presented immersed in contexts that amplify its affective and existential dimension.

The silence permeating these images is not absence but condition; it constitutes a space of resonance in which the time of doing and the time of looking converge. Situated between compositional control and openness to the contingent, Chamo San’s work affirms painting as a territory where planning and accident coexist.

Bathtub. 2018. Ballpoint pen on notebook. 14 x 18 cm.

Many of your works show meticulous attention to the smallest gestures and seemingly trivial moments. What interests you about these micro-choreographies of everyday life?

The seed of my work always comes from the sketches I make from life in small notebooks that I can carry with me at all times. Later, I either transfer them to another format so I can work on them more calmly, or they become the final piece in themselves.

Composition, staging, and perhaps those micro-choreographies are what I allow myself to bring to the scene as an artist. For me, these everyday moments are the most direct and honest way to connect with the audience because—even though they are intimate—they reflect universal experiences.

Feet. 2023. Oil pastel on paper mounted on board. 30 x 30 cm.

In your pieces, the presence of sober tones seems to generate a particular type of atmosphere. How would you describe the way that atmosphere emerges during your work, and what role does it play in the overall construction of the image?

Atmosphere and colour are relatively recent additions to my work. Previously, I focused exclusively on the figures as the central element, and they were often left floating in a kind of void. It was when I realised the need to provide context—especially as I began working more closely from the notes in my notebooks—that I came to understand the importance of the environment for the character.

The human figure will always remain the main element for me, as it is through its representation that I find the greatest enjoyment. However, little by little, I have become interested in exploring what surrounds it. I see the creation of an environment and an atmosphere as essential in order to situate the figures within a more complete and fully constructed scene.

Mamant. 2025. Colored pencils on notebook. 14 x 18 cm.

Are the silences in your works inherited from real experiences, or do they emerge during the painting process?

The silences in my work are inherited from real experiences. When I capture those small moments of everyday life—which is essential for me—I tend to be focused and quiet. At the same time, I also believe that the contemplation of artworks naturally invites this kind of calm. In that sense, for a brief moment, both the artist—throughout the entire creative process—and the viewer, when engaging with the work, can meet in the same state of tranquillity and silence.

The Kiss. 2024. Oil pastel on notebook. 14 x 18 cm.

To what extent do you plan your works and how much space do you leave for the unexpected to happen?

Some of my works are very planned, even excessively so, with lots of sketches. On the other hand, I always have that starting point that appears in my notebooks, and I leave experimentation and the unexpected for the end. Although it's also true that when I've thrown myself into improvisation from the beginning, wonderful things have happened, so now I try to combine those two worlds as organically as possible.

Cinema. 2025. Ballpoint pen and oil pastel on notebook. 14 x 18 cm.

Although your work has shifted towards the pictorial—with an aesthetic closely linked to cinema—echoes of illustration can still be seen in your visual language. Which elements would you say remain, and which have undergone a radical transformation?

For me, illustration has been an intense learning process. I deeply admire artists who have combined commissioned illustration with studio work for galleries, such as Ramón Casas and James Jean. I believe these two worlds can connect on a technical level, but their language and purpose are fundamentally different.

The existence of a unique, original work allows for accidents to occur—things that are very unlikely to happen in illustration. It is this condition of uniqueness, and above all the intention behind it, that makes the two practices radically different.