{"id":1003,"date":"2022-11-21T13:58:12","date_gmt":"2022-11-21T12:58:12","guid":{"rendered":"https:\/\/revela-t.cat\/2025\/?page_id=1003"},"modified":"2024-01-03T09:49:29","modified_gmt":"2024-01-03T08:49:29","slug":"2017-fra","status":"publish","type":"page","link":"https:\/\/revela-t.cat\/2025\/2017-fra\/","title":{"rendered":"FRA – 2017"},"content":{"rendered":"

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Revela’t 2017: Hidden<\/strong><\/span><\/h1>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_class=”body-content” _builder_version=”4.19.5″ _module_preset=”default” width=”1500px” max_width=”100%” module_alignment=”center” custom_margin=”0px|0px|0px||false|false” custom_padding=”0px|0px|180px|0px|false|false” locked=”off” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”1″ _builder_version=”4.19.5″ _module_preset=”default” width=”900px” max_width=”100%” module_alignment=”left” custom_margin=”0px||0px|0px|false|false” custom_padding=”0px||45px|0px|false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”text” _builder_version=”4.23.4″ _module_preset=”default” width=”100%” max_width=”100%” custom_margin=”||-2px|0px|false|false” custom_padding=”|||0px|false|false” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

2023<\/a> \/ 2022<\/a> \/ 2021<\/a>\u00a0\/ 2020<\/a> \/ 2019<\/a> \/ 2018<\/a> \/ 2017<\/strong> \/\u00a02016<\/a> \/ 2015<\/a> \/ 2014<\/a> \/ 2013<\/a><\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”3_5,2_5″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.19.5″ _module_preset=”default” width=”100%” max_width=”100%” module_alignment=”left” custom_padding=”0px||0px|||” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”text” _builder_version=”4.20.2″ _module_preset=”default” width=”900px” max_width=”100%” module_alignment=”left” custom_margin=”|||0px|false|false” custom_padding=”||45px|0px|false|false” custom_css_main_element=”margin-right: 20px;” global_colors_info=”{}”]Pour cette \u00e9dition, l’image choisie est une photographie de Jordi Gual<\/strong>: une jeune fille, de dos, en parfaite harmonie avec la devise propos\u00e9e: “Hidden<\/strong>“, qui est au c\u0153ur de toutes les expositions.<\/p>\n

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“Hidden” (invisible, secret) d\u00e9signe ce qui \u00e9chappe au premier regard, ce qui est lointain dans l’espace ou les \u00e9motions, ce que l’on ne souhaite pas voir, ce qui est tabou, cach\u00e9, dissimul\u00e9, secret… Nous cherchons les paradis perdus, les langues secr\u00e8tes, les anges qui se r\u00e9v\u00e8lent \u00eatre des d\u00e9mons, et les d\u00e9mons qui se dissimulent sous des airs ang\u00e9liques. Nous explorons le c\u00f4t\u00e9 sauvage de l’innocence.<\/p>\n

Cette fois-ci, “Distintivo de Plata” a rencontr\u00e9 Eduardo Mome\u00f1e<\/strong>.<\/p>\n

Trois expositions ont \u00e9t\u00e9 pr\u00e9sent\u00e9es dans deux galeries de Barcelone, “Valid Foto BCN<\/strong>” et “Fifty Dots<\/strong>“. Cet \u00e9v\u00e9nement a \u00e9t\u00e9 le germe de ce qui allait \u00eatre appel\u00e9 l’ann\u00e9e suivante “Revela’t OFF”.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/et_pb_text][et_pb_accordion open_toggle_background_color=”#FFFFFF” closed_toggle_text_color=”#000000″ closed_toggle_background_color=”#FFFFFF” toggle_icon=”L||divi||400″ icon_color=”#000000″ use_icon_font_size=”on” icon_font_size=”30px” icon_color_last_edited=”off|desktop” module_class=”t” _builder_version=”4.20.2″ _module_preset=”default” toggle_font=”|600|||||||” closed_toggle_text_align=”left” body_font_size=”16px” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” border_width_all=”0px” locked=”off” global_colors_info=”{}”][et_pb_accordion_item title=”Expositions” open=”on” _builder_version=”4.20.2″ _module_preset=”default” custom_margin=”0px|||0px|false|false” custom_padding=”0px|||0px|false|false” border_width_bottom=”1px” border_color_bottom=”#000000″ global_colors_info=”{}”]<\/p>\n

<\/strong><\/b><\/span><\/p>\n

Albarr\u00e1n & Cabrera,<\/strong>This is you.\u00a0Manel Armengol,<\/strong>\u00a0Herbarium.\u00a0Laurie Baggett,<\/strong>\u00a0Stenoscopes.\u00a0Diego Ballestrasse,<\/strong>\u00a0La cuarta pared.\u00a0Cristobal Benavente,<\/strong>\u00a0Blanco Roto.\u00a0Martin Brandau,<\/strong>\u00a0VISA ME.\u00a0Pepe Buitrago& & Narcis Rovira,<\/strong>\u00a0Reflexiones.\u00a0Lorena Capdevila,<\/strong>\u00a0Galer\u00eda imaginaria.\u00a0Maite Caram\u00e9s,<\/strong>\u00a0Tour est possible.\u00a0Daniel Casares,<\/strong>\u00a0Papel de Plata.\u00a0Estela de Castro,<\/strong>\u00a0Zoocosis.\u00a0Milagros Caturla \/ Tom Sponheim,<\/strong>\u00a0Las fotos perdidas de BCN.\u00a0Enrique Escandell,\u00a0<\/strong>Tres Perros y San Crist\u00f3bal.\u00a0Jordi Esteva,<\/strong>\u00a0Socotra, la isla de los genios.\u00a0Franz Falckenhaus,\u00a0<\/strong>\u00a0But who or wat.\u00a0Alfonso Fornes,<\/strong>\u00a0Paisajes emocionales.\u00a0Dani G. Sarabia,<\/strong>\u00a0M\u00e1s all\u00e1 del bosque.\u00a0Juan G. Forn\u00e9s,<\/strong>\u00a0Retrato geneal\u00f3gico compuesto.\u00a0Gilbert Garcin,<\/strong>\u00a0Mr. G.\u00a0\u00c0lvaro G\u00f3mez-Pidal,<\/strong>\u00a0A Limbo for the youth.\u00a0Xavier G\u00f3mez,<\/strong>\u00a0Un d\u00eda en el Revela-T.\u00a0Taichi Gondaria,<\/strong>\u00a0Selectes Work.\u00a0Peter de Graff,<\/strong>\u00a0Half way to low tide\u00a0Amaia Hodge,<\/strong>\u00a0Historias incompletas.\u00a0Giulia Iacolutti,<\/strong>\u00a0Jannah.\u00a0Markus Kaesler & Jes\u00fas Joglar,<\/strong>\u00a0Retratos del textil.\u00a0Tomasz Kowalczyk<\/strong>, Zdjet.\u00a0Josep M\u00aa de Llobert,<\/strong>\u00a0 Blank.\u00a0Steve Lovegrove,\u00a0<\/strong>\u00a0Hidden Within.\u00a0Eduardo Mome\u00f1e,<\/strong>\u00a0Las fotografias de Burton Norton.\u00a0Santos Montes,\u00a0<\/strong>\u00a0Las olas no preguntan.\u00a0Alfonso Moral,<\/strong>\u00a0Cero.\u00a0Montse Morcate,<\/strong>\u00a0F_MIL_ALB_M.\u00a0N\u00faria Oreja,<\/strong>\u00a0 La piel del agua.\u00a0Jorge Otero,<\/strong>\u00a0Escenograf\u00edas indefinidas.\u00a0Max Pam & Bernard Plossu,<\/strong>\u00a0Pam\/Plossu.\u00a0Mus\u00e9u del Pueblu d\u2019Asturies<\/strong>, Fotograf\u00eda Post Mortem.\u00a0Jesse Oaks,<\/strong>\u00a0Tomorrow yes?\u00a0Kazuma Obara,<\/strong>\u00a030.\u00a0Juanan Requena,<\/strong>\u00a0Al borde de toda emoci\u00f3n.\u00a0Eduardo Ripoll,<\/strong>\u00a0 Paradiso.\u00a0Alberto Ros,<\/strong>\u00a0Hidden humanity.\u00a0Camilo Sabogal,<\/strong>\u00a0El lado oscuro de la luz.\u00a0Tagomago Collectors Project,<\/strong>\u00a0We are back.\u00a0Munemasa Takahashi,\u00a0<\/strong>\u00a0Losat & Found.\u00a0Various artists,\u00a0<\/strong>\u00a0Artistic Exchange Project.\u00a0Wara Vargas,<\/strong>\u00a0La vida de los \u00e1ngeles.\u00a0Pierre van de Vliert,<\/strong>\u00a0Ipsety.\u00a0Manabu Yanamaka,<\/strong>\u00a0Gyahtei.<\/span><\/p>\n

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<\/h6>\n
A partir de ce lien,<\/a><\/span>\u00a0<\/span>vous pouvez t\u00e9l\u00e9charger le programme manuel avec toute la programmation et en trois langues.<\/span><\/h6>\n

[\/et_pb_accordion_item][et_pb_accordion_item title=”Vid\u00e9o r\u00e9sum\u00e9” _builder_version=”4.20.2″ _module_preset=”default” custom_margin=”0px|||0px|false|false” custom_padding=”0px|||0px|false|false” border_width_bottom=”1px” border_color_bottom=”#000000″ global_colors_info=”{}” open=”off”]<\/p>\n

<\/h6>\n
https:\/\/revela-t.cat\/2025\/wp-content\/uploads\/2022\/11\/RevelaT17-Resum-v7.mp4<\/a><\/video><\/div>\n

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Revela’t 2017: Hidden2023 \/ 2022 \/ 2021\u00a0\/ 2020 \/ 2019 \/ 2018 \/ 2017 \/\u00a02016 \/ 2015 \/ 2014 \/ 2013Pour cette \u00e9dition, l’image choisie est une photographie de Jordi Gual: une jeune fille, de dos, en parfaite harmonie avec la devise propos\u00e9e: “Hidden”, qui est au c\u0153ur de toutes les expositions. “Hidden” (invisible, secret) […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","om_disable_all_campaigns":false,"footnotes":""},"class_list":["post-1003","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/pages\/1003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/comments?post=1003"}],"version-history":[{"count":0,"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/pages\/1003\/revisions"}],"wp:attachment":[{"href":"https:\/\/revela-t.cat\/2025\/wp-json\/wp\/v2\/media?parent=1003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}