{"id":63528,"date":"2025-10-29T14:45:40","date_gmt":"2025-10-29T13:45:40","guid":{"rendered":"https:\/\/kbr.fundacionmapfre.org\/kbr-photo-award\/edicion-2025\/"},"modified":"2026-01-28T16:04:40","modified_gmt":"2026-01-28T15:04:40","slug":"edicio-2025","status":"publish","type":"page","link":"https:\/\/kbr.fundacionmapfre.org\/ca\/kbr-photo-award\/edicio-2025\/","title":{"rendered":"Edici\u00f3n 2025"},"content":{"rendered":"

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KBr Photo Award<\/strong><\/h1>\n

Edici\u00f3 2025<\/strong><\/h2>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.16″ custom_css_main_element=” display: flex;|| flex-direction: column;|| justify-content: center;” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/media\/2020\/09\/Kbr-140×154-1.png” alt=”KBr Barcelona Photo Center” title_text=”KBr Barcelona Photo Center” _builder_version=”4.16″ max_width=”140px” max_width_tablet=”” max_width_phone=”100px” max_width_last_edited=”on|phone” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.20.4″ custom_margin=”0px||||false|false” custom_padding=”5px||40px||false|false” da_disable_devices=”off|off|off” collapsed=”off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row _builder_version=”4.16″ width=”auto” max_width=”none” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text disabled_on=”on|on|on” _builder_version=”4.22.2″ text_font_size=”11px” text_line_height=”1.3em” custom_margin=”5px|||20px|false|false” disabled=”on” global_colors_info=”{}”]<\/p>\n

\u00a9 Anastasia Samoylova<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”2″ disabled_on=”off|off|off” _builder_version=”4.22.2″ width=”65%” custom_padding=”||||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/gloria-oyarzabal.jpg” alt=”Retrato de Gloria Oyarz\u00e1bal ” title_text=”Gloria Oyarz\u00e1bal ” show_bottom_space=”off” _builder_version=”4.27.4″ global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” _builder_version=”4.27.4″ text_font_size=”11px” text_line_height=”1.3em” custom_margin=”10px|||0px|false|false” locked=”off” global_colors_info=”{}”]<\/p>\n

Foto: Jewgeni Roppel<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text disabled_on=”off|off|off” _builder_version=”4.27.4″ text_font=”|700|||||||” text_font_size=”23px” text_line_height=”1.4em” link_text_color=”#d81e05″ background_color=”#f6f6f6″ text_orientation=”center” custom_margin=”0px||0px||false|false” custom_padding=”30px|25px|30px|25px|true|true” global_colors_info=”{}”]<\/p>\n

Gloria Oyarz\u00e1bal, guanyadora del KBr Photo Award<\/a>.<\/p>\n

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La fot\u00f2grafa i artista visual espanyola Gloria Oyarz\u00e1bal ha resultat guanyadora de la tercera edici\u00f3 del KBr Photo Award pel seu projecte Appunti per un\u2019Orest\u00edade africana_una democracia en fatiga II<\/em>.<\/p>\n

El premi, adjudicat per unanimitat, reconeix l’aportaci\u00f3 del projecte com a recerca i reflexi\u00f3 postcolonial sobre els pa\u00efsos africans.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Que es” module_id=”por-que” _builder_version=”4.20.4″ background_color=”#f6f6f6″ width_tablet=”” width_phone=”100%” width_last_edited=”on|phone” custom_margin=”70px||70px||false|false” custom_margin_tablet=”” custom_margin_phone=”15px||||false|false” custom_margin_last_edited=”on|phone” custom_padding=”30px|30px|30px|30px|true|true” locked=”off” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text disabled_on=”off|off|off” _builder_version=”4.27.4″ text_font_size=”18px” header_2_font=”|600|||||||” header_2_text_align=”center” header_2_text_color=”#0a0000″ header_2_font_size=”28px” header_2_line_height=”1.5em” custom_margin=”||10px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”]<\/p>\n

El jurat<\/h2>\n

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El jurat<\/strong> d’aquesta tercera convocat\u00f2ria ha estat integrat per:<\/p>\n

    \n
  • Diane Dufour, codirectora de LE BAL (Par\u00eds)<\/li>\n
  • Ram\u00f3n Revert\u00e9, editor de l\u2019editorial RM<\/li>\n
  • Krzysztof Candrowicz, comissari independent<\/li>\n
  • Gabriela Urtiaga, curadora cap del Museum of Latin American Art (MOLAA, Los Angeles)<\/li>\n
  • Carlos Gollonet, conservador cap de fotografia de Fundaci\u00f3 Mapfre.<\/li>\n<\/ul>\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″ disabled_on=”off|off|off” _builder_version=”4.27.4″ width=”65%” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ link_text_color=”#d81e05″ custom_margin=”||||false|false” global_colors_info=”{}”]<\/p>\n

    Entre el mite i la màquina, aquest projecte interroga les ruïnes del poder. En el ressò de La Orestíada<\/em> d’Èsquil (458 aC) — que representa un cicle de venjances, justícia i redempció—, s’alça una nova tragèdia: la d’una democràcia exhausta, fragmentada per l’herència colonial i el miratge digital. La tecnologia, presentada com a instrument de progrés, reprodueix els mateixos algorismes del domini: classifica, ordena, esborra. Les seves xarxes neuronals hereten el biaix dels imperis, i en les seves dades bateguen les ombres dels arxius colonials.<\/p>\n

    La dona —cos, memòria, arxiu viu—apareix com a territori de disputa i resistència. En la seva mirada es creuen les capes d’una història que la IA no pot llegir: una memòria encarnada que desobeeix el codi.<\/p>\n

    [\/et_pb_text][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/interior-768.jpg” alt=”Proyecto Bravo” title_text=”Felipe Romero Beltr\u00e1n” show_bottom_space=”off” _builder_version=”4.27.4″ global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”2″ disabled_on=”off|off|off” _builder_version=”4.27.4″ width=”65%” custom_margin=”0px||100px||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ link_text_color=”#d81e05″ custom_margin=”||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

    Appunti per un\u2019Orest\u00edade Africana_una democracia en fatiga II<\/em> \u00e9s un exercici de reescriptura i (acte)q\u00fcestionament. Un assaig que reflexiona sobre com descolonitzar imatge i m\u00e0quina, i imagina just\u00edcies diverses que no vinguin\u00a0de d\u00e9us ni dades, sin\u00f3 de la possibilitat d’escoltar \u2014en el soroll del sistema\u2014altres maneres de relatar, de ser comunitat i de decidir.<\/p>\n

    A banda de la dotaci\u00f3 econ\u00f2mica, el KBr Photo Award inclou l’organitzaci\u00f3 d\u2019exposicions al KBr Fundaci\u00f3 Mapfre (Barcelona) i a la seu de la Fundaci\u00f3 a Madrid per a donar a con\u00e8ixer el projecte, aix\u00ed com la publicaci\u00f3 del corresponent cat\u00e0leg.<\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.4″ background_image=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/parallax-photo-award-v2-2025.jpg” parallax=”on” parallax_method=”off” da_disable_devices=”off|off|off” locked=”off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row _builder_version=”4.22.2″ custom_margin=”25px||25px||true|false” custom_padding=”0px||0px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ text_text_color=”#ffffff” background_enable_color=”off” custom_padding=”10px|10px|10px|10px|true|true” global_colors_info=”{}”]<\/p>\n

    Gloria Oyarzábal <\/strong>(Londres, 1971) és fotògrafa i artista visual. La seva obra indaga els llegats del colonialisme i la forma en què condicionen la construcció de narratives entorn de representació, identitat i poder, qüestionant la posició de la dona en el centre d’aquest entramat. La seva trajectòria està marcada per la seva relació amb el mitjà cinematogràfic, els anys que va viure a Bamako (Mali) i el procés de reflexió interna en la seva pràctica. Desenvolupa les seves recerques tant en països del continent africà com Ghana, Nigèria i Tanzània, com en institucions colonials europees, conscient de les tensions existents en els discursos postcolonials sobre imatge i arxiu.<\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” da_disable_devices=”off|off|off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row use_custom_gutter=”on” gutter_width=”2″ disabled_on=”off|off|off” _builder_version=”4.22.2″ _module_preset=”default” width=”65%” custom_margin=”||40px||false|false” custom_padding=”||||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

    Dels 430 projectes rebuts, el jurat va seleccionar com a finalistes<\/strong>, al costat del guanyador, les propostes de Juan Valbuena<\/strong> i Juan Brenner<\/strong>.<\/em><\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ disabled_on=”off|off|off” _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|false” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/galeria-superior-01.jpg” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”on|on|on” _builder_version=”4.22.2″ text_font_size=”11px” text_line_height=”1.3em” custom_margin=”|||0px|false|false” disabled=”on” locked=”off” global_colors_info=”{}”]<\/p>\n

    Valla de obra (\u00abTecnolog\u00eda\u00bb), Madrid,<\/em> 2022
    \u00a9 Anastasia Samoylova<\/p>\n

    [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/galeria-superior-02.jpg” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/galeria-superior-03.jpg” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ disabled_on=”off|off|off” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/galeria-inferior-03.jpg” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”on|on|on” _builder_version=”4.22.2″ text_font_size=”11px” text_line_height=”1.3em” custom_margin=”|||0px|false|false” disabled=”on” locked=”off” global_colors_info=”{}”]<\/p>\n

    Beauty Salon, Milan<\/em>, 2022
    \u00a9 Anastasia Samoylova<\/p>\n

    [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/galeria-inferior-02.jpg” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/wp-content\/uploads\/2025\/10\/galeria-inferior-01.jpg” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ disabled_on=”on|on|on” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||||false|false” disabled=”on” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/media\/2023\/10\/felipe-romero-beltran-galeria-07-768.jpg” alt=”Beauty Sal\u00f3n, Milan, 2022″ title_text=”felipe-romero-beltran-galeria-07-768″ _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/media\/2023\/10\/felipe-romero-beltran-galeria-08-768.jpg” alt=”Anastasia Samoylova, Valla de obra (\u00abTecnolog\u00eda\u00bb), Madrid, 2022 \u00a9 Anastasia Samoylova” title_text=”felipe-romero-beltran-galeria-08-768″ _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/kbr.fundacionmapfre.org\/media\/2023\/10\/felipe-romero-beltran-galeria-09-768.jpg” alt=”Anastasia Samoylova, Advertisement on Opera House, Paris, 2021″ title_text=”felipe-romero-beltran-galeria-09-768″ _builder_version=”4.22.2″ _module_preset=”default” custom_margin=”||5px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row disabled_on=”on|on|on” _builder_version=”4.27.4″ _module_preset=”default” disabled=”on” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text disabled_on=”off|off|off” _builder_version=”4.22.2″ _module_preset=”default” text_font_size=”11px” text_line_height=”1.3em” custom_margin=”|||0px|false|false” global_colors_info=”{}”]<\/p>\n

    En las im\u00e1genes:<\/strong>
    El Friki, Grecia, Wily, L\u00e1zaro, El chicken, El pelusa, Dominik, Bryan, Nina, Martel, Abelino, Jos\u00e9, Pedro Meza, Mauricio, Mauricio, Santiago, Jefry, Miguel Angel, Alma y Aureliano.<\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

    KBr Photo Award Edici\u00f3 2025\u00a9 Anastasia SamoylovaFoto: Jewgeni RoppelGloria Oyarz\u00e1bal, guanyadora del KBr Photo Award.La fot\u00f2grafa i artista visual espanyola Gloria Oyarz\u00e1bal ha resultat guanyadora de la tercera edici\u00f3 del KBr Photo Award pel seu projecte Appunti per un\u2019Orest\u00edade africana_una democracia en fatiga II. El premi, adjudicat per unanimitat, reconeix l’aportaci\u00f3 del projecte com a […]<\/p>\n","protected":false},"author":12,"featured_media":63461,"parent":50613,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-63528","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nGloria Oyarz\u00e1bal: Guanya III KBr Photo Award | Fundaci\u00f3n MAPFRE<\/title>\n<meta name=\"description\" content=\"Descobreix el projecte de Gloria Oyarz\u00e1bal, guanyadora del III KBr Photo Award, que reflexiona sobre els llegats colonials i la descolonitzaci\u00f3 de la imatge.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/kbr.fundacionmapfre.org\/ca\/kbr-photo-award\/edicio-2025\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gloria Oyarz\u00e1bal: Guanya III KBr Photo Award | Fundaci\u00f3n MAPFRE\" \/>\n<meta property=\"og:description\" content=\"Descobreix el projecte de Gloria Oyarz\u00e1bal, guanyadora del III KBr Photo Award, que reflexiona sobre els llegats colonials i la descolonitzaci\u00f3 de la imatge.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/kbr.fundacionmapfre.org\/ca\/kbr-photo-award\/edicio-2025\/\" \/>\n<meta property=\"og:site_name\" content=\"KBr - 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