Eulàlia: Inventemos Tambien Nosotros
Eulàlia Grau
1976
Eulàlia: Inventemos Tambien Nosotros
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Eulàlia Grau is a Catalan conceptual and feminist artist whose photomontages and collages critically examine social inequalities, gender stereotypes, and systems of power, questioning the authoritarian structures of Francoist Spain and beyond. Two series mark ...
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Eulàlia: Inventemos Tambien Nosotros
Eulàlia Grau
1976
Barcelona: Galaria G
Unpaginated [44 pages]
29.4 × 20.8 cm
Edition of 100; numbered 84/100

Eulàlia Grau is a Catalan conceptual and feminist artist whose photomontages and collages critically examine social inequalities, gender stereotypes, and systems of power, questioning the authoritarian structures of Francoist Spain and beyond. Two series mark her early career: Etnografia (1974–1975) and Inventemos También Nosotros (1976–1977).


 


The latter, loosely translated as We, Too, Can Invent, is a political series that juxtaposes two parallel stories: that of Diego Navarro, an Andalusian worker and father of a large family who, after participating in a demonstration on the Ferro bridge in Arboç, was imprisoned and eventually committed suicide; and that of Juan Vilá Reyes, a notorious Catalan businessman best known for his involvement in the Matesa fraud, who was imprisoned but soon acquitted. While Navarro’s story received scant press coverage, the abundance of documentation surrounding Reyes’s case highlights beyond bribery and corruption, social, political, and media inequalities. 


 


Published in an edition of just 100 copies for Galeria G in Barcelona, the book unfolds as a commemorative folder in which the two stories are presented in striking documentary contrast.

Barcelona: Galaria G
Unpaginated [44 pages]
29.4 × 20.8 cm
Edition of 100; numbered 84/100

Eulàlia Grau is a Catalan conceptual and feminist artist whose photomontages and collages critically examine social inequalities, gender stereotypes, and systems of power, questioning the authoritarian structures of Francoist Spain and beyond. Two series mark her early career: Etnografia (1974–1975) and Inventemos También Nosotros (1976–1977).

 

The latter, loosely translated as We, Too, Can Invent, is a political series that juxtaposes two parallel stories: that of Diego Navarro, an Andalusian worker and father of a large family who, after participating in a demonstration on the Ferro bridge in Arboç, was imprisoned and eventually committed suicide; and that of Juan Vilá Reyes, a notorious Catalan businessman best known for his involvement in the Matesa fraud, who was imprisoned but soon acquitted. While Navarro’s story received scant press coverage, the abundance of documentation surrounding Reyes’s case highlights beyond bribery and corruption, social, political, and media inequalities. 

 

Published in an edition of just 100 copies for Galeria G in Barcelona, the book unfolds as a commemorative folder in which the two stories are presented in striking documentary contrast.

DESCRIPTION

Eulàlia Grau is a Catalan conceptual and feminist artist whose photomontages and collages critically examine social inequalities, gender stereotypes, and systems of power, questioning the authoritarian structures of Francoist Spain and beyond. Two series mark her early career: Etnografia (1974–1975) and Inventemos También Nosotros (1976–1977).

 

The latter, loosely translated as We, Too, Can Invent, is a political series that juxtaposes two parallel stories: that of Diego Navarro, an Andalusian worker and father of a large family who, after participating in a demonstration on the Ferro bridge in Arboç, was imprisoned and eventually committed suicide; and that of Juan Vilá Reyes, a notorious Catalan businessman best known for his involvement in the Matesa fraud, who was imprisoned but soon acquitted. While Navarro’s story received scant press coverage, the abundance of documentation surrounding Reyes’s case highlights beyond bribery and corruption, social, political, and media inequalities. 

 

Published in an edition of just 100 copies for Galeria G in Barcelona, the book unfolds as a commemorative folder in which the two stories are presented in striking documentary contrast.

Barcelona: Galaria G
Unpaginated [44 pages]
29.4 × 20.8 cm
Edition of 100; numbered 84/100

Eulàlia Grau is a Catalan conceptual and feminist artist whose photomontages and collages critically examine social inequalities, gender stereotypes, and systems of power, questioning the authoritarian structures of Francoist Spain and beyond. Two series mark her early career: Etnografia (1974–1975) and Inventemos También Nosotros (1976–1977).

 

The latter, loosely translated as We, Too, Can Invent, is a political series that juxtaposes two parallel stories: that of Diego Navarro, an Andalusian worker and father of a large family who, after participating in a demonstration on the Ferro bridge in Arboç, was imprisoned and eventually committed suicide; and that of Juan Vilá Reyes, a notorious Catalan businessman best known for his involvement in the Matesa fraud, who was imprisoned but soon acquitted. While Navarro’s story received scant press coverage, the abundance of documentation surrounding Reyes’s case highlights beyond bribery and corruption, social, political, and media inequalities. 

 

Published in an edition of just 100 copies for Galeria G in Barcelona, the book unfolds as a commemorative folder in which the two stories are presented in striking documentary contrast.

MORE BOOKS

Eulàlia Grau is a Catalan conceptual and feminist artist whose photomontages and collages critically examine social inequalities, gender stereotypes, and systems of power, questioning the authoritarian structures of Francoist Spain and beyond. Two series mark her early career: Etnografia (1974–1975) and Inventemos También Nosotros (1976–1977).

 

The latter, loosely translated as We, Too, Can Invent, is a political series that juxtaposes two parallel stories: that of Diego Navarro, an Andalusian worker and father of a large family who, after participating in a demonstration on the Ferro bridge in Arboç, was imprisoned and eventually committed suicide; and that of Juan Vilá Reyes, a notorious Catalan businessman best known for his involvement in the Matesa fraud, who was imprisoned but soon acquitted. While Navarro’s story received scant press coverage, the abundance of documentation surrounding Reyes’s case highlights beyond bribery and corruption, social, political, and media inequalities. 

 

Published in an edition of just 100 copies for Galeria G in Barcelona, the book unfolds as a commemorative folder in which the two stories are presented in striking documentary contrast.

MORE BOOKS