PARRA & ROMERO | IBIZA

Parra & Romero presents Ugo Mulas: The Biennale and the Image, an exhibition dedicated to the extraordinary body of work Ugo Mulas developed around the Venice Biennale, one of the key stages in the shaping of modern and contemporary international art. Conceived at a particularly meaningful moment, coinciding with the opening of this year's Biennale, the exhibition reflects on the Biennale not only as a major artistic event, but also as a space of representation, construction, and memory. Through Ugo Mulas' precise, intelligent, and deeply sensitive gaze, the Biennale emerges not merely as a site where art is displayed, but as a complex dispositif in which images, relationships, gestures, presences, and imaginaries are produced, elements that have contributed to defining the visual history of the twentieth century. The project brings together a selection of approximately forty photographs, including vintage prints, a number of colour images, and a limited presence of modern prints, forming a display that deliberately avoids rigid hierarchies or a strictly chronological sequence. The exhibition has been conceived to allow for a more open, intuitive, and sensitive experience of discovery, in which the viewer can move freely across different temporalities, atmospheres, and registers of looking. While the core of the selection focuses on the interior of the Biennale, its pavilions, artworks, installations, and artists, the exhibition also includes those images in which Mulas' attention shifts towards the margins of the event: meetings in cafés, journeys, pauses, moments of waiting, or seemingly peripheral scenes which, far from being anecdotal, broaden our understanding of the Biennale as a lived experience, a human ecosystem, and an expanded theatre of art. It is in this territory that figures, gestures, and situations appear that condense, with extraordinary naturalness, the cultural, social, and symbolic density of that moment. Beyond their documentary value, Ugo Mulas' photographs reveal a singular capacity to transform observation into visual thought. His work does not simply record a scene: it interprets it, orders it, and gives it form. In this sense, The Biennale and the Image is not only an exhibition about the Venice Biennale, but also a reflection on how it becomes image, and on how, through that image, a certain idea of art, the artist, and exhibition history itself is constructed. The installation has been conceived with a rigorous and understated approach, yet also with a strong aesthetic dimension. The display introduces a chromatic presence deeply connected to the Venetian tradition through vertical bands in Venetian red, a colour charged with historical and symbolic resonance that lends the exhibition a refined, quiet, and evocative atmosphere. Far from functioning as a scenographic gesture, this element accompanies the exhibition as a layer of meaning, linking the images to the pictorial and cultural memory of Venice.

Parra & Romero is pleased to present Rehearsing Reality: Constructing the Present, an exhibition bringing together Jeff Wall and Ian Wallace in a focused dialogue in Madrid. The exhibition highlights two seminal practices that emerged from Vancouver and have decisively shaped the international understanding of image-making since the late twentieth century, expanding the field between photography, painting, conceptual strategies, and the conditions of display. Both Wall and Wallace have worked with the city not simply as subject matter, but as a testing ground where the social, the architectural, and the everyday become legible through constructed images. Their works operate in the productive tension between observation and staging, between the documentary impulse and the deliberate orchestration of the scene. In this sense, "rehearsal" becomes a method: a way of composing reality so that its structures of labour, class, visibility, and power can be seen and questioned. Jeff Wall’s practice is internationally recognised for redefining the photographic picture through a complex relationship to cinema, painting, and the tableau tradition. His large-scale transparencies and photographic works, often developed through carefully directed production, insist on the image as a site where the present is built, not merely recorded. Ian Wallace, a key figure of the Vancouver School, has consistently explored the ideological and material conditions of representation, combining photography with painterly and conceptual frameworks that foreground the role of the image in public space. Rehearsing Reality: Constructing the Present is conceived as a conversation across these approaches, bringing together works that articulate different distances to the city and to the figure, and different modes of "construction" as an aesthetic and political decision. The exhibition offers a precise view into the ways both artists have contributed to a critical visual language for the contemporary world— one in which images do not simply reflect the present, but actively participate in its formation.

A new solo exhibition by Florian Pumhösl, recognized internationally for his conceptual approach to abstraction. The show presents a new body of work inspired by marks, symbols, and annotations left by humans throughout history as a form of record-keeping.