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The selected images presented here belong to a vital project dealing with the human behavior within space. I am trying to analyze the human capacity to destroy and yet mutate its natural context, from the most harsh and aggressive to the most subtle way. The human being creates and adapts; changes and modifies; interferes, transforms, perverts the natural environment according to its needs and interests. The human being harms the space, the context, conveying expiring and ephemeral needs. The humanized landscape becomes a modified landscape.

I wonder about the immensity of space and its magnificence. Nature surrounds us and the human being keeps on damaging it constantly. There are no virgin spaces left: it does not matter how far they are, the landscape always has a human trace behind. Humanity keeps on creating new material, impulsively, unconscious that it will becomes obsolete by a never-quenching thirst of own improvement.

Roads and paths, homes, towns, communication lines, energy distribution… a never-ending list of elements which multiply every day: ephemeral them all. Abandonment is implied in any process of creation. Most of these objects get completely forgotten, in spite of still being among us: like the forgotten van at 4000 meters above sea level and with no human trace in a range of 200 Km.  The world has become the graveyard of the world itself.

Landscape is our mother tongue. Our first means of communication, previous to the early signs and symbols. The language of landscape can be read, spoken, heard or imagined even. All we generate in the landscape talks about us, the way we are. The Palenque archaeological ruins (Mexico) talk about a lost generation which disappeared thousands of years ago the same way as roads, buildings, abandoned communication lines, nuclear waste, non-reused materials will talk about our generation.

The selection of images presented here refers to the most subtle human intervention to the landscape. All these elements harm the space in the simplest way. I also have included photographs of the people who, either directly or indirectly, have interfered with the space around them, creating thus a visual link between space and subject.


Aleix Plademunt,
Barcelona, 2008






The nada project is a reflection on the use of words and the invasion of advertising currently taking place in our contemporary societies.

We are surrounded by words. Words are present in our everyday lives. Messages on advertising billboards, walls, façades, windows, shopping bags, cars, buses, underground, lorries, floors, roads, plots of land, television, newspapers… this constant onslaught of messages brings us to a saturation point where words tend to loose their meanings.

The trivial content of information reaches us through sight, sound, touch, taste and smell. We have become immune to receiving empty stimuli, as words and advertising invade our public space. It has become a marketplace, causing unprecedented visual contamination. I realized that it is almost impossible to find a space devoid of a message. Words are no longer the vehicles that transport us to the sphere of reflection and meaning and get lost in the communicational vacuum of advertising.

This generalized nothing is recurrent, from Barcelona to Beijing and from Mexico City to Cairo. And the conclusion seems to be that, while the forms may vary, the tangible reality remains the same. Needs have become globalized and stereotyped, despite the sometimes abysmal differences of the settings.

The project was an immersion in the emptiness of words. I aimed to clearly and nakedly illustrate the conceptual emptiness in which I move. The nada appears repeatedly, not only expressing emptiness and non-existence but also filling our visual environment with its presence. Hence, the nada opens the door to reflection; from silence, it becomes a scream towards questioning. What is the reaction to the awareness of the nada? And this meaning, while, in principle, empty, aims to prompt a reconsideration of our coexistence with words.


Aleix Plademunt,
Barcelona, 2008








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