In 1927 Miró affirmed his desire to assassinate painting in the sense of transgressing, going beyond  the picture, and opening up to other techniques and elements. Fleeing from canvas and paint and adding new materials, we ask ourselves, what about photography? What is happening with photography nowadays? Are we murdering it as Miró wanted to murder the painting? Several theorists, including Joan Fontcuberta, have spoken of the death of photography as we used to know it and have told us about post-photography. But apart from post-photography, many authors who work with images where the idea of modifying “traditional” photography is present without falling under that label.  

 

Photography is constantly shifting paradigms as it intersects with technological advances and new modes of image creation, dissemination, and visualisation. Therefore, the medium evolves according to the demands of the channels used for the consumption of leisure, information and disinformation. With the emergence of the Internet, advances in image technologies, and democratisation, a broad spectrum of possibilities has opened up for photography and image creation in multiple manifestations.

 

What ways are there to economise the images? Is the concept more relevant than the technique? Is there any original image? What does it mean to make photography in an era where everyone can do it? Is an image generated with artificial intelligence, photography? What are the materialities and channels through which we can visualise those images? This edition begins with the idea of exploring and addressing these and other doubts that may arise with the participants’ contributions questioning the limits of photography.