1<!doctype html> 2<html lang='en-us'> 3<head> 4<meta charset='utf-8'> 5<meta name="viewport" content="width=device-width, initial-scale=1"> 6<title>Tots els ulls possibles : Arqueologia del punt de vista</title> 7<meta name='keywords' content="" /> 8<meta name='description' content="Arqueologia del Punt de Vista es una asociación sin ánimo de lucro que desarrolla una serie de proyectos de investigación, teóricos y audiovisuales, que tratan de un análisis de la percepción de la actualidad a través del estudio y la recuperación de testimonios, documentos y tecnologÃas de la representación de épocas anteriores." /> 9<meta name='author' content="Ricard MartÃnez" /> 10<meta name='copyright' content="(c) Ricard MartÃnez" /> 11<meta name='Robots' content="" /> 12<meta name='Revisit-after' content="" /> 13<meta name='generator' content="Indexhibit" /> 14<link rel='alternate' type='application/rss+xml' title='RSS' href='https://arqueologiadelpuntdevista.com/xml/' /> 15<link rel='stylesheet' href='https://arqueologiadelpuntdevista.com/ndxzsite/arqueologia/genericons/genericons.css?v=2.1.6' type='text/css' /> 16<link rel='stylesheet' href='https://arqueologiadelpuntdevista.com/ndxzsite/arqueologia/reset.css?v=2.1.6' type='text/css' /> 17<link rel='stylesheet' href='https://arqueologiadelpuntdevista.com/ndxzsite/arqueologia/base.css?v=2.1.6' type='text/css' /> 18<link rel='stylesheet' href='https://arqueologiadelpuntdevista.com/ndxzsite/arqueologia/style.css?v=2.1.6' type='text/css' /> 19<style type='text/css'> @import url(https://arqueologiadelpuntdevista.com/ndxzsite/css/slick.css?v=2.1.6); </style> 20<style type='text/css'> @import url(https://arqueologiadelpuntdevista.com/ndxzsite/css/genericons/genericons.css?v=2.1.6); </style> 21<style type='text/css'> 22 23.social_icons ul li a:before { 24 -moz-osx-font-smoothing: grayscale; 25 -webkit-font-smoothing: antialiased; 26 display: inline-block; 27 font-family: "Genericons"; 28 font-size: 12px; 29 font-style: normal; 30 font-weight: normal; 31 font-variant: normal; 32 line-height: 1.1; 33 speak: none; 34 text-align: center; 35 text-decoration: inherit; 36 text-transform: none; 37 vertical-align: top; 38 } 39 .social_icons ul li { position: relative; float: left; margin: 0; opacity: 0.6; transition: opacity 0.3s linear 0s; } 40 .social_icons ul li:hover { opacity: 1; } 41 .social_icons ul li a { position: relative; display: block; width: 1.7em; height: 1.7em; } 42 43 .social_icons ul li a:before { 44 content: "\f415"; 45 background-color: #000; 46 color: #fff; 47 font-size: 14px; 48 text-decoration: none; 49 position: absolute; 50 top: 0; 51 left: 0; 52 padding: 0.3em; 53 border-radius: 1em; 54 } 55 56 .social_icons ul li a[href*="facebook.com"]:before { content: "\f204"; } 57 .social_icons ul li a[href*="twitter.com"]:before { content: "\f202"; } 58 .social_icons ul li a[href*="plus.google.com"]:before { content: "\f206"; } 59 .social_icons ul li a[href*="instagram.com"]:before { content: "\f215"; } 60 .social_icons ul li a[href*="linkedin.com"]:before { content: "\f207"; } 61 .social_icons ul li a[href*="pinterest.com"]:before { content: "\f210"; } 62 .social_icons ul li a[href*="tumblr.com"]:before { content: "\f214"; } 63 64</style> 65
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131 132 133</head> 134<body class='exhibits section-11 exhibit-98 format-slick'> 135<div id='index'> 136<div class='container'> 137 138<div class='top'> 139<p><a href='/' title='Arqueologia del punt de vista'><img src="/ndxzsite/arqueologia/assets/images/logo03.png"></a></p> 140<button class="menu-toggle" aria-expanded="false">Menu</button> 141</div> 142<div class='nav-menu'> 143<ul class='section active_section' id='section_11'> 144<li><span id='section_title_11' class='section_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/' id='section_link_11'>FOTOGRAFIA/PHOTOGRAPHY</a></span> 145<ul> 146<li id='exhibit_98' class='exhibit_title active'><a href='https://arqueologiadelpuntdevista.com/fotografia/tots-els-ulls-possibles/'>Tots els ulls possibles</a></li> 147<li id='exhibit_97' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/el-rostre-continu/'>El rostre continu</a></li> 148<li id='exhibit_95' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/arquitectura-palpitant/'>Arquitectura Palpitant</a></li> 149<li id='exhibit_87' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/empremta-de-memoria-al-mur/'>Empremta de memoria al mur</a></li> 150<li id='exhibit_88' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/paisaje-acribillado/'>Paisaje acribillado</a></li> 151<li id='exhibit_85' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/papiroflexia-en-piedra/'>Papiroflexia en piedra</a></li> 152<li id='exhibit_79' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/recuerdos-desplazados/'>Recuerdos Desplazados</a></li> 153<li id='exhibit_78' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/pont-vell/'>Pont Vell</a></li> 154<li id='exhibit_76' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/josep-pla-al-tabarin/'>Josep Pla al TabarÃn</a></li> 155<li id='exhibit_38' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/les-reials-drassanes-de-barcelona/'>Les Reials Drassanes de Barcelona</a></li> 156<li id='exhibit_52' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/el-daguerre-de-sants/'>El Daguerre de Sants</a></li> 157<li id='exhibit_42' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/febrer-figueres/'>Febrer Figueres</a></li> 158<li id='exhibit_47' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/cartografia-de-una-batalla/'>CartografÃa de una batalla</a></li> 159<li id='exhibit_45' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/del-material-con-que-se-rellena-un-crater/'>Del material con que se rellena un cráter</a></li> 160<li id='exhibit_70' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/la-ciudad-sustituida/'>La ciudad sustituida</a></li> 161<li id='exhibit_75' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/mirades-incompletes/'>Mirades Incompletes</a></li> 162<li id='exhibit_67' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/ignota-escitia/'>Ignota Escitia</a></li> 163</ul> 164</li> 165</ul> 166<ul class='section' id='section_2'> 167<li><span id='section_title_2' class='section_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/' id='section_link_2'>INSTALACIONES /INSTALLATIONS</a></span> 168<ul> 169<li id='exhibit_96' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/intramurs-el-temps-que-habita-larxiu/'>Intramurs. El temps que habita l'Arxiu</a></li> 170<li id='exhibit_94' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/vaixell-arxiu-2023/'>Vaixell Arxiu 2023</a></li> 171<li id='exhibit_86' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/autoretrat-dun-vaixell-anomenat-arxiu/'>Autoretrat d'un vaixell anomenat Arxiu</a></li> 172<li id='exhibit_83' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/13-banderes-fosques/'>13 Banderes Fosques</a></li> 173<li id='exhibit_82' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/molt-amor-per-fer/'>Molt amor per fer</a></li> 174<li id='exhibit_80' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/olimpiada-popular/'>OlimpÃada Popular</a></li> 175<li id='exhibit_40' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/pati-de-llum/'>Pati de Llum</a></li> 176<li id='exhibit_27' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/estrats/'>Estrats</a></li> 177<li id='exhibit_5' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/project/napoleon-galeria-urbana-de-retratos/'>Napoleon GalerÃa Urbana de Retratos</a></li> 178<li id='exhibit_17' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/selenitas/'>Selenitas</a></li> 179<li id='exhibit_4' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/project/autoretrat/'>Autoretrat</a></li> 180<li id='exhibit_3' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/instalaciones/repressio-i-resistencia/'>Repressió i Resistència</a></li> 181<li id='exhibit_8' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/project/forats-de-bala/'>Forats de Bala</a></li> 182<li id='exhibit_7' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/project/patrimoni/'>Patrimoni</a></li> 183<li id='exhibit_6' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/project/runa/'>Runa</a></li> 184</ul> 185</li> 186</ul> 187<ul class='section' id='section_3'> 188<li><span id='section_title_3' class='section_title'><a href='https://arqueologiadelpuntdevista.com/exposiciones/' id='section_link_3'>EXPOSICIONES/CURATING</a></span> 189<ul> 190<li id='exhibit_92' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/exposiciones/larxiu-es-mani-i-festa/'>L'Arxiu és Mani i festa</a></li> 191<li id='exhibit_84' class='exhibit_title'>
191<a href='https://arqueologiadelpuntdevista.com/exposiciones/centelles-vist-per-centelles/'>Centelles vist per Centelles</a></li> 192<li id='exhibit_81' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/exposiciones/banyoles-del-record-a-la-mirada-/'>Banyoles del Record a la Mirada </a></li> 193<li id='exhibit_24' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/exposiciones/refotografiar-barcelona-amb-mark-klett/'>Refotografiar Barcelona amb Mark Klett</a></li> 194</ul> 195</li> 196</ul> 197<ul class='section' id='section_8'> 198<li id='section_title_8'><span id='section_link_8' class='section_title'>ESTEREOSCOPÃA/STEREOSCOPY</span> 199<ul> 200<li id='exhibit_23' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/estereoscopia/visor-lartigue/'>Visor Lartigue</a></li> 201</ul> 202</li> 203</ul> 204<ul class='section' id='section_14'> 205<li id='section_title_14'><span id='section_link_14' class='section_title'>PUBLICACIONES/PUBLICATIONS</span> 206<ul> 207<li id='exhibit_65' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/publicaciones/les-fotografies-imaginades/'>Les Fotografies Imaginades</a></li> 208</ul> 209</li> 210</ul> 211<ul class='section' id='section_4'> 212<li><span id='section_title_4' class='section_title'><a href='https://arqueologiadelpuntdevista.com/docencia/' id='section_link_4'>DOCENCIA/TEACHING</a></span> 213<ul> 214<li id='exhibit_90' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/docencia/album-familiar-de-sarria-sant-gervasi/'>Ãlbum Familiar de Sarrià -Sant Gervasi</a></li> 215<li id='exhibit_89' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/docencia/time-bandits/'>Time bandits</a></li> 216<li id='exhibit_66' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/docencia/amb-ulls-daigua/'>Amb Ulls d'Aigua</a></li> 217<li id='exhibit_44' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/docencia/del-record-a-la-mirada/'>Del record a la mirada</a></li> 218<li id='exhibit_18' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/docencia/a-rephotographic-experience-in-barcelona/'>A rephotographic experience in Barcelona</a></li> 219<li id='exhibit_13' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/docencia/mark-klett-working-across-time/'>Mark Klett: Working across Time</a></li> 220</ul> 221</li> 222</ul> 223<ul class='section' id='section_7'> 224<li><span id='section_title_7' class='section_title'><a href='https://arqueologiadelpuntdevista.com/itinerarios/' id='section_link_7'>ITINERARIOS/VISUAL WALKS</a></span> 225<ul> 226<li id='exhibit_93' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/itinerarios/una-revolucion-detinguda/'>Una Revolución Detinguda</a></li> 227<li id='exhibit_19' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/rutaswalks/passejant-centelles/'>Experiencia Centelles</a></li> 228<li id='exhibit_43' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/itinerarios/fighting-gazes-in-barcelona/'>Fighting Gazes in Barcelona</a></li> 229</ul> 230</li> 231</ul> 232<ul class='section' id='section_6'> 233</ul> 234<ul class='section' id='section_1'> 235<li><span id='section_title_1' class='section_title'><a href='https://arqueologiadelpuntdevista.com/' id='section_link_1'>INFO/ABOUT US</a></span> 236<ul> 237<li id='exhibit_9' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/bio/'>Bio</a></li> 238<li id='exhibit_10' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/contacto--contact/'>Contacto</a></li> 239<li id='exhibit_21' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/rutaswalks/prensa--ppess/'>Prensa / press</a></li> 240<li id='exhibit_36' class='exhibit_title exhibit_link'><a href='http://blog.arqueologiadelpuntdevista.org' target='_new'>Blog</a></li> 241</ul> 242</li> 243</ul> 244<ul class='section' id='section_13'> 245</ul> 246<ul class='section' id='section_9'> 247</ul> 248 249<div class='bot'><div class="social_icons"><ul><li class="item-twitter"><a title="Twitter" target="_blank" href="https://twitter.com/ricard_martinez"></a></li><li class="item-instagram"><a title="Instagram" target="_blank" href="https://www.instagram.com/ricard_martinez/"></a></li></ul></div> 250 251<div class="copyright">© Arqueologia del Punt de Vista 2026 </div></div> 252</div> 253 254 255</div> 256</div> 257 258<div id='exhibit'> 259<div class='container'> 260 261<div class='top'><!-- --></div> 262<!-- text and image --> 263<div id='img-container'> 264<div id="slideshow-switch"><span class="text_button">texto</span> <span class="image_button">imágenes</span></div><div id='slideshow-wrapper'> 265<div id='slideshow' style='position: relative;'> 266<div class="picture"><img src="https://arqueologiadelpuntdevista.com/files/gimgs/98_ConcursCastells26_CARTELL_72dpi_0000_Layer 1_v2.jpg" width="343" height="720" /></div><div class="picture"><img src="https://arqueologiadelpuntdevista.com/files/gimgs/98_ConcursCastells26_CARTELL_72dpi_0001_Backgroun
266d.jpg" width="343" height="720" /></div></div></div> 267<div id='textspace' class='placement-hidden'> 268<p>ENG (català a continuació)</p> 269 270<p><strong>All Possible Eyes</strong><br /> 271<em>When eyes seek the lens, they do not claim dialogue within the camera itself, but look toward all the possible eyes in which the encounter will one day take place.</em><br /> 272â¨â Antonio Ansón</p> 273 274<p><em>All Possible Eyes</em> is the official poster image for the 30th Human Towers Competition (Concurs de Castells), to be held in Tarragona on October 3â4, 2026.</p> 275 276<p><strong>A Plural Portrait</strong><br /> 277The work celebrates the presence of the children who have grown up within the <em>colles castelleres</em> over the years. Small gazes capable of sustaining immense moments, coming together to form a plural portrait: a constellation of eyes that have seen the world from its highest point.</p> 278 279<p>The project engages with the early composite portraits of the nineteenth century, which superimposed faces in order to extract a visual average. Within the practices developed by Francis Galton, Cesare Lombroso, and Alphonse Bertillon, such photographic assemblages became instruments of classification, control, and the hierarchization of bodies, closely linked to the pseudoscientific logic of eugenics. This imaginary contributed to the consolidation of forms of segregation and identity-making that continue to haunt the present.</p> 280 281<p>All Possible Eyes, however, positions itself within a later critical lineage. Drawing on the seminal work of Nancy Burson, the composite portrait is reclaimed as a questioning device, revealing the fragility of fixed categories and the plurality inherent in every face.</p> 282 283<p>As in previous projectsâ<em>The Constant Face</em> and <em>Plural Portrait</em>â<em>All Possible Eyes</em> continues to invert the original logic of these visual dispositifs. Here, superimposition does not seek reduction, but multiplication. The image becomes an open, unfinished, and diverse representation, in dialogue with the very nature of the casteller tradition, where the individual body acquires meaning only within a shared and pulsating architecture.</p> 284 285<p><strong>Archival Research</strong><br /> 286<em>All Possible Eyes</em> is a work created from the archive. Emerging from an immersion in photographs of human tower events, it begins with a web of gazesâsome distracted, others intensely focusedâin search of those that open a temporal fissure as they turn toward the camera. These faces do not merely observe the present; they anticipate all the possible futures of the image. The gaze thus becomes an allegorical gesture, condensing the potential for the future that inhabits photography itself.</p> 287 288<p>Within the <em>casteller</em> tradition, these young faces form part of a living cycle: the children who crown the towers today will become their foundation tomorrow. The collective portrait therefore captures a community in constant transformation, a human structure that is endlessly assembled and dismantled.</p> 289 290<p><em>All Possible Eyes </em>is a choral image that does not fix an identity but keeps it open. It offers a way of looking at ourselves and discovering new faces within that shared vision.</p> 291 292<p>CAT</p> 293 294<p><em>Quan els ulls busquen lâobjectiu, no és en la cà mera on reclamen el dià leg, sinó que miren a tots els ulls possibles on algun dia tindrà lloc la trobada.â¨</em><br /> 295â Antonio Ansón</p> 296 297<p>Tots els ulls possibles és la imatge del cartell del XXX Concurs de Castells, que tindrà lloc a Tarragona els dies 3 i 4 dâoctubre de 2026.</p> 298 299<p><strong>Un retrat plural</strong><br /> 300La peça celebra la presència de la infà ncia que, al llarg dels anys, ha crescut dins les colles castelleres. Mirades petites capaces de sostenir moments immensos que, juntes, componen un retrat plural: una constel·lació dâulls que han vist el món des de dalt de tot.</p> 301 302<p>El projecte dialoga amb els primers retrats compostos del segle XIX, que superposaven rostres per extreureân una mitjana visual. En el context de les prà ctiques impulsades per Francis Galton, Cesare Lombroso o Alphonse Bertillon, aquests fotmuntatges van fonamentar mecanismes de classificació, control i jerarquització dels cossos, vinculats a la deriva pseudocientÃfica de lâeugenèsia. Aquell imaginari va contribuir a consolidar formes de segregació i construccions identità ries que continuen assaltant el present.</p> 303 304<p>Tanmateix, <em>Tots els ulls possibles</em> es mobilitza dins dâun moviment crÃtic posterior. Emparat en la prà ctica fonamental de Nancy Burson, el retrat compost sâerigeix amb una potència qüestionadora que revela la fragilitat de les categories fixes i la pluralitat inherent a qualsevol rostre.</p> 305 306<p>Com en projectes realitzats anteriorment â<em>El rostre continu</em> o <em>Retrat plural</em>â, <em>Tots els ulls possibles</em> continua invertint la lògica originà ria dâaquests dispositius: la superposició no busca reduir, sinó multiplicar. La imatge esdevé una representació oberta, inacabada i diversa, en dià leg amb la naturalesa mateixa del fet casteller, on el cos individual creix dins dâuna arquitectura palpitant i compartida.</p> 307 308<p><strong>Recerca dâarxiu</strong><br /> 309<em>Tots els ulls possibles</em> és un treball de creació des de lâarxiu. Sorgit dâuna immersió en fotografies dâesdeveniments castellers, parteix dâun entramat de mirades âalgunes distretes, altres concentradesâ per trobar aquelles que obren una fissura temporal quan es dirigeixen a la cà mera. No només observen el present, sinó que anticipen tots els temps possibles de la imatge. Lâesguard esdevé aixà un gest al·legòric que condensa el potencial de futur que habita en les fotografies.</p> 310 311<p>En el context del món casteller, aquests rostres petits formen part dâun cicle viu: els infants que avui coronen els castells demà en seran base. El retrat col·lectiu recull aixà una comunitat en transformació constant, una estructura humana que es construeix i es desmunta contÃnuament.</p> 312 313<p><em>Tots els ulls possibles</em> és una imatge coral que no fixa una identitat, sinó que la manté oberta. Ãs una manera de mirar-nos
313i de descobrir-hi rostres nous.</p></div> 314</div> 315 316<!-- end text and image --> 317 318</div> 319</div> 320 321 322</body> 323</html>
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