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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 tecnologías de la representación de épocas anteriores." />
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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>
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150<li id='exhibit_88' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/paisaje-acribillado/'>Paisaje acribillado</a></li>
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152<li id='exhibit_79' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/recuerdos-desplazados/'>Recuerdos Desplazados</a></li>
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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>
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160<li id='exhibit_70' class='exhibit_title'><a href='https://arqueologiadelpuntdevista.com/fotografia/la-ciudad-sustituida/'>La ciudad sustituida</a></li>
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211<ul class='section' id='section_4'>
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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>
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223<ul class='section' id='section_7'>
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232<ul class='section' id='section_6'>
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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 />
272
— 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 3–4, 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 projects—<em>The Constant Face</em> and <em>Plural Portrait</em>—<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 gazes—some distracted, others intensely focused—in 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 l’objectiu, no és en la càmera on reclamen el diàleg, sinó que miren a tots els ulls possibles on algun dia tindrà lloc la trobada.
</em><br />
295— 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 d’octubre de 2026.</p>
298
299<p><strong>Un retrat plural</strong><br />
300La peça celebra la presència de la infància 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 d’ulls 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 extreure’n una mitjana visual. En el context de les pràctiques 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 pseudocientífica de l’eugenèsia. Aquell imaginari va contribuir a consolidar formes de segregació i construccions identitàries que continuen assaltant el present.</p>
303
304<p>Tanmateix, <em>Tots els ulls possibles</em> es mobilitza dins d’un moviment crític posterior. Emparat en la pràctica fonamental de Nancy Burson, el retrat compost s’erigeix 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 —<em>El rostre continu</em> o <em>Retrat plural</em>—, <em>Tots els ulls possibles</em> continua invertint la lògica originària d’aquests dispositius: la superposició no busca reduir, sinó multiplicar. La imatge esdevé una representació oberta, inacabada i diversa, en diàleg amb la naturalesa mateixa del fet casteller, on el cos individual creix dins d’una arquitectura palpitant i compartida.</p>
307
308<p><strong>Recerca d’arxiu</strong><br />
309<em>Tots els ulls possibles</em> és un treball de creació des de l’arxiu. Sorgit d’una immersió en fotografies d’esdeveniments castellers, parteix d’un entramat de mirades —algunes distretes, altres concentrades— per trobar aquelles que obren una fissura temporal quan es dirigeixen a la càmera. No només observen el present, sinó que anticipen tots els temps possibles de la imatge. L’esguard esdevé així 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 d’un cicle viu: els infants que avui coronen els castells demà en seran base. El retrat col·lectiu recull així una comunitat en transformació constant, una estructura humana que es construeix i es desmunta contínuament.</p>
312
313<p><em>Tots els ulls possibles</em> és una imatge coral que no fixa una identitat, sinó que la manté oberta. És una manera de mirar-nos 
313i de descobrir-hi rostres nous.</p></div>
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