He studied industrial design, which combined with the practice of the scenery, and subsequently graduated in photography from the Facultat de Belles Arts of the Universitat de Barcelona. Since 1982, he has taught photography at the same university. He has given numerous courses, workshops, and lessons in many different schools and centers. Author of the project La Càmera Gegant (1984), for which he invited artists from different fields to take photos in Barcelona. For his project Toulouse in camera obscura, he photographed the city of Toulouse using a truck transformed into camera. His work ranges from the poetic documentary to installations that incorporate other disciplines, always committed to experimentation and reflection on the own half. In this sense it uses both the photography in black and white, photographic procedures of the nineteenth century as the gum bichromate, self construction cameras or he makes installations with complex technical devices.

Since 1995 he has collaborated with the photographer Mònica Roselló on various projects. This collaboration includes L’Armari de l’arquitecte, presented in Rencontres photographiques d’Arles in 1996, which builds the image of a city from the personal objects contributed by twenty architects; Objecte d’Observació (1998), where the role of the spectator, who is noted by film actors, is inverted; Tabula rasa (2000), a reflection on the mechanisms of memory from a phosphorescent device that temporarily retains the light; and TEN VISIONS. Reading Between Streets (Art Institute of Chicago, 2004), on  the importance of the use of public space as means for communication. Currently, they are working on various projects around architecture, objects, and geometry.

Guillumet’s work has had numerous national and international exhibitions and forms part of collections in museusms such as the Birmingham Museum of Art (USA), Centre Pompidou (Paris), Maison Europeénne de la Photographie (Paris), Centro de Arte Reina Sofía (Madrid), MNAC (Museu Nacional d’Art de Catalunya, Barcelona), IVAM (Valencia), and the Colección Alvarez-Bravo (Mexico City), among others.

 

Mònica Roselló

A graduate in photography from the Fine Arts Faculty of the University of Barcelona, Mònica Roselló also studied design in Barcelona’s Elisava School. She began her professional career in 1986 as a freelance photographer in the advertising, architecture, and interior design sectors, simultaneously developing personal projects. In the mid-1980s, she began her teaching career in photography and worked as teacher in a different institutions: Elisava School of Barcelona, Politechnics University of Catalogne, Architecture School of Barcelona, Pompeu Fabra University, and BAU Design School . She has also held workshops in arts centers and museums.

In the area of fine art photography, she has participated in projects that have resulted in book publications, such as Stalking Detroit (Ed Actar, 2001), Barcelona Acròstic (Ed. Destino, 2002), Saharauis, solo el desierto (Ed. Asociación Rivas-Sahel, 2004), and Genius Loci (Arola Editors, 2010).

The most representative exhibitions and installations of her personal work, some of which were created together with the photographer Jordi Guillumet, include L’armari de l’Arquitecte, an installation that deals with the creative act in architecture; Objecte d’observació, a visual game which concerns the role of the spectator in a performance; Darrera versió, sequenced portraits; Tabula rasa, a reflection on the mechanisms for creating memories; Rear Window, a visual review of private life through the window; TEN VISIONS. Reading Between Streets, on the importance of the use of public space as a means of communication, and Doble exposició, about the journey as a means of survival. Her work had been exhibited at the Art Institute of Chicago (USA), Rencontres de la Photographie Arles (FR), Jyväskylän Tadeimuseo (FIND), Art Museum of Girona, Galeria Urania Barcelona, MNAC Barcelona, Art Museum of Tarragona, and other museums. Her work likewise forms part of numerous public and private collections.