News & Updates

Later Projects (2010–2015)

The exhibition record lists further activity through 2015, including group and solo presentations such as San Borondon (2015), Je reviendrai peut-être and La promesse de la mer (2014), JORGE Y YO, Canto para los peces, and NOMES LIIURES – SOLO LIBROS (2013), LXVI Salón Nacional de Rosario 2012 and TOULOUSAINES (2012), and LA MAQUINA DE DIBUJAR, PARANA TROPICAL FOLK SYSTEM, LO REAL LO REAL LO REAL, and RITUALES FEMENINOS (2011).

For full dates and venues, see the Exhibitions archive.

The trajectory of Pauline Fondevila's exhibition history reveals a sustained engagement with space, memory, and narrative across European institutions. Her early solo presentations, beginning in the mid-2000s, established a working method that intertwines intimate observation with broader cultural references. Each exhibition functions less as a discrete event and more as a continuing conversation, where motifs and concerns resurface in new configurations. This approach allows her practice to develop organically, responding to different architectural contexts while maintaining a coherent visual language. The progression from early works to later projects demonstrates an artist committed to deepening rather than simply expanding her thematic reach, building layers of meaning across successive bodies of work.

The relationship between title and content in Fondevila's exhibitions often carries a literary quality that invites multiple readings. References to songs, adventures, and specific temporal markers suggest narratives that exist both within and beyond the gallery space. These titles do not merely label the work but actively participate in framing how viewers encounter the pieces, creating a threshold between everyday language and visual experience. This textual dimension complements the material concerns of her practice, offering entry points that are at once poetic and precise. The consistency of this approach across different venues and years indicates a deliberate strategy of using language as an integral component of exhibition-making.

Fondevila's exhibition record traces a geography that moves between France and Spain, engaging with institutions of varying scales and missions. From dedicated art centre spaces to museum laboratories, each venue has contributed a distinct set of conditions that shape how the work is experienced. The artist's ability to adapt her practice to these different institutional frameworks without compromising its core concerns speaks to a flexibility born of deep conviction. These presentations, spread across more than half a decade, map not only a career trajectory but also a network of relationships with curators, spaces, and audiences that continue to inform the development of her ongoing artistic dialogue.