In the Arab countries of the Persian Gulf region, any allusion to the future is usually accompanied by the expression In sha Allah, which denotes hope and desire for something to happen, God willing. The enormous influx of capital derived from natural resources, economic globalization, and tourism, together with the arrival of new technologies, has introduced into these countries ways of life that belong more to the digital age than to the austere nomadic culture of the Bedouins who once inhabited the Arabian Peninsula. As a consequence, countries such as Saudi Arabia, Qatar, Bahrain, the United Arab Emirates, and Oman have experienced a profound process of transformation, not only in their societies and cultures, but also in their landscapes and in their aesthetics.

Inshallah documents this urban and interurban mutation. The traditional customs of Islam coexist with postmodern spaces, while historical landscapes are altered by new technologies. Roger Grasas offers a conceptual vision of contemporary spaces to explore the category of the “strange” in this new Arab landscape, where past and future merge to dilute the present.

Based on rigorous historiographical research, Ha Aretz is a reinterpretation of biblical stories that documents the exact places where, according to tradition, the most emblematic episodes of the Sacred Scriptures occurred. From Genesis and Exodus, through the life of Jesus to the Apocalypse, Ha Aretz reflects on the transformation of the ancestral regions that constitute the spiritual and cultural epicenter of Judaism, Christianity and Islam, while bearing witness to the impact that geopolitics, capitalism and technology exert in the present.

Siberia is an experimental visual essay that documents the colossal journey along the world’s longest railway line: the Trans-Siberian. A century-old route, an engineering marvel, and a silent witness to history, the “Rossiya” train departs from Moscow every two days to reach, ten thousand kilometers later, the waters of the Pacific. Siberia is a symphony in motion of landscapes and textures, lights and shadows, ranging from the silence of the taiga to the immensity of the steppe, from the majesty of Lake Baikal to the harshness of the industrial cities that mark its winding route. Through visual fragments and the cadence of the landscape’s movement, always oriented towards the rising sun, Siberia reveals the beauty of contemplating a frame: the view through a train window, within another frame, that of the camera.

In the last twenty years, the technological revolution has radically transformed the world of photography—and, with it, the profession of photographer. We are in the midst of the post-photography era and the advent of homo photographicus. At the height of his career, Joan Fontcuberta has been forced to evolve his discourses and strategies to interpret a constantly transforming world, while revising the creative framework that he himself had forged in the eighties. For almost two years, the documentary team has accompanied Fontcuberta in his most diverse activities and has had access to his most intimate environment: four generations of the Fontcuberta family who, with their testimonies, allow us to approach one of the most multifaceted and fascinating figures in contemporary art.