Talent Latent, organized by the Departament de Cultura i Mitjans de Comunicació across the Direcció General de Cooperació Cultural, is framed inside the project of " Culture in Tour ". The show gathers the work of fifteen artists with incipient careers from around Europe, America and Asia, selected among more than hundred projects, previous offer of profesionals of the whole world in habitual contact with authors in the initial phase of his path.

Talent Latent already could meet in the festival SCAN ' 08, Manifestació Fotogràfica organized by the Departament de Cultura i Mitjans de Comunicació and that took place in Tarragona from April 14 to April 20, 2008. Taking this exhibition as a base, the Direcció General de Cooperació Cultural has done an adjustment to promote it, which will do to itself with the collaboration of the town halls of Sabadell, El Prat de Llobregat, Girona, Olot, Vilanova i la Geltrú, Terrassa and Ripollet.

Each of these municipalities will receive a part of the works that Talent Latent forms. In Girona, we can see the works of Nico Baumgarten, Yann Gross, Fiona Hackett, Aleix Plademunt, Tehnnica Schweiz and Ali Taptik.

In view of the nominal character of the photography, the exhibition contributes new reflections on the epoch in which we live and thinks about the role that plays the image in the configuration of the society, considering the photography to be a way of communication and an expressive active and plural language.

Interviews with the curators

Marta Dahó

Álvaro de los Ángeles

Tanit Plana

More information in http: // cultura2.gencat.cat/scan/

NICO BAUMGARTEN (Germany, 1981)

Bloqueo al G8, 20 Black-and-White Photographs

40x60 cm

2007-2008

BLOQUEIG AL G8. In July 2007, the G8 summit was held in Heiligendamm Germany, bringing together leaders from the world's most powerful countries. A major police and military presence aimed to control the more than 80,000 protesters who also turned up. After the violent clashes between protesters and police on the first day, the protest movement tried to prevent the situation escalating into a cycle of violence, as had happened in Genova in 2001.

This project documents the two days when more than 13,000 people tried to block all land access to the summit in a completely pacific fashion. The main success of this continued action was get to more media attention focused on the protest outside that the meeting of the eight most powerful leaders on the planet inside. This led to a new, critical reflection: the antiglobalisation movement cannot be seen as a synonym of violence. The series of carefully taken images here highlight these opposing aspects. Pm the one side, the excessive security measures visible in the extensive security zone and the paramilitary aspect of the riot police; on the other, the camp with thousands of protesters, showing an attitude of critical resistance specially directed to disassemble the rhetoric who accompanies summits by the G8.

YANN GROSS (Switzerland, 1981)

Horizonville, eighteen colour photographs

Various sizes

2005

HORIZONVILLE is a Swiss town on the way to the part of the country that is most popular with tourists. Despite being close to busy routes, it remains largely unknown. This is not the Switzerland of clichés, although seen close up through the eyes of Yann Gross it becomes a comprehensive and powerful metaphor of cultural colonisation in general and us colonisation in particular.

Horizonville is a town that has adopted the style and values of the American dream wholesale. In Horizonville the collective replacement of one identity by another remote, unrelated one offers the definitive proof that models and values of happiness are totally exchangeable, exportable, ephemeral and even a market product.

For more information visit www.yanngross.com and www.pocproject.com

FIONA HACKETT (Ireland, 1964)

Extraterritorial Spaces, 11 colour prints

52x66cm

2006-2007

EXTRATERRITORIAL SPACES. "Extraterritorial" is the term used to describe the status enjoyed by Diplomatic missions under international law. The term means that the diplomatic mission is considered part of the territory of the home country, rather than being part of the host country and, as a result, is exempt from local law. The host country may not enter the representing country's embassy without permission and, as such, is a part of another country, n this case, Ireland, within the context of these extraterritorial spaces, the images explore how culture influences and changes the space.

These interior spaces become metaphors for social and cultural relations - the interrelationship between the culture of the host country and the home country and the intra-relationship between different countries across the world. In these spaces of culture it becomes possible to consider the geopolitics of boundaries and borders, the development of globalisation, how cultures define and mark identity, and ultimately how we make sense of and live in this world.

For more information visit www.fionahackettphoto.com

ALEIX PLADEMUNT (Girona, 1980)

Cult, 10 colour photographs

125x140 cm

2008

Taking part by looking, Aleix Plademunt's photographic system involves taking over space: placing chairs there, wrapping cars or covering over posters. At times, though, his involvement is more subtle: simply looking (and at the same time selecting, shaping, balancing).

The CULT project arose out of a fascination with understanding our strange and complex habits of worship by exploring the spaces and mechanisms that shape them. This fascination and the need to worship and pay tribute to things is universal and transcends as Egypt, Mexico, China and Turkey.

We like visiting places that people visit, we like to have our photo taken where people have their photo taken, we like to talk about what people talk about, we like to identify with what people identify with. We worship people, gods, cities, mountains, houses, nations, flags, history, football, music, work and love.

This project considers all these habits and spaces with the subtle irony afforded by distance.

For more information visit  www.aleixplademunt.com

TECNICA SCHWEIZ : Gergely László (Budapest, 1979) & Péter Rákosi (Budapest, 1971)

Identikit Photographs, 22 photographs and drawings

40 x 50 cm

2006

IDENTIKIT PHOTOGRAPS pictures are drawn in accordance with the description given by witnesses to a crime scene and are used by the police to help track down the offender. The drawings are done by trained experts (police artists) by hand or with the help of specialised software. These pictures are usually based on descriptions given by several eye-witnesses. They don't aim to depict the exact image of the offender, but to emphasise any special facial or body characteristics they might have. The idea is not only to find any special facial or body characteristics they might have, the idea is not only to find a single delinquent, but t widen the search to include any number of people who might match the description, one of whom may be a possible suspect.

We searched Zsaru, the Hungarian police magazine, for all the indetitkit drawings published in the past five years and made a selection. For each drawing we then looked for a model with similar characteristics to the person depicted in the drawings. We then took portraits of these people with a large-format camera.

ALI TAPTIK (Istambul, 1983)

Kaza Ve Kader, 24c olour photographs

60x60 cm

Work in progress (since 2004)

The series of photographs KAZA VE KADER ('Accident and fate') is an extensive photographic work in progress started in 2004 whose main aim is to draw a map of public life through autobiographical scenes. The background contains no cultural picture postcards of the city of Istanbul and the personal images hide more than might be suspected at first glance. Looking at the photographs we become so familiar with the context of Istanbul that we think we understand something more about the life of young people in the city, with their blossoming social and cultural changes. But our interest is maintained thanks to the use of a revealing-hiding technique which puts into practice the maxim that artistic work is as much a window onto the exterior as a mirror of oneself. The generic title links the two concepts of 'accident' and 'fate', with which Ali Taptik once again contrasts this constant search between opposites. Between the exterior and interior, the individual and the collective, the mirror and the window... But which, on the other hand, act as cause and consequence. If an accident is a random event, it is also a result of fate, if we understand fate as that which will inevitably happen. Going further, we can interpret an accident as the correlation of an action carried out by humans in their world, whilst fate would appear to be the exclusive field of the gods (although we don't know who or where they are).

For more information visit www.alitaptik.com