No Pasarán by Natasha Christia, Julián Barón & Anna Jornet

In July 1936, a fascist uprising led by General Franco attempted to overthrow Spain’s democratic government. In response, workers and peasants took up arms to fight back. What followed was a brutal civil war that foreshadowed the global conflict to come. Yet the war was also a moment of social revolution as ordinary workers mobilised to fight for a different vision of society. This sparked unprecedented international solidarity with volunteers from across the world—including Bristol and the surrounding region—joining the International Brigades in defence of the Spanish Republic. 

To mark the 90th anniversary of the war, the exhibition No Pasarán brings together the work of three Spanish artists and researchers engaged with themes of history and memory:

Julián Barón’s The Magic Labyrinth documents historical reenactments of the Spanish Civil War, staged across the country by reenactment troupes and attended by local audiences. Often described as the first media war due to its extensive documentation by photographers and filmmakers, the conflict established many of the visual tropes of war. Barón’s images play with these archetypes, creating a visual labyrinth of symbols that connects past and present while questioning how history is remembered, performed, and mediated. 

In The Dead Hours (Las Horas Muertas), Barón documents the fading graphite drawings and writings left by Republican militia members on the walls of an abandoned factory in Bajo Aragón that served as a barracks during the war. Through a forensic visual approach, he reveals these fragile inscriptions as an intimate archive of memory, preserving traces of lives that continue to inhabit the ruins.

Anna Jornet’s work centres on the story of her grandfather, who, shortly after the Spanish Civil War, was assigned by the Franco regime to a battalion of forced labourers tasked with repairing roads damaged during the conflict. He worked on the construction of a mountain pass intended to facilitate the movement of troops in preparation for a potential attack on British-controlled Gibraltar. The road becomes an allegory for the end of his youth, marking his conscription into a state project founded on coercion and violence. Through this deeply personal history, Jornet reveals the hidden narratives embedded within everyday infrastructure, asking how landscapes continue to bear the physical and psychological traces of authoritarian power.

Best known as a curator and writer, Natasha Christia is currently researching the visual history of the International Brigades, drawing upon state archives and informal collections, found across Spain, Greece and the UK. A selection of Christia’s materials will be presented as part of the exhibition, bringing to life memories of shared resistance. 

Biographies

Julián Barón is a photographer and educator, focussed on the role of photography as a catalyst for social thought. His practice examines how images shape memory, history and identity, challenging dominant narratives and collective imaginaries. Originally trained as an industrial engineer, Baron left his job as a quality assurance manager for a road signage company to join Blank Paper Collective, ultimately directing the Blank Paper School in Valencia (2008-2015). His first book, CENSURA (2011), was shortlisted for the Paris Photo/Aperture Foundation First Photobook Award. In 2015, he was nominated for the Discovery Prize at Rencontres d’Arles. Since then, his work has been shown at the  Centre d’Art Pompidou-Metz, the Netherlands Fotomuseum, the ChangJiang Biennale and Arts Santa Mònica. 

Anna Jornet initially studied economics and law before pursuing a career in photography. Her work explores the relationships between photography, memory and place, with a particular focus on personal and collective histories. She has exhibited widely, including: Ressons de la Memòria (Castell de Montjuïc, Barcelona, 2024-2025); This Story Will Never Get Finished (Museu d’Art Modern de Tarragona, 2023-2024); C-3331/CA-8201 (Casa de Cultura de Girona, 2022); and Ventura (Biennal d’Art de Tarragona, 2021-2022). Her debut book, C-3331/CA-8201, was published by Ventura Edicions (2022).

Natasha Christia is an independent curator, writer and educator based in Barcelona, specialising in photography, photobooks and archives. Her research explores how photographic documents shape and challenge dominant historical narratives and ideological myths. She has led projects for institutions and festivals including DocField Barcelona, Photo Saint Germain, Krakow Photomonth, PHOTO Australia and SCAN Festival. Alongside her curatorial practice, Christia writes extensively on photography and has edited award-winning publications. She has served on numerous international photography juries and has taught photography and visual culture in Spain and internationally since 2008. Born in Athens, she lives and works in Barcelona.

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