[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|phone” _builder_version=”4.27.4″ _module_preset=”default” background_image=”https:\/\/jafestival.com\/wp-content\/uploads\/Expo-Ja-2025-up.jpg” custom_padding=”20vw||0px||false|false” custom_padding_tablet=”20vw||0px||false|false” custom_padding_phone=”37vw||||false|false” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” custom_padding_last_edited=”on|phone” _builder_version=”4.21.0″ _module_preset=”default” background_color=”rgba(180,18,24,0.6)” width=”100%” max_width=”100%” custom_padding=”1vw||1vw||true|false” custom_padding_tablet=”2vw||1vw||false|false” custom_padding_phone=”2vw||1vw||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”824ec5dc-a5d7-4e99-88d6-66a41f2a81c7″ header_font_size_tablet=”40px” header_font_size_phone=”34px” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” _builder_version=”4.21.0″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” custom_padding=”13px||0px||false|false” border_color_top=”#E18A6F” border_width_bottom=”2px” border_color_bottom=”#E18A6F” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ header_2_font=”|||on||||#E18A6F|” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”||fa||900″ icon_color=”#B41218″ icon_placement=”left” content_max_width=”100%” _builder_version=”4.27.4″ _module_preset=”default” body_text_color=”#B41218″ width=”100%” global_colors_info=”{}”]<\/p>\n
Bizkaia Aretoa \u00b7 Sala Axular<\/strong><\/p>\n [\/et_pb_blurb][et_pb_blurb use_icon=”on” font_icon=”||fa||900″ icon_color=”#B41218″ icon_placement=”left” content_max_width=”100%” _builder_version=”4.27.4″ _module_preset=”default” body_text_color=”#B41218″ width=”100%” global_colors_info=”{}”]<\/p>\n From 2 to 31 October 2025<\/strong> [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” font_icon=”||divi||400″ icon_color=”#B41218″ icon_placement=”left” content_max_width=”100%” disabled_on=”off|off|off” _builder_version=”4.27.0″ _module_preset=”default” body_text_color=”#B41218″ width=”100%” global_colors_info=”{}”]<\/p>\n Monday to Friday: 8.00 – 20.00<\/strong> [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” custom_margin=”-17px|auto||auto|false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https:\/\/youtu.be\/d8SupUgVyWs” _builder_version=”4.27.4″ _module_preset=”default” src_webm=”https:\/\/youtu.be\/d8SupUgVyWs” image_src=”\/\/i.ytimg.com\/vi\/d8SupUgVyWs\/hqdefault.jpg” play_icon_color=”#000000″ hover_enabled=”0″ sticky_enabled=”0″][\/et_pb_video][et_pb_text disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Saul Steinberg (R\u00e2mnicu S\u0103rat, Romania, 1914 – New York, 1999) was an artist of exceptional singularity. Defining the nature of his work is like the man in one of his drawings, eager to catch a question mark with a butterfly net. Best known for his work published on the covers and inside pages of The New Yorker, Steinberg is much more than that: he is essentially \u201ca writer who draws\u201d, an artist who shifts between signs, genres, and boundaries, creating his own language that maintains an open dialogue with the \u201creader\u201d.<\/p>\n <\/p>\n The shifting nature of his work also reflects his life, era, and personality. The title of the exhibition, \u201cSaul Steinberg, el signo errante\u201d<\/strong> (\u201cthe wandering sign\u201d) relates to this characteristic. It originates from the essay of the same name by Alicia Chillida, guest curator together with Francesca Pellicciari, Manuel Font\u00e1n del Junco, and Aida Capa of \u201cSaul Steinberg, artista\u201d, the largest retrospective dedicated to the artist so far, organised by the Fundaci\u00f3n Juan March in 2024 and the source of this exhibition.<\/p>\n <\/p>\n Divided into ten themed sections, \u201cSaul Steinberg, el signo errante\u201d<\/strong> traces the artist’s life and work through a hundred pieces, including drawings, paintings, engravings, collages, magazines, books, photographs, audiovisual works and three-dimensional works. The collection displays the many facets of an exuberant and diverse legacy, where sophisticated humour, playful exploration, and reflective critique are intertwined.<\/p>\n <\/p>\n All the works in the exhibition originate from the Steinberg collection of the Fundaci\u00f3n Juan March, recently donated by The Saul Steinberg Foundation. \u201cSaul Steinberg, el signo errante\u201d<\/strong> is a co-production of the Ja! Festival and the Fundaci\u00f3n Juan March, with the support of The Saul Steinberg Foundation and sponsorship from Iberdrola.<\/p>\n <\/p>\n We invite you to explore a captivating iconography featuring contemplative cats, tyrannical crocodiles, menacing pinecones, expressive masks, maps of imaginary cities, and labyrinths of signs where images transform into words and then into architecture.<\/p>\n <\/p>\n In Steinberg’s distinctive graphic universe, every line reflects thought and every shape narrates a story.<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Expo-Saul-Steinberg.jpg” alt=”Expo Saul Steinberg” title_text=”Expo Saul Steinberg” _builder_version=”4.27.4″ _module_preset=”default” border_width_all=”1px” global_colors_info=”{}” disabled_on=”on|on|on” disabled=”on”][\/et_pb_image][et_pb_gallery gallery_ids=”11435,11438,11441,11444,11447,11450,11453,11456,11459,11462,11465,11468,11471,11474,11477,11480,11483,11486,11489,11492,11495,11498,11501,11504,11507,11510,11513,11516,11519,11522,11525,11528,11531,11534,11537,11540,11543,11546,11549,11566,11569,11572″ fullwidth=”on” disabled_on=”on|on|on” _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”0px||0px||true|false” disabled=”on” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” background_color=”rgba(180,18,24,0.06)” global_colors_info=”{}”][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” custom_padding=”13px||0px||false|false” border_color_top=”#E18A6F” border_width_bottom=”2px” border_color_bottom=”#E18A6F” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ global_colors_info=”{}”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Indautxu \/ Cruces” use_icon=”on” font_icon=”||fa||900″ icon_color=”#B41218″ icon_placement=”left” content_max_width=”100%” disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” body_text_color=”#B41218″ width=”100%” global_colors_info=”{}”]<\/p>\n October 2025<\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Zazpikale (Unamuno)” use_icon=”on” font_icon=”||fa||900″ icon_color=”#B41218″ icon_placement=”left” content_max_width=”100%” disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” body_text_color=”#B41218″ width=”100%” global_colors_info=”{}”]<\/p>\n Novembrer 2025<\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Moy\u00faa” use_icon=”on” font_icon=”||fa||900″ icon_color=”#B41218″ icon_placement=”left” content_max_width=”100%” disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” body_text_color=”#B41218″ width=”100%” global_colors_info=”{}”]<\/p>\n December 2025<\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_gallery gallery_ids=”13437,13440,13443″ fullwidth=”on” disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”0px||0px||true|false” border_width_all=”1px” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n A partner of the festival since 2022, when we dedicated our first retrospective to him, Primer asalto, graphic artist Javier Ja\u00e9n is once again participating in Ja! 2025, and not only as the creator of the poster for this edition.<\/p>\n <\/p>\n The exhibition \u201cJavier Ja\u00e9n x The New Yorker\u201d brings together some of the works created for the century-old magazine.<\/p>\n <\/p>\n It will be on display at several Bilbao Metro stations from 1 October until the end of 2025.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text disabled_on=”on|on|on” _builder_version=”4.27.0″ _module_preset=”default” text_font=”||||||||” text_font_size=”26px” text_line_height=”1.2em” text_orientation=”center” text_font_size_tablet=”26px” text_font_size_phone=”22px” text_font_size_last_edited=”on|phone” disabled=”on” global_colors_info=”{}”]<\/p>\n Paco Roca<\/strong> \u00b7 Ana Juan <\/strong>\u00b7 <\/strong>Max <\/strong>\u00b7 <\/strong>Robert Crumb [\/et_pb_text][et_pb_divider divider_weight=”6px” disabled_on=”on|on|on” _builder_version=”4.21.0″ _module_preset=”default” width=”40px” max_width=”40px” module_alignment=”center” disabled=”on” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” _builder_version=”4.21.2″ _module_preset=”default” background_color=”rgba(225,138,111,0.1)” disabled=”on” global_colors_info=”{}”][et_pb_row _builder_version=”4.21.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ header_2_font=”|||on||||#E18A6F|” header_3_font_size=”28px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/La-transformacion-Barcelo.jpg” alt=”Barcel\u00f3” title_text=”Barcel\u00f3” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Watercolor by Miquel Barcel\u00f3 for ‘The Transformation’ (Galaxia Gutenberg)<\/p>\n [\/et_pb_text][et_pb_button button_url=”https:\/\/jafestival.com\/en\/enigma-pertierra-audio-guide\/” button_text=”Audio guide” button_alignment=”center” disabled_on=”on|on|on” _builder_version=”4.22.1″ _module_preset=”ff8c03ab-69c0-476a-916f-d0b1f402e85f” disabled=”on” global_colors_info=”{}”][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ header_2_font=”|||on||||#E18A6F|” header_3_font_size=”28px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n I read The Metamorphosis when I was 13 or 14, in one night, in one sitting. Perhaps even twice in a row, as I sometimes used to do.<\/p>\n <\/p>\n The very next day, returning home from school, I discovered my mother reading it in tears, whereas I had found it rather amusing and disturbing.<\/p>\n <\/p>\n My mother cried just thinking that I had read THAT book.<\/p>\n <\/p>\n I have since reread it several times. Probably every decade.<\/p>\n <\/p>\n I consider it as a kind of essential, modern comic (“like Cervantes”).<\/p>\n <\/p>\n As time goes by and events unfold, I find Franz Kafka increasingly relevant, revealing his Jewish humour, which is nothing but a very old form of humanism… a cosmic hopelessness…<\/p>\n <\/p>\n Metamorphosis: change. The only one who doesn’t change is Gregor Samsa, he gets thinner at most, but he is the same from the moment he wakes up until the end. Everything around him is transformed. His father, his mother, his younger sister. The increasingly threatening outside world that we glimpse peeking through the cracks in the doors and windows.<\/p>\n <\/p>\n Each reading reveals something we had long forgotten, and yet we knew.<\/p>\n <\/p>\n Miquel Barcel\u00f3 [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ header_2_font=”|||on||||#E18A6F|” header_3_font_size=”28px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n I don’t remember when I first read ‘The Metamorphosis’, I think it was just a passage from a story in my school textbook. It must have been the beginning, a beginning that Garc\u00eda M\u00e1rquez considered to be one of the best in the history of literature.<\/p>\n <\/p>\n It immediately hooked me and sparked a lot of feelings and images within me.<\/p>\n <\/p>\n Years later I read the whole story and right after that, the rest of the short stories and novels. I was studying at the Design College at the time and “toyed” with the idea of transforming Kafka’s oppressive atmospheres into images.<\/p>\n <\/p>\n Many years later I finally had the opportunity to illustrate ‘The Metamorphosis’, a story of infinite graphic interpretations. And that is what makes it a magical story for illustrators.<\/p>\n <\/p>\n Paco Roca [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”marsol” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ header_2_font=”|||on||||#E18A6F|” header_3_font_size=”28px” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n I have often woken up in the morning after a restless sleep, just like Gregor Samsa. Almost six months have transpired since I reread The Metamorphosis<\/em> in October 2014 until I concluded the work in March 2015. Throughout this time, I read the rest of Kafka’s work and several graphic novels and watched films and short films related to the author. I even fled to Prague with my girlfriend for a weekend and to Benidorm to my illustrator friend Ximo Abad\u00eda’s house, who took me in for a few days amidst vegetables and dogs while I searched for inspiration.<\/p>\n <\/p>\n I crammed ideas and sketches into several notebooks, visited exhibitions and museums, and put the project on hold more than once to return to it, but, above all, I felt overwhelmed. “My friends and family would ask me, “Are you still at a standstill with Kafka?” and my worries were always the same: “How do I handle such a sacred text? How can I offer a different vision?<\/p>\n <\/p>\n I wanted to document as much as possible by studying Kafka’s work and the countless artists who had approached it. And now, once the work is finished, I think that perhaps I overdid that research. I explored so many paths that I was overwhelmed. I couldn’t decide between the number of ideas I had written down. And besides, I couldn’t find the tone, the voice I wanted to convey to a story so firmly established in the popular imagination. Should I listen to Kafka and not draw the bug at all, as he himself had asked in a letter to his publisher? Or was it better to surrender to the temptation of depicting something as graphically appealing as the idea of an insect-monster locked in a room? I ended up entangled like Gregor in Augusto Monterroso’s short story:<\/p>\n <\/p>\n “Once upon a time, there was a Cockroach named Gregor Samsa who dreamed it was a Cockroach named Franz Kafka who dreamed it was a writer who wrote about a desk clerk named Gregor Samsa who dreamed it was a Cockroach”.<\/p>\n <\/p>\n The one thing that was clear to me and the editor from the beginning was that this edition of The Metamorphosis<\/em> would be published in colour. It was a good starting point to break away from the image of black and white that has become so established in Kafka’s illustrated works. A first idea to avoid offering more of the same. But, obviously, that alone was not enough. It was necessary to avoid falling into the literal aspect, to preserve the reader’s capacity to imagine and not limit his or her interpretations. When walking through Prague, I paid close attention to the fa\u00e7ades of its houses, especially to the windows. I imagined Gregor peering out from behind those glass panes or simply behind the walls. What was happening inside those houses? Although I did not return from Prague with clear ideas, not even having decided whether to show Samsa’s son, most of the images that appeared in the sketches in my notebooks left him out and focused instead on what might happen between the scenes narrated by Kafka.<\/p>\n <\/p>\n Of all the endless interpretations of the text, I was particularly interested in the vision of the Russian film director Valeri Fokin in his Prevrashchenie (Metamorphosis)<\/em>, in which he opted to show Gregor as a human, but a human who moved as if he were an insect. According to this interpretation, Gregor could be an unwanted offspring hidden by the family. I thought the image of a family disgustedly looking at and recoiling from an equal was brilliant. A personal take on Kafka’s text that complemented it, I was looking for something like that. Besides, there was room for humour and irony. In the end, another idea came up parallel to the drawings I was doing at the time. As Sartre said: “Hell is other people”. Insects are those other people, those who are repulsed by Gregor and immediately reject him. Gregor would not appear, but his presence would “insecticise” the rest of the family (I don’t know why I didn’t listen to Kafka from the beginning). I also borrowed from Kafka himself the intimidating and suffocating presence of the father he relates in Letter to His Father<\/em>, which conditions much of the author’s work and is also perceived in The Metamorphosis<\/em>. Graphically, it took me many trials and errors to find the final tone for the illustrations. Along this road, for example, I switched from paper to wood as a resource to find the right atmosphere and textures. Artists such as Edvard Munch and, especially, Francis Bacon were references I grabbed hold of from the beginning. When I had not yet decided whether or not to show Gregor, I imagined him as one of those soft, shapeless figures of the Irish painter who are bedridden in a room whose limits are unclear, where perspective is confusing. Bacon’s sordid atmosphere conveys uncanniness in a realistic setting. I imagined how one could become an insect in one’s own room, looking at the clothes one will never be able to wear lying on the chair.<\/p>\n <\/p>\n Some of the references I documented may have seeped into the Samsa family home: something of the low ceilings from Orson Welles’s The Trial<\/em> ; of the flesh-walls from Ingmar Bergman’s Cries and Whispers {Viskningar och rop}<\/em> ; of the dirt on the floor of the Quay brothers; of the doll’s houses at the Prague Toy Museum; or the silence of Hammersh\u00f8i; and what about those curtains? Where have I seen them? in an empty hotel at the foot of a mountain in Colorado, perhaps?<\/p>\n <\/p>\n I’ve already said I didn’t sleep well during the whole “process”. Looking back through the notebooks now, I see those blocking moments in small sketches that are repeated over and over again. I remember the feeling of spending days thinking about a scene without daring to draw, paralysed by doubts. In the end, there was only one thing that saved me: to get on with it without knowing how it was going to end. To keep moving forward. Pasting tiny squares of paper like bricks, waiting for my subconscious or intuition to put order on its own in all the ideas and references I had accumulated. I hope my excessive responsibility did not detract from the freshness of the images. That was my battle.<\/p>\n <\/p>\n Manuel Marsol. April 2015<\/strong><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” _builder_version=”4.27.0″ _module_preset=”default” background_color=”rgba(0,0,0,0.05)” disabled=”on” global_colors_info=”{}”][et_pb_row _builder_version=”4.21.0″ _module_preset=”default” custom_padding=”13px||0px||false|false” border_color_top=”#E18A6F” border_width_bottom=”2px” border_color_bottom=”#E18A6F” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”1cd6c482-e0a7-40be-862c-61af728458cd” text_text_color=”#B41218″ global_colors_info=”{}”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Robert-Crumb-expo24.jpg” alt=”Robert Crumb” title_text=”Robert Crumb” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Cartoonist, illustrator, and musician Robert Crumb (Philadelphia, 1943) was one of the most prominent figures of the American underground comics and counterculture movement of the 1960s. He created hugely popular characters such as Fritz the Cat and Mr.\u00a0 Natural, Mr.\u00a0 Snoid and the She-Devil. The latter was the epitome of his distinctive women character with plump buttocks, legs and ankles. At the height of his success, he designed album covers for well-known bands and starred in Terry Zwigoff’s cult documentary \u2018Crumb\u2019. In the 1990s, fed up with his fame, he moved to the south of France with his wife, fellow comic book artist Aline Kominsky. He has lived there ever since, continuing his work, which has yielded immense results, such as his illustrations for Kafka’s biography (written by David Zane Mairowitz)<\/u> and his adaptation of The Genesis, both books published in Spain by La C\u00fapula. Crumb’s work has been exhibited in the most important European and American museums. In 2013, he was awarded the fourth BBK Ja!<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Miquel-Barcelo-expo24.jpg” alt=”Miquel Barcel\u00f3” title_text=”Miquel Barcel\u00f3” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Mallorca, 1957) is one of the most outstanding Spanish artists on the international contemporary art scene. Best known for his pictorial work and his taste for experimenting with forms and materials, Barcel\u00f3 has worked in places as diverse as Barcelona, Portugal, Palermo, Paris, Geneva, New York, the Himalayas, and Mali. His work has been exhibited in art venues all over the world, including the Louvre Museum, the Picasso Museum in Paris, and the Museo Nacional Centro de Arte Reina Sof\u00eda. A voracious reader since childhood, he has illustrated Dante’s \u2018The Divine Comedy\u2019, Goethe’s \u2018Faust\u2019 and Kafka’s \u2018<\/em>The Metamorphosis\u2019<\/u>, all published by Galaxia Gutenberg. He has received many awards and distinctions throughout his career, including the Prince of Asturias Award for the Arts in 2003. He currently lives between Mallorca and Paris.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Paco-Roca-expo24.jpg” alt=”Paco Roca” title_text=”Paco Roca” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Valencia, 1969) is one of the most internationally renowned Spanish illustrators and cartoonists. Creator of the character that emerged in El Pa\u00eds Semanal and that later resulted in the trilogy collected in the full-length book \u2018Memorias de un dibujante en pijama\u2019, also author of \u2018Arrugas\u2019, \u2018El invierno del dibujante\u2019, \u2018Los surcos del azar\u2019, \u2018La casa\u2019, \u2018La encrucijada\u2019 -in collaboration with musician Jos\u00e9 Manuel Casa\u00f1 (Seguridad Social)-, \u201cEl tesoro del Cisne Negro\u201d -with screenplay by Guillermo Corral and adapted by Alejandro Amen\u00e1bar for the cinema-, \u201cRegreso al Ed\u00e9n\u201d and \u201cEl abismo del olvido\u201d -with Rodrigo Terrasa-, all of them published by Astiberri. He illustrated the book \u2018La metamorfosis y otros cuentos de Franz Kafka\u2019<\/u> for this publishing house. His comics have been awarded, among others, the National Comic Prize in 2008, the Goya for the best-adapted script for \u2018Arrugas\u2019 in 2011, the Excellence Award in Japan, the Inkpot Award at the San Diego Comic-Con in 2019, and the Eisner 2020 for the best foreign work. His work has been featured in many exhibitions and retrospectives, such as \u2018Paco Roca Dibujante Ambulante\u2019, which was shown at the Ja! Festival in 2014.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Ana-Juan-expo24.jpg” alt=”Ana Juan” title_text=”Ana Juan” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Valencia, 1961) she is one of Spain’s most international illustrators. After studying Fine Arts, she moved to Madrid, where she began her professional career in Madriz and La Luna de Madrid magazines. She has contributed to the newspapers El Pa\u00eds and El Mundo and has been commissioned worldwide to design book covers, posters, advertising campaigns, and publications of all kinds. Among her most outstanding creations is her work for The New Yorker magazine, where she has designed twenty-five covers to date. She also writes. She is the author of the children’s books \u2018Snowhite\u2019, \u2018Comenoches\u2019 and \u2018Circus\u2019 and illustrated books for adults, several of them published by N\u00f3rdica Editorial. In 2010, she received the National Illustration Award. Her work has been the subject of many exhibitions in Spain and Mexico and in cities such as New York and Tokyo. She currently lives and works in Madrid, where she continues to illustrate, paint and narrate stories through images.<\/p>\n <\/p>\n https:\/\/anajuan.net\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Fernando-Vicente-expo24.jpg” alt=”Fernando Vicente” title_text=”Fernando Vicente” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Self-taught, Fernando Vicente’s (Madrid, 1963) first works as an illustrator appeared in the first half of the eighties in Madriz and La luna de Madrid magazines. After a decade focused on the advertising industry, where he was art director in several agencies, he returned to the illustration field in 1999. Since then, he has regularly contributed to the newspaper El Pa\u00eds and its supplements, particularly his creations for Babelia. He has worked for magazines such as Vogue, Letras Libres, Rock de Lux and Playboy and illustrated portraits, posters, and many record and book covers. He has also illustrated over twenty books for children, young people, and adults.His work, collected in several publications, including \u2018El arte de Fernando Vicente\u2019 \u00a0(Norma Editorial), stands out for its literary connections. He has been exhibited in numerous collective and individual exhibitions, with the retrospective Universos<\/em> (2011) deserving special mention.<\/p>\n <\/p>\n https:\/\/www.fernandovicente.es\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Fucikova-Renata-expo24.jpg” alt=”Renata Fucikova” title_text=”Renata Fucikova” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Prague, 1964) She graduated in applied arts in her hometown. A prolific artist, she is the author and illustrator of numerous books for young people and adults. She combines her artistic career with creating children’s programmes for the National Theatre in Prague. Her work has been awarded many prizes, including the White Raven Prize (three times), the Czech Gold Ribbon Prize for Best Illustrations for Children’s Literature (five times), the First Prize at the Biennial of Illustrations in Tehran (1999) and the IBBY Honour List (1998). Among other works, she is the author of the illustrations for \u2018Franz Kafka. A Man of His Time and Our Own ‘ (Red Fox Books)<\/u>, a biography of Kafka written by the poet Radek Mal\u00fd.<\/p>\n <\/p>\n http:\/\/www.renatafucikova.cz\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Max-expo24.jpg” alt=”Max” title_text=”Max” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Francesc Capdevila, \u2018Max\u2019 (Barcelona, 1956), is one of the most important personalities in Spanish comics. Author of comic strips and illustrator, having published some thirty comics since his beginnings in the magazine El V\u00edbora, he is the sire of such delirious, surrealist and endearing characters as Bard\u00edn, Peter Pank or the storytelling devil. His published works feature \u2018Vapor\u2019 \u2018 and \u201c\u00a1Oh diab\u00f3lica ficci\u00f3n!\u201d, both published by Ediciones La C\u00fapula. One of his recent works is \u2018El tr\u00edptico de los encantados (una pantomima bosquiana)\u2019, a comic about the work of El Bosco commissioned by the Prado Museum. For years, he has had a weekly cartoon section, \u2018Trampantojos\u2019, in Babelia, the cultural supplement of the newspaper El Pa\u00eds. His work as an illustrator includes posters, album covers, animation and illustrations for the press and books. Among the latter, \u2018El fogonero\u2019 by Franz Kafka for N\u00f3rdica Libros<\/u>.\u00a0He has been awarded, among others, the National Comic Prize (2007), the Grand Prize at the Barcelona Comic Fair (2000) and the Ignatz Award (USA, 1999).<\/p>\n <\/p>\n https:\/\/max-elblog.blogspot.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Nicolas-Mahler-expo24.jpg” alt=”Nicolas Mahler” title_text=”Nicolas Mahler” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Born in 1969 in Vienna, where he currently lives, Nicolas Mahler is a cartoonist and illustrator. His comics and cartoons are published in leading German-language newspapers and magazines such as Die Zeit, Frankfurter Allgemeine Zeitung and Titanic. He is known for his literary adaptations in comic form: the graphic novel interpreting Thomas Bernhard’s \u2018Alte Meister (Old Masters)\u2019, \u2018Alice in Sussex\u2019, based on the adventures of Lewis Carroll’s \u2018Alice in Wonderland\u2019, which is published by Salamandra Graphics, where \u2018Franz Kafkas Nonstop Lachmaschine (Franz Kafka’s Nonstop Laughing Machine)\u2019<\/u>, Nicolas Mahler’s unique biography about Kafka, has also been published in 2024. Some of his comics have been adapted for film and theatre. He has been awarded several prizes for his work, including the Max & Moritz al in 2010 and the Preis der Literaturh\u00e4use in 2015.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Tom-Gauld-expo24.jpg” alt=”Tom Gauld” title_text=”Tom Gauld” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n The illustrator and cartoonist Tom Gauld (Aberdeenshire, Scotland, 1976) is a regular contributor to The New Yorker, The New York Times, The Scientist and The Guardian, a newspaper in which he has published a weekly cartoon for years, whose strips have been collected in several books published in Spain by Salamandra Graphic: \u2018You’re All Just Jealous of My Jetpack\u2019, \u2018Baking with Kafka\u2019,<\/u> \u2018Department of Mind-Blowing Theories\u2019 and \u2018Revenge of the Librarians\u2019. His illustrations feature a strong link to the literary world. Tom Gauld now lives with his family in London, where he continues to illustrate covers and publications of all kinds, including his weekly cartoons in The Guardian.<\/p>\n <\/p>\n https:\/\/www.tomgauld.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Peter-Kuper-expo24.jpg” alt=”Peter Kuper” title_text=”Peter Kuper” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n American graphic artist Peter Kuper (New Jersey, 1958) has his work published regularly in The New Yorker, The Nation, and Mad, where he has also published his comic strip \u2018Spy vs. Spy’ for over twenty-six years. He is a co-founder of World War 3 Illustrated, a political comics magazine. He has produced more than two dozen books, including comic book adaptations of many of Franz Kafka’s works, including \u2018The Metamorphosis\u2019, published in Spain by Astiberri, and \u2018Kafkaesque\u2019, in Sexto Piso<\/u>, an adaptation of fourteen of Kafka’s most iconic stories, including \u2018In the Penal Colony\u2019 and \u2018A Hunger Artist\u2019. Peter Super was a professor at The School of Visual Arts in New York and currently teaches graphic novels at Harvard University. His exhibition \u2018INterSECTS: Where Arthropods and Homo sapiens Meet’ was exhibited at the New York Public Library in 2022.<\/p>\n <\/p>\n https:\/\/peterkuper.squarespace.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Luis-Scafati-expo24.jpg” alt=”Luis Scafati” title_text=”Luis Scafati” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Mendoza, Argentina, 1947). He studied art at the National University of Cuyo. His works have been exhibited in Barcelona, Frankfurt and Madrid and are in the collections of important museums, including the Museo S\u00edvori, the Museo Nacional de Bellas Artes and the Museo de Arte Contempor\u00e1neo in Argentina; the House of Humour and Satire in Bulgaria; the Collection of Cartoon in Switzerland and the University of Essex in England. His work has been published in Brazil, Korea, Spain, France, England, Italy, Mexico and the Czech Republic. In 1981 he won the Grand Prize of Honour at the National Drawing Salon, the highest distinction that can be awarded to a cartoonist in Argentina. He has illustrated editions of classics such as \u2018Don Quijote de la Mancha\u2019, \u2018Mart\u00edn Fierro\u2019, \u2018The Metamorphosis\u2019, \u2018The Castle\u2019, \u2018The Black Cat\u2019 and \u2018The Scarlet Plague\u2019, among others.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Fernando-Falcone-expo24.jpg” alt=”Fernando Falcone” title_text=”Fernando Falcone” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n The illustrator Fernando Falcone (Buenos Aires, 1977) studied at the Escuela Nacional de Bellas Artes Prilidiano Pueyrred\u00f3n in his hometown. He has mainly worked for the publishing industry for many years, both in his country and the Spanish and French markets. He is known for his use of various techniques, ranging from drawing with pencils, pastels, and watercolours to different combinations of these materials with digital retouching. His speciality is in his illustrations of fantasy, horror, gothic, and mythological themes aimed at people of all ages. Surrealistic elements, peculiar beings and dreamlike atmospheres abound. He is the author, among other books, of the illustrations for the classics The Strange Case of Dr. Jekyll and Mr.\u00a0 Hyde\u2018 by Robert Stevenson and \u201cThe Canterbury Ghost\u201d by Oscar Wilde, both published by Alma, and \u2019The Trial’ by Kafka, published by Akal.<\/u><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Tavo-Montanez-expo24.jpg” alt=”Tavo Monta\u00f1ez” title_text=”Tavo Monta\u00f1ez” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Gustavo D\u00edaz Monta\u00f1ez (Aguscalientes, Mexico, 1984), Tavo Monta\u00f1ez, studied graphic design at the Universidad Aut\u00f3noma de Aguascalientes, where he lives. He works as a freelance illustrator, and from his studio, he collaborates on different publications and projects in Mexico, the United States, Uruguay, Spain, Israel, the United Kingdom, Holland, and Norway. He has made illustrations for creative agencies, books, magazines, posters, advertising, television, and designs for museums and universities. He works with analogue techniques, mainly pencil and ink on paper, combining traditional drawing with computer processing and also creating fully digital illustrations. Among his works, he is the author of the illustrations for Kafka’s \u2018The Metamorphosis\u2019 published by Akal<\/u>.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Ferderico-Delicado-expo24-.jpg” alt=”Ferderico Delicado” title_text=”Ferderico Delicado” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Badajoz, 1956) Drawing has fascinated him since he was a child, and he graduated in Fine Arts at the Complutense University of Madrid. He took his first steps in the illustration industry in the 1970s, working for a publishing house specialising in audiovisual material. His illustrations stand out for their artistic value and evocative power. He illustrates books for publishers such as Anaya and SM for children and young people, but also for adults. Kafka’s \u2018A Hunger Artist\u2019,<\/u> Roald Dahl’s \u2018The Bookseller\u2019 and \u2018Taste\u2019, and C.P. Cavafis’ \u201cIthaca\u201d, published by N\u00f3rdica Editorial, are some examples. He contributes to different media, such as the newspaper El Pa\u00eds and El Correo de Andaluc\u00eda. He has participated in several exhibitions, both in Spain and abroad.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Jaromir99-expo24.jpg” alt=”Jarom\u00edr 99″ title_text=”Jarom\u00edr 99″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Jarom\u00edr \u0160vejd\u00edk (Jesen\u00edk, Czech Republic, 1963). Jarom\u00edr 99 is a singer, composer and artist best known for his work with Jaroslav Rudi\u0161 on the comic trilogy Alois Nebel, published in Spain by Gallo Nero. He worked as co-writer and cartoonist on the animated film adaptation of this trilogy, which received the European Film Academy’s award for Best Animated Feature Film. In 2013, he adapted Kafka’s \u2018The Castle\u2019 as a graphic novel<\/u> for SelfMadeHero, which was nominated for the prestigious Eisner Award. Written by David Zane Mairowitz, it is published in Spain by N\u00f3rdica Editorial, where you can also find \u2018De momento bien\u2019, a graphic novel written by Jan Nov\u00e1k and illustrated by Jarom\u00edr 99, who currently lives and works in Prague.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Antonio-Santos-expo24.jpg” alt=”Antonio Santos” title_text=”Antonio Santos” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Huesca, 1955). He studied Fine Arts at the University of Barcelona. He is an illustrator, writer, sculptor and painter. His work includes, most notably, his contributions to books by N\u00f3rdica Editorial, including his illustrations for Kafka’s La Metamorfosis<\/u> and those for several books written by Jes\u00fas Marchamalo: \u2018Kafka con sombrero\u2019,<\/u> \u2018Hierro fumando\u2019, \u2018El rinoceronte del rey\u2019, \u2018Delibes en bicicleta\u2019 and \u2018El bolso de Blixen\u2019. His work was awarded the Daniel Gil Prize for Best Children’s Book in 2003. He has had more than sixty individual exhibitions and a retrospective of his work in the illustration field under the title \u2018El oficio de ilustrar\u2019, which can be seen in the Paraninfo of the University of Zaragoza.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Tomas-Hijo-expo24.jpg” alt=”Tomas Hijo” title_text=”Tomas Hijo” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Illustrator born in Salamanca in 1974, he distinguishes himself for his work as an engraver for the national and international market. He has illustrated more than seventy books and written ten, which have been published by publishing houses in Spain, the United Kingdom, the United States, Iran, and China. Most of them are related to legends, magic and folklore. He is co-creator of the Tarot del Toro, in collaboration with Guillermo del Toro, and of Labyrinth Tarot, licensed and supervised by The Jim Henson Company, prop designer for \u2018Nightmare Alley\u2019, directed by Guillermo del Toro, and storyboard artist for \u2018Concursante\u2019, directed by Rodrigo Cort\u00e9s. Illustrator for Cuarto Milenio, a programme directed by Iker Jim\u00e9nez and \u2018Les portes du temps\u2019, a project featuring art direction by John Howe, he has also created merchandising for the Netflix series \u2018Stranger Things\u2019. He was a professor of design and illustration at the University of Salamanca for twelve years. He won the Tolkien Society Best Artwork Award in 2015 and has had his work exhibited in numerous galleries in Europe and the United States.<\/p>\n <\/p>\n https:\/\/tomashijoart.bigcartel.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Sara-Morante-expo24.jpg” alt=”Sara Morante” title_text=”Sara Morante” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Torrelavega, 1976) She has illustrated novels, short stories, poetry books and essays by Virginia Woolf, Sylvia Plath, Lewis Carroll, Katherine Mansfield, Edgar Allan Poe, C\u00e9sar Vallejo, Alaine Agirre, Emily Bront\u00eb, Miguel Hern\u00e1ndez, Mark Twain, Jane Austen, Edith Wharton, Benito P\u00e9rez Gald\u00f3s, Patricia Esteban Erl\u00e9s, V. Garsh\u00edn, Hans Christian Andersen, Fabrice Gaignault and Ra\u00fal Vacas. Her work extends to over fifty book covers, including Carson McCullers’ work published in Spanish. She received the Euskadi Illustration Award 2012 for her work on \u2018La flor roja\u2019. As an author, she has written and illustrated \u2018La vida de las paredes\u2019 (Lumen, 2015) and \u2018Flor fan\u00e9\u2019 (Astiberri, 2021). She has exhibited individually and collectively on several occasions. She contributes to the press and advertising and teaches courses and seminars on illustration.<\/p>\n <\/p>\n http:\/\/saramorante.com<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/David-de-las-Heras-expo24.jpg” alt=”David de las Heras” title_text=”David de las Heras” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Bilbao 1984) Visual artist and illustrator. He holds a degree in Fine Arts from the University of the Basque Country and graduated in Illustration from the Escola Massana. His work as a painter has been exhibited in countries such as Germany and Portugal, as well as various galleries in different cities around the country.\u00a0As an illustrator, he has published several books such as \u2018Mart\u00edn de grumete a capit\u00e1n\u2019 or the book by the writer Julio LLamazares \u2018Atlas de la Espa\u00f1a imaginaria\u2019, published by N\u00f3rdica Libros. He has further specialised in book covers. His work for \u2018Instrumental\u2019, by pianist James Rhodes, published by Blackie Books and the book \u2018Kalim\u00e1n en Jeric\u00f3\u2019, by the publishing house Bamb\u00fa, awarded as the best cover of 2015 in the Junceda awards, are worth mentioning. His work has also been published in newspapers such as El Pa\u00eds, in the Cultural section of ABC, and on several covers of El Pa\u00eds Semanal.<\/p>\n <\/p>\n https:\/\/www.daviddelasheras.net<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Manuel-Marsol-expo24.jpg” alt=”Manuel Marsol” title_text=”Manuel Marsol” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Madrid, 1984) Illustrator and writer specialising in the creation of illustrated albums. He holds a degree in Advertising and Audiovisual Communication and completed a postgraduate course in Children’s Illustration at the EINA School in Barcelona. His work has been published in countries such as France, Portugal, Italy, China, Japan and South Korea. He received the International Illustration Award at the Bologna Children’s Book Fair in 2017 for \u2018Y\u014dkai\u2019 (Fulgencio Pimentel 2017), co-written with Carmen Chic; the Edelvives International Illustrated Album Award for her first illustrated book \u2018Ahab y la ballena blanc’a (Edelvives 2014) and the V Ibero-American Illustration Catalogue Award for \u201cO tempo do Gigante\u201d (Orfeu Negro 2015), also co-written with Carmen Chica. He has illustrated Kafka’s \u2018The Metamorphosis\u2019 (Astro Rey, 2015)<\/u>, Sacher-Masoch’s \u2018Venus in Furs\u2019 (Sexto Piso 2016) and Conrad’s \u2018The Duel\u2019 (Factor\u00eda de elefantes 2018), among other books. He has also designed covers for Anagrama, Libros del K.O. and Babelia, the cultural supplement of El Pa\u00eds.<\/p>\n <\/p>\n https:\/\/manuelmarsol.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Manu-Quintero-expo24.jpg” alt=”Manu Quintero” title_text=”Manu Quintero” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Granada, 1990). His first educational stage ended in a neuroethology lab, but he finally reconsidered and exchanged science for a truly prosperous profession, illustration. He began training at the Escuela de Arte de Granada and for the past few years has been working as an illustrator in various fields, including the project \u2018Retratos de la vida de Ayala\u2019, for the Francisco Ayala Foundation in Granada; the publication of the illustrated book \u2018Informe para una academia\u2019, based on the text by Kafka<\/u>; he has illustrated for musical projects (such as Elsa Bh\u00f6r and Fig.1, by Ra\u00fal Bernal); he has painted and designed for the podcast Remanece; he has returned to the Escuela de Arte de Granada as a speaker at La semana del dise\u00f1o; and he is also a member of the project Babies don’t Cry, live rock concerts drawn for babies.<\/p>\n <\/p>\n https:\/\/grupocu.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Miguel-Almagro-expo24.jpg” alt=”Miguel Almagro” title_text=”Miguel Almagro” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n Born in 1967 in Ceuta, leaving at eight to move with his family to Barcelona, the cartoonist Miguel Almagro – \u2018miguel almagro\u2019 (in lower case, please). He made his debut in fanzines such as Pan y Pan and occasionally contributed to the magazine Cimoc in its early days. After that, he became a contributor to Toutain’s magazines, publishing eight short comics in T\u00f3tem el Comix and Zona 84. Subsequently, alternating with his main work, he has contributed to publications such as Bocetos, Lard\u00edn u Ojos de gacela and participated in collective comics such as Paz \/ \u041c\u0418\u0420. In 2022, he published \u2018Krakj!\u2019 in Isla de Nabumbu publishing house and is currently preparing La Soledad de las cig\u00fce\u00f1as, which will be published by C\u00f3smica editorial.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Alex-Orbe-expo24.jpg” alt=”Alex Orbe ” title_text=”Alex Orbe ” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Barakaldo 1973) is a freelance illustrator of children’s and young people’s books, textbooks, advertising illustrations, animation, and comics. He is the creator of nearly thirty illustrated books, including comics such as \u2018Los enciclopedistas\u2019 (Astiberri, 2018) and \u2018El invasor\u2019 (Astiberri, 2024), both with a script by Jose A. P\u00e9rez Ledo, and \u2018Sigue a la hormiga\u2019, scripted by Unai Elorriaga (Harriet, 2021). He has contributed to numerous comic books, as well as to several collective albums such as \u2018Historias del Olvido\u2019 (Dolmen), \u2018Yes, We camp\u2019 (Dibbuks), \u2018Puro Per\u00fa\u2019 (Cesal) or \u2018Fito. Y por supuesto la luna’ (BAO).<\/p>\n <\/p>\n https:\/\/dibus6.wixsite.com\/alexorbe<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Asier-Sanz-expo24.jpg” alt=”Asier Sanz” title_text=”Asier Sanz” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Bilbao, 1969) is an illustrator, cartoonist and collage artist. He began publishing in Bilbao newspaper in 1987 and later continued his career in Deia<\/a>,\u00a0ETB<\/a>,\u00a0TVE<\/a>\u00a0and\u00a0Mundo Deportivo<\/a>. In 1999, he joined the graphic humourist duo Asier and Javier. This relationship has resulted in the publication of daily strips in Diario 16 and Diario Metro, as well as collaborations in El Jueves, Deia, Onda Vasca, Orgullo y Satisfacci\u00f3n, Bilbao newspaper, and 20minutos. He has devised and developed advertising campaigns and illustrated several books. His work has been awarded several international prizes. His caricature of Donald Trump, made using a collage technique with banana, chorizo and mortadella, was exhibited at the Design Museum of London in 2018 and was his first worldwide viral collage.<\/p>\n <\/p>\n https:\/\/asiersanz.com\/<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Rodrigo-Cortes-expo24.jpg” alt=”Rodrigo Cort\u00e9s” title_text=”Rodrigo Cort\u00e9s” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Pazos Hermos, Orense, 1973) He wanted to be a painter, writer and musician; today, he does it all simultaneously by devoting himself to cinema. He was the director for Robert de Niro and Sigourney Weaver in \u2018Red Lights\u2019, Ryan Reynolds in \u2018Buried\u2019 and Uma Thurman in \u2018Blackwood\u2019. As a writer, Editorial Delirio published his two collections of \u201canti-aphorisms, breveries and hand bombs\u201d, \u2018A las 3 son las 2\u2019 and \u2018Dormir es de patos\u2019, and the novel \u2018S\u00ed importa el modo en que un hombre se hunde\u2019.\u00a0His latest book is \u2018Cuentos tel\u00faricos\u2019 (2024), published by Random House, as well as his novel \u2018Los a\u00f1os extraordinarios\u2019 and the satirical dictionary \u2018Verbolario\u2019, which originated as part of the section of the same name that the author has maintained since 2015 in the newspaper ABC, where he is also a regular contributor. He discusses film, literature and music in two of the most popular podcasts of the moment: \u2018Todopododerosos\u2019 and \u2018Aqu\u00ed hay dragones\u2019, alongside ArturoGonz\u00e1lez-Campos, Javier Cansado and Juan G\u00f3mez-Jurado.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Caroline-Leaf-expo24.jpg” alt=”Caroline Leaf” title_text=”Caroline Leaf” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Seattle, Washington 1946) is a filmmaker, experimental artist and teacher. She has produced numerous animated short films throughout her career, and her work has been recognised worldwide. She was one of the first filmmakers to join the National Film Board of Canada (NFB), where she worked from 1972 to 1991. During this period, she created several animation techniques. She is known for manipulating watercolours and gouache with her fingers on glass, which she used in The Street<\/em>, which was nominated for an Academy Award, and the mixture of sand and paint on glass used in films such as The Metamorphosis of Mr.<\/u><\/em> \u00a0Samsa<\/u><\/em>, <\/u>an adaptation of Franz Kafka’s The Metamorphosis<\/em>. She currently lives in London. She has a studio where she works using oil and paper and draws landscapes with an iPad. She is also a lecturer at the National Film and Television School. Her work has been the subject of numerous exhibitions.<\/p>\n <\/p>\n http:\/\/www.carolineleaf.com\/index.php<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/jafestival.com\/wp-content\/uploads\/Javier-Jaen-expo24.jpg” alt=”Javier Ja\u00e9n” title_text=”Javier Ja\u00e9n” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” custom_margin=”0px||||false|false” global_colors_info=”{}”]<\/p>\n <\/p>\n (Barcelona, 1983) Javier Ja\u00e9n was born the same year Joan Mir\u00f3 died, TIME magazine chose the computer as the machine of the year, and the A-Team was broadcast for the first time. He shares his birthday with Bruce Springsteen, Ray Charles, Julio Iglesias and the Roman emperor Caesar Augustus. He studied Graphic Design and Fine Arts in Barcelona, New York and Budapest. His professional career has focused on graphic design, editorial illustration, audiovisual projects, advertising, cultural communication, teaching and creating his own work. He has worked for The New York Times, The New Yorker, The Washington Post, La Vanguardia, El Pa\u00eds, Random House Mondadori, Planeta, Vueling Airlines, Unesco and Greenpeace. His work has been awarded several prizes: American Society of Illustrators, American Illustration, Print Magazine-New Visual Artists (2013), Gr\u00e0ffica Award (2010), The Society of Publication Designers (Gold 2018), Feroz Awards (2022) and Society for News Design (2022). He has participated in exhibitions in New York, London, Mexico, El Salvador, Tallinn, Seoul, Rotterdam, Paris and Rome. In 2022, he starred in his first retrospective \u2018Primer asalto\u2019 at Ja! Festival.<\/p>\n <\/p>\n
FREE ADMISSION<\/strong><\/p>\n
Saturday and holidays: 10.00 – 14.00 \/ 16.00 – 20.00 \u00a0<\/strong>
Sunday: 10.00 – 14.00<\/strong><\/p>\nJAVIER JA\u00c9N x THE NEW YORKER IN METRO BILBAO<\/h2>\n
<\/strong>Miquel Barcel<\/strong>\u00f3 <\/strong>\u00b7<\/strong> Fernando Vicente <\/strong>\u00b7<\/strong> Ren\u00e1ta\u00a0Fu\u010d\u00edkov\u00e1
<\/strong>Nicolas Mahler <\/strong>\u00b7 Luis Scafati \u00b7 <\/strong>Peter Kuper <\/strong>\u00b7<\/strong> Tom Gauld
<\/strong>Fernando Falcone <\/strong>\u00b7<\/strong> Tavo Mont<\/strong>a\u00f1<\/strong>ez <\/strong>\u00b7<\/strong> Federico Delicado
<\/strong>Jarom<\/strong>\u00ed<\/strong>r 99 <\/strong>\u00b7<\/strong> Antonio Santos <\/strong>\u00b7<\/strong> Tom\u00e1<\/strong>s Hijo <\/strong>\u00b7<\/strong> Sara Morante
<\/strong>David de las Heras \u00b7 Manuel Marsol \u00b7<\/strong> Manu Quintero
<\/strong>Miguel Almagro <\/strong>\u00b7<\/strong> A<\/strong>lex Orbe <\/strong>\u00b7<\/strong> Asier Sanz
<\/strong>Javier Ja<\/strong>\u00e9<\/strong>n <\/strong>\u00b7 <\/strong>Joaqu<\/strong>\u00ed<\/strong>n Pertierra \u00b7 Javier Olivares
<\/strong>Rodrigo Cort<\/strong>\u00e9<\/strong>s \u00b7<\/strong> Caroline Leaf \u00b7<\/strong> Koji Yamamura<\/strong><\/p>\nLa metamorfosis – Miquel Barcel\u00f3 \u00b7 Paco Roca \u00b7 Manuel Marsol<\/h3>\n
Miquel Barcel\u00f3<\/h3>\n
<\/strong>La transformaci\u00f3n (Galaxia Gutenberg,\u00a0 2020)<\/p>\nPaco Roca<\/h3>\n
<\/strong>2024<\/p>\nManuel Marsol<\/h3>\n
PROTAGONISTS KALEIDOSCOPE KAFKA<\/h2>\n
Robert Crumb<\/h3>\n
Miquel Barcel\u00f3<\/h3>\n
Paco Roca<\/h3>\n
Ana Juan<\/h3>\n
Fernando Vicente<\/h3>\n
Ren\u00e1ta Fu\u010d\u00edkov\u00e1<\/h3>\n
Max<\/h3>\n
Nicolas Mahler<\/h3>\n
Tom Gauld<\/h3>\n
Peter Kuper<\/h3>\n
Luis Scafati<\/h3>\n
Fernando Falcone<\/h3>\n
Tavo Monta\u00f1ez<\/h3>\n
Federico Delicado<\/h3>\n
Jarom\u00edr 99<\/h3>\n
Antonio Santos<\/h3>\n
Tom\u00e1s Hijo<\/h3>\n
Sara Morante<\/h3>\n
David de las Heras<\/h3>\n
Manuel Marsol<\/h3>\n
Manu Quintero<\/h3>\n
Miguel Almagro<\/h3>\n
Alex Orbe<\/h3>\n
Asier Sanz<\/h3>\n
Rodrigo Cort\u00e9s<\/h3>\n
Caroline Leaf<\/h3>\n
Javier Ja\u00e9n<\/h3>\n