Abel Azcona

Artwork (selection) portfolio

Exhibitions, bibliography and conferences

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Apparently, Abel Azcona's (Madrid, April 1st, 1988) work seems to confirm that frequented common place in which the most natural work of art is still always the artist himself. He has made of his body and presence an indispensable territory for experimenting, taking them as a source material and using them as a detonator for every creative process. His artistic work, considered to be highly autobiographical, is manifested in a variety of mediums that are first conceived as performances and then evolve into installations, sculptures, videos, paintings or writings, disciplines with which he explores subjects that encompass both global issues such as human rights, social injustices, gender, diversity, inequality, terrorism or religion, as well as situations and personal experiences such as abandonment, violence, abuse, child mistreatment, deprivation of freedom and prostitution.

His work has been created and presented in important museums, institutions and galleries of contemporary art such as the Arsenal of Venice, the Palace of the Arts in Naples, the Museum of Modern Art of Bogotá, the Art League of Houston, the Ramirez Villamizar Museum, the Leslie Lohman Museum in New York, the Norte de Santander Museum, the Malaga Contemporary Art Center, the Palais de Tokyo, PIASA and the Perrotin Gallery in Paris, the Patio Herreriano Museum of Spanish Contemporary Art in Valladolid, the Contemporary Art Center Matadero in Madrid, the Center d'Art Contemporani de Barcelona Fabra i Coats, the Museum of Modern Art in Barranquilla, the La Panera Art Center in Lleida, the Pilar and Joan Miró Foundation in Palma de Mallorca, the Círculo de Bellas Artes in Madrid, the Miralles Foundation in Barcelona, the Zaragoza History Center, the Alicante Museum of Contemporary Art, the Krudttønden Arts Center in Copenhagen, the Museum of Mexico City, the National Palace of Fine Arts of Bangladesh or the Museum of Contemporary Art of Bogotá, which dedicated a retrospective exhibition to him with a wide selection of his work in 2014. And in recognized international events such as the Lyon Biennial, the Asian Art Biennial in Dhaka. and Taipei, the Miami International Performance Festival, the Tapa Tupada Biennial of Manila in the Philippines and the Santo Domingo Performance Biennial in the Dominican Republic, as well as the Bangladesh Live Art Biennial, Santiago de Chile's Deformed Performance Biennial and Triennial and the Houston International Art Biennial in the United States.

Other important demonstrations by the artist consist of (selection): Abel Azcona Maledetto. Una visione retrospettiva del lavoro censurato e perseguitato dell’artista. Palazzo delle Arti, Naples, Italy, 2021; La Savia. Aldama-Fabre Gallery, Bilbao, 2021; Spain Asks for Forgiveness, Somos Gallery, Ambactia Project, Berlin, Germany, 2021; Abel Azcona. Calderón Theatre, Valladolid, Spain, 2021; Abel Azcona | 15 Essential Pieces. Calderón Theatre, Valladolid, Spain. May 2021; Abel Azcona. Selected Works: 1988-2018. Montegrande Gallery. Santiago de Chile, Chile, 2021; Abel Azcona. Lastarria Gallery. Santiago de Chile, Chile, 2021; Abel Azcona I The Artist’s Duty of Recidivism in the Framework of the Assumption of Disobedience as a Positioning. Casa O de Lastarria Cultural Centre, Santiago de Chile, Chile, 2021; Brozas, White Lab Contemporary Art Space, Madrid, Spain, 2021; Empathy and Prostitution, Arsenal of Venice, Venice, Italy, 2021; Terrorism for Infants, Espacio Tangente, Burgos, Spain, 2021; Abel Azcona | The artist's duty of recidivism within the framework of assumption of disobedience as positioning, Espacio Tangente, Burgos, Spain, 2021; Act of Disobedience, Center of Contemporary Art of Barcelona Fabra i Coats, Barcelona, 2020; Act of Disobedience, La Panera Art Center, Lleida, 2020; Act of Disobedience, Teatro del Barrio, Madrid, Spain, 2020; Amen or The Pederasty, La Panera Art Center, Lleida, 2020; The first step, Las Naves Art Center, Valencia, 2020; La Línea, Lamosa Art Center, Cuenca, Spain, 2020; Spain Asks For Forgiveness, Museum of Contemporary Art of Bogotá, Bogotá, Colombia, 2020; Spain Asks For Forgiveness, Urban Spree Gallery, Berlin, Germany, 2020; Abel Azcona | The Decategorized Corps and Other Policies. A retrospective look at the artist's work from a perspective of gender, struggle and dissidence, Centro Niemeyer, Avilés, Spain, 2020; Empathy and Prostitution, Arsenal of Venice, Venice, Italy, 2020; Author Terrorism, ARCO International Contemporary Art Fair, Madrid, Spain, 2020; Uterus, Galerie Feu - Besanćon, France, 2019; Abel Azcona I The Heritage, Institute of Fine Arts of Besançon, France, 2019; Abel Azcona I The Artists' Duty of Recidivism in the Framework of the Assumption of Disobedience as a Positioning, L´Elèctrica, Palma de Mallorca, Spain, 2019; Amen, Plaza Cuadrado, Palma de Mallorca, Spain, 2019; Abel Azcona I The Artists' Duty of Recidivism in the Rramework of the Assumption of Disobedience as a Positioning, Espacio Incógnita, Murcia, Spain, 2019; Abel Azcona I The First Step, Sala de Exposiciones Sant Fruitós de Bages, Barcelona, Catalonia, 2019; Political Bodies, Bogotá Contemporary Art Museum, 2019; The Void, Spain Pabillion, Asian Art Biennale, National Art Gallery of Bangladesh, 2018; The Artists' Death, Círculo de Bellas Artes, Madrid, 2018; Abel Azcona: Íntim i Personal, Nexe Espacio Cultural, Sant Fruitos de Bages, Catalonia, 2018; Abel Azcona: The Artist who Survived, Casa Baltazar, Córdoba, Mexico, 2018; The Heritage, Mexico City Museum, Mexico City, 2018; Empowered, Art Space México, Mexico City, 2018; Memories of an Abandonment: a retrospective vision of Abel Azcona's biographical work 1988-2018, Alianza Francesa de Manizales, Manizales, Colombia, 2018; The Shame, Centre del Carme Cultura Contemporànea, Valencia, Spain, 2018; Political (dis)order, Espace dAM, Romaimôtier, Switzerland, 2017; Not Wanted, Museo Universidad del Cauca, Popayán, Colombia, 2017; Natura Morta, Fàbrica de les Arts Roca Umbert, Granollers/Barcelona, Catalonia, 2017; Natura Morta, Fundación Enric Miralles, Barcelona, Catalonia, 2017; The Fathers, Galería Rafael Perez Hernando, Madrid, Spain, 2017; The Extinction of Desire, La Juan Gallery, Madrid, Spain, 2017; El Fill y La Puta, Espai d´Arts Roca Umbert, Granollers/Barcelona, Catalonia, 2017; La Lluita, Museu Trepat de Tárrega, Tárrega, Catalonia, 2017; 268, CORPO Centro di Archiviazione e Promozione della Performing Art, San Servolo Isle, Venice, 2017; MAGA, Defibrillator Gallery, Chicago, United Estates, 2017; Week Rental, Astro Inn, Houston, 2017; Empathy & Prostitution, Tulla Culture Center Tirana, Tirana, Albania, 2017; The First Time, Facultad de Bellas Artes San Carlos, Universitat Politécnica de Valencia, Valencia, Spain, 2017; The line on your back, Museu L´Imaginari, Valencia, Spain, 2017; Voyeur, Art Space México, Mexico City, 2016; The Bodies, Hell Gallery, Barcelona, Catalonia, 2016; The War, Víbora, Valencia, Spain, 2016; The Fathers, Plaza De Las Cortes, Madrid, Spain, 2016; Il Sacrificio, Centro Cultural Cantieri, Palermo, Italy, 2016; The Confession, Konvent Contemporary Art Center, Berga, Catalonia, 2016; Amen, Konvent Contemporary Art Center, Berga, Catalonia, 2016; Dissafection, Centro Cultural Social de Teruel, Teruel, Spain, 2016; The Hours, Rossmut Gallery, Rome, Italy, 2015; Desenterrados: a retrospective view of Abel Azcona's subversive work, Sala Exposiciones de la Plaza Libertad, Pamplona, Vasque Country, 2015; Exp. 09812, Palau de la Festa, Castellón, Spain, 2015; Feed Me, Galería Serendipia, Madrid, 2015; The Streets, Galería Liebre, Madrid, 2015; The Shadow, Galería Alicia Hevia, Madrid, Spain, 2015; The Shadow, Palacio Universidad de Valladolid, Valladolid, Spain, 2015; The Shadow, Centro El Hueco, Soria, Spain, 2015; The Shadow, Centro de Historias, Zaragoza, Spain, 2015; The Shadow, Palau de la Festa, Castellón, Valencia, 2015; The Shadow, Telier de Llum, Tarragona, Catalonia, 2015; The Miracle, The Grey Square, Tarragona, Catalonia, 2015; The Last Hour, Rossmut Gallery, Rome, Italy, 2015; Black Hole, Factoría de Arte y Desarrollo, Madrid, Spain, 2014; Not Wanted: A retrospective vision of Abel Azcona’s work, Bogotá Contemporary Art Museum, Bogotá, 2014; Fluids, Leslie Lohman Museum, New York, United States, 2014; Seropositive, Galería Serendipia, Madrid, Spain 2014; Reminiscence, Kursaal Palace, Donostia-San Sebastián, Vasque Country, 2014; Uterus, Galerie des Pentes, Lyon, France, 2014; Anonymous Vaginas, Proyecto Poporopo, Guatemala City, 2014; Bloodline, Neebex Gallery, Bogotá, Colombia, 2014; Anonymous Vaginas, Kur Gallery, San Sebastián, Vasque Country, 2014; Anonymous Vaginas, ZonAutonóma, Puebla de Zaragoza, Mexico, 2014; Anonymous Vaginas, Casa Nueve, San Andrés de Cholula, Mexico, 2014; Nine Container, Galerie des Pentes, Lyon, France, 2013; The Primal Wound, Neebex Gallery, Bogotá, Colombia, 2013; Dark Room, Factoría de Arte y Desarrollo, Madrid, Spain, 2013; The Primal Wound, Villette Enchantée, París, France, 2013; The Primal Wound, Hidden Gallery, Málaga, Spain, 2013; I´m Loving It, Málaga Contemporary Art Centre, Málaga, Spain, 2013; Biological Meeting, Huarte Contemporary Art Centre, Huarte, Vasque Country, 2013; Eating a Qran, Krudtondem, Copenhague, Denmark, 2013; Uterus, Enclave Pronillo, Santander, Spain, 2013; Uterus, Cuarto Público, Santiago de Compostela, Galicia, 2013; The Cure, Bogotá Modern Art Museum, Bogotá, Colombia, 2012; The Little Fish, Orizuru Gallery, Pamplona, Vasque Country, 2012; Eating a Qran, The College of Performing Arts de Universität der Künste Berlin, Berlin, Germany, 2012; Uterus, El Barrio de los Artistas, 2011; amongst others. Amidst the exhibitions with the most projection: Desenterrados: a retrospective view of Abel Azcona's subversive work, contains all the artist’s first works in Sala de Exposiciones de la Plaza de la Libertad de Pamplona in the years 2015 and 2016. In the year 2014, the Bogotá Contemporary Art Museum dedicated him a new retrospective exhibition, Not Wanted, because of the artists linkage to the Colombian city. A year later, Madrid, Barcelona and Valencia dedicate him three exhibitions that contain almost the whole of the artist’s work. Museari, Museu del Imaginari in Valencia, and La Juan Gallery in Madrid, harbored The Line on Your Back and The Extintion of Desire with a wide selection of works about sexuality, abuse and prostitution. The Fàbrica de les Arts Roca Umbert in Granollers - Barcelona, accompanied the project Natura Morta with more than fifty works by Azcona related to death. From 2017 to 2018, on the score of the artist’s return to Colombia, the cities Popayán and Manizales, Museo de la Universidad de Cauca and Alianza Francesa de Manizales inaugurated both retrospective exhibitions Not Wanted and Memories of an Abandonment: a retrospective vision of Abel Azcona's biographical work 1988-2018, organized by the Bogotá Contemporary Art Museum and the Ministry of Culture of Colombia. In 2018, Art Space México in collaboration with the Mexico CIty Museum, presented Empowered, exposition that reunited dozens of pieces by the artist, which were related to social activism.

Azcona has also taken part in numerous biennials, festivals and contemporary art events such as (selection): V Bienal Deformes de Santiago de Chile, 2020; Red Lines, La Panera Art Centre, Lleida, 2020, Summer, The Grey Square, Tarragona, 2020; De Chile. Dulce y Manteca, Art Space México, 2020; FUGA Exploraciones Sonoras, Museo de Arte y Tecnología Etopía de Zaragoza, Spain 2019; Poisons, Galerie Feu de Besançon, France, 2019; Political Bodies, Bogotá Contemporary Art Museum, Colombia, 2019; Festival Eñe, Círculo de Bellas Artes de Madrid, Spain, 2018; Asian Art Biennale, National Art Gallery of Bangladesh, 2018; Without Clamps, Casa Planas, Mallorca, Spain, 2018; Waiting for Thoreau: Disobedient Expressions, Montevideo, Uruguay, 2018; Santo Domingo, Dominican Republic, 2017; Asunción, Paraguay, 2017; Tegucigalpa, Honduras, 2017; Madrid, Spain, 2016; Visiones Contemporáneas, Museo de Arte Contemporáneo de Bogotá, 2017; Dhaka Live Art Biennale, Dhaka, Bangladesh, 2017; Experimental Action, Houston, United States, 2017; CORPO, Venice, Italy, 2017, the piece 268 in the San Servolo Isle, Venice, Italy, parallel to the 2017 Venice Biennale, invited by the Centro di Archiviazione e Promozione della Performing Art CAPPA along with other artists such as Hermann Nitsch and Otto Muehl, precursors del Viennese Acrionism; HE 2017, Los Ángeles, United States, 2017; Art Photo Barcelona, Fundació Enric Miralles, Barcelona, Spain, 2017; Art Verona, Italian Contemporary Art Fair, Verona, 2017 & 2016; Maco Foto, Mexico City Photography Fair, 2017 & 2016; V International Biennial of Performance “Deformed”, Santiago de Chile, 2016; Sicilia Queer Film Festival, Palermo, Italy, 2016; Intramurs, Valencia, Spain, 2016; Zona MACO, Mexico Contemporary Art Fair, Mexico City, 2016 & 2015; Art Is Hope, Palais de Tokyo, PIASA, Galerie Perrotin, Paris, France, 2015, 2014 & 2013; Dominican Republic International Performance Festival, Santo Domingo, 2015; We Are Not That Rare, Alicante,  Spain, 2015; MARTE, Mediterranean Art Contemporary Art Fair, Castellón, Spain, 2015; Wonderlust Porn Festival, Helsinki, Finland, 2015; The piece Empathy And Prostitution  in the context of ARCO International Contemporary Art Fair, Madrid, in the year 2015; Out Of Mind, Centro de Historias de Zaragoza, Spain, 2015; Art & Breakfast, Málaga, Spain, 2015; Bogotá International Performance Art Festival, Bogotá Contemporary Art Museum, Colombia, 2015 & 2014; Pamplona International Performance Art Festival, Pamplona, Vasque Country, 2015 & 2014; Houston International Performance Art Biennale, Art League Houston, Box 13, Houston, United States, 2014; Action Dialogues, Bogotá, Colombia, 2014; Lone Star Explosion Art Biennial, Houston, United States, 2014; Body and Power, Madrid, 2014; Queer New York International Arts Festival, Abrons Art Center, Grace Exhibition Space, Leslie Lohman Museum, New York, United States, 2014; Queer MAD, Madrid, 2014; The in.Tension, Institut Supérieur des Beaux-Arts de Besançon, France, 2014; Croquery Dolls, Bogotá Contemporary Art Museum, Colombia, 2014; ArtBO, Bogotá Contemporary Art Fair, Colombia, 2014; Donostiartean, San Sebastian Art Fair in Kursaal, San Sebastián, Vasque Country 2014; Live and Deferred Action, Bogotá, Colombia, 2014 & 2013; Accionarar, Anolaima, Colombia, 2014 & 2013; Nine Container was presented in the of context of the official Biennale de Lyon, France, in 2013; Habitaccion, Bogotá, 2013; Gallery Weekend, Santander, Spain, 2013; INAI Nomadic Exchanges, Bogotá, Colombia, 2013; The in-Tension, Helenic Centre for Photography, Athens, Greece, 2013; Salhaketa, Pamplona, Vasque Country, 2013; Dimanche Rouge, La Villette Enchantée, Paris, France, 2013; Miami Performance Art Festival, Miami, United States, 2013; Public Room, Santiago de Compostela Contemporary Art Fair, Galicia, 2013; Space and Identity, Madrid, Spain, 2013; Athens Photo Festival, Athens, Greece, 2013; Room Art Fair, Madrid, 2013; Tama Tupada Action Media Art, Manila, Philipines, 2012; Fall and Recovery, Bogotá Colombia, 2012; The Artists Quarter, Pamplona, Vasque Country, 2011 & 2010; Amongst Others.

Through the years 2004 and 2005, Abel Azcona developes his first performances and instalations in public spaces in the city od Pamplona while studying in the Fine Arts School of Pamplona. Since then he has had a relationship with the insitution, where he has carried out educational and expositive projects. That same year he founded an action artist colective, which is still active to this day. In the years 2015 and 2016, the city of Pamplona dedicated him the retrospective demonstration Desenterrados IA retrospective view of Abel Azcona's political and subversive work in the Exposition Room in the Plaza de la Libertad. A wide selection of works curated since the creation of the work Buried, created by the artist himself in front of the Monument to the Fallen in Pamplona. The original piece protagonized the room, surrounded by more than two hundred more pieces that created an extensive cronological route as an homage. The exhibition generated great controversy due to the opposition of religious and conservative groups, movements and organizations. Ten years before he inaugurated his first exposition in the Citadel of Pamplona and in 2011 and 2012 he is recognised as guest international artist in the International Contemporary Art Encounters in Pamplona, that he openened with a performance and sundry formative encounters in the Condestable Palace of Pamplona. In addition to this last show, the Huarte Contemporary Art Centre, where Abel Azcona has created new expositive and performative projects such as The Biological Encounter or Feed Me and the Oteiza Museum, where he made pedagogical colaborations and makings, harbored presentations dadicated to the artist. His work has also been displayed in art galleries like the Orizuru Gallery and the Canvas Gallery or in experimental spaces like La Cabina, Caballo Blanco or La Hormiga Atómica as well. In the year 2014, Azcona opened the International Donostiartean Fair with a performance and an exhibition in the Kursaal Palace. In the same palace he gave a lecture about his work in colaboration with the Cervantes 6 Gallery of Oviedo. That same year, his performative and expositive project Anonymous Vaginas was displayed in the Kur Gallery in San Sebastián and the Aramburu Palace in the city of Tolosa harbored the project The Streets in its wholeness. In 2021 he inaugurated the new exhibition and performance piece La Savia at the Aldama-Fabre Gallery in Bilbao.

The Contemporary Art Centre Espai D'Arts de Roca Umbert in Granollers-Barcelona has harbored three exhibitions and different presentations by Azcona through the years 2016 and 2018. Natura Morta pools a wide selection of the artist’s work, pieces where the main theme is the concept of death, alongside newly created live instalations that filled the space echoing concrete situations of terrorism and violence. The expositive project Buried was placed in the middle, to be later moved to the Instituto de la Juventud Museum in Madrid, the Cultural Center of Teruel and to different Latin American museums such as the Juan de Salazar Centre en Paraguay, the España Cultural Centre in Tecigualpa in Honduras and the Cultural Centres of Montevideo, Uruguay and Santo Domingo, Dominican Republic. The show Natura Morta was later opened in the Fundació Enric Miralles in Barcelona. A year later, the artist presented the work and the book Author Terrorism in the Arts Santa Mónica in the catalan capital. In 2018 the same museum inaugurated the last exhibition by Azcona: The Son and the Prostitute. The city of Tarragona took in the exposition The Shadow in 2014 and the Teller the Llum adapted the former Fábrica de la Chartreuse as a pabillion to receive the artist’s work. From that year on to 2017, Tarragona also took in the creation of the project The Miracle and the exhibition in The Grey Square, later shown in cities like Valencia, Lesbos, Marsella, Palermo or the Istrian Peninsula. Between the years 2015 and 2019, Cataluña welcomed another twelve shows by the artist Abel Azcona. In Konvent Contemporary Art Centre in Berga, the exposition Amen and the project The Dinner. In the Barcelona Art Photo Fair, a selection of his last works. In the Hell Gallery in Barcelona, the exhibition The Bodies. In the Museu Trepat de Tárrega, the performative project The Fight. The exhibition of the project Amen by Azcona next to the exposition Political Prisoners by Santiago Sierra in the Prisión Modelo, framed in various events in favour of freedom of speech, where he also carried out a performative project in the CCCB of Barcelona. Newly the two exhibitions, by Sierra and Azcona, were shown jointly in a demonstration for freedom of creation and speech, with a conferentce and event in Casa Planas in the year 2018 in the city of Mallorca. In the year 2019 the majorcan space L'Eléctrica reactivated the persecuted work by Abel Azcona, curated and powered by the artist himslef, in the form of a show called The Artists' Duty of Recidivism in the Framework of the Assumption of Disobedience as a Positioning. In two previous ocasions, Azcona had also presented his work in Mallorca, in the Fundació Pilar y Joan Miró, with great influx of public. The last three shows, inaugurated in Sant Fruitós del Bages, a selection of more than a hundred works by the artist under the title of Abel Azcona: Intimate and Personal; The First Step: a new long term pictorial and performative project that concluded in a plastic and video art exposition and the book Abel Azcona: Arte, Acción y Rebeldía.

The Alicante Contemporary Art Museum presented Abel Azcona's work in 2015, where he also carried out a performance in the Body and Poetry NoSomosTanRaros Fair in the same city of Alicante. The war, one of the artsists' more controversial approaches, was inaugurated in Intramurs in the city of Valencia, becoming the most visited show of the event with hundreds of visitors. From that year on the artist has collaborated with the event in sundry ocasions as a jury or as a detoner of the project The Shame, developed by Azcona himself along the West Bank Wall between Palestine and Israel. The University of Valencia invited the artist Abel Azcona to a meeting-appreciation on the score of the inauguration of The Line on Your Back, a retrospective exposition with a wide selection of the artists' work about the topic of sexuality opened in Museari, Museu del Imaginari that same year. Also in 2017, in the San Carlos Faculty in the Universitat Politècnica de Valènica, the artist presented a new and controversial exhibition and an encounter with art students. In 2015, the Las Naves de Valencia Art Centre harbored the works and conferences by the artist in the framework of Pornographyc Choreographies. In 2018, the Fundación La Posta took in an exhibition with the artists' performance and work, that same year the Galería Punto in Valencia opened the show Iconographies of Disobedience with works by Regina José Galindo and Abel Azcona, amongst others; with an empty gap in Azcona's space as an act of disobedience to the curatorship itself. In 2020 Azcona returned to the Las Naves de Valencia Contemporary Art Center to premiere the performance piece The First Step. The exposition The Shadow by artist Abel Azcona was inaugurated in the Palau de la Festa in Castellón, where Azcona was also responsible of opening the Mediterranean International Contemporary Art Fair with a new work called Exp. 09812. In adittion to Castellón, more than twelve spanish cities such as Pamplona, Soria, Tarragona, Madrid or Zaragoza have harbored the project and show The Shadow. In this last city, the project was presented in the Centro de Historias de Zaragoza, city where the artist had presented his work previously, in the Etopía Technology and Art Centre; this same centre received Azcona in the year 2019, when he presented his work in the context of the project Creaciones Sonoras FUGA. In the city of Teruel, Azcona developed the performative work Disaffections, an exploratory piece around memory with family members of citicens that were executed during the Spanish Civil War in the Pozos de Caudé. In this piece alongside Buried, the piece with family members of disappeared people during the Spanish Civil War that took place years before in the city of Pamplona, have been shown toghether in Teruel under the title Where Silences Germinate.

The José de la Fuente Gallery and the Cantabria Contemporary Art Galleries Association invited the artist to Santander in the year 2013 because of the Gallery Weekend Santander, where he presented his piece Uterus in the Enclave Pronillo Museum. This same piece was responsible of opening the Galicia International Contemporary Art Fair Cuarto Público celebrated in Santiago de Compostela in the year 2014. The year before, Abel Azcona had already presented his work in the A.dFuga Art Gallery in the same city. The hybrid work Uterus, in addition to inaigurating the Gallery Weekend Santander or the International Contemporary Art Fair Cuarto Público in Santiago de Compostela, has been the opening exposition of national events such as Identity and Space en the city of Madrid, invited by the German Embassy in Madrid. The next year the same German Embassy invited the artist to exhibit his work in the new event Body and Power where he presented a days-long piece called Habitat where the artist lived next to various original works by Josep Beuys. The first performance the artist Abel Azcona carried out in the city of Madrid was in the Tabacalera Art Space in the year 2010. Two years later, his work Winning Horse was shown in the Off Limits Gallery, where the artist also showed for the first time the work The Last Supper with the portuguese artist Regina Fiz Santos.

At the same time, he developed a piece about deprivation of freedom following his proccess of art and conminement iniciated in Colombia months before. He concluded with a performance with great public influx in the Off Limits Gallery. Throughout the years 2012 to 2014 the city of Madrid took in different events about deprivation of freedom by Azcona. In the first one Azcona presents a sixty-day confinement in a limited space, woth no light and scarce food; the piece Dark Room generated international controversy because the artist had to be taken out eighteen days sooner than expected due to undernourishment and low mental health. The next year, the artist inaugurated in the Factoría de Arte y Desarrollo the work Black Hole, developed once again in a few square meter room without any light, but this time alongside visitors who shared the confinment with him. Once again the Factoría de Arte y Desarrollo brought the work Empathy and Prostitution by Azcona, first presented in Bogotá, to the city of Madrid. It was developed between the Gallery and the Room Art Fair in Madrid. After this act, the artist presented various sex-themed actions in the same space thorughout the years 2014 and 2015. Within the years 2015 and 2016, Azcona performed the project The Streets, which started in the Santa Fé neighbourhood in Bogotá, in the Ballesta Street in Madrid, practicing prostitution in first person. The Liebre Gallery took in a exposition that collected the whole of the documentation and the proccess of this action. That same year the artist Abel Azcona worked, in different places linked to prostitution in Madrid, the performance The Hours, an action that evolves from the piece Empathy and Prostitution, this time adding intimacy and a new curatorial sense. The performance The Hours was inaugurated in the shape of an exhibition and instalation in the Rossmut Gallery in the city of Rome. The Extintion of Desire, a retrospective exhibition with a wide selection of sex-themed works by Azcona, was opnened in the year 2017 in the Juan Gallery in Madrid. Works containing explicit sexuality such as Empathy and Prostitution, The Streets or The Hours could be seen. The Alicia Hevia Gallery has been the protagonist of many of Abel Azcona's performances and expositions, becoming one of the artist's referrals in the city. The year 2015, Azcona concludes the project The Shadow as an exhibition in the gallery; the project had been exhibited in another nine spanish cities already. That same gallery is the place where the artist first showed the installation Amen, in the middle of the gallery in the city of Madrid the word “pederastia” (pederasty) could be read. A year before, the gallery had also received the exposition and the lenghty performative project Feed Me, instalation and interactive exposition about the feeding proccess during pregnancy. Thoughout the years 2015 and 2017 he showed his work in the next door gallery called Serendipia Gallery as well, where he opened performativa projects such as Jihad 191, Seropositive and Our Secret. Madrid took in the project Buried for months, which was inaugurated in Pamplona before traveling to cities such as Santo Domingo, Montevideo, Tegucigalpa; The Amadis Gallery welcomed the piece along with other artists', who are inspired by the implicit disobedience in his work in the year 2016. That same year Azcona, while exploring the father figure, inaugurated the performance The Fathers in Plaza de Las Cortes 4. On july 2017 it evolved into an exhibition in an space wich colaborated with the Rafael Pérez Hernando Gallery. At the end of 2018, the artist presented in the Círculo de Bellas Artes in Madrid the performative and expositive project The Death of the Artist, in which he offered his body and a weapon to organizations, entities and people that have persecuted him for years because of his ideas and political pieces. In the year 2013 he exhibits a selection of his first works under the name Retrospective of a Catharsis in the Ascensión Amaro Gallery, with Ascensión Amaro herself as the curator, he participated with his work in the Espacio Sin Título Gallery. He has colaborated in numerous ocassions with the European Institute of Arts and Human Studies, giving conferences and exhibiting his wotk in Casa del Reloj or in Matadero in Madrid. Matadero in Madrid is also the chosen place for one of the premieres of the You Will Be a Man documentary, by the Goya winning film director Isabel de Ocampo, wich was later shown in art spaces and spanish msueums such as the San Telmo Museum in San Sebastián, Sala Berlanga, Filmoteca de Extremadura and the Cículo de Bellas Artes in Madrid. Azcona has given conferences, presented or performed at many events in Madrid, such as the Festival Eñe; a literary event in the Círculo de Bellas Artes in Madrid hosted by La Fábrica, LesGayCineMAD; in wich he presented his work at the Swinton Gallery and the Fresh Gallery, the Hoy Es Arte event; where the documentary A Day in the Life of Abel Azcona was shown in the Círculo de Bellas Artes de Madrid, or the Queer Mad international queer art event, where he exhibited his work in the Espacio Trapecio Gallery and in the Factoría de Arte y Desarrollo. He also exhibited his work in the DonostiArtean international art event, carried out at the Kursaal in San Sebastián and in the Galería Gaudí in Madrid. In this last spot he introduced the Artist's Presumtion as a Radical and Disobedient Subject, in Life and in Death manifesto, and presented the art essay book edited by Plataforma de Arte Contemporáneo in the Fundación Carlos de Amberes in Madrid. Anonymous Vaginas was exposed in multiple international and national spots; in Madrid in LaNau, where the artist also carried out a performance and speech under the title The Artist Who Survived. In 2015, ARCO invited Azcona to reactivate his piece Empathy and Prostitution in a reception event for Colombia, guest country at the internationar fair ARCO that year. Azcona has been invited several times to give classes, workshops and performative experiences in the Fine Arts Faculty of the Universidad Complutense in Madrid and it's artistic space La Trasera. In the year 2019, Azcona presented his two biographycal books Abel Azcona: 1988 – 2018 and The Little Buds in the Nakama Space and in the Umbral the Primavera. That same year he took part in a charity event at the Sala Galileo, making a controversial performance. In 2020 he returned to the ARCO International Contemporary Art Fair with the piece Author Terrorism, one of the creations present in the retrospective exhibition with more than forty works, dedicated to Azcona in the month of April 2021, in the art space White Lab in the Paseo de la Castellana in Madrid.

One of Azcona’s most recognized exhibitions is The Shadow, which consists of more than two hundred cases and complaints about child sexual abuse turned into one of the best performances of the year 2014, according to the english press. In this performance, the artist made plastic pieces out of the real cases, in which he memorized each one of the cases in first person. The places chosen for the exhibition of the work were conservative cities with not many citizens like Pamplona, Castellón, Ciudad Real, Valladolid, Burgos or Soria. The MUSAC, Contemporary Art Museum of Castilla y León invited artist Abel Azcona to present his work in an event in colaboration with the Etopia Museum, Art and Technology Centre. The Patio Herreriano Museum and the project Arte en Acción, along with the Superior School of Dramatic Art of Castilla y León, invited the artist to Valladolid to introduce his work. Valladolid invited Azcona to the Fundación Arellano in colaboration with the University of Valladolid, where the artist presented his work with a feminist and gender point of view in the Miradas de Mujeres International Biennial. The LAVA, Valladolid Art Laboratory, arranged a new piece with the artist. The Calderón Theater in Valladolid inaugurated in 2021 the Fifteen Essential Pieces exhibition with a wide selection of works by the artist reactivated by local artists and agents. Together with the Azcona exhibition a new piece by the artist is premiered in Valladolid.

The City Hall of Sevilla organized an international event on the day against homopohia, with Azcona’s work as the inaugural act. Azcona traveled to Sevilla and designed a new action with survivors of violence in some spots in the center of the city. The city of Málaga presented conferences, performances, encounters and exhibitions by Abel Azcona in numerous occasions. The Málaga Contemporary Art Centre opened new works by the artist, like performances and various speeches and workshops between the years 2013 and 2017. Hidden Gallery, located in the center of Málaga, took in the action The Primal Wound. Azcona inaugurated the Art and Breakfast International Art Fair with a performance about gestation. On those same days he presented his piece in La Caja Blanca in Málaga and carried out several performances and works in Soho Málaga and in the Málaga Contemporary Art Centre. The international art and queer cinema FanCineGay event presented Azcona’s work in the framework of the festival in the year 2019, where he narrated his life in his book The Little Buds in the city of Cáceres. In the year 2019 Abel Azcona carried through performances in different spaces in Spain, which held a critical point of view, interrupting momentarily his exhile in the city of Lisbon. In this proccess, he opened an exhibition and a performance in the Espacio Incógnita in Murcia. The exhibition, titled The Artists' Duty of Recidivism in the Framework of the Assumption of Disobedience as a Positioning, reactivated various works by Azcona, which had in common the fact that they had been persecuted, atacked or sued. As well as presenting again pieces such as Amen, The Shame or Eating a Koran in the city of Murcia, the artist conducted disruptive actions at night with local artists from Murcia. The show in Espacio Incógnita was produced with the support of Centro Párraga and on those days Azcona presented his work in CENDEAC, Center for Documentation and Advanced Studies of Contemporary Art. In the year 2021 he closed the exhibition project about the need for coherence and reincidence in the Espacio Tangente in BUrgos, city where he also presented the new exhibition called Terrorism for Infants.

Azcona returned from the city of Lisbon to activate the Act of Disobedience project that was detonated the moment he disobediently positioned himself by not attending the last court summonings, after being persecuted on numerous occasions for his creations. In this way, he decided to inaugurate the piece in expository, performative and documentary form at the Teatro del Barrio in Madrid, at the Fabra i Coats Contemporary Art Center of Barcelona and at the La Panera Art Center in Lleida. In the same art center in Lleida he exhibited once again the controversial work Amen or La Pederastia in its totality, one of the most denounced and persecuted works by the artist.

In Italy, the Rossmut Gallery, currently Gilda Lavia Gallery represented Abel Azcona through the years 2015 to 2018, so part of Azconas' creation is linked to the country. The city of Rome took in a big share of the artists' las expositive projects. During the first two years the artist presented his work The Hours, process that lasted six months, in the same gallery. It was curated by Diego Sileo, who was responsible for the last expositive projects by artists such as Frida Kahlo, Yayoi Kusama, Marina Abramovic, Tania Brugera or Regina José Galindo. That same year the exhibitions The Hours, Voyeur and The Streets were presented in cities like Rome and Palermo in the isle of Sicily. In the city of Palermo Azcona was the international guest artist in 2016 in the international Sicily Queer event and presented the instalative and performative project Il Sacrificio, a long duration performance that was considered to be quite controversial due to the risk involved. The 2016 edition of Art Verona harbored the works The Fathers and The Hours. In 2017 Azcona was the guest artist in the CORPO pabillion organized by CAPPA Centro di Archiviazione e Promozione della Performing Art in the San Servolo Isle in Venice. The created piece, parallel to the Venice Biennial, was later displayed in the framework of the new edition of Art Verona 2017. In 2021 Azcona returned to Italy with two important exhibitions, the inauguration of the Empathy and Prostitution exhibition project at the Arsenal of Venice and the Abel Azcona Maledetto exhibition. Una visione retrospettiva del lavoro censurato e perseguitato dell’artista inaugurated at the Palace of the Arts in Naples.

From the beggining, different european countries have taken in exhibitions and performative proposals by Abel Azcona. In France, the process work Nine Container was presented in the Lyon Contemporary Art Biennial. Later, La Galerie des Pentes, located in the french city harbored a solo exposition of the project and throughout the years 2014 and 2015 the artist presented there two new solo shows about the process previously realized in the Biennial and the new exhibition of Uterus, expositive and performative project, that after being shown in nine different cities in Spain, was displayed in the city of Lyon and in the Galería Feu in Besançon and later in the Art League Museum in Houston, United States. The Fine Arts Institute in Besançon collaborated with the artist, who gave conferences and education in the faculty on numerous ocassions. The year 2013 he is responsable for inauguraugurating the prestigious performance festival Dimanche Rouge in the Villete Enchantée in Paris with The Primal Wound. The documentation of this work is part of the The in-Tension international show in the Institut Supérieur des Beaux-Arts of Besançon and the Performances et Intermédialités (DU Art, Danse et Performance) in the Université de Franche-Comté, in the south of France. The piece was previously inaugurated with another selection of Azconas' works in the Galería Beton 7 as well, in the city of Athens, Greece. The work Empathy and Prostitution, after being presented as a performance in Box 13 in Houston, Factoría de Arte in Madrid and Santa Fé Gallery in Bogotá, is shown as an exposition in different countries like France. It was part of the expositive international project Art is Hope coordinated by the Praz-Delavallade Gallery from Los Angeles and Paris, for the de-stigmatization against AIDS with three big exhibitions with Azcona’s work in Palais De Tokyo (2013), Centre D´Art PIASA (2014) y la Galerie Perrotin (2015) in the french capital.

Apart from countries like Italy, Greece and France, european cities such as Tirana have taken in proposals by the artist. In 2017, Abel Azcona exhibited his work Empathy and Prostitution in the Tulla Cultural Center in the albanian city, generating some controversy. Another controversial piece was the one presented by Azcona in The College of Performing Arts in the Universität der Künste in Berlin. Because of this piece, the artist received death threats for years, made by extremist islamic groups. It was performatized for the first time in 2012, and shown in 2013 and 2014 in cities like Oslo, Copenhage and Berlin. For years the artist himself and his works had to be protected. In the city of Copenhage, Denmark, he presented again Eating a Koran in the Krudttønden Museum alongside an art colective with whom he shares events for freedom of speech. Different artists such as the danish Bjørn Nørgard, writer Salman Rushdie, swedish artist Lars Vilks or cartoonist Charb, later murdered along with other workers of the satirical magazine Charlie Hebdo, were part of the group. The controversial piece traveled to Viena and Brussels, capitals of Austria and Belgium. Years later the artist came back to Berlin with the project Uterus, invited by the Spanish Embassy in Germany in an event arranged by the A Window Gallery in Berlin and some collectors of Azcona's work alognside the Embassy itself, to which the most prestigious gallery owners of the german capital were invited and which was curated by Chema de Francisco, director of the Feria Estampa. The city of Berlin also hosted in 2020 and 2021 exhibitions of the work Spain Asks for Forgiveness by Abel Azcona at the Urban Spree Gallery and at the Somos Gallery, Ambactia Project.

European capitals such as Sofía, Bulgaria and Helsinki, Finland have displayed erotic themed projects and performances by Abel Azcona in festivals, biennials and encounters about art and pornography like the Wonderlust Porn Festival in both countries. In the year 2015, invited by the Polish Cultural Institute, he made artistic residences in the cities of Varsovia and Gdynia and other residences in cities like Hungary, Budapest, London, United Kingdom, Oslo, Norway and Dublin, Ireland. That same year the artist presents a tour in several russian cities, tour which is forbidden by the country and cancelled for security reasons. In the years 2016 and 2017 he colaborated with and curated different dissident artists such as Pussy Riot. In the book Abel Azcona 1988 -2018, Masha Alyokhina from Pussy Riot interviewed the artist and talks about Abel Azcona as «the most evident example of overcoming pain thorugh art, an incredibly difficult achievement». Works about sexuality exploration were initiated in cities such as London or Amsterdam and the final expositions were exhibited in Art Space in Mexico City and in the Bogotá Contemporary Art Museum. In the year 2017, he opened his first exhibition in Switzerland in the dAM Gallery I Espace Andrés-Missirlian in Romainmôtier. The exposition of the project Political Disorder, which contained dozens of Azcona's affiliations to political european and spanish organizations and entities, generating great controversy and diatribes amongst them.

Abel Azcona's work has been linked to Colombia since the begining, country where the artist resided the first years of his career. He has represented the country of Colombia in biennials and international contemporary art festivals. In the year 2011 the Bogotá Modern Art Museum invited the artist to present his work in the country for the first time. Since then, Azcona has colaborated in multiple occasions with the museum creating new pieces, giving lectures and with other three exhibitions and different performative projects until 2015. He also directed some formative cicles with local artists, curating and directing several events in the same Bogotá Modern Art Museum. In Colombia, he inaugurated key projects in his career such as Empathy and Prostitution, presented in the Santa Fé Gallery in Bogotá in the year 2013. Vital project in his trajectory in which he links his work directly with prostitution in first person, piece that has since evolved in another project of the same nature, this time in the streets of the Barrio Santa Fé in Bogotá in through the years 2014 and 2015. In the city of Bogotá, throughout the years 2012 and 2015 he is the international guest artist in the Fall and Recovery festival in the Bogotá Modern Art Museum, in the Habitaccion project in the Santa Fé Gallery and participated in festivals, events and encounters such as Accionarar in the region of Anolaima, INAI, Nomadic Exchanges, Live and Deferred Action Colombia, Diálogos de Acción or Bogotá International Performance Art Festival, event that he directs and curates himself in the Bogotá Contemporary Art Museum. Fairs like ArtBo and galleries such as the Santa Fé Gallery, La Junta Gallery or Neebex Gallery present in different ocasions solo exhibitions by the artist like The Primal Wound, The Red Line, The Pain or Empathy and Prostitution. The Bogotá Contemporary Art Museum dedicated him the retrospective exhibition Not Wanted, consisting of a wide selection of works about gestation and maternity, in the year 2014. He also arranged encounters and pedagogical events as a teacher in various colleges and centers such as the la Universidad Tadeo Lozano de Bogotá, the Universidad Distrital Francisco José de Caldas, the Universidad de Los Andes, the Pontificia Universidad Colombiana, the Universidad Nacional de Colombia and the Universidad Minuto De Dios de Bogotá, with two big exhibitons in the two last ones. In 2014 Azcona also carries out one last tour in Colombia, visiting cities such as Barranquilla, Manizales, Pamplona, Cucutá or Medellín, presenting exhibitions, performances and encounters in the Manizales Museum Centre, the Pamplona Contemporary Art Museum, Ramirez Villamizar Modern Art Museum, Casa Agueda Museum, Norte de Santander Museum or in the Barranquilla Modern art Museum, and educational events in the University of Caldas, the University of Pamplona, the University of the Cauca and the University of the Atlantic. In the year 2017, the exhibition Contemporary Visions, with Azcona's work in the colection of the Contemporary Art Museum, is opened in the city of Bogotá. That same year, the Bogotá Contemporary Art Museum brings the retrospective exhibition dedicated to Azcona to the University of the Cauca Museum in Popayán as well, and in the year 2018 to the Alianza Francesa de Manizales, this time extending the exposition with new works by the artist under the name of Memories of an Abandonment: a restrospective vision of Abel Azcona's Work 1988-2018. The Museum of Pereira, in the north of Colombia opened in 2018 a new exhibition and project by Azcona. The Bogotá Contemporary Art Museum displayed, in the year 2019, Azcona's work in it’s permanent collection under the name Political Bodies. The artist is linked to the country for the years he spent there generating more than a hundred creations, made forty two exhibitions and performances, and three large retrospective expositions in the main museums of the country.

Besides Colombia, which is an indispensable country in the artist's trajectory, Mexico has been very important for his career as well. In the year 2014, Anonymous Vaginas was displayed as a performative exposition for a month in the Zonautonoma Gallery and in the Frida Gallery in the city of Puebla in Zaragoza, in Casa Nueve in San Andrés of Cholula and in the Espacio Diez in Mexico City. In 2016 artist Abel Azcona presented his new solo exhibition Voyeur during the months of may and june in Art Space in Mexico City, where he also showed an adapted version of the project Someone Else, created in New York. That same year he colaborated with Art Cage Condesa, were he presented his work. Art Space Mexico also invited Azcona to the contemporary art fair Zona Maco in various editions. In 2018 he comes back to Mexico city, where he presents new exhibitions and performative projects such as The Heritage, opened in the Ciudad de Mexico Museum in august and he also inaigurated two expositions in Art Space Mexico; The Fathers and Empowered. The cities of Puebla Zaragoza and Córdoba harbored two new expositive projects by Azcona in Casa Baltazar. And different teaching projects in collaboration with universities such as the Universidad Nacional Autónoma de México, the Universidad de las Américas de Puebla and the Universidad Iberoamericana, where he also opened a new expositive exhibition. The year 2013. Azcona inaugurated a new expositive work in the Proyecto Poporopo museum in the city of Guatemala, where he created part of the instalation later shown in Los Angeles, United States. Otres exhibitions and projects were presented in countries like Honduras, Paraguay, Chile o República Dominicana throughout the years 2015 to 2018. The artist's work has protagonized different biennials and art and performance festivals in Latin America such as the V Bienal Internacional de Performance Deformes de Santiago de Chile or the República Dominicana International Performance Festival. In 2017 and 2018 he traveled with his project Buried, about spanish historical memory, to four new expositions in the Juan de Salazar de Asunción Centre in Paraguay, Spain Cultural Centre de Tecigualpa in Honduras, Santo Domingo Spain Cultural Centre in República Dominicana and the Montevideo Spain Cultural Centre in Uruguay. In the years 2019 and 2020 he comes back to Latin America with the controversial project España os Pide Perdón in cities like Buenos Aires, Argentina; Sucre, Bolivia; Santiago de Chile, Chile; Bogotá, Colombia; San José, Costa Rica; La Habana, Cuba; Quito, Ecuador; El Salvador, San Salvador; Ciudad de Guatemala; Guatemala, Tegucigalpa, Honduras; Ciudad de México, México; Managua, Nicaragua; Panamá, Panamá; Asunción, Paraguay; Lima, Perú; Santo Domingo, República Dominicana; Montevideo, Uruguay and Caracas, Venezuela. In the year 2021 he returned to Santiago de Chile with three major exhibitions Abel Azcona. Selected Works: 1988-2018 in the Montegrande Gallery, in the Lastarria Gallery and Abel Azcona I The artist's duty of recidivism within the framework of assumption of disobedience as a positioning in the Casa O de Lastarria Cultural Center.

Abel Azcona moves to the city of New York in 2014, where the international publication Hyperallergic chose his project Someone Else, inaugurated in the Grace Exhibition Space, as the best art event of the city that year. Azcona was the international guest artist in the Queer New York International Arts Festival, and he opened his exhibition Fluids in the Leslie Lohman Museum in Manhattan. That same year he participates in the great colective exhibition Pride, for charitable purposes for the fight for sexual diversity in Paddle 8 in New York, along with artist such as Keith Haring, Andy Warhol, Robert Maphelthorpe, Nan Goldin or Louise Bourgeois. Artist Abel Azcona has been responsible for inaugurating and participating in biennials and international contemporary art festivals in the United States like Houston International Performance Art Biennal, Lone Star Explosion Performance Art Festival, Experimental Action or Miami International Performance Art Festival with projects such as Uterus, Mirrored Wounds or Empathy and Prostitution. Projects about sexuality, pornography and prostitution like Voyeur, Empathy and Prostitution, The Streets or Someone Else are created and constructed in cities in the USA. He presents his work as a plastic exposition and performance in the Contemporary Arts Museum in Houston, Box Art 13 Space, Art League Houston, Macaya Gallery in Miami, Grace Exhibition Space, The Secret Group and Notshuo Space in Houston or in the only gallery in the United States specialized in performance art, Dfbrl8r in Chicago. In 2016 he presented the exposition Daddy's Children in Miami, which gets forbidden and closed the opening day due to the controversy it generated. The opening performance showed twenty two kids holding firearms as a critique for the use of weapons in the United States. In 2017 he comes back to Houston to conclude the projects Week Rental, in a hostel linked to prostitution and drug abuse, and the project The Streets, which begun in Bogotá. That same year he is the international guest artist in the international performance art festival Experimental Action in Texas, where he concludes the project The War, in which he offers his body to be abused while he remains unconscious due to the consumtion of narcotics. In every U.S city the artist has presented his work in, he visited colleges where he gave speeches and procedural approaches with local artists and students. The year 2016 he showed the final exposition of Anonymous Vaginas with live instalations in the city of Los Angeles and the next year he participated in the international demonstration HE, Questioning and Queering Masculinity in the Last Projects space in the California capital.

The Dhaka Art Biennial in Bangladesh: Asian Art Biennale invited Spain for the first time, represented by artist Abel Azcona in the year 2018. Azcona inaugurated the pabillion in the National Art Gallery of Bangladesh with great controversy, and the exhibition gets shut down early. In the tear 2013 he participated in the international art and performance event Tama Tupada Action Media Art in the city of Manila in the Philipines. That same year the project Fluids is presented in the city of Beijing, China, this being the artist’s first solo exhibition in Asia. In 2016 he was chosen in KIPAF, Kalkoota International Performance Art Festival in India and in Dhaka Biennale of Performance Art in Dhaka, capital of Bangladesh. In the year 2017 the artist installed his work The Shame along the West Bank Wall, between the land occupied by the Israel Government and palestinian lands. Years before, he had carried out the international project The First Stone, performatized by the artist himself and collaborators in asian cities such as Kabul, Afganistán; Riad, Saudi Arabia; Abu Dabi, United Arab Emirates; Bagdad, Irak; Teherán, Iran; Islamabad, Pakistan; Singapur and Colombo, Sri Lanka. The african contitent was also part of the project in seven chosen cities such as Gaborone, Nairobi, Tripoli, Abuya, Mogadiscio, Jartum y Dodoma, capitale of Botsuana, Kenia, Libia, Nigeria, Somalia, Sudán y Tanzania. The complete project was opened in the city of Barcelona with different instalations formed by collected stones from spaced linked to practices such as stoning and physical punishments in the mentioned countries, since all of them contemplate torture and punitive justice in their laws and constitution.