SILO | 2026
I go and come back. I walk over there and all the way back here. I take the bus in the morning and again in the evening. I stroll through the streets, and when I turn around, it’s there. I turn to the left or to the right, and it’s always there. Standing. Tall. I walk by the river or to the train station, and whenever I look up, there it is again. Anywhere I go, it’s following me; yet it’s not moving. It’s in the back of my head and right in front of my nose. Watching me. I think about it. Wait. Is it maybe watching over me? Does it have my back? Always by my side? By now, it’s almost like a friend. I go and come back. It’s like something stuck in my mind. Just there. And it’s not going anywhere. It seems like it wants something from me. There it is again. I’m going in circles. On a good day and on a bad day. When it rains, when I’m happy, and when I’m not. Reminding me of something. But what?
I go and come back. I walk over there and all the way back here. I take the bus in the morning and again in the evening. I stroll through the streets, and when I turn around, it’s there. I turn to the left or to the right, and it’s always there. Standing. Tall. I walk by the river or to the train station, and whenever I look up, there it is again. Anywhere I go, it’s following me; yet it’s not moving. It’s in the back of my head and right in front of my nose. Watching me. I think about it. Wait. Is it maybe watching over me? Does it have my back? Always by my side? By now, it’s almost like a friend. I go and come back. It’s like something stuck in my mind. Just there. And it’s not going anywhere. It seems like it wants something from me. There it is again. I’m going in circles. On a good day and on a bad day. When it rains, when I’m happy, and when I’m not. Reminding me of something. But what?
TERESITA | 2025
a breve catalogue of domestic treasures at my grandparent’s house in Madrid.
a breve catalogue of domestic treasures at my grandparent’s house in Madrid.
THE PREVIOUS MOMENT | 2024
The Previous Moment constitutes a photo essay about the art of dance. The images revolve around the physical and mental preparation that takes place before the act; the activation of body and mind for a particular performance; thus "the previous moment.” | see more
The Previous Moment constitutes a photo essay about the art of dance. The images revolve around the physical and mental preparation that takes place before the act; the activation of body and mind for a particular performance; thus "the previous moment.” | see more
GIBELLINA VECCHIA | 2023
a short visit to Alberto Burri’s landscape art “Cretto di Burri” at Gibellina Vecchia. This monumental land art piece created in the late 1980s transforms the ruins of a destroyed Sicilian town, devastated by the 1968 earthquake into a haunting, abstract and evocative concrete landscape. The piece opens up an interesting yet also critical dialogue between art, history, and the natural environment.
a short visit to Alberto Burri’s landscape art “Cretto di Burri” at Gibellina Vecchia. This monumental land art piece created in the late 1980s transforms the ruins of a destroyed Sicilian town, devastated by the 1968 earthquake into a haunting, abstract and evocative concrete landscape. The piece opens up an interesting yet also critical dialogue between art, history, and the natural environment.
SWIMMERS | 2023
scenes at the Limmat river. deep blue water from the Limmat river. swimmers travel trough it and their bodies blur. the contour of their skin is no longer clear. the oulines blend with its background and it all. becomes abstract. the bodies are sort of trapped in a big landscape of endless water. all just a few moments before a summer storm
scenes at the Limmat river. deep blue water from the Limmat river. swimmers travel trough it and their bodies blur. the contour of their skin is no longer clear. the oulines blend with its background and it all. becomes abstract. the bodies are sort of trapped in a big landscape of endless water. all just a few moments before a summer storm
DEPARTING MEMORIES | 2022
Conceptual work about the importance of photographs as objects and the reality of memory-loss.
«In «Departing Memories» lädt die Fotografin Alicia Olmos Ochoa die Betrachter*innen ein, über die Bedeutung und den Wert von Fotos als visuelles Tagebuch nachzudenken.
Auf den Bildern sind ein Regal mit offensichtlich häufig angeschauten Fotoalben und eine ältere Dame zu sehen, die in einem dieser Alben blättert. Diese kleinen Papierstücke werden oft als unwichtige Objekte betrachtet, doch Ochoa zeigt uns ihre Macht und Bedeutung. Sie sind ein Fenster zu unserer Vergangenheit, selbst wenn unser Gedächtnis uns im Stich lässt. Die Fotos bleiben und erzählen Geschichten über unser Leben.
Alicia Olmos Ochoa stellt mit «Departing Memories» auch die Frage, welche Bilder wir auswählen, um sie in unseren Fotoalben aufzubewahren. Insbesondere in einer Zeit der Bilderflut müssen wir selektieren und entscheiden, welche Erfahrungen und Erlebnisse wir erinnern wollen. Welche Geschichten erzählen wir uns selbst und welche lassen wir hinter uns?
Ihre Bilder legen offen, wie Fotos unsere Erinnerungen strukturieren: Wie die Dame auf dem Bild «Departing Memories» betrachten wir hin und wieder unsere Fotoalben, um uns unserer selbst zu vergewissern.»
Conceptual work about the importance of photographs as objects and the reality of memory-loss.
«In «Departing Memories» lädt die Fotografin Alicia Olmos Ochoa die Betrachter*innen ein, über die Bedeutung und den Wert von Fotos als visuelles Tagebuch nachzudenken.
Auf den Bildern sind ein Regal mit offensichtlich häufig angeschauten Fotoalben und eine ältere Dame zu sehen, die in einem dieser Alben blättert. Diese kleinen Papierstücke werden oft als unwichtige Objekte betrachtet, doch Ochoa zeigt uns ihre Macht und Bedeutung. Sie sind ein Fenster zu unserer Vergangenheit, selbst wenn unser Gedächtnis uns im Stich lässt. Die Fotos bleiben und erzählen Geschichten über unser Leben.
Alicia Olmos Ochoa stellt mit «Departing Memories» auch die Frage, welche Bilder wir auswählen, um sie in unseren Fotoalben aufzubewahren. Insbesondere in einer Zeit der Bilderflut müssen wir selektieren und entscheiden, welche Erfahrungen und Erlebnisse wir erinnern wollen. Welche Geschichten erzählen wir uns selbst und welche lassen wir hinter uns?
Ihre Bilder legen offen, wie Fotos unsere Erinnerungen strukturieren: Wie die Dame auf dem Bild «Departing Memories» betrachten wir hin und wieder unsere Fotoalben, um uns unserer selbst zu vergewissern.»
MADRID, pto. de inflexión | 2021
These images were taken the morning of the 9th of January of 2021 in Madrid. The aftermath of the “Filomena” storm
These images were taken the morning of the 9th of January of 2021 in Madrid. The aftermath of the “Filomena” storm
CORONA PORTRAITS | 2020
Corona Portraits is a series of over 40 photographic portraits taken via Zoom/Skype/Facetime of people all over the world being confined in their homes throughout the first COVID-19 lockdown
Corona Portraits is a series of over 40 photographic portraits taken via Zoom/Skype/Facetime of people all over the world being confined in their homes throughout the first COVID-19 lockdown
HALLENBAD | 2018
Architecture photographic documentation. Hallenbad Zurich was built in the early 1940s. This work reflects on the dialogue between architecture, light and people
Architecture photographic documentation. Hallenbad Zurich was built in the early 1940s. This work reflects on the dialogue between architecture, light and people
