LAIA
SERRA
CRIBILLERS
Laia Serra Cribillers, born in Barcelona in 1999, studied Photography and Audiovisual Media at IDEP Barcelona. Her artistic work develops mainly through photographic appropriation: the artist explores the potential of images as well as strategies to articulate narratives that subvert the meaning and uses of the image, moving away from the hegemonic circuits of the visible. Her main areas of research include media technology, interfaces, fiction, and the image, always in relation to the body.
In 2022, she won the publication grant from the Fòrum Fotogràfic de Can Basté, and in 2023 she published her first book, Untitled Folder, with Handshake Books. The project received the Eloi Gimeno Award for Best Photobook, granted by Artlibris, Fotocolectania, and Amigos de Eloi Gimeno. In 2023, the book was acquired by the Centre Pompidou to become part of the Bibliothèque Kandinsky archive. She has participated in the Belgrade Photo Month and in Pla(t)form 2024 at the Fotomuseum Winterthur.
Recently, she was selected as one of the 'Artistas en Selección' at Fotonoviembre 2025, and her work has been exhibited at TEA (Tenerife Espacio de las Artes). Her practice has been presented at various institutions such as Fotocolectania, Negra Mosca and Institut d’Estudis Fotogràfics de Catalunya. In addition, she is a visiting lecturer at Elisava and IDEP Barcelona.
Untitled Folder (2023)
ISBN: 978-84-123934-8-4
Handshake Books
Untitled Folder explores the relationship between the technological device and the human being. The project analyzes the roles of power in computer-person dynamics to reflect on how these affect the body and thought. Using archival images, the work deconstructs the personal computer and observes how the object shapes whoever uses it.
Untitled Folder was the winning project of the “17èFòrum Fotogràfic Can Basté 2022” publication grant, and it has been possible thanks to the collaboration between Handshake, the Centre Cívic Can Basté and TASC.
Live Cameras (2024 - ongoing)
Live Cameras gathers a series of images extracted from online surveillance cameras. It collects those that no longer function, those recording colors, shapes, and textures that remind us of abstract painting. The purpose of these photographs lies in documenting and dismantling the power of surveillance through the beauty of error, exploring images previously considered dysfunctional. Live Cameras documents the oppressive order of surveillance through residual images: it captures improbable images thanks to non-normative uses of new technologies and frees the devices to express other potentials.
Every system operates based on an ordering of reality constructed by hegemonic circuits of visibility, and this ordering generates the exclusion of all those images that cannot be categorized. It is with these images that we are interested in working. In this way, we look at what is not meant to be seen and think from the perspective of the unarticulated image. This methodology allows us to reconsider which images we consider fit to designate reality, and how many of them are produced to sustain a certain narrative.
Landforms (2024 - ongoing)
This research departs from the idea that the multiple transformations the landscape undergoes are an indicator of our way of existing, thinking and acting on Earth. The systematic way in which we intervene and alter the territory reproduces the hegemonic structures that underlie our society.
Moving away from a photojournalistic perspective, the project brings together a subjective selection of archival images found online, dating from 1997 to 2002. These images share a dystopian tone — elements, shapes and colours that evoke fictional settings — through which a new narrative is constructed.
From this starting point, the research explores the capacity of the image to disrupt dominant discourses and generate desirable fictions: a tool for imagining other ways of understanding and inhabiting the world at a historical moment marked by paralysis and exhaustion.
Diaris (2015 - ongoing)
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