They stand as women who describe the world through emotion and fear, yet always keeping a quiet responsibility in the background. This is why Magnum Photos’ Alicante exhibition is more than a feminist act or a tribute to female visibility behind the lens; it’s a chance to reassess the role of women both behind and in front of the camera.
In Alicante, twelve of the thirteen women currently part of the famed Magnum agency, led by Cristina de Middel and rooted in Alicante, are featured in a display opened by the Generalitat at its new headquarters in the historic Post Office building. The collection speaks of personal history and professional achievement, a blend that highlights the strong ties between birthplace, career, and creative voice.
“Having the opportunity to present my work with all my colleagues at Magnum in Alicante, where I was born, lived and worked, touches many strings of sentimentality inside me,” the artist notes during the opening. “When I was ten, I used to come to this post office to send a telex with my father.”
The emotional charge underscored by the show also marks a moment of recognition for women’s creative labor. Magnum 75 acres presents a distinct documentary approach, illustrating war and world events through the lens of women whose images have long shaped public perception, even when their names have not always been in the foreground. This exhibit makes visible the women who capture worlds and, in many cases, redefine what photography looks like at home and abroad.
A view from the exhibition in Alicante. IMAGE CREDIT: PILAR CORTES
emotional intimacy
The exhibition’s title nods to Robert Capa’s maxim that a photo isn’t strong enough if one isn’t close. Twelve photographers from different generations and backgrounds explore proximity from intimate portraits to war coverage on Russian soil. This approach questions the way we anchor meaning from the start, offering works that range from the most intimate to the chronicle of conflict, with Pere Rostoll, the managing director of Information Relations, emphasizing the heightened responsibility that comes with documenting the world.
Magnum arrived in Alicante with a sample of 12 female photographers
From the International Center of Photography in New York, where the show debuted, the presentation breaks from a single-author display. Each photographer presents her work collectively, creating an artistic installation that invites viewers to engage with the images as a shared conversation. The participating artists often publish books and stage exhibitions, expanding photography beyond traditional formats and exploring new ways to convey messages with visual power.
The common thread among these twelve photographers is a conviction that women’s representation in photography must evolve. Women should be seen not only as subjects but as authors. As women move into conflict zones and other demanding arenas, the stigma of fragility recedes. The aim is to end stereotypes—both inside and outside the profession—and to affirm, aloud, that women can, and do, shape the narrative as much as they document it.
twelve names, twelve looks
Each photographer presents a unique worldview, and the show highlights this diversity. Alessandra Sanguinetti has followed two young girls on a Pampas farm since 1998, while Nana Heitman de Middel, of mixed Russian and German heritage, documents the war in Russia from a perspective far removed from typical reportage. Myriam Boulos from Lebanon casts Beirut through a lens unafraid of challenging the dominant imagery, capturing a city and a generation with a candid, sometimes provocative voice. Middel herself revisits the issue of prostitution from a strikingly different angle, presenting a complex narrative through interviews and imagery gathered across ten cities over seven years. The project culminates in a book that pairs photographs with the voices of those who populate the scenes, offering a reversed gaze that unsettles conventional storytelling.
Olivia Arthur, who later explored pregnancy and the body as a machine in her work, probes how physical limits shape perception. Carolyn Drake shifts her gaze from crises in the Middle East to the United States, selecting projects that avoid imposing the photographer’s own vision. Susan Meisela gathers stark images from shelters for battered women in the British mining basin, while Sabiha Gökçen from Turkey contrasts traditional Islamic schooling with modern generations. Yenisha Tavakolyan from Iran presents a reflective video on premenstrual experiences, and Lua Ribeira traces how people sleep and find shelter across diverse places. Each artist brings a distinctive geographic and cultural lens, reinforcing the show’s message about plural female vision in documentary photography.
Hanna Price’s portraits provoke curiosity rather than accusation, while Lua Ribeira’s project On the impact of traps and drills in Spain examines how content, sound, and aesthetics intersect with structural instability. The overall sentiment is deliberate: anyone who wants to question the imagery bombarding daily life should come and look deeper—perhaps finding answers, or at least sharper questions. As Christina de Middel puts it, the work invites critical reflection on how women are portrayed and understood in contemporary photography.
The exhibition in Alicante remains open through July with visiting hours aligned to typical gallery schedules, offering a generous window for locals and visitors to engage with these powerful voices. Three exhibitions are planned in a broader agreement between the Generalitat and Magnum, signaling ongoing collaboration and new projects for the year ahead. This show marks the first of three showcases in the region, with further installments anticipated in Valencia and Castello, featuring other Magnum artists and continuing the conversation about women photographers and the worlds they illuminate.