It's not easy to sum up 45 years of an intense photography career in two rooms and a hallway. Or to do it in little more than 50 images, almost one per year of work. So this exhibition of 'Found Photographs' is by no means an anthology – it's not even, in the strictest sense, a retrospective. It's simply a grouping of images for the viewer to appreciate.
These photos should be seen in their historic context (those that show moments of Spain's democratic Transition), cultural context (portraits of creators and artists), and even their linguistic context (the use of black and white, the special way of framing them).
We can ignore who Jordi Socías is, even though he has his own website, but the work remains. Socías started out in the world of photography via the cinema of Bertolucci and the French Nouvelle Vague. In 1972 he was a correspondent for the Barcelona weekly 'Cambio 16', and in 1976 he moved to Madrid, where he would live through the Transition and the scene known as La Movida. He would collaborate with film-makers taking stills of the filming, and direct the agency Cover. In a certain sense, he embodied the new Spanish photojournalism, which addressed acts of the newly authorised Communist Party as well as flooded the Sunday supplements with images of glamour.
This exhibition is not only a collection of images, a nutritious soup of shades of grey. The size of the photographs (in general, larger than 1m x 70cm), and the small distance between them is suggestive of new pairings, dialogues like that between photo of a potatoes that look like pebbles and an extreme close-up of Dalí, with curls that get lost in that crazy-eyed look of his – indeed, perhaps Socías's most reproduced image.