Wer-Haus present:


by Juan Diego Varela


15 December 2016 – 13 February 2017

Observe the state of confusion and permanent alert of a disoriented photographer in an unknown place. Immersed in uncontrollable situations. Evoking apparently common landscapes and spaces. Here, the human factor is used as a reiterative ingredient of straightforward images from an author unable to separate the emotional from the objective. Photographs desperately taken during a 28 day inquiry in Ciudad de Guatemala.

Juan Diego Valera (1976, Córdoba, Argentina).

After graduating in Fine Arts in 2001 he moves to Spain where he will develop his creative career though photography. From then he will carry out his personal projects alongside his works as a commercial photographer. As an author his main focus is the personal exploration on what surrounds and moves him, registering all kind of experiences from the relationship with his own setting and the human landscape. In 2009 he received the AGITA and EADC grant for the Més és menys project. In 2011, he participated in a project called Lugares de Tránsito, which includes a residence in Guatemala.

He is a co-founder member of the publishing house Ca l’Isidret Edicions with Aleix Plademunt and Roger Guaus and a teacher at El Observatorio (Barcelona).

He has produced the projects De mis fragilidades (2008), La Càmera gran (2011), Movimientos de Suelo (Ca l’Isidret, 2011), COMA (Kursula, 2011), Bitácora (standard Books, 2012), Diente de Chucho (Ca l’Isidret, 2014) and Laboratori (Ca l’Isidret, 2015). His work is been exhibited in several spaces and galleries in Barcelona, Madrid, Valencia, Cádiz, Durango, París, Amsterdam and Guatemala.

Sobre el estado de desorientación y de alerta constante de un fotógrafo desubicado en un lugar desconocido. Muestra el paso de los días inmerso en situaciones incontrolables, evocando paisajes y espacios aparentemente comunes. El factor humano como ingrediente reiterativo, siendo parte de imágenes directas de un autor incapaz de tomar distancia entre lo objetivo y lo emocional. Fotografías realizadas desesperadamente en una estancia de veintiocho días en Ciudad de Guatemala.

Juan Diego Valera (1976, Córdoba, Argentina).

Formando en Bellas Artes en Argentina, en 2001 se traslada a España donde desarrolla su proceso creativo, combianando fotografía comercial con proyectos personales. En su trabajo explora aquello que lo rodea y conmueve, registrando sus experiencias a partir de la proximidad y el paisajismo humano.
En 2009 recibe la beca AGITA y EADC por el proyecto Més és menys. En 2011 participa en el proyecto Lugares de Tránsito que incluye una residencia de creación en Guatemala.

Es miembro co-fundador de Ca l’Isidret Edicions, junto a Aleix Plademunt y Roger Guaus, además de ser docente en la escuela El Observatorio (Barcelona).

Realiza los trabajos De mis fragilidades (2008), La Càmera gran (2011), Movimientos de Suelo (Ca l’Isidret, 2011), COMA (Kursula, 2011), Bitácora (standard Books, 2012), Diente de Chucho (Ca l’Isidret, 2014) y Laboratori (Ca l’Isidret, 2015). Su obra se ha mostrado en diferentes salas y galerías de Barcelona, Madrid, Valencia, Cádiz, Durango, París, Amsterdam y Guatemala.

Wer-Haus present:



19 November 2016

14:00H – 00:00H

We are thrilled to announce that Wer-Haus will celebrate its 1 #Year#Anniversary on Saturday 19th November.

For this occasion, we teamed up with Swiss creative collective ARMES for an exclusive ARMES × WER-HAUS clothing collaboration that will be revealed on the day of the event.

Bromance Records & ARMES NOISE will take over Wer-Haus and we will have a very #Special #Guest visiting us that night…

Swiss based Visual Artist, Thomas Kœnig has also prepared an installation that we can’t wait to show you.

FREE — Limited Capacity
14:00H ↔ 00:00H

14:00H — 20:00H
● ARMES × WER-HAUS clothing collab exclusively available at the shop
● THOMAS KOENIG Visual Installation

20:00H — 00:00H
Bromance Records + Armes Noise
● GUILLAUME BERG (Bromance – FR)
● SOOISHI & YVDRE (Armes Noise – CH)

ARMES > www.armesarmesarmes.com
BROMANCE > www.bromancerecords.com
WER-HAUS > www.wer-haus.com

Wer-Haus and Paralaxe Editions present:


by Arnau Blanch

15 September 2016

Interested in the psychological effects of opium in dreams, Arnau Blanch’s research runs towards the different states of consciousness, and unconsciousness from the use of this substance.“It’s like being suspended in a twilight zone between sleep and wakefulness. Nothing matters, and everything is fine.”

This project explores the non-figurative expression of the form and materials of the photographic image and of the imagination, playing between the limits of what is pictorial and what is photography. The altered state of perception resulting from the use of analgesic and narcotic substances like opium and the use of experimental camera-less processes has allowed Arnau to make this series of complex abstract images.

This is why these large format pieces that shape the artwork are presented emulating the construction of the origin of material photography: the negative. Different translucent layers overlap over the emulsion diffracting visible light beams in different ranges of tones. This finish allows us to add a certain formal investigation over the different stratums that compose each image to the expressive abstraction of the process.

In the search of bringing my sensitive experience to a tangible and visible world. I have made a series of large format pieces where the materials, tones, forms and supports of the photographic medium gain the whole limelight.



Wer-Haus, Ari Versluis and Ellie Uyttenbroek present:


by Ari Versluis and Ellie Uyttenbroek

7 July 2016

This exhibition is a collaboration between Ari Versluis and profiler Ellie Uyttenbroek and WER-HAUS.

Photographer Ari Versluis and profiler Ellie Uyttenbroek have worked together since October 1994. Inspired by a shared interest in the striking dress codes of various social groups, they have systematically documented numerous identities over the last 21 years. Rotterdams heterogeneous, multicultural street scene remains a major source of inspiration for Ari Versluis and Ellie Uyttenbroek, although since 1998 they have also worked in many cities abroad.

They call their series Exactitudes: a contraction of exact and attitude. By registering their subjects in an identical framework, with similar poses and a strictly observed dress code, Versluis and Uyttenbroek provide an almost scientific, anthropological record of peoples attempts to distinguish themselves from others by assuming a group identity. The apparent contradiction between individuality and uniformity is, however, taken to such extremes in their arresting objective-looking photographic viewpoint and stylistic analysis that the artistic aspect clearly dominates the purely documentary element.



Wer-Haus present:


by Salva López

27 April 2016 – 27 June 2016

In a short period of time, Salva Lopez and his girlfriend visited several islands: Japan, Taiwan, Bali, Komodo, Mallorca and Menorca. After they broke up, he decided to travel alone to Lanzarote, another island, to shut himself away only with his thoughts, and to photograph the volcanic landscapes as a curative therapy.

Returning, both to his home and the broken relationship, Salva decided to convert this dualism in to a book: the colour photographies of their trips as a couple, mainly portraits of her, and the bleak and deserted landscapes in black and white.

To find the right form to this dialog between the colour and the black and white photographies, Salva turned to the designer Eloi Gimeno. Eloi had the brilliant idea of taking advantage of the folds leaving the original binding the way it was to catch the images of the woman and leaving visible the landscapes, turning the format of the book into a metaphor of the memory and of the co-existence of images of the past and the present.

Returning to see them in their entirety or leaving them as phantasmagorical images simply intuited through the transparency (or opacity) of the paper is left at the will of the reader.

Conceived from the outset in book format, Illa now covers the walls of Wer -Haus with the same intention : travelling through the memory of what was , what has been and what remains.

En un breve periodo de tiempo, Salva Lpez visit con su pareja varias islas: Japn, Taiwn, Bali, Komodo, Mallorca y Menorca. Y por algn motivo, tras una crisis sentimental, decidi viajar completamente solo a Lanzarote, otra isla, para recluirse en sus pensamientos, y fotografiar los paisajes volcnicos como una terapia curativa.

Al volver, tanto a su hogar como a la relacin quebrada, Salva decidi convertir en libro esta dualidad: las fotografas en color de sus viajes en pareja, principalmente retratos de ella, y los grandes paisajes en blanco y negro desoladores y desrticos.

Para encontrar la forma adecuada a este dilogo entre las imgenes en color y en blanco y negro, Salva acudi al joven diseador Eloi Gimeno. Eloi tuvo la brillante idea de aprovechar los pliegues sin cortar de la encuadernacin para atrapar las imgenes de la mujer y dejar a la vista los paisajes, convirtiendo el propio formato del libro en una metfora del recuerdo y de la convivencia de imgenes del pasado y el presente.Volver a verlas en su totalidad o dejarlas como imgenes fantasmagricas slo intuibles a travs de la transparencia (u opacidad) del papel queda a la voluntad del lector.

Ideado desde un principio en formato libro, Illa recorre ahora las paredes de Wer-Haus con la misma intencin: viajar a travs del recuerdo de aquello que fue, lo que ha sido y lo que permanece.




Wer-Haus & IMA Concept Tokio present:


22 January 2015 – 27 March 2016

Portrait has long developed as a means to display the likeliness of a person, especially of the face, as a painting, drawing or photograph. This exhibition presents works by two Japanese artists who use photography as a means to go beyond the traditional nature of portrait.

Ishikawa (b.1983)s Humanity appear as colorful abstract paintings depicting the silhouettes of various people. In reality, they are compositions formed by printing numerous photographs of a single subject onto a plastic sheet which does not soak up the ink and then placing a sheet of paper on top before the ink has dried. While physical features are eroded and subject cannot be identified in Ishikawas work, it attempts to make visible what is normally invisible, and explore how information is linked to the representation of individuality.

The subjects in Fujiwara (b. 1984)s Code Unknown are complete strangers who are unaware that they are being watched. As a homage to film director Michael Haneke, who directed Code Unknown, Fujiwara shot his photographs in the Berlin U-Bahn secretly without his subjects permission. The result is a work that tackles the modern problem of privacy rights by limiting the amount of available codes through meticulous framing, close-ups and digital tricks in a way that barely prevents his subjects from being identifiable.

The anonymous subjects in Ishikawa and Fujiwaras work invite us to imagine what is absent or exists beyond the picture instead of engaging us directly with what is depicted. Exploring the relationship between information, identity, and visual representation, New Portrait searches what is out there for photography to capture in the so called Information Age.


Ishikawa was born in 1983 in Saitama Prefecture. He graduated from Tokyo Visual Arts in 2008. He has exhibited in numerous group shows including The Emerging Photography Artist 2012, Tokyo Photo 2013, Flower Power 2013, and STEP OUT! New Japanese Photographers (2015). End of 2015, he published his first photokooks, Humanity, through IMA Photobooks.


Fujiwara was born in 1984 in Hyogo Prefecture. He graduated in 2007 from Osaka University of Arts, after which he began working as a graphic designer in Tokyo. In 2012, he moved to Berlin to start working as a photographer. In 2014, he was an award recipient at Japan Photo Award and a participant in the Wi (e) dersehen group exhibition in Berlin. That exhibition marked the first of many Berlin-based group exhibitions that Fujiwaras works have been featured in, including IN VITRO GARDEN (2015) and LEBENSMITTELpunktKUNST (2015). In July, he held a special exhibition at the ISSEY MIYAKE MEN Ginza Store, in collaboration with the brand. In 2015, he published his first photokooks, Code Unknown, through IMA Phorobooks.





Wer-Haus present:

by Antonio M. Xoubanova

11 de noviembre de 2015 – 15 de enero de 2016

“Un universo pequeño representa mi imaginario del universo en 2,5 segundos y 10 metros lineales de calle.

El proyecto es un largometraje de 2,5 segundos formado por imágenes y secuencias referenciando el principio de las cosas, la tecnología, la religión, el universo, la calle, el amor, la materia y sus distintas formas, lo más básico de la condición humana, la contemporaneidad, la publicidad y el final de la existencia.

En el libro las imágenes representan un espacio en función de su duración temporal; son contenedores de tiempo. Una imagen realizada a 1/40 seg. de velocidad de obturación, es físicamente 10 veces más grande que otra disparada a 1/400 seg. El libro por lo tanto es un intento de materializar algo tan mínimo, abstracto y complejo como 2,5 segundos de existencia, un pedacito de materia o un espacio pequeño.”

“Si el universo se define como la suma de la totalidad de materia, tiempo y espacio, este libro de “fotografía de calle” es el intento de abordar un universo controlado y los elementos que lo contienen para hablar de la condición humana en el momento en el que vivimos.”

Antonio M Xoubanova, 2015