Josep Piñol Curto (Tivenys, 1994) is a visual artist whose practice navigates between performance, installation, video art, and photography. His work unfolds as an exercise of revelation, a persistent investigation into what lies hidden beneath the surface of the visible: the mute zones of experience, the invisible mechanisms that shape subjectivity, and configure the structures that sustain it.  

Two complementary and deeply intertwined impulses go through his practice: an introspective drift that traces the affective, cultural, and unconscious layers of personal memory, and a critical gesture that interrogates the power narratives that shape the present and condition collective experience. The body—in its individual and collective dimensions— presents itself as a surface of inscription and conflict, where tensions between the somatic and the normative, between embodied pain and its forms of representation, are condensed.  

Away from any appeal to consolation, his works are grounded in discomfort as a site of truth, not reconciliation. Detached from any promise of redemption, Piñol explores the rawness of confronting the irreparable: that which hurts, persists, and resists to be transformed.  

His most recent practice situates itself in the fissure between the logics of the art world and institutional legitimization devices, exploring their friction zones and exposing their interdependence. Through operations of mimicry and displacement, he critically intervenes in the system, dismantling and reconfiguring its languages from within.  

Piñol began his career path in photojournalism with the solo exhibition Senegal S-12 (2012), presented at El Tinglado nº1 in Tarragona, and since then has shifted his practice toward conceptual and performative languages. Exhibitions like La Muda (2021) at Centre d’Art Lo Pati and the performance Santa Baldana (2024), presented at the 7th Forum on Culture and Ruralities of the Ministry of Culture of the Government of Spain, trace an evolution from the documentary to the speculative approach, and from the biographical to a critical insight on structural forces.  

Since 2022, Piñol has worked in his studio-warehouse located in Tivenys, conceived not only as a production space but also as a device for assembly, scaling, and rehearsal. This infrastructure expands the physical possibilities of his practice, allowing him to approach large-format pieces through a direct engagement with the body, space, and the temporality each piece demands. Currently, his life and practice are divided between Madrid, Barcelona, and the Ebro Delta.