Cossiols i Bodegons del Porvenir arises from a desire to honor the subtle and the particular, granting it a space of ‘pagan veneration’. Through photographic compositions made within her own home, Magdalena Puigserver transforms the domestic environment into a place of observation and reflection, where everyday objects cease to be practical items and reveal themselves as mediators of affection, identity and memory.

Inspired by Toni Catany’s series Cossiols (1997) —twelve photographs taken in 1985 in his family home in Llucmajor—, the artist likewise turns her gaze towards her own family home, inhabited for over forty years, to construct an intimate cartography shaped by the passage of time, roots and intergenerational bonds. Ceramics, plants, flowers, utensils and relics form a domestic archive from which to contemplate what endures and what, nostalgically, fades with the passing of time. It is the distance gained from living abroad that, upon her return, allows this intimate dialogue with matter.

The serial images unfold across the space as a living archive which, while aspiring to order chaos, subverts its own logic by venerating the objects, which thereby acquire new significance. By photographically gathering disparate belongings into still lifes and vanitas, Puigserver creates a collection —of objects and of images— that also invites us to reflect on collecting and the consumption of art, as an archive without structure, generating a knowledge that is not scientific, yet universal.

This exhibition is presented as part of the PHOF Mallorca 2026 Festival, Mallorca’s first international festival of photography and contemporary imagery.The public presentation of this domestic collection also exposes a vulnerability. In revealing the intimate, the work turns the gaze inward towards the viewer, activating their own autobiographical projections, completing the relational map, and deprivatizing memory without intruding upon it.

At a time of personal and family transformation, these images also emerge as a gesture of reconciliation with her own genealogy. The cossiols —vessels conceived to hold roots away from their place of origin— become a metaphor for an identity in transit, suspended between rootedness and displacement. Close to Svetlana Boym’s concept of “reflective nostalgia” —which dwells in ambivalence, detail, fragmentation and everyday ruins—, the objects cease to be vestiges of the past and become forms of orientation, capable of tracing affective cartographies and producing new senses of belonging. Thus, the exhibition space functions as a domestic landscape where beauty and history converse about the inevitable passage of time and the changes sweeping across the island.

Text by Antoni Amaya Obrador and Cristina Moreno García, 2026

This exhibition is presented as part of the PHOF Mallorca 2026 Festival, Mallorca’s first international festival of photography and contemporary imagery.