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Carlos Arroyo Galaxia (1984, Valencia) takes us into the world of the extraordinary through a series of photos that portray the female portion of the most countercultural tribe that Spain has ever known, the Bakalas.

Galaxia explores the imaginarium of these girls, a place where wearing Orthopedics is a symbol of pride: war wounds that evoke renaissance.

When fun ends in death (usually a traffic accident), streetlights and signs near the site of the accident are made sacred and become urban shrines, places for offerings and even fetishes for their loved ones. In order to compensate for their absence, these places become extensions of the dear deceased.

The result is a surprising exhibition, a challenging vision that can sometimes be provocative, insulting and uncomfortable, coming from a controversial and despised subculture; however, it dominated the countercultural landscape of the nineties in a large portion of Spanish geography.


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