Various cultural media highlighted the scope of the International Surrealist Photography Contest, noting its ability to bring together proposals from multiple countries and to establish itself as a space for free, plural and openly experimental creation.
The quality of the works, the diversity of perspectives, and the contest’s commitment to bringing contemporary art closer to the public were also emphasized, particularly through its street‑level exhibition that transformed Eibar into a vibrant creative meeting point.
Specialized reviews underscored the curatorial coherence of the project, its international momentum, and its recovery of a surrealist spirit understood as exploration, risk and openness.
Likewise, recognition was given to the organizational effort carried out by Natxo Zenborain, who provided a framework in which each artist could express themselves without restrictions, fostering dialogue across disciplines and sensibilities.
And yet, an unavoidable paradox remains:
An initiative born from the hand of an artist from Pamplona, but never shown in Pamplona.
The city where the idea first sprouted, yet where the collection remains absent — safely distant, perhaps fortunately, from the neglect of those departments that call themselves “culture”, though their actions suggest they are more inclined to manage omissions than to promote creation.
