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Iñaki Bergera

Iñaki Bergera

Iñaki Bergera holds a PhD and a professional degree in Architecture from the University of Navarra, a Master in Design Studies with Distinction from Harvard University, and is Full Professor of Architectural Design at the University of Zaragoza. His research explores the relationship between photography, architecture and territory. He led the project Photography and Modern Architecture in Spain and curated two major exhibitions at Madrid’s ICO Museum (PHotoEspaña 2014 2016). Since studying photography with Chris…

Iñaki Bergera holds a PhD and a professional degree in Architecture from the University of Navarra, a Master in Design Studies with Distinction from Harvard University, and is Full Professor of Architectural Design at the University of Zaragoza. His research explores the relationship between photography, architecture and territory. He led the project Photography and Modern Architecture in Spain and curated two major exhibitions at Madrid’s ICO Museum (PHotoEspaña 2014 2016). Since studying photography with Chris Killip at Harvard in 2001, he has developed a personal body of work presented in solo exhibitions as well as group exhibitions such as Unfinished (Venice Biennale, 2016) and Motion Autos Art Architecture (Guggenheim Bilbao 2023). He is the author of several photobooks like New American Topographics (2018), Twentysix (Abandoned) Gasoline Stations (2018), Empty Parking Spaces (2020), P Line. The Bunkers of the Pyrenees (2026) and Siza in Panticosa: Poetics of Abandonment (2026).

Zaragoza, Spain

Antoine Savignat publishes "Twentysix Twentysix", featuring Iñaki Bergera’s "Twentysix (Abandoned) Gasoline Stations" French artist and editor Antoine Savignat has published Twentysix Twentysix, a new artist’s book that brings together a wide-ranging selection of contemporary responses to Ed Ruscha’s seminal "Twentysix Gasoline Stations" (1963). The publication explores the enduring influence of Ruscha’s pioneering photobook and the ways in which artists and photographers have revisited, transformed and expanded its conceptual and visual legacy. By bringing Bergera’s work together with numerous other contemporary interpretations, Twentysix Twentysix presents a collective portrait of the continuing relevance of Ruscha’s original gesture and of the photobook as a medium for reinterpreting cultural and visual histories.

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