BARCELONA.- Clemente Bernad, a photojournalist from Pamplona/Iruñea, has dedicated over three decades to documenting social and political turmoil in Southern Europe. His work delves deeply into long-standing crises, requiring sustained observation and a unique blend of photojournalistic precision and contemporary art sensibility. Among his most remarkable achievements is Hemendik Hurbil / Close Enough, a comprehensive portrayal of the Basque conflict through 470 meticulously captured black-and-white images spanning from 1987 to 2018.


Explore the work of Clemente Bernad in 'Clemente Bernad: Where Memory Remains'.


While rooted in documentary photography, Bernad’s approach defies traditional media expectations. His images, often absent from mainstream outlets, emerge instead in self-published works and exhibitions. These photographs transcend informational purposes, becoming “artifacts” that bear the weight of the violence they capture, challenging viewers to grapple with traumatic past events.

Photographic Insights Into the Basque Conflict

The Basque conflict, a decades-long struggle marked by violence and political strife, is central to Bernad’s work. His images juxtapose acts of violence from both sides of the conflict—street protests, police repression, grieving families, and victims of terrorist acts. Notable scenes include Hernani in 1996, where police shattered a donation box meant for prisoners' families, and Berriozar in 2000, capturing the anguish of a father mourning his son killed by ETA.

Bernad’s unflinching lens does not shy away from controversy. One striking instance was his inclusion of X-rays depicting injuries sustained by Miguel Ángel Blanco, a politician assassinated by ETA. Despite securing permission to use this imagery in an exhibition at the Guggenheim Bilbao, Bernad faced fierce backlash from conservative groups, further polarizing public opinion.

Beyond Photojournalism

Bernad’s refusal to conform to mainstream photojournalistic standards has garnered both admiration and criticism. He describes his method as rejecting the typical protective stance of photographers aligning with authority, instead choosing to capture perspectives “from the other side.” This choice, he admits, often resulted in suffering and accusations of bias.

Despite the hostility, Bernad’s work remains unwavering in its commitment to presenting multifaceted narratives. His photography does not simplify or sanitize the complexity of the Basque conflict. Rather, it captures the monotonous, unrelenting rhythm of violence and grief, refusing to impose a singular interpretation or resolution.

Expanding the Political and Civil Imagination

Bernad’s broader oeuvre addresses various global crises. His projects range from Jornaleros (1987-1992), documenting the plight of Andalusian day laborers, to El sueño de Malika (2004), chronicling the repatriation of a Moroccan migrant’s body. He also tackled historical memory in Spain with Donde habita el recuerdo (2003-2006), focusing on the exhumation of victims of the Spanish Civil War, and Do You Remember Franco? (2021), examining monuments of the Franco era.

His work has not been without personal cost. In 2019, Bernad was convicted for documenting secretive Francoist rituals, a sentence that catalyzed public support for his cause through crowdfunding.

The Ethics of Memory and Representation

Central to Bernad’s philosophy is an ethical approach to portraying pain and loss. He carefully frames faces in his images, ensuring dignity and engagement. By confronting viewers with the human toll of violence, his photographs demand civic response rather than passive observation.

However, Bernad’s insistence on breaking entrenched narratives has made him a target. Critics accuse him of sympathizing with perpetrators, an excessive price to pay for creating an unbiased visual record.

Legacy of a Troubled Past

The Basque conflict’s unresolved legacy underscores Bernad’s work. While civil peace has been achieved, political reconciliation remains elusive. The fragmented archives of the conflict—mirroring the scattered nature of Bernad’s imagery—highlight the difficulty of constructing a unified historical account.

Through his unrelenting exploration of violence, memory, and identity, Bernad has crafted a body of work that transcends conventional photojournalism. His photographs are not merely records of events but catalysts for dialogue, challenging us to confront the lingering shadows of history.


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