The Loewe Foundation has opened ‘Bunny,’ a solo exhibition by New York-based photographer Talia Chetrit at Madrid’s Museo Lázaro Galdiano, the latest chapter in the foundation’s ongoing engagement with contemporary photography through the PHotoESPAÑA festival. Running from June 5 through August 30, the exhibition brings together nearly three decades of Chetrit’s work, offering a comprehensive survey of a practice that has consistently examined the boundaries between the intimate and the performative, the autobiographical and the universal.
The choice of Museo Lázaro Galdiano as the venue adds a layer of dialogue between old and new that enriches the viewing experience. The museum, housed in a Belle Epoque palace that was once the residence of the collector José Lázaro Galdiano, contains a permanent collection that spans from antiquity through the nineteenth century. Chetrit’s contemporary photographs, installed in galleries that retain their original architectural details, create a productive tension between the centuries: the same domestic spaces that painters of the golden age rendered in oil and canvas are here explored through Chetrit’s unflinching digital lens.
The Loewe Foundation’s commitment to PHotoESPAÑA reflects the brand’s broader investment in the cultural cachet that comes from serious engagement with the visual arts. Under the direction of Jonathan Anderson, Loewe has positioned itself as a maison for whom fashion and art are not separate spheres but overlapping territories of creative expression. The foundation’s photography program, which has previously featured exhibitions by Paul Mpagi Sepuya, Laurie Simmons, and Daido Moriyama, has become a fixture of the Madrid cultural calendar, drawing an audience that extends well beyond the fashion industry.
Chetrit, who emerged from the New York art scene of the early 2000s, has built a body of work that resists easy categorization. Her photographs operate in the space between documentary and staged imagery, often featuring family members, friends, and herself in compositions that feel both casually observed and meticulously constructed. Recurring motifs — chains, bottles, mirrors, domestic interiors — echo throughout the exhibition, creating a visual language that rewards sustained attention. The show’s title, ‘Bunny,’ refers both to a family nickname and to the deceptively soft entry point Chetrit’s work offers into subjects that are often anything but comfortable.
For Loewe, the exhibition represents a continuation of a strategy that has distinguished the maison from its LVMH stablemates. While other brands in the group have pursued exhibition programs that function primarily as marketing extensions, Loewe’s foundation maintains a curatorial independence that has earned it genuine credibility in the art world. ‘Bunny’ continues that tradition, offering audiences in Madrid an opportunity to engage with the work of an American photographer whose influence, within the fine art photography community, has long outstripped her public recognition.
