Seeing is not believing: when photography stops being evidence and becomes fiction

German photographer Gunnar Knechtel stumbled upon a striking architectural feature while photographing a traditional Spanish dish known as a torrezno in the town of Soria. The discovery, a frontón, a unique type of wall found in rural Spanish villages, left him both fascinated and surprised. “It looked like a giant stone banner,” he recalled. “I thought maybe it was part of an artistic installation.” It wasn’t until he later researched online that he learned what a frontón actually was. The encounter took place shortly after the pandemic confinement period. Knechtel, who had lived in Barcelona with his Spanish wife for two decades, had traveled to Soria to fulfill a special commission for the now-defunct magazine Beef. His task was to create a photographic report on the best torrezno, a small, spiced meatball typically served during festive occasions. However, his stay in Soria extended beyond the initial four days, as he became intrigued by the region’s lesser-known architectural elements. On one rainy day, he wandered into the village of Valderrodilla, where he encountered the frontón adjoined to the local church. Its green and burgundy paint, combined with its imposing height, made it stand out against the surrounding landscape. This chance discovery sparked a broader project. Between 2022 and 2024, Knechtel embarked on a journey through six Spanish provinces, Soria, Ávila, Salamanca, Zamora, Navarre, and Zaragoza, covering nearly 15,000 kilometers. He used his Japanese all-terrain vehicle to reach remote areas, often starting his photography sessions at dawn, when light conditions were optimal. His preferred weather was overcast, which helped highlight the textures and colors of these structures. Despite the challenges, including long travel times and occasional harsh weather, Knechtel remained committed to capturing the essence of these forgotten walls. His work culminated in an exhibition titled Frontones en pueblos de España, organized by the National Center for Photography (CNF) and the City Council of Soria. The exhibition showcases a selection of over 100 images collected by Knechtel, offering a rare glimpse into the hidden architecture of rural Spain. These frontones, once central to communal life, have largely fallen into disuse. They were originally built to serve as the straightest wall in each village, primarily for agricultural purposes. Over time, however, they have become silent witnesses to the changing landscapes and social dynamics of rural communities. Mónica Carabias, director of the CNF, explained that the exhibition aims to explore how photography can reflect and critique the environment. “These frontones are more than just architectural features, they are physical records of collective memory and cultural heritage,” she noted. “They tell stories of depopulation, conservation efforts, and the passage of time. Through Knechtel’s lens, we see how these spaces have been repurposed, such as being converted into parking lots or serving as community gathering points.” Knechtel’s photographs reveal a world few have explored. While many return to their hometowns during summer vacations, he chose to visit rural Spain in spring, autumn, and winter, when fewer tourists are around. This allowed him to capture the quiet dignity of these structures, untouched by the usual seasonal crowds. In some images, the frontones appear almost abandoned, their surfaces worn by age and neglect. Yet, there is a sense of resilience in their presence, as if they continue to hold onto the memories of the people who once relied on them. As the exhibition opens, it invites viewers to reconsider the overlooked corners of rural life. Knechtel’s work serves as a bridge between past and present, documenting the subtle transformations of Spain’s countryside. His photographs are not merely static images but invitations to engage with the history embedded within these walls.