Instalation view, Belenius/Nordenhake
       
     
       
     
  Tia Gladys (Aunt Gladys) , 2014.   Videostill  .  Great-aunt Gladys in a vibrant and personal reconciliation with death.   
       
     
Noventa y Tres  2012,  18'42'' (8 min excerpt)
       
     
  Campaign Banner I , 2011. Acrylic and ink on paper and fabric, 240 x 240 cm.  The hand made "tapestries" (linen, paper, acrylics, ink) are the support of a series of statements/slogans/poetry that are reversed and recontextualised.            
       
     
  Three Kings,  2010. Mixed media, installation view.   "The large installation at Röda Sten is a first attempt in a larger context to split open all of my imagery in all its various layers for the viewers.It is also an account of how my imagery works, how I connect different images, how they activate my ideas and eventually are integrated into a larger whole. One can see the entire installation as a digestive system – artistically speaking. It might become very pedagogical, which is something I hate, but I feel as though there is no other way to go for me. It is as if I have to teach myself to become an artist again, and to do this, the best way is to start from the origin of the process, and openly show how it works and what it in fact contains. This work will most likely be much more tentative than anything I have previously exhibited, but I am also certain that it will have an immanent, subtle core of dark matter, which, if one comes too close, one is hopefully sucked into."         JPFG 2010
       
     
  Gallow No II,  2011. Installation view from Nordin Gallery, Stockholm.
       
     
  Black Madonnas,  2010-ongoing. Ink on magazine paper, dimensions variable.    Black Madonnas  is an ongoing project (since 2010) where images of women from pornographic and fashion magazines have been manipulated with a black felt pen leaving only the eyes of the models uncovered. For a moment the gaze is turned.
       
     
  Torre/Watchtower,  2009. C-print 80 x 50 cm.
       
     
  Ted Danson,  2009, videostill.   What we encounter in the work  Ted Danson  is the remains of a bit-torrent gone awry. The file was heavily corrupted after download and the moving images are at times standing still or are interfering with each-other, and at other occasions the main remnant consists of large pixels forming patterns. The result is a film that invades the territory of painting but also a complete rearrangement of the war aesthetics and narrative.
       
     
       
     
   Baldio  , 2008. C-print, 120 x 120 cm each.
       
     
Gilberto, 2007 SD video 11 min (video excerpt)
       
     
  Karl XII   :   s likfärd (Karl XIIs funeral procession) , 2006. C-print, 120 x 120 cm each, is a visual recollection of one of Sweden's most historically charged landscape, Svinesund, and the area between Norway and  Sweden where   Karl XII's body was carried through the border shortly after he was shot at Fredericksten's fortress.    The artist Gustaf Cederström's famous painting  Karl XII's funeral procession  from 1878  is   the starting point for this work, that revisits the ideas of the national romantic   landscape  , warfare and   historicism  .    
       
     
  Hedgehog , 2004. C-print, 120 x 120 each. 
       
     
    Annja   , 2004. C-print, 180 x 180 cm.
       
     
  M-16  and  Kalashnikov , 2004 (25,5 x 22 x 6 cm), are two books made especially for the Artist's Book Biennial of the Alexandria Library. The idea is to explore the "calligraphy" of these two emblematic weapons that have written so much of our contemporary history. The two volumes are literally written with the use of these guns.    
       
     
  Rider , 2004. C-print, 120 x 120 cm.
       
     
  Untitled (Shelter) , 2003. C-print, 120 x 120 cm.
       
     
  True   Colours   , 2002. C-print, 180 x 180cm.   Peter Cornell on Juan-Pedro Fabra Guemberenas True   Colours     Juan Pedro Fabra Guemberena’s True    Colours    is enacted on the knife’s edge between visibility and invisibility. Camouflage conceals both the quarry and the hunter. The soldier taking cover in an ambush risks becoming a quarry himself, observer and observed.   It is not that long since  artists  were absorbed by the study of nature, experts at discerning the slightest visual nuances in the landscape. Some of them went to war. In 1914 French troops were sent to the front wearing blue tunics and red trousers, they endured catastrophic losses. A French painter presented the idea of camouflage to the French General Staff and soon found himself in command of camouflage workshops. At the same time the Germans were conscripting expressionists like Franz Marc to paint camouflage netting. In one letter he writes enthusiastically to his wife: “We painted nine enormous Kandinskys!” And Gertrude Stein described how Picasso and Braque congratulated themselves on their discovery of collage in their  cubistic  still-lifes, in which the objects could hardly be discerned: figures were interwoven with their background, objects with their context.  In his videos Juan-Pedro Fabra Guemberena has staged two situations with soldiers from a Swedish  armoured  unit, whose camouflage uniforms  are adapted  to the Scandinavian terrain. We observe a figure slowly, slowly emerging from its background, coming to a halt and then merging back into its surroundings. This is a twofold movement that resembles the mechanisms in a work of art: its meaning emerges, barely to be grasped, and then withdraws in rhythmic pulsation. And in the contextual art of recent years artists have  endeavoured  to tread the knife’s edge between visibility and invisibility, to allow their works of art to dissipate into their settings, both spatially and socially.  Juan-Pedro Fabra Guemberena came to Sweden as a child, fleeing with his parents from violence and oppression in a Latin American state. There informers could wear the guise of friendly  neighbours  or workmates and the junta’s soldiers patrolled the streets in camouflage uniform, terrifyingly visible. This is a common experience in this era of migration. And the uncertainty of the setting in a new country tempts in its turn refugees to camouflage themselves, to seek protection by melting in.  Peter Cornell, text for the Venice Biennial, 2003      
       
     
  Good TV was initiated by Juan Pedro Fabra Guemberena, Michele Masucchi and Loulou Cherinet and started as a very simple idea; we wanted to   show   art on television and by doing so, defy the prevailing homogenous supremacy of commercial and state owned television   networks  . Our initial plan was to offer an open space on television more or less operating as a gallery to contributors from around   the   world.   Good TV received financial support from KU  (  Royal Collage of Art) in 2004, since then our vision and possibilities as well as the   interest   from artists, media and our audience has grown enormously.   Today Good TV is a registered non-profit   organisation   and member of the public access television network in Stockholm, Öppna   Kanalen  . We broadcasted regularly every Thursday and Sunday 22.00-23.00 between 2004 and 2007.