Spanish contemporary art worldwide
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15 december 2013 – 30 march 2014
An exhibition that explores new developments in international artistic practice. Arte Útil is an artistic practice which imagines, creates and implements social benefits. With this aim, the old museum building is transformed theatrically into the new Museum of ‘Useful Art’, an institution devoted to interpreting these practices and assessing their importance in recent art history.
Since the 80s a growing number of artists have used their own practice to propose creative solutions for social problems. The purpose of this exhibition is to show and consider artistic tools as an element of transformation and social interaction. Tools which deal with the real world of today and question the role of art as an exercise in representation and as a practice that is separate from life.
AC/E is collaborating with the Van Abbemuseum through its mobility programme by supporting the participation in the exhibition of the Spanish artists Nuria Güell, Santi Cirugeda, Memetro and Lara Almarcegui. . (AC/E press-release)
Vanabbe Museum. Bilderdijklaan 10.5611 NH Eindhoven.The Netherlands
5 december 2013 - 26 april 2014
The Margulies Collection at the Warehouse in Miami and the Fundació Foto Colectania in Barcelona, Spain, have joined together in a long-term collaboration with the aim to present a wide range of vintage and contemporary photography projects. A series of traveling exhibitions culled from the photography and video collection of Martin Z. Margulies have been exhibited at various venues throughout Spain and Europe.We are pleased to announce that the exchange includes an exhibition of works by Chema Madoz on loan from Foto Colectania to be presented at the Margulies Collection at the Warehouse this exhibition season.
The work of Madoz presents black and white photographs of objects that combine the ordinary with illusory perceptions of reality. The images generate clever imagination games, paradoxes and metaphors which lead him to create his own world, often impregnated with fine irony. Madoz questions reality and invites the viewer to discover hidden poetry in the most common objects by altering their context and their functions.(Margulies Foundation press –release)
Margulies Foundation Warehouse. 591 NW 27th street. Miami. Fl 33127
Image: Chema Madoz, Untitled, 1999, Courtesy Foto Colectania Foundation
11 decembre 2013 – 10 january 2014
The evolution of society, has made that Mankind unconsciously become detached from its origins. Our ancestors used the fusion with nature as philosophy of life. We use it indiscriminately and aggressively to exploit, invade and erode.
The bed, as a constructive element, constitutes an invasion into landscape still untouched by the human action. This makes us aware of the importance of its preservation. It is as an anticipation to the effects that could cause the total loss of connection with nature.
The environment sends us messages that we will be unable to decipher, if we don’t accept the need for a regression that allows us to reconciliation with Mother Nature
Santi Gonzalez, born in Gran Canaria in 1972. His work presents reflections on the human condition through visual creations as a form of self-knowledge. Meditation, criticism and irony, these elements summarize the fundamental basis of their work, which is in public and private collections in South Korea, Norway and Spain. Paris is the city hosting its first international solo exhibition, having exhibited his work in venues and cities like Pico and Madeira Islands, Seoul, Ulsan, Yanbian, New York and Beijing. Selected for the fifth edition of MADATAC (Digital Audiovisual Contemporary Art and Advanced Technologies) to be held in Madrid from 16 to 22 December 2013. (Espace d’art Sol Mondo press-release)
Espace d'Art Sol Mondo. 49 Avenue de Versailles. 75016 Paris
06 – 30 decembre 2013
The exhibition has been curated by Elvira Rilova and gallerist Pilar Cubillo. Arquetipos Españoles is interdisciplinary exhibition featuring a selection of Spanish contemporary artists, among whom are already established figures with broad international recognition and young talents, that talk about the concept of the archetype in its two dimensions, the real and the imagined.
The exhibition brings together the works of Rosa Muñoz, with its nebulous and unworkable buildings; lyric of figures and animals fragmented from Rafa Macarrón, sweet and destructive tornado sweeping by Olympia Velasco , the implicit social criticism environments houses by Yolanda Dominguez unreal dolls; implied eloquent philosophical reflections on the work of Pablo Avendaño ; nonexistent beaches where tourists roam misplaced by Jorge Flores , the prototype of reality in dream mode by Andrés Del Collado ; urban deserts illuminated by allegorical sols by Ciuco Gutierrez, Sema neobarroquismo by Castro, the naif strokes by Sara Jimeno and Raul Rodriguez, liquid mirrors by Futre, the shadowy world of Sandra Rilova; evocative by Ramón Espantaleon architectures, and metallic traces by Susana Botana. (Aguafuerte press-release)
Aguafuerte Galería: Guanajuato 118, Roma Norte, Cuauhtémoc, 06700 Mexico
3 december 2013 – 15 january 2014
Imagine you are nine years old and you live in a small country called Uganda. Every night, all children in your town play the same game. When the sunsets you hide among the high weeds and in holes dug in the earth. The objective is for them not to find you if they come, because if they catch you…
Future Plan is a project of diverse NGOs for LRA’s children soldiers in which they share their experiences and plans for tomorrow. Imagine your life was a great plain wall. Imagine you have a piece of chalk. What would you do with it?
Álvaro Láiz (León, 1981) He has developed his work between Africa, Asia and South America cooperating with NGO ́s and Foundations such us International Red Cross, Doctors Without Borders or World Vision. His photographs have been published in national and international media such us Sunday Times Magazine, Colors Magazine, National Geographic, CNN,Foreign Policy, XL Semanal, EL Pais, Ojo de Pez or Marie Claire. His work conceives photography as a tool to give civil society in post conflict zones the chance to be heard, exploring the environment, costumes and traditions of those people at risk of exclusion. Master in Visual Arts at Universidad Pontificia de Salamanca, his work focuses on realities usually ignored by mass media.
David Rengel (Torreblanca de los Caños, Sevilla. 1978) Photographer and documentary
filmmaker. His professional activity is related to the film industry for over 14 years.Operator, assistant or director of photography in spot, videoclips, TV shows, movies, or national and international documentaries.(I.Cervantes press-release)
Instituto Cervantes de Nueva Delhi. 48, Hanuman Road,New Delhi,Delhi
Image: Future plans, Alvaro Laíz & David Rengel
December 13 – January 11, 2014
The studio practice of Bernardi Roig speaks of society at the edges, caught in a time tainted by the loss of historical memory and identity.
The artist works in a wide variety of media, but always focuses on the conflicts that arise from the lack of communication between us. In a mass media addled world, Roig’s individuals lose the ability to distinguish truth from fiction and important issues from trivial concerns.
Today we are living in an atmosphere saturated with images, the artist says, but the experience that they produce has a low intensity. Now it is ever more difficult to give meaning to an image. We are subjected to light, a light that dissolves the outlines of things, a white light within which everything fluctuates. Roig uses electric light as a metaphor for this mutation: fluorescent tubes encase his subjects, blinding them. He explores the dynamics of voyeurism by revisiting classical myths, baroque iconography, and memento mori, filtered through the fundamental issues of post-modern thought. By uniting his own philosophical and literary appropriations, Roig has defined a modern form of realism. (Claire Oliver press-release)
Claire Oliver Gallery, 513 West 26th Street, New York, NY 10001
Image: The Mirror. Polyester Resin with Marble Dust. Bernardi Roig
21 november 2013 – 17 january 2014
Miguel Esteban Cano were born in Barcelona in 194, can be considered a precursor to the wave of Spanish artists who, in recent years, come to Berlin. He came to West Berlin in 1972 fleeing the political climate of Franco's. Until his death in 1998 he lived and worked in Berlin. As a sculptor and painter has created an extensive and varied work.
In the paintings of Miguel Esteban Cano converge figurative and expressive tendencies, strong contrasts of color and gestural stroke. His sculptures move between constructive and surrealist traditions. In his evocative visual language brings together mythological, criticism of his time, the playful and provocative. (I.Cervantes press-release)
Instituto Cervantes. Rosenstr. 18-19. 10178 Berlín
Image: Miguel Esteban Cano
04 december 2013 – 30 january 2014
Born 1969, lives and works in Santiago De Compostela, Galicia, Spain. Spanish artist Vítor Mejuto works in an abstract style, within the tradition of geometric abstraction, the movement which is found within russian constructivism and that produced Bauhaus and the Dutch De Stijl movement, and which was later taken up by the informalists of the New York School like Frank Stella or Kenneth Noland.
Some of these trends came from Minimalism, others, as in the case of Peter Halley, the work of these great masters came to be known as Neo Geo, which takes advantage of space and its properties, of color and its behaviour, speaking more of painting and less of emotions. Though this last characterization is arguable.Vítor studied fine arts at the University of Salamanca. (Pintea press-release)
PinteaArt Gallery. 1010 VIENNA | PLANKENGASSE 6
Imagen: Dancing with Josef Albers, acrylic on canvas. Vitor Mejuto
02 december 2013 – 31 january 2014
Greatly inspired by the modern architecture along the Atlantic Coast of the Iberian Peninsula, the consistent rhythm and relationship between landscapes and buildings found throughout this region spark a rediscovery in Lleó’s oeuvre. The color “green” has always been around his work…provoking, intriguing, seducing. Lleó finally surrenders into the combination of blue and yellow that takes over and through which he shares with us “The Green Room”.
Lluis Lleo (Barcelona 1961) is a fourth generation, self-taught artist who grew up learning ancient classical painting techniques from his family. His early exposure to fresco painting in his father’s studio, visiting medieval frescoes in museums and rural chapels throughout Spain have influenced his oeuvre immensely. Lleo’s use of traditional Chinese ink and fresco painting with strong colors demonstrates his ability to bring ancient techniques into a contemporary context.
Based in New York since 1989, Lleo’s work is included in many important private collections as well as museums such as the Museo Nacional de Arte Reina Sofia, la Caixa in Spain, the World Bank in Washington D.C. and the Nagoya Art Museum in Japan, among others. (m+vART press-release)
m+vART, 2750 NW 3rd Avenue Suite 11 / Miami, FL 33127
Image: Lluis Lleó. m+vART gallery
14 december 2013 - 23 february, 2014
The Galerie im Taxis features a large retrospective exhibition by Spanish artist Alicia Framis (1967, Barcelona). Framis gained international recognition for performances and projects in public spaces that focus on human existence and social relationships. Her projects are interdisciplinary and intersect with fashion, architecture and design. Framis seeks to bridge the distance between the artist and viewer. All of her work is designed to create unexpected encounters and experiences.
Framis believes that normal art objects are too limited to convey ideas and emotions, and that as an artist you can best reach the public through direct contact and interaction. Her contribution to Utrecht’s Festival a/d Werf in 1996, for instance, was Compagnie de Compagnie, an escort service of identical twins who accompanied solo travelers to festival locations. In 1997 and 1998, Framis offered herself as a “dreamkeeper” for 40 days, a service for people who wanted company as they slept at night. At a number of exhibition sites, including the 2001 Berlin Biennale, she developed a mini-relaxation space exclusively for women where they could indulge in a male “comforter.” In 2003 she created a sensation with her project Anti-Dog. This clothing line is based on a new material that is both bullet-resistant and resistant to dog bites (2003). In the project Not for Sale (2008) Framis brings attention to global child slavery using necklaces and photos of children. Since 2009, Framis has worked on the project Moon life Academy. For this piece, she challenged a number of artists, designers and architects to develop innovative products and prototypes for living on the moon with the ultimate goal of also having positive repercussions for life on earth (AC/E press-release).Organized by Galerie im Taxispalaiswith the colaboration of Acci´n Cultural Española.
Galerie im Taxispalais. Maria-Theresien-Straße 45. 6020 Innsbruck.Austria
Image: AC/E. Alicia Framis
29th november 2013 – 7th january 2014
The Elsa Morente Cultural Center presents the latest works of Esteban Villalta within his post baroque universe, and some of his legendary Gladiators and Superheroes (from Batman, Wolverine or Hulk).
Esteban Villalta Marziwas born in Rome on 1956. He works and lives between Rome, Madrid and Palma de Mallorca. Graduated from the" Accademia Delle Belle Arti" of Roma, since 1978 hasexhibited his works in a lot of museums and galleries in the main Spanish and Italians cities. In the 80' won a grant for two years in the the Art and History Museum of Geneve, Switzerland. Later, in Madrid for another two years In "La Casa de Velázquez". From the 80's and the beginning of the 90' he worked like an active member of the "Movida Madrileña". Villalta Marzi is cosiderated one of highest represetantive artists of the European Pop Art Movement."Esteban Villalta Marzi confirma su posición central dentro del panomarama de la figuracion iperpop que lo sigue y del que forma parte desde hace mas de treinta años" ("Ice Guys" text, curator Gianluca Marziani).
Centro Cultural Elsa Morante, Piazzale Elsa Morante, Roma
Image: Esteban Villalta
December 04 – March 29, 2014
This is the first major solo museum exhibition by the Magnum Photo photographer Cristina García Rodero in the United States.
Rituales en Haití is a series of works by famed Spanish photographer Cristina García Rodero, which debuted at the 2001 Venice Biennale in Venice, Italy.
García Rodero’s ground-breaking work and expansive career has documented the celebrated and mystified worlds within ritualistic ceremonies of Haiti, as well as festivals – religious or pagan – throughout Spain, India, Mediterranean Europe and the United States. For Rituales en Haití, García Rodero traveled to Haiti over a period of four years, where she documented voodoo rituals, producing a series of expressive portraits and moving scenes flanked by engaging documentary observations.
Rituales en Haití is the first major solo museum exhibition by the Magnum Photo photographer in the United States, whose work has been included in exhibitions in venues throughout the world, including MoMA PS1, New York, N.Y.; Museo del Prado, Madrid; Venice Biennale, Venice, Italy; Guggenheim Museum, Bilbao, Spain; Bogota Museum of Modern Art, Bogota, Colombia; and Henri Cartier-Bresson Foundation, Paris. García Rodero’s extensive accolades include the prestigious W. Eugene Smith Memorial Fund award, and she was recently elected to the Royal Academy of Fine Arts of San Fernando. (MDC press-release)
Organized by the MDC Museum of Art + Design and presented in collaboration with the General Consulate of Spain in Miami and the Centro Cultural Español Miami.
MDC Museum of Art + Design Freedom Tower at Miami Dade College, 600 Biscayne Blvd, Miami, Florida 33132
Image: © Cristina García Rodero / Magnum Photos.
november 22nd, 2013 - january 11th, 2014
Jack Shainman Gallery is pleased to announce A meitat de camí - Halfway there, Susana Solano's first solo exhibition with the gallery. The exhibition will span the past 26 years of Solano's practice and will include historical works that have never been shown in New York alongside new sculptures. One of Spain's most prominent contemporary artists, Solano first gained international recognition in the 80s and 90s and continues to delve into her powerful, intimate and poetic practice. Solano is best known for her abstract sculptures made from a range of materials that includes iron, steel, lead, glass, rattan and wire mesh. She belongs to a generation of pioneering female sculptors who expanded a realm conventionally dominated by men. Within the traditions of post-minimalism, Solano's work conveys a connection to personal memory, domestic space, and the natural world. With the artist's hand leaving traces of her process, the rigidity of the materials is counterbalanced with the personal. Her approach is one that channels architectural forms and consideration of space with a delicate quality that balances the natural and the industrial. Since including Solano in a group exhibition in 1989 entitled Dialogue with Space, the gallery has been intrigued with the way her work generates a provocative psychological space through its minimal, architectural qualities. The exhibition in both of the gallery's Chelsea locations will include many of Solano's most iconic sculptures, as well as work from a series dedicated to Philip Guston, wall based sculptures, and rattan works influenced in part by the artist's travels to Africa and Asia. In the 1989 text that accompanied Solano's solo exhibition at the Hirshhorn, Phyllis Rosenzweig wrote, "Solano's sculptures attest to a continuing belief in art's evocative power. The contemporary appeal of her work resides in its austere formal beauty and conflation of cultural reference and memory."
Susana Solano lives and works in Barcelona. Her work is included in numerous public collections, including the Museum of Modern Art, New York; the Guggenheim Museum, Bilbao; Museo Nacional Centro de Arte Reina Sofía, Madrid; Stedelijk Museum, Amsterdam; Museum moderner Kunst Stiftung Ludwig Wien, Vienna; Fine Arts Museums of San Francisco and the Carnegie Museum of Art, Pittsburgh, among others. (Jack Shainman Gallery, press-release)
Jack Shainman Gallery, 513 West 20th Street & 524 West 24th Street
Image: Jack Shainman Gallery/Susana Solano
22 november 2013 - 25 january 2014
This project originates from the time spent by Emma Brasó (Madrid, 1983) at the CCA Glasgow on a curatorial fellowship awarded by curating.info. After five months of research, the Congost & Coombes exhibition project stemming from her period of residency was approved. Glasgow has become a major attraction for British and foreign visual artists in recent years thanks to the prestige currently enjoyed by the Glasgow School of Arts (GSA) and the fact that a good many of its graduates have been nominated for the Turner Prize. What is more, owing to its still affordable housing prices and the support of local institutions – including Tramway, the Gallery of Modern Art, Glasgow Sculpture Studios and the CCA itself – the city now ranks second after London in the number of visual artists living there.
In 1996 the curator Manel Clot included a young Carles Congost (Olot, 1970) among the artists featured in his Spaces of Desire exhibition at Glasgow’s Transmission Gallery, which is well known as it is an initiative – still running – set up by graduates from the GSA. Nearly two decades on, and having come a long way since then, the time seems right to take Congost’s work back to Glasgow again. The Congost & Coombes project is aimed at furthering knowledge of Congost’s work and at the same time relating it to that of a local artist, Henry Coombes (UK, 1977), as the two men share a number of interests despite not knowing each other. Both have worked on video from a narrative approach in order to deal with certain conventions relating to the art world and have done so with humour and melancholy and borrowing references from cinema and pop culture. The possibility of seeing their work jointly will mutually enhance its understanding and help create a desirable tension between their points of view.(AC/E press-release)
Organised by Centre for Contemporary Arts (CCA) With the collaboration of Acción Cultural Española (AC/E)
Image: Carles Congost
30 november – 16 december 2013
Rational Absurdity is an unexpected gathering of collages in an unexpected space. The pieces show different approaches to the art of collage and a common taste for a handmade style that involves scissors and glue and a rejection of digital processing. The concept of this exhibition was built as well using the aesthetics of collage; growing from an initial more simplistic idea and adding more apparently random elements that turned out to work out together perfectly. We also wanted to give a ‘wink’ to some philosophers that theorized about the idea of collage emphasizing the aspect of this art medium as a rational search to find absurdity or an absurd way to express a rational thought. While Annita Klimt´s two piece black and white collages search for a story to transmit feelings that can not be awaken with a single image, Jorge Chamorro´s pieces play with the unexpected mix of elements that leave you in an uncomfortable state of surprise. Chamorro´s collages make you wonder why, and look for a possible rational reason for such a heterogeneous joining. Sometimes the only possible answer to this is “why not?”. Magerit´s montages seem like visual scripts for the most strange and abstract films, on the other hand Remco Janssen’s work looks like he is decorating or trying to make the things that he finds more to his liking, as if the images were demanding him to do so.
The Spanish born collage artist and film-maker Javier Magerit has exhibited his work several times in Spain, this will be also his first international exhibition.Jorge Chamorro is an established name in the world of collage. Recently included in the contemporary collage anthology “The Age of Collage” (Ed. Gestalten, Germany), he has shown his work in solo and group exhibitions in Madrid, Bilbao, Berlin, Amsterdam, Athens and New York and has been published internationally on more than 20 occasions.
Artists: Remco Jansen, Annita Klimt, Javier Magerit and Jorge Chamorro.
Schloss Neu Schweinsteiger, Emserstr 122/123 Neukölln Berlin
Image: Javier Magerit
23 november2013 – 15 february 2014
The exhibition includes one hundred artworks that have been specifically handpicked for this event since they represent the figurative facet of the artist, but the abstraction is always present. Artworks created on horseback between the artist’s studio in Madrid and New York, the city where he has lived over the last seven years. Large-format works coexist with a selection of small photographic collages. Works in which CIRIA consolidates, just as pointed out by North American art critic Donald Kuspit, “an absolute mastery of his expression means and tools, painting and modernist vocabulary of abstraction, gestural and geometric.” This expo comes after the screening, on May 29, of a documentary on CIRIA at New York’s MoMA, a project conceived three years ago when the painter met movie director Artur Balder in Manhattan. The result of this meeting was the idea of producing a documentary on the artist and his career, as a reflection on contemporary art. After over a year of shooting, the documentary was successfully screened at the skyscraper city. CIRIA has consolidated his position since the 1990s and the first years of the new century, as an indispensable artist. His extraordinary ability to face new challenges, his attitude to a research painting style opened to all sort of experimentations and a perfectly-structured conceptual platform, rich and polyhedral, have placed his name among the most influential artists of his generation. (Kornfeld press-release)
José Manuel Ciria was born in Manchester (UK) 1960 and grew up in Spain. His works, that are settled inbetween the figurative and abstraction, are featured in the collections of Spain’s most important museums, such as the Museo de Arte Reina Sofía and the Instituto Valenciano de Arte Moderno.
Galerie Kornfeld, Fasanenstraße 26. D-10719 Berlin
Image: José M. Ciria. The Mirror, Masks of the Glance Series, 2006-13
9 november – 21 december 2013
Santiago Sierra (born in Madrid in 1966) explores the relationship between labour, value and capital through poetic and frequently controversial actions. His representations of the exploitative transactions of everyday life often involve contracting people to perform useless, degrading or repetitive tasks. Sierra's work issues a coruscating critique of the brutality of capitalism, using capitalism's own logic and methods. His work touches on a range of related themes including immigration, exclusion, separation, invisibility, exploitation, dignity, resistance and the art market. Offering little by way of apology or solution to the predicament of those involved, his work often presents ethical dilemmas for spectator and art institution and implicates the audience in the events they witness. Curators: Sara Greavu, Jonathan Cummins. (Void Patrick street press-release)
Void Patrick Street, Derry - Londonderry, BT48 7ELNorthern Ireland
Image: Santiago Sierra.Void Patrick Street.2013.
PARIS. Victoria Campillo ”Team, hotel, army, bags, twins et autres cartes bancaire” Basia Embiricos Gallery
28 november – 28 december 2013
Victoria Campillo (Barcelona 1957) is a kind of mad scientist, working in a dizzying pace creating series of photographs that number in the hundreds. The themes are limitless, countless, immune to repeating yet are based wholly on the idea of repetition. Her work deals greatly with the unconscious science of visual recognition. Establishing the relationship between the eye and the mind ability and its gravity to process categorization and identification on a primordial level.
In many of her series - Intimacy (2006), Pigs (2005), she establishes a formal relationship between our most important contemporary and modern artists, and everyday vernacular objects. Within the works she ask what would be the singular defining mark that would identify an artist without a moment of thought. What defines these great artistic personalities? And how can she, an artist herself, add to their well establish diction. Through the use of tongue and cheek antics she manages to not only trick our eye but to amuse our mind. (basia embiricos gallery press-release)
Galerie Basia Embiricos. 14 rue des jardins saint-paul. 75004 paris
Image. Jakson Pollock. Serie “Intimacy“ Victoria Campillo
15 november 2013 - 25 january 2014
Encounter of Two Hemispheres consists of twelve unique sculptures, three sketches on paper, three large paintings on canvas, a mural on canvas that measures 7 meters and a video with a selection of drawings and collages of the work that are commemorative to tribute the link between Florida and Spain, Latin America and USA. The project has a lot to do with the deep linking of Cristobal Gabarron with America, understood as a continent that extends from Alaska to Patagonia. The Spanish artist has developed a monumental activity for decades, always with one foot in Spain and the other in the rest of the world. Pioneer of Spanish art in New York, which he came as a youth and where he worked for years, his work has been nurtured through the dialogue of avant-garde and US-born and Europe post avant-garde with the Renaissance and Baroque masters.
Like then, preparing the sculpture for Miami has brought nearly a hundred related works. Painting and sculpture, drawing and three dimensional pieces, fiberglass and resin build up on a journey of the senses that reflects Ponce de Leon’s voyage. With reactive materials of the past, with candles of the myth and legend, Gabarron cleans the stage and lays out, so very personally, the recreation of history, data, dates, amazement, names, navigations and storms, greed and gold, miscegenation and mapping, so stripped of salt and rust, invoking the ghosts that inhabit the shadows, sleepy voices, the echoes of those who crossed the sea to the unknown.
ArtSpaceKoubek Center Miami Dade Collage. 2705 SW Third Street, Miami, FL 33135
Imagen: ArtSpace Koubek Center
19 november 2013 - 24 january 2014
Leopoldo Pomés (Barcelona, 1931) and Carlos Saura (Huesca, 1932) have traveled somewhat similar paths. Parallel to their long careers in advertising and film respectively, they both exhibited their work for the first time in the '50s: Pomés at Galerías Layetanas in Barcelona in 1955, and Saura at the Real Sociedad Fotográfica in 1952. Both were invited to work at the Barcelona Olympic Games in 1992: Saura producing the official movie, Marathon, and Pomés carrying out the image campaign of Barcelona's candidacy. Not only have they done portraits, but they have fed their curiosity in different areas, photographing the city and its people, its towns, and their families and social surroundings... They made their debut at an early age with documentaries: Pomés worked on a project about Barcelona that never saw the light of day, and Saura worked on a photographic album of Spanish towns and people. Ever since then, they haven't put the camera down. Saura making portraits of his family and his surroundings, and creating painted photographs or fotosaurios; Pomés expanding his long list of personalities from the cultural world, photographing the bullfighting world, and producing artistic and commercial photography.
This exhibition focuses on the genre of the portrait, albeit using a wide conception of it. There are portraits of unknown people, movie stars, notorious members of the literary and artistic establishments, close friends and even animals. An exhibition that reveals the intensity of Pomés's portraits, the spontaneity of Saura's images, and the intense psychological insight both of them share. (Instituto Cervantes press-release)
Instituto Cervantes de Paris. 7, Rue Quentin Bauchart. 75008 París
Image: “Ana Torrent and Geraldine Chapin” Carlos Saura
14 november – 31 december, 2013
Rubén Sanchez’s Street-and-Skate Aesthetic Spins Throughout The B Side Exhibition. The vibrant street- and-skate origins of Madrid -based urban artist Ruben Sanchez seem to burst from his first solo exhibition in the UAE, entitled The B Side, and created while in residence as Tashkeel’s second guest artist in 2013. Opening on Thursday, 14 November and running through December, The B Side explores the possibility of a variety of surfaces – as conduits for movement on wheels and as canvases for Sanchez’s effusive, Mediterranean-hued abstract works – including found objects such as salvaged wood and outdated signs to abandoned sports cars. Tashkeel, an independent resource for artists and designers living and working in the UAE, found Sanchez to be a tireless and community-minded guest artist, creating large-scale murals, developing graffiti workshops and collaborating with other UAE-based artists.
A largely self-taught artist, Sanchez found opportunities for expression at a young age through decorating his brother’s skateboards. Influenced by the break-dancing and graffiti cultures in his native Spain, Sanchez was attracted to the subversive nature of the country’s emerging street artists while being exposed through his education to Spanish masters including Dali and Miró. Sanchez’s work during his Tashkeel residence depicts the influence of his prior professional experience as an illustrator, graphic designer, and animator. (Tashkeel press-release)
Tashkeel Nad AL Sheba 1, 122255 Dubái
Image: The B side. Rubén Sánchez 2013
15 november - 6 december, 2013
Andrés Torca draws ideas and inspirations for his research from the road, putting them into practice through a variety of artistic expressions.The collages made by Andrés arise from the manipulation of the film and the use of photo-montage as a means to give breath to personal aesthetic solutions. These works are subjected to an intense process that results in almost pictorial compositions, figurative, and every tear corresponds to a stroke. Andrés, in fact, uses photography and play with the analogic image to confuse the viewer and open up a new possibility of exchange between the artist and the observer.
The proportions of the works are very close to the real ones of the subjects. The prospects simple, but impact immortalize faces and bodies of various ethnicities in an apparent fixity. The colors, always in tones of grays and blacks, they change according to the time of exposure of the gradients of ambient light on chemically treated paper. The subjects are immortalized reassembled in a completely new hybrid figures. The assembly of each individual work, although he appears visible to the eye of the observer, conceals an intimate and personal process, the central hub of the experience and the creative expression of Andrés Torca.
Born in Burgos, Spain in 1978 Andrés Torca currently resides in Rome, where he is developing several artistic projects- Before coming to Rome, was a fellow of the prestigious Pistoletto Foundation in Biella, thus starting his Italian sojourn. In parallel with these projects Andrés has performed a collaboration with the office of teaching MACRO, Museum of Contemporary Art of Rome, where he made his artistic experience in the planning of various educational workshops. Back in February 2013 afther an artist residency in Colombia, as a professor at the Faculty of Fine Arts of UNAL,Medellin, Colombia. (Label 201 press-release)
Label201. via Portuense 201 Via Portuensis 201.00149 Roma 00149 Rome
Image: Fotopsias. Andrés Torca 2013.
9 november, 2013 - 5 january, 2014
The exhibition is framed is part of “Otoño Fotográfico”, the Galician photograph festival, which comes in 2013 to its 31st edition expanding borders and occupying the north of Portugal in a whirlpool of numbers that make it a macrofestival : 126 exhibitions, 99 exhibition spaces of 41 towns of Galicia and Portugal, to which are added the 38 courses and workshops.
"Do not look at my camera” probably is what the photographer say to those who pose just before the click, after a meticulous work of props and lighting that define the pieces in this show, Curator Vitor Nieves.
Artists: Bubi Canal, Cecilia de Val, Damián Ucieda, Duarte Amaral Netto, Félix Fernández, Fernando Bayona, Florencia Rojas, Gonzalo Pérez Mata, Ixone Sádaba, Jesús Madriñán, Julia Montilla, Marta Moreiras, Marta Soul, Miguel Ángel Gaüeca, Rocío Verdejo, Rosa Muñoz, Sandra Torralba y Valentín Jaramillo.
(Otouno fotográfico press-release)
Museu da Imagen. Campo das Hortas 35-37, 4700-421 Braga, Portugal. (Otouno fotográfico press-release)
Imagen: Marta Soul. Ende, 2012. Serie Entreacto
November 16, 2013 – January 12, 2014
Juan López Díez. Alto Maliaño (Cantabria) 1979. Juan López’ work explores the aesthetic possibilities of the urban environment, playing with spaces, mixing video projections and installations, designing complex iconic buildings and changing the perception of the architecture. In Between Walls, he introduces the pedestrian mall into the gallery in one piece while exposing the exhibition and its visitors through another. By extending drawing onto the gallery’s architecture, López manipulates the interior of the space. These interventions that modify the established could be considered a form of poetic resistance.
“Between Walls is made possible through the support of ArtPlace, National Endowm ent for the Arts, Knight Foundation and Funding Arts Network, Inc. Presented in partnership with Acción Cultural Española (AC/E)
and bass museum of art. (Art Center/South Florida press-release)
Richard Shack Gallery: 800 Lincoln Road
Image: Juan López Diaz.2013
14 november 2013 - 01 january 2014
The leisure boat used by the former Spanish Head of State, Francisco Franco, and the setting for various historic events such as the “Azor conversations” held between Don Juan de Borbón and Franco himself. After the transition to democracy, Felipe González used the yacht during a controversial summer holiday, and in 1990 the Spanish government auctioned it, specifying that it be destined for scrapping. However, the buyer tried in vain to turn it into an entertainment venue. At the end of 2011, Fernando Sánchez Castillo bought the Azor to transform it into a prism-shaped artwork. The prism is exalted in minimalism for its constructive impersonality and for its lack of sentimental or emotive references.
Fernando Sánchez Castillo, who has developed a good part of his career in the Netherlands, usually addresses established symbols in his work with a touch of irony, questioning the relations between art, power and history. His work deals with historiography, journalism and the ambiguous relations between power and its propaganda. The Madrid-based artist has participated in collective exhibitions in some of the most important museums and galleries on the international scene, such as the Tate Modern in London, the MoMA in New York and the 50th Biennale di Venecia.
Organized: OK Centrum with the support of Acción Cultural Española (AC/E)
BY-ND 2011, UID-Nr.: ATU36918207, OÖ Kulturquartier, OK Platz 1, 4020 Linz, Austria
Imagen: “The Last Trip of the Azor” Fernando Sánchez Castillo.
November 15 - December 31, 2013
The Cultural Association of the Western Mediterranean and the Musee de la Palmeraie in collaboration with the Instituto Cervantes in Marrakech and the Embassy of Spain in Morocco presents the spanish artist Diego Moya exhibition " Stone Gigabytes "
In this work, Diego Moya , as an archaeologist of the past and future simultaneously explores harvesting techniques on rock reliefs and photographic enlargement of parts of aged human skin . The artist captures the drawings of the stones on the ground and transports them to the fabrics. An image of time: memory of the earth, skin memory. The work is an environment consisting of a wall section formed by the assembled fabric impressions on the skin pictures.(I.Cervantes press-release)
Diego Moya (Jaen in 1943). In different periods he has successively worked sculpture, architecture and, since 1981, painting as his main expressive means, taking abstract expressionism as a starting point.Since 1998 he is an active member of MEDOCC Association, which develops cultural exchange programs in Maghreb.
Image: Diego Moya
November 14, 2013 - January 25, 2014
The exhibition 'Original Doubt' features eight artists, all Spanish or resident in our country who belong to generations after the sixties, each one has made a specific work for Plataforma Revolver at Lisbon.
The exhibition 'Original Doubt' reveals the methods followed in artistic practice and the mechanisms of social construction in contemporary art, comparable in many cases to science.The exhibition explores the doubt as artistic practice method, dynamic and able to create a new space on the value of its output and public questioning.
Artists : Ibon Aramberri, Elena Bajo, Cabello Carceler, Albert Corbi, Dora García, Daniel Jacoby, Alvaro Urbano y Pablo Valbuena
Organized: Mostra Espanha. Curators: Andrea Rodriguez Novoa , Veronica Valentini. Coordination and organization : Platform Revolver
Plataforma Revólver / Transboavista Art Edificio, Rua da Boavista 84, 1200-402 Lisboa
November 12 - December 13, 2013
Daniel Merlin presents large paintings about works and buildings in cities such as Madrid and Berlin, the works have been carried out in Madrid and during the residence of Merlín in Germany, also he presents monumental collages of portraits dedicated to Bertrand Russell .
Daniel Merlin( Buenos Aires, 1985 ) uses figurative language, he knows how to paint and also knows how to write about a whole box shape grammar, space, mass, gestures, brushstrokes, textures and lines. Daniel Merlín, son of musicians, the young artist began painting at 3 years old. He arrived to Spain at 10, and his works, full of strength, caused admiration for their extraordinary quality. He has made six solo exhibitions, including Buenos Aires and Madrid, and participated in numerous group exhibitions in Spain.
During the exhibition will screen a video of the El Escorial band RRM where Merlín interacts with the music to make a painting on a Bach cantata.
Organized: Finanzministerium Saarbrücken, Am Stadtgraben 6-8
Image:”En construcción IV” 200X200cm.Técnica mixta/lienzo. Daniel Merlín.2013
14 November 2013 - 09 February 2014
Espacio de Arte Contemporáneao (EAC) is the Uruguayan state institution responsible for encouraging the production and dissemination of art works produced locally and internationally. This exhibition and the one due to be staged next year with Sara Ramo will be part of its programme devised in connection with the events hosted by Montevideo as Ibero-American Capital of Culture. Contemporary art brings together very diverse current practices and, through its languages, highlights the problems of social and cultural dynamics, addressing our intellectual and sensory needs with a broad variety of strategies ranging from conceptual to object- and performance-based.
It is of paramount importance to the EAC to be able to host the first exhibition of the Spanish artist Daniel Canogar. The presence of artists of his stature helps consolidate Montevideo as a prominent cultural attraction connected with the most contemporary and innovative artistic activity, and also promotes local knowledge of a Spanish artist who is becoming increasingly important on the international scene. This artist has exhibited his work in major art venues and cities all over the world. He revitalises and reuses obsolete objects and technologies to create spatial installations and audio-visual pieces with a striking impact and in which light and cutting-edge technology play a prominent role. (AC/E press-release)
Organised by Espacio de Arte Contemporáneo (EAC). With the collaboration of Acción Cultural Española (AC/E)
EAC. Arenal Grande 1930. Montevideo - Uruguay
Imagen: Daniel Canogar
14 november – 14 december, 2013
Today´s world, work on the crowd, is born out of love for the world and all who inhabits it, the concern to know the human being, his figure and to seek and investigate those common spaces in which we all eventually meet.
The crowd is the way of social and political existence of the many as many and brings us a space where we may have been. It is inevitable that in my work I go back and include this matter and explore its formal and expressive capacities on the canvas. Even on a flat surface the formal characteristics are material (you can touch it).The formal and conceptual elements that make my stories combine matter and crowd. They move in the mystery of a mute moving mass of people walking somewhere, anywhere. Nothing is actually defined (the painting that is sculpture, the sculpture that is pictorial). The same poetic adventure, an indeterminate allegory. (I.Cervantes press-release)
Image: Olga Andrino
november 9th, 2013 – february 10th, 2014
Considered one of the pioneers of media art and conceptual art in Spain, for over four decades Antoni Muntadas (Barcelona, 1942) has been creating projects that foment critical reflection about key issues in the configuration of contemporary experience. His aim is to detect and decode the control and power mechanisms through which hegemonic ways of seeing are built, exploring the decisive role played by the mass media in this process.
In his works, which always have a clear processual dimension and often make a direct call for viewer participation, Muntadas uses a number of media, languages and discursive strategies, from interventions in public space to video and photography, from the publication of printed material to the use of Internet and the new digital tools, from multimedia installations to the organization of multidisciplinary, collaborative research projects.
Throughout his career, Antoni Muntadas, who conceives of his works as "artefacts" (in the anthropological sense of the term, i.e. things that can be viewed in different ways depending on the context and the moment they are presented), has addressed topics such as the changing relationship between the public and the private, the naturalization of the logic of consumerism, the cultural homogenization processes imposed by globalization, the use of architecture as a tool for legitimating political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the exploitation of the fear of the "other" as a strategy for social control. (Vancouver Art Gallery press-release)
Muntadas: Entre / Between is organized by the Museo Nacional Centro de Arte Reina Sofía, in collaboration with the Vancouver Art Gallery.
Vancouver Art Gallery, 750 Hornby Street.Vancouver, British Columbia.Canada V6Z 2H7
Image:”Entre/Between” Joaquín Cortés/Román Lores Museo Nacional Centro de Arte Reina Sofía
02 november – 23 december 2013
Santiago Picatoste (Palma de Mallorca 1971) I understand art as an open dialogue of space between the piece and the audience, I do not like to resolve the message of the piece, my interest is to create questions and metaphors which its own meaning, the titles of my work are ironic and make the audience guess. I am concern about the ecologic erosion, the bad use of technologies, the excess use of energy and the absence of communication and individualism” http://santiagopicatoste.com
Miguel Piñeiro (Vilagarcía de Arousa, 1976). Piñeiro is a hyperrealist painter, uses acrylics and other media to achieve a level of detail and realism that is truly extraordinary. Most of his work has two components – a background panel and a foreground panel – to create a three-dimensional effect that pushes the element of realism even further. From balloons to gin and everything in between, Pineiro’s work is a meditation and reflection on the everyday objects in his life. “All the objects we have around have a history. They exist because we have created them, and sometimes we survive because of them… My work is a portrait of my life through the things I have around.” http://www.miguelpineiro.com
Pilar Pequeño (Madrid 1944) Nature is a constant in the work of Pilar Pequeño, nature in all its facets. Also water plays a major role, with particular attention to the balance between light and shadow, and the contrast between life and death. Pequeño shows how delicate, intimate and powerful nature can be. Her last series shows the traces that humans leave in nature. Often they are ruins, where nature has taken over power. http://www.pilarpequeno.com(A.Winters gallery press-release)
Alicia Winters. Ir. J.P. van Muijlwijkstraat 52,
Images: Santiago Picatoste, Miguel Piñeiro, Pilar Pequeño
8th November 2013 - 18th January 2014
Enrique Asensi (Valencia 1950) studied Architecture, Philosophy and Fine Arts in Valencia before moving to Germany in the 70s. The artistic starting point of his works is not the idea of a finished work but the emotional dialogue with the materials he uses; a dialogue in which the viewer participates later in the same way. For his sculpture he uses natural materials like steel, granite and rubber.
In most cases he leaves the bare stone just as nature created it and tries, as he says, to work with the stone "at a human level" which according to his concept means to meet and introduce oneself as a human being in sculpture. His aim is not to go against the natural properties of the materials, but to highlight these properties such as the structure and form and to bring out its inner-character. Similar to Chillida his sculptures deal with the existential questions of space and time. The work on plates, often monumental, is an enormous challenge to his artistic ambitions and he likes continually to expand his own borders.His sculptures concentrate and show essentially about themselves. They should be seen as an “opera aperta”, whose forms and shapes are opened to a universe of posibilities- (100kubik press-release)
Galería 100 kubik - raum für spanische kunst. Mohren Str. 21. 50670 Köln
Image:Mural. Piedra caliza /aceron-corten. 60X40 cm. Enrique Asensi.
november 2nd - December 21st 2013
Space and shape in the paintings of Antonio Mesones (Torrelavega 1965)
Upon application acuity, brightness, accurateness, the cautious composition, the pursuit of per- fection do not only create but show us the obverse of reality. We could define the landscape as something that circumstantially surrounds us, that sometimes converts to our own projection, as the construction that hosts in a slow, insistent and ineluctable way the remains of our presence. Landscape is built beyond the picture, separate from reality. Like a mental elaboration of spaces, of places where emptiness and fullness converge, in or- der to capture the time within. This complexity structures the composition of Antonio Mesones’ paintings. Mª Ángeles Díaz Barbado. (Invaliden1 press-release)
invaliden1 Galerie. Schönleinstr. 25. 10967 Berlin
Image: Diptichon, 2010. Acrylic/canvas. Antonio Mesones
18 october, 2013 – 31 january, 2014
The Instituto Cervantes in Frankfurt is exhibiting models for the city produced by this Spanish architect, who has been awarded a Pritzker Prize and the 2012 Prince of Asturias Award for the Arts. Rafael Moneo opened his show 'Models for the city’ at the Instituto Cervantes in Frankfurt. It displays mock-ups made by students from the Leibniz University in Hanover based on models created by Moneo.
The architect was praised by Pablo García-Berdoy, the Ambassador of Spain in Germany, who described his work as “an integration with history, which he uses as a construction material”.
Moneo holds the Josep Lluis Sert chair at Harvard University’s Graduate School of Design. His works include Spain’s National Museum of Roman Art in Mérida (1985), the Museum of Modern Art and Architecture of Stockholm (1998), the Kursaal in San Sebastián (1999) and the extension of the Prado Museum (2007). (Marca España press-release)
Instituto Cervantes Frankfurt. Staufenstraße 1, 60323 Frankfurt am Main
Image. EFE. Instituto Cervantes Frankfurt
October 20 – December 19, 2013
The advantage of the Biennale rests upon its structural implication of starting from scratch. "West Bank 2013", as its first exhibition, lays focus on three aspects: space construction, artistic production and future imagination. With the theme of Reflecta and Fabrica, the biennale covers artistic forms including architecture, contemporary art and theatre and incorporates tools such as sounds, videos, spaces, devices, performance, etc.. Making use of the West Bank, it aims at forging an international forefront for cross-domain art, creating a high-end platform for urban culture and building the largest outdoor art museum in the new century.
The spanish Studio Ensamble participates in the biennial presenting their latest projects as the Cervantes Theater in Mexico among others.
Studio Ensamble Architects: Antón García-Abril, (Madrid, 1969) is a European PhD Architect, full-professor atthe School of Architecture and Planning of the Massachusetts Institute of Technology (M.I.T.), and he is currently developing a second doctoral thesis about “Stressed Mass” at the School of Civil Engineering of the Polytechnic University of Barcelona. He received the Spanish Academy Research Prize in Rome in 1996. has been curator of the Spanish Pavilion at the Venice Biennale presenting “Spainlab”. He co-founded with Débora Mesa the Positive City Foundation in 2009, with the aim of forwarding their views on urban development, and they are in the process of setting up a research laboratory at MIT, the POPLab. Javier Cuesta Rodríguez-Torices, (Madrid, 1973) graduates from the School of Technical Architecture in Madrid in 1997 and starts working with Antón García-Abril the year after joining ENSAMBLE STUDIO in 2000 from the beginning of its foundation. Débora Mesa Molina, (Madrid, 1981), joins Ensamble Studio in 2003, before graduating from the School of Architecture of the Polytechnic University of Madrid (E.T.S.A.M.) in 2006, and becomes Antón García- Abril’s partner in 2010, after building the SGAE Central Office in Santiago de Compostela and the Hemeroscopium House in Madrid and playing a major role in the realization of projects such as the Tower of Music in Valencia and the Reader’s House in Madrid’s old Slaughterhouse, now under construction, among other works. (Westbund Biennial press-release)
Westbund Bienal. Longteng Avenue,Xuhui District,Shanghai,China
Image: Cervantes Theater, Studio Ensamble, 2013.
29 october -13 dicembre, 2013
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. The images are captured in an international destination, in this 3rd edition, the city of New York. This time, the theme proposed was "Ausias March in New York” whose purpose was to promote indigenous cultural values on a tumultuous cultural moment.The jury: Francesc Vera, Roman de la Calle and Tomás Llorens. (I. Cervantes press-release)
Instituto Cervantes. Alfons-Goppel-Strasse 7.D-80539 Múnich Baviera. (ALEMANIA)
Image: Jaime Belda
November 1 – December 14, 2013
An immersive installation of new stainless steel sculptures, suspended cast paper heads, and recent drawings comprise Jaume Plensa’s solo exhibition, Talking Continents, at Galerie Lelong. These distinctive elements make a realized whole connected through the artist’s concept - formal language and dialogue - with the gallery’s physical space. As in all the artist’s works, the tension between the individual components - poetically imagined as islands or continents - and the overall installation encourages us to think about the ways in which we are linked as a collective humanity. Talking Continents demonstrates Plensa’s ability to create thought-provoking work that reimagines and represents the human figure with an original and innovative language.
Letters from world alphabets literally form the connective elements in Talking Continents, the multi-part stainless steel installation in the main gallery. This series of suspended sculptures are hand-assembled from die-cut letters of nine international alphabets, the shapes of which the artist finds very beautiful. The letters work to form a more complex figure that is not a singular individual but rather a universal embodiment of humanity. Talking Continents creates a place where people are encouraged to meet, observe, and contemplate while engaging in a dialogue that inspires inward reflection and also a sense of global unity. The idea of continents and their interconnectedness has accompanied Plensa’s work from the beginning. In the darkened gallery space, each work is illuminated to create striking light and mysterious shadows.
Installed in a circular configuration in the small gallery are a series of cast paper heads onto which Plensa has “hand-tattooed” words. The use of diverse letters, signs, and language in his work shows the intricacy of different cultures and also how people can encounter one another and through a universal language learn acceptance and tolerance. When creating these works Plensa allows the idea to drive the materials, never constricting himself to one medium. His oeuvre continues to expand, while remaining committed to a lifetime idea. Plensa says, “I never stand out for technique, I stand out for ideas. Ideas make a work contemporary, not technique.”
2013 marks a series of events for the renowned artist. At the end of May Plensa presented a cast iron sculpture, Rui Rui, in Venice for the exhibition, Glasstress: White Light/White Heat, a collateral event of the 55th Biennale. In June eleven sculptures were installed throughout the public spaces of Bordeaux, France for the exhibition Jaume Plensa in Bordeaux and two cast iron heads, Marianna W and Chloe, were show in the UK. In 2014 recent works by the artist will be on view in Chicago to celebrate the 10th Anniversary of Millennium Park, home of Plensa’s famed Crown Fountain.
Lelong Gallery. 528 West 26th Street. New York, NY 10001(Lelong press-release)
Image:Lelong gallery, Jaume Plensa
23 october, 2913 - 25 january, 2014
The exhibition brings together some seventy works, including both photographs and videos, that reveal how his take on the concept on the self-portrait has evolved over the course of his career, which spans more than thirty years. The path it traces follows the vision and life of someone who looks at himself and at us through his work, beckoning us onwards into his own unique universe
This exhibition does not set out to show us every event in the artist’s diary, chronologically document his life or serve as an opportunity for self-aggrandisement. Although the photographs parallel the author’s life, their aim is always to create a new reality with room for the viewer as well. The way García-Alix looks at himself through photographs has evolved over the years, trying out different approaches and leaving a trail picked up by this exhibition.
Alberto García-Alix (León, Spain. 1956) has a very broad concept of the self-portrait that encompasses a large part of his work in which he sees himself reflected. It is hard to find a single piece in his oeuvre that is not intensely self-referential. We could even go so far as to say that his entire work, as a whole, forms one great self-portrait.
The exhibition follows this artist’s career from his first self-portraits in the late 1970s through to the photographs of parts of his body that reflect a photographer’s changing needs when it comes to expressing his own particular decomposition of the self-portrait; from the “intimate landscapes” series on places that form part of the artist’s life experiences and on which he has the urge to project himself, through to his video work (Tres vídeos tristes [Three sad videos], De donde no se vuelve [From where there’s no coming back]), in which García-Alix combines photographs, image sequences and soundscapes to create a series of first-person accounts that plunge us into an increasingly narrative universe. Curator: Nicolás Combarro. (PHE-BR. Press-release)
Sesc. Consolação, Rua Doutor Vila Nova, 245. Sao Paulo
Imagen. Alberto García-Alix. Autorretrato. Mi lado femenino, 2002 © Alberto García-Alix. VEGAP. Madrid, 2013
october 19, 2013 - february 16, 2014.
To celebrate its 10th anniversary, the Nasher Sculpture Center presents Nasher XChange, a dynamic public art exhibition consisting of 10 newly-commissioned public sculptures by contemporary artists at 10 sites throughout the city of Dallas. Covering a diverse range of neighborhoods and approaches to sculpture, Nasher XChange represents the first citywide, museum-organized public art exhibition in the United States, and was inspired by Raymond and Patsy Nasher’s enduring legacy of making art accessible to all with the opening of NorthPark Center almost 50 years ago.The Nasher Sculpture Center commissioned artists Lara Almarcegui, Rachel Harrison, Alfredo Jaar, Charles Long, Liz Larner, Rick Lowe, Vicki Meek, Ruben Ochoa, Ugo Rondinone, and Good/Bad Art Collective to create works for the Nasher XChange exhibition. We invite you to discover Dallas through the public art located throughout the city. “Nasher XChange is a show about public art, surveying the radically different approaches artists art taking to public work, but it’s also a show about Dallas. Each site chosen is important and distinctive, and each says something different about the past, present – and future – of this city.”
The buried remains of a house offer an opportunity for reflection on the transition and rebirth of one of Dallas’s oldest neighborhoods: Oak Cliff Gardens. Almarcegui’s project for Nasher XChange, entitled Buried House, involves working with Dallas Area Habitat for Humanity on a house in Southeast Dallas already slated for demolition. After the demolition is finished, the artist will bury the house’s remains on the property, creating a sort of memorial site that nonetheless retains the building’s actual substance and provides a “free space” for reflection on the neighborhood’s past, present and future. Almarcegui is working in Oak Cliff Gardens, a neighborhood in East Oak Cliff, with a history almost as old as Dallas itself. Near the site of the first stop for stagecoaches headed out of Dallas for Central Texas, the area surrounding the intersection at Lancaster and Ann Arbor roads became the small town of Lisbon, which was in turn annexed by the city in 1929. Today, Oak Cliff Gardens is a neighborhood in transition. Many derelict, often vacant, homes will undergo renovations, thanks to the help of organizations such as Habitat for Humanity. These “wastelands” in the neighborhood embody a significant historical moment of possibility when anything might happen. Almarcegui hopes to draw attention to this area and make people in Dallas aware of its rich and varied character, before it is changed forever. (Nasher Sculpture Center press-release)
Laea Almarcegui Buried House: 2226 Exeter Ave.Oak Cliff Gardens
Nasher Sculpture Center. 2001 Flora St.Dallas, TX 75201
Image: Lara Almarcegui “Buried House”
19 october 2013 - 12 january 2014
The Spanish artist Dora García’s conceptual works comprise texts, photographs, films, performances, and installations, frequently involving actors from the fields of performance or theater as well as members of the audience. Departing from an interest in challenging the boundaries between reality and representation, improvisation and staging, between artist, work, and audience, Dora García, in a manner reminiscent of a director, designs stories, scenarios, and situations which permit her to experiment, interfere with, and invert expectations. Fiction is deployed as a means of creating alternative models of reality, questioning and undermining the rules of the art world and the role that each of us takes within it. The results are ongoing processes of performative, site-specific ensembles which open up the exhibition space beyond merely static gestures.
In the past Dora García has taken part in numerous important exhibitions of contemporary art, for example in 2011 at the 54th Venice Biennale, where she developed a project for the Spanish Pavilion, and in 2012 at dOCUMENTA (13) in Kassel. An aspect which is crucial in differing ways to all of García’s works, is an explicit interest in language, as a possibility for creating communities, as an access code to secret societies, as a space for action and therefore as translator and constructor of reality, as well as language as the structure of the unconscious, as poetry. For her exhibition The Sinthome Score, which she has developed especially for KUB Arena, García continues her artistic involvement with language and questions of representation and translation and incorporating the collaboration of the local population. (Kunsthaus Bregenz press-release)
Kunsthaus Bregenz, Karl-Tizian-Platz.6900 Bregenz. Austria
Image, Dora García
GOTHEMBURG. Joan Fontcuberta “Hasselblad Award 2013. The Photography of Nature / The Nature of Photography” Hasselblad Center, Göteborg Museum of Art
October 26 - January 26, 2014
Catalan photographer Joan Fontcuberta is the 33rd recipient of the Hasselblad Foundation International Award in Photography, and this exhibition presents a selection of some of his most iconic works dealing with nature, science and fiction. Joan Fontcuberta is acclaimed for his innovative investigations of photography and its relation to reality as well as for his playful challenges of various authoritarian truth claims. The exhibition unites examples from classical series such as such as Herbarium (1984), Fauna (1987), Constellations (1993), and Sirens (2000) shown in site-specific installations. Together they make up a journey through botany, zoology, astronomy, cosmonautics, palaeontology and geography as seen through the artist’s pseudo-scientific lens. (Hasselblad Foundation press release)
Hasselblad Center,exhibition hall. Götaplatsen. Göteborg Museum of Art
Image: Joan Fontcuberta, Serie”Fauna”
october 16, 2013 – march 2, 2014
Gervasio Sánchez was born in Cordoba in 1959 and obtained a degree in Journalism from the faculty of Information Science at the Autonomous University of Barcelona. Since then, he has worked as a freelance journalist for several newspapers and magazines. Specialising in armed conflicts and linked to the ‘Heraldo de Aragón’ since 1988, he covered the Gulf War (1990-1991) for the newspaper. He has also covered other wars in the former Yugoslavia, Africa, Asia and South America. Between 1992 and 1996, he travelled to Bosnia several times, and between 1994 and 1999, he focused on Rwanda and Somalia, as well as Bosnia. In 1997, he started work on the ‘Mined Lives’ project. He has been declared an adoptive son of Zaragoza in recognition of his outstanding photographic work, his social sensibilities and his indictment of the horrors of war. In 1998 he was named 'UNESCO special envoy for peace'.
Centro Portugués de Fotografía. edifício da Ex-Cadeia. Tribunal da Relação do Porto
Largo Amor de Perdição. 4050-008 Porto. Portugal
Image. “Jugando con Paraguas” Monrovia. Liberia 1996. Gervasio Sánchez
October 11 – December 20, 2013
The exhibition shows some works never exhibited to the public from the collection of the artist Genovés. The exhibition focuses on the crowds, motivation that has marked the Genovés painting throughout his career.
Trained at the Valencia Art College Genovés was always an inquiring painter, concerned both with the need to renovate Spanish art and also with the function of art and the artist in society.
His firm conviction that art was transforming, and his concern for his environment lead him to join several important movements in the post war Spanish art scene: Los Siete (The Seven) 1949, Parpallós (1956) and Hondo (1960). It was in this last group that presented a new approach to figurative painting opposing Informalism, that Genovés developed a style of painting that was expressionist and provocative.
During the sixties Genovés had a creative crisis which he got over quickly. He became very involved in the opposition movements of the time against the Franco regime. He started to consider two subjects in his painting: the "individual" which he represented through collage and "the crowd" which he painted in flat colours and in a cinematographic style.
The latter style, which developed into political realism with a strong underlying current of social compromise and criticism of the dictatorship, was achieved by the manipulation of images from the media. In the eighties Genovés started a new period in his painting in which he focused on the urban landscape, reducing it to a chromatic range of greys, blues and ochres to make up "spaces of loneliness".
In recent years he has investigated, through his work, the static movement in painting and "the crowd" has become a reference to talk about the problem of painting and visual rhythm. He has been awarded the Honourable Mention at the XXXIII Venice Biennial in 1966, the Gold Medal at the VI San Marino International Biennial in 1967, the International Marzotto Prize in 1968, the Spanish National Art Prize in 1984, the Valencian Art Prize in 2002, the Gold medal for merit in the Arts by the Spanish Culture Department in 2005.
À Cent Mètres du Centre du Monde. Centre d´Art 3, avenue de Grande Bretagne
Image.CROWDS, Juan Genovés.
October 12 – December 21, 2013
Provocative recent works by Jordi Alcaraz will be presented in a major exhibition at Jack Rutberg Fine Arts in Los Angeles.
This much anticipated museum-scale exhibition brings together large and small works which transcend the categories of painting, sculpture, and drawing as they blend all media, employing assemblage-like manner and installation. Conceptually, Alcaraz extends notions of perspective beyond the realms of the physically-seen.
Previously, Alcaraz’s first U.S. solo exhibition presented at Jack Rutberg Fine Arts in 2010, was cited by critics as one of Southern California’s 10 best exhibitions of that year. In this current exhibition, Jordi Alcaraz: Altered States, the artist furthers his explorations and near-obsessive ruminations on the limits of interior/exterior concepts, reality and evocation, presence versus absence, volume and void —the rational and the poetic. Even boundaries created by frames enclosing his paintings and drawings are altered in extraordinary ways, calling into question these distinctions. The same applies to his sculptures. Alcaraz opens surprising realms through the use of bending, tearing and puncturing materials in unpredictable ways.
When writing for a recent museum exhibition catalogue, the eminent critic, Peter Selz, wrote Jordi Alcaraz takes the physical space, objects and ideas and projects them into new dimensions. He is a visual alchemist whose sensibilities expand a profound legacy…Alcaraz’s pieces have magic without resorting to tricks. It is art of the unexpected and surprise. This artist works with contradiction and enigmas…most of all, Alcaraz conflates the interior and exterior of matter and space, and works simultaneously with past and future.
Born in 1963 in Calella, near Barcelona, Alcaraz is logically placed among his Catalonian artist antecedents. He transcends the minimal spaces of Miro and the surreal other-worldly landscapes of Dali, and whereas Antoni Tapies created astounding walls and doors —marked and eroded— evidencing both the surreal and the real, Alcaraz extends those notions into realms uniquely his own.
The trajectory of Alcaraz’s recognition has been particularly impressive in recent years. His works have been the subject of numerous solo and group exhibitions in Belgium, Germany, Italy, Canada, Switzerland, and Spain in galleries and museums, and featured in international art fairs throughout the U.S. and Europe. Currently, his work is included in Nuage at the Musée Reattu de Arles, France. His works are represented by Jack Rutberg Fine Arts in Los Angeles.
Jack Rutberg Fine Arts Inc, 357 N La Brea Ave, Los Angeles, CA 90036
Image: Jordi Alcaraz. Jack Rutberg Fine Arts Inc
TOKIO. Saura, Tápies, Guerrero y Esteban Vicente “Inside and Outside, the Two Faces of Spanish Informalismo in the Collections of the MNCARS” The National Museum of Western Art
03 october 2013 – 05 January 2014
The Museum of Western Art and the Nagasaki Prefectural Art Museum, whose interest in Spanish art has led them to devote a prominent place to it in their respective collections, provide an excellent backdrop for an exhibition featuring contemporary works from the Museo Nacional Centro de Arte Reina Sofía.
A highly select exhibition has been designed on one of the most prominent movements in the MNCARS collections, Informalismo (the Spanish version of Art Informel), through its most significant representatives – Saura, Tàpies, Guerrero and Esteban Vicente – contrasting the work produced inside and outside our country.
This generation of artists radically questioned the aesthetic principles of western culture and its system of representation, espousing the new formalist trend that was rapidly spreading across Europe. With their work they demanded a new field of experimentation for painting that rejected iconic language and gave priority to gesture, material, tactile qualities and the trace of the human body.
The painting of Guerrero and Vicente, produced in North America, is associated with an abstract language of freedom and an emphasis on colour, expressiveness and light. In contrast, the work of Saura in Madrid and of Tàpies in Barcelona is introspective and reflects on the ethical roots of individual freedom, with a palette limited to whites, blacks and earth tones. Between them they are the light and the shadow that represent the two sides of Spanish Informalismo. (AC.Española press-release)
Curator: Belén Galán. Organized by Acción Cultural Española (AC/E).Museo Nacional Centro de Arte Reina Sofía (MNCARS) In collaboration with
The National Museum of Western Art, Tokyo, Prefectural Art Museum, Nagasaki, Embassy of Spain in Japan
The National Museum of Western Art .7-7 Ueno-koen, Taito-ku, Tokyo 110-0007, Japan
Image: José Guerrero, Tierra roja, 1955. MNCARS, Madrid. © José Guerrero, VEGAP, Madrid, 2013
25 september – 18 December, 2013
The exhibition highlights the unique and exceptional value of the 13 Spanish cities declared World Heritage by UNESCO, through a photo tour of the labor Navia, one of the most important photographers of the Spanish scene. In his images, Navia has managed to combine the historical and mythical contemporary Spanish cities, and provide documentary, artistic sensitivity. Cities and towns vivid dream that open the visitor to discover its secrets and reveal their greatness. Alcalá de Henares, Ávila, Cáceres, Córdoba, Cuenca, Ibiza, Merida, Salamanca, San Cristobal de la Laguna, Santiago de Compostela, Segovia, Tarragona and Toledo
Instituto Cervantes - Sala de exposiciones. Via S. Giacomo 40. 80133 Nápoles
Organized. Instituto Cervantes / La Fábrica (Madrid)
Image. Ávila. José Manuel Navia
September 18, 2013 - January 31, 2014.
The Mediterranean sea, as a geographical space, in which the current cultural and social reality is researched and studied, although yet vague and still extremely interesting due to the constant dramatic changes in recent years, with its traditional elements along with influence and impact of the global model indicated, will be again this year’s thematic of the 4th Thessaloniki Biennale of Contemporary Art, under the general title “Old Intersections-Make it New”.
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these.
“No Singing” (video installation): The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.
There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.
In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.
StateMuseumof Contemporary Art.21 Koloktroni st. - Moni Lazariston. 56430, Thessaloniki
Image: No Singing. Jordi Colomer. 2012
13 September 2013 - 12 January 2014
Picasso created the most important oeuvre in 20th-century art not only in his capacity as a painter and sculptor, but also and above all as a draughtsman and printmaker. The Kupferstichkabinett’s collection of 180 works by this giant of modernism is one of the oldest Picasso collections held by a public museum. Featuring 120 prints and drawings selected from the Kupferstichkabinett’s own holdings and supplemented by an additional 40 loans - including paintings, coloured works on paper, posters, and ceramics - this retrospective survey cuts across seven decades in an extraordinary body of work. It ranges in style from Picasso’s early ascetic figuration, through nuances of Cubism, Neoclassicism, and Surrealism, to the vibrant expressivity of the late period, all the while depicting his transformative plurality of style.
The exhibition is divided into ten thematic chapters that adhere to Picasso’s motto that 'the drama of the man’ was the most crucial motivation behind his art. Starting with the early work peopled by jesters and acrobats and interspersed with portraits of his contemporaries, the exhibition moves on to the core themes of his homages to women - lovers and partners - and the relationship between artist and model. Also highlighted are Picasso’s lifelong fascination with bullfighting as an allegory of the battle of the sexes and his appropriation of the myth of the Minotaur of Crete, the half-bull, half-man, which he depicted as his alter ego. Other thematic sections illustrate the artist’s politically motivated works (for example prints produced against the Franco regime, and the dove of peace) and his reinterpretation of works of literature and old masters like Rembrandt, Cranach, and Goya. (Kulturforum press-release)
Kulturforum. Matthäikirchplatz. 10785 Berlin. http://www.smb.museum/smb
Image: Pablo Picasso: Portrait of a Young Girl after Cranach the Younger II, Cannes, 4.7.1958
© Succession Picasso / VG Bild-Kunst, Bonn 2013. Staatliche Museen zu Berlin, Kupferstichkabinett / Jörg P. Anders
12 September - 15 December 2013
The Lisbon Architecture Triennale was established in 2007 and is aimed at exploring, fostering and promoting reflection and practice in architecture. The third edition of the event, entitled Close, Closer, is intended to take a look at contemporary spatial practice; to make architecture a living, social and artistic force that cuts across the aesthetic, political and cultural spheres.
The Spanish group of artists Zuloark is taking part in the events organised around the exhibition The Real and Other Fictions with The Universal Declaration of Urban Rights in which a committee of architects, lawyers, politicians and societies analyse Lisbon’s specific public spaces.
The public programme New Publics consists of three months of talks, workshops, events and artistic actions in several public squares in the city and is aimed at facilitating the pooling of ideas about contemporary spatial practice and encouraging effective strategies for promoting structural changes in society. Spanish artists participating in this programme are: Andrés Jaque Arquitectos / Office for Political Innovation with a play; Daniel Fernández Pascual with The Housing Act, a project consisting of a course for the school of architecture; Estudio SIC, which is staging a large-scale artistic action; and Fernando García-Dory with a dramatised reading that explores the relationship between city and countryside.
An associated project that is one of the Triennale fringe events is Performing Architecture. Curated by Ariadna Cantis from Spain, it analyses how art and architecture do not exist until they have either a spectator who visualises them (in the case of art) or an inhabitant (in the case of architecture). The following Spanish artists are taking part:
• Luis Urculo in Let the Things Go Down to Go Up to Go Down to Go Up: group or individual actions decide to demolish an existing structure in order to rebuild a different one to be demolished and transformed again by the following participants.
• Pedro Bandeira with Coluna dórica, a tribute to Greek culture. In this performance a Doric column is transported through the city.
• PKMV with Superhatch, a real-life-scale reinterpretation of digital tools in analogue: Cad Hatch Patterns. The Hatch Patterns are applied in real size to public places in Lisbon.
Curators: Beatrice Galilee, Liam Young, Mariana Pestana, José Esparza, Chong Cuy. Organised by Bienal de Arquitectura de Lisboa. With the collaboration of Acción Cultural Española (AC/E Press-release)
LISBON ARCHITECTURE TRIENNALE. Campo de Santa Clara, 142-145. 1100-474 LISBON
Image: The Lisbon Architecture Triennale
September 7, 2013 – January 12, 2014
From September 7, 2013 through January 12, 2014, Deichtorhallen Hamburg is showing the largest retrospective to date of the sculptural, photographic and filmic oeuvre of Spanish artist Santiago Sierra (born in Madrid in 1966). The exhibition was curated by Dirk Luckow and comprises over 70 works.
The exhibition at Sammlung Falckenberg provides viewers with insights into Sierra’s development with, among other things, his minimalism and concept art. In fact, most of his works are relicts of past performances. Sierra’s work is characterized by clear announcements in the style of a movie director. This starts with his photographic or filmic documentation, which lacks real photographic or filmic aesthetics. Sierra’s large-format, black-and-white photographs are often coarse-grained and document his performances, which are generally public. What also associates Sierra with artists such as Joseph Beuys, Richard Serra and Franz Erhard Walther is his sculptural aesthetics. There are moreover close links between Sierra and the city of Hamburg. Not only are important photographic works by Sierra in the possession of Sammlung Falckenberg, more than anything else, his time at the Hochschule für bildende Künste (Academy of Fine Arts) there left its mark on him. At the beginning of the 1990s, Sierra attended classes held there by Franz Erhard Walther, Bernhard Blume and Stanley Brouwn. It is here, in particular, that his artistic roots lie. “For Sierra, the Hamburg Harbor represents what the Sistine Chapel is for other artists,” explains Dirk Luckow, Director of Deichtorhallen. Early photographs by Sierra, some of them dating from his Hamburg days, are on show here for the first time (Schutt- und Aschehalden, Piles of Rubble). Individual items of Sierra’s early sculptural work, some of which were produced during his student days in Hamburg, will be reconstructed or documented by photographs. Since his spectacular contribution to the Venice Biennale in 2003, Sierra’s reputation has grown enormously. As one of Spain’s most reputed artists, in 2010 he was lined up to receive Spain’s national prize for fine arts, the Premio Nacional de Artes Plásticas de España, which comes endowed with €30,000. However, Sierra refused the prize declaring that he did not want to be exploited by the state. (D.H. press-release)
Sammlung Falckenberg | Phoenix Kulturstiftung. Wilstorfer Straße 71, Tor 2.21073 Hamburg – Harburg
Image: Santiago Sierra
August 17 - December 20, 2013
Recognized as one of the most innovative and influential artists of the twentieth century, Pablo Picasso (1881–1973) was at his most ferociously inventive between 1930 and 1937, when he created a series of etchings that are collectively known today as the Vollard Suite. Named after Ambroise Vollard, the famed art dealer who gave Picasso his first exhibition in Paris in 1901, these etchings reveal the Spanish artist's mastery of the printmaking process, as well as his dialogue with surrealism and the art of the past. This exhibition will showcase the one hundred prints that make up the Vollard Suite alongside works by Rembrandt and Goya that inspired Picasso during the making of these celebrated etchings.
Organized by the Hood Museum of Art and made possible by Claire Foerster and Daniel Bernstein, Marie-Louise and Samuel R. Rosenthal Fund, the Ray Winfield Smith Fund, and the Bernard R. Siskind Fund. (Hood Museum of Art press-release)
Image: Pablo Picasso, Spanish, 1881-1973, Blind Minotaur Guided by a Young Girl through the Night (Minotaure aveugle guide par une fillette dans la nuit), from The Vollard Suite, November 1934, etching and aquatint on Montval laid paper. Gift of Ellen and Wallace K. Harrison. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York
Hood Museum of Art, Dartmouth College. Hanover, New Hampshire. NH 03755.
26 March - 23 February 2014
Turner Contemporary presents the work Conversation Piece by the Spanish artist Juan Muñoz. The sculptures are a group of bronze figures arranged in carefully staged groupings, apparently frozen mid-conversation. As a common practice of the work of the artist, Conversation Piece III is composed by slightly smaller than life-sized figures, playing with our sense of scale and perspective. On the occasion of the exhibition at Turner Contemporary, the pieces have been placed at the Sunley Gallery, transforming the atmosphere of the space which overlooks the North Sea.
Juan Muñoz (1953 – 2001) is known for his unsettling sculptures of individuals or groups placed in architectural settings. He created sculptures in a narrative manner, broking with tradition. In 2001, he made the second commission for Tate Modern's Turbine Hall, Double Bind. (Turner Contemporary press-release)
Turner Contemporary. Rendezvous, Margate. Kent CT9 1HG
Image. Conversation Piece III. Photo, Manu Palomeque
January 19, 2013 – Remainder 2013
Javier Velasco (Cádiz 1963) The spanish multi-media artist will be commissioned to do a site-specific work. Most recently, he has been using blown glass to create beautiful works that are allegories to the ephemeral, and speak to the fragility of nature and the environmental concerns of today.Velasco’s artwork has been exhibited throughout Europe, Latin America and the United States. Acclaimed solo shows have been held in Barcelona, Madrid, Milan, Mexico City and New York in the last years and his works showed in museums, international and universal art exhibitions such as the MOMA-New York, the Venice Biennial and the Aichi Universal Exhibition.
The Patricia & Phillip Frost Art Museum. Florida International University, University Park. 10975 SW 17th Street
Miami, FL 33199
Image. The 7th circle.Javier Velasco