Spanish contemporary art worldwide
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23 april – 9 may, 2015
Atomica Gallery is excited to announce ‘101 Artists to Listen to Before You Die’ a brand new solo exhibition from Spanish artist Ricardo Cavolo. This will also be the official UK launch for the book of the same title. The exhibition will showcase all 101 original artworks from the book and will open at Atomica Gallery in Soho, London..
“101 Artists to Listen to Before You Die” offers a charming personal journey through music history. A die-hard music lover, Cavolo has painstakingly picked his 101 essential icons and expressed his adoration in the best way he knows how: creating beautifully illustrated hand-drawn portraits, accompanied by his own musings and hilarious anecdotes. Leaving few genres uncovered, current superstars Diplo and Kayne West play an equally integral part as much-loved legends Elvis Presley and Chuck Berry. Cavolo has also paid homage to plenty of unexpected surprises and underrated obscurities. Full list of artists below.
“I did want to bring together 101 musicians and bands which, throughout my life and still today, have helped me in some way. We enjoy music, but we also use it. And this is what I want to show: what each artist gives me; the situations in which I listen to one or to another; how this group or that helps me to resolve problems. Yes, my musical diary.” Ricardo Cavolo
All 101 portraits featured in the exhibition will be made into small runs of limited edition prints exclusive to Atomica Gallery and signed & numbered by Ricardo Cavolo. They will be available to purchase on a first-come, first-served basis from the opening night at Atomica Gallery and will also be available to purchase online from Monday 27th April – get in quick to avoid disappointment! (Atomica gallery press-release)
Atomica Gallery,7 Greens Court, Soho, London W1
Image: Ricardo Cavolo
02 may – 27 june, 2015
At the center of Juan Uslé’s exhibition “Mar de Aral” are new, large-format works. Since the end of the 1990s, the Spanish artist has been working, in no particular order, on the series Soñé que revelabas (“I dreamed that you appeared”), which represents the largest coherent group of works within his diverse oeuvre. In it, Uslés poetic emotional conceptualism comes to light, as the artist not only inquires into the structure of the painterly process within abstraction, but simultaneously allows the subjective experience and feeling to flow into it.
In predominantly black-and-white paintings, which always are created at night, Uslé works with extremely reduced painterly means. Color and ductus are limited to the slightest and the tension of the works results from minimal changes in tonal value and contrasting horizontal layers, slightly differing in brushstrokes. On always vertical canvases, bright streaks of color create highlights on the grey, vibrating chord. Each painting develops from the permanent repetition of a brushstroke, which from line to line fills the surface and provides a distinct transparent planarity. Every mark of the brush is charged with an existential corporeality, as the artist rhythmically transfers his heartbeat onto the canvas.
“Uslé has taken the brush imprint that represents nothing but itself – an invocation of the great historic longing in painting for the absolute absence of mimetic reference, for pictures that do not imitate anything – and turned it into a sort of painterly cardiogram, a work that reflects and responds to the history of painting and may at once be read as a self-portrait in a very elemental sense," Stephan Berg explains in the catalogue for Uslé's exhibition at the Kunstmuseum Bonn in 2014.
Juan Uslé was born in 1954 in Santander, Spain. In recent years he has developed to be one of the most important artists in the international art world. His paintings and photographs have been shown in countless American and European exhibitions. He has had shows in museums such as the Reina Sofia (2003), the SMAK in Geneva (2004), and the Irish Museum of Modern Art in Dublin (2004). In 2005 he participated in the 51st Biennale in Venice. In Germany, his works were presented at the documenta IX and recently in a retrospective of the Morsbroich Museum in Leverkusen. The group of works Soñé que revelabas was extensively exhibited in 2014 at the Kunstmuseum Bonn and Centro Galego de Arte Contemporánea in Santiago de Compostela. Numerous catalogues were published about him and in 2002 he won the Spanish national prize for art. He lives and works in New York and Saro in the North of Spain. (Galerie Thomas Schulte press-release)
Galerie Thomas Schulte. Charlottenstr. 24. D–10117 Berlin
Image: Juan Uslé. Al Clarear, 2014
25 April - 31 May 2015
“While I sleep or read, my paintings that lie on the floor dry slowly because of the humidity of the island. The time they take to dry is very important. The work may be finished but at times it’s like a puddle, everything can change in an instant.
I have been scuba diving for a very long time. When I work on large paintings on the floor, it’s as if I were free diving. I immerse. I make the right moves or at least I try. I hold my breath, I counterbalance the pressure… Then I come out blowing sea water through the snorkel…or as if…
This would be the tempo of my paintings; the successive minutes of holding my breath.
One might find similarities with other artists. Like with Seurat, the prolonged smear of a Conté pencil or the Morse writing brush, almost noiseless, held at 25° over the rough grain paper: tap-tap….taptaptap…tap…; or with Van Gogh the rhythm of trains arriving at a station in the provinces or in the suburbs, chugga-chugga-chugga-chugga.
Tarataratara tarara; with Picasso, long sentences with abrupt endings: clapping and heel stomping like in the Seguiriyas….” Miquel Barceló
Renown for the diversity of his work, Barceló’s oeuvre ranges from monumental terracotta murals for the chapel of Saint Peter inside the Cathedral of Palma de Mallorca to a performance piece/living sculpture with the French Serbian-born choreographer Josef Nadj. In 2008 he created the ceiling painting for Chamber XX of the Human Rights and Alliance of Civilizations, at the United Nations offices in Geneva, covering the 1500m2 ellipsoidal dome with 35 tons of paint with pigments from all corners of the globe creating multi-coloured stalactite forms.
Deeply influenced by poetry, in 2004 he showed over 300 drawings at the Musée du Louvre illustrating Dante’s Divine Comedy. In 2009 he represented Spain at the 53rd Venice Biennale. In addition, retrospectives have been organized at renowned institutions, such as the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid and the Museo Rufino Tamayo, Mexico. His work is included in international public and private collections around the world. In Spring 2016, Barceló will have a major exhibition at the Musée Picasso as well as at the Bibliothèque Nationale de France François Mitterand, both in Paris. (Thaddaeus Ropac press-release)
Miquel Barceló (b. 1957) was born in Felanitx, Majorca and divides his time between Majorca, Paris, and Mali.
Galerie Thaddaeus Ropac, 7rue Debelleyme. Fr. 75003. Paris.
Image: L'inassèchement, Miquel Barceló
TORONTO. “The Spanish National Photography Prize: Connections and Confrontations” Edward Day Gallery
01 – 30 may, 2015
The exhibition, curated by Carmen de la Guerra and Javier Díez, becomes an anthology of the history of Spanish photography of the last sixty years that generates innovative links among the works of different artists. When viewing the exhibition as a whole, we can observe the development of individual artists, which is consistent with the transformation of Spanish society of the fifties to the present day; in a documentary sense, this can be observed in every photography exhibition. Featuring the works of Gabriel Cualladó, Cristina García Rodero, Humberto Rivas, Joan Fontcuberta, Alberto García-Alix, Chema Madoz, Toni Catany, Joan Colom, Carlos Pérez Siquier, Ramón Masats, Ouka Leele, Pablo Pérez-Mínguez, Manuel Vilariño, Bleda y Rosa.
Organized by the Ministry of Education, Culture and Sports of Spain, and Artendencias. Supported and coordinated by the Embassy of Spain and the Spain-USA Foundation. (Edward Day press-release)
Edward Day Gallery, 952 Queen St. West (entrance through courtyard), Toronto
Image credit: La Gata, 2001, Alberto García-Alix.
16 april – 16 may, 2015
The directors of Marlborough Gallery are pleased to announce an exhibition of photographs by the Spanish-born painter and sculptor, Manuel Franquelo (b. 1953 Málaga. Spain)
This is the artist’s first exhibition at Marlborough Gallery in New York. Things in a Room is comprised of six new photographs featuring still-life arrangements on shelves, tables and radiators. These hyper-real photographs are the result of a unique and highly refined photographic process of Franquelo’s own creation. The artist designed, built and programmed a Lucida 3D laser scanner in order to capture the multiple relief surfaces of a composition in a single photographic image. Franquelo’s final composite photographs are printed onto the surface of aluminum panels which are coated with gesso using a large-format digital printer, developed by the artist, and designed to print onto non-traditional, rigid materials. The aluminum panels are then sealed with wax at the completion of the printing.
The resulting images are a meditation on the quotidian details of the artist’s studio; they focus on the tools and spaces commonly used in the creation of a work of art. As Adam Lowe states in the catalogue essay: (Marlborough press-release)
Marlborough Gallery,Inc.40 West 57th Street.New York, NY 10019
Image: Manuel Franquelo
23 april – 5 july, 2015
As a pendant to the exhibition Simple Forms: Contemplating Beauty at the Mori Art Museum, the Forum invites viewers to consider the many manifestations of that simplest, fundamental motif: line. Listening to the Lines presents a collection of items of all kinds, exploring the rich variety and universality of line.
Omnipresent in nature, line is also common to drawing, calligraphy, music, cartography and geography. A central motif in art, science and everyday life, line features in all cultures, as a means of representation (defining form), or support, even as an object of study in its own right. At the Forum, the exhibition Listening to the Lines offers a selection of items featuring pre-existing lines in their natural state – a fertile imaginative source – together with works highlighting the gradual appearance of their own trace.
The intriguing striations on stones collected by Roger Caillois, a trompe-l’œil landscape work by Xu Bing, ephemeral drawings executed in nature by Akiko and Masako Takada, or structural motifs by Carsten Nicolai, based on mathematical formulae, are presented in dialogue with works by Asako Tokitsu, Niele Toroni and Ignacio Uriarte. A linear bookshelf specially created by the Japanese architecture duo Atelier Bow-Wow offers a bibliography of essays and catalogues for public consultation, extending beyond the scope of the works on show.
Just as Simple Forms: Contemplating Beauty stresses the rich diversity and fascination of minimalist simplicity across historical periods and cultures, so Listening to the Lines invites us to apprehend line in all its evident simplicity, fragility and potential complexity. Visitors are invited, quite literally to ‘listen’ to the lines and to experiment with the scenarios they offer. (Fondation Hermes press-release)
Fondation Hermès, Le Forum, Tokyo, Japan. 5-4-1, Ginza, Chuo-ku, Tokyo 104-0061
Image: Ignacio Uriarte
16 april – 9 may, 2015
In his new work Buona Fortuna, Rubio transports us to the mountains of the Parco Nazionale del Cilento in the south of Italy, where several isolated villages were abandoned after a series of devastating earthquakes and landslides. Hidden among these ruins, and despite all the decay and destruction, several churches and chapels reveal themselves in all their glory.
A closer look into Rubio’s photographs expose empty altars and pedestals; in fact all the relics are missing. This is direct consequence from the looters and art merchants who didn’t think twice about breaking in and remove paintings, sculptures and other sacred relics. Despite all the emptiness and disrepair, Rubio manages to capture these places in all their beauty –a tragic, sublime, almost surreal representation of a fragile yet astounding legacy.
With his large format colour prints, the artist invites us to walk into an ephemeral world where grandeur and decadence clash together. A conflict that draws the viewer into a deeper reflection about the value of these contemporary ruins, and ultimately the meaning of them.
Buona Fortuna is not asking for reconstruction nor restoration of the churches, but to preserve them as what they are today: truly works of art. Rubio is currently busy trying to get all the permissions and funding to reopen some of them to the public. His plan is creating a series of new artworks and installations that will replace the stolen figures, transforming these abandoned places into new cultural scenarios. But for now, his photographs have brought to life places that we couldn’t even dream of.
Jorge Mañes Rubio, born in Madrid in 1984, Jorge Mañes Rubio is the founder and director of Seethisway. He graduated from Scuola Politecnica di Design Milan in 2007 and Royal College of Art London in 2010, where he confirmed his tireless eager to travel beyond the usual scopes of design. In 2014 he obtained the prestigious TED fellowship.
His work explores unseen or forgotten places, creating artworks that reimagine and revive these sites as attention-worthy destinations. His practice revolves around political-social interventions, creating small objects, fictional narratives and immersiveinstallations. (Initial Gallery press – release)
Initial gallery, 2339 Granville Street, Vancouver, BC V6H 3G3
Image: Buona Fortuna. Jorge Mañes Rubio
16 april – 30 may, 2015
Luis Gordillo (1934, Seville, Spain) is one of the most singular figures of representational abstract art. His work explores the meaning and the link between the world of the thought, the world of experience, and the world of esthetic expression. With a long solid career behind him, Luis Gordillo is a consecrated artist that has been awarded with multiple prizes and recognitions. Among them, in 2007 he was awarded with the Velázquez Prize of Plastic Arts. In 2007 a retrospective exhibition (1959-2007) was shown at the Museo Nacional Centro de Arte Reina Sofia. His work forms part of the collections of; Caixa Forum, the Andalusian Center of Contemporary Art, the collection of Patio Herreriano, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Museum of Spanish Abstract Art in Cuenca, the Museum of Contemporary Art of Barcelona (MACBA), the Museum of Fine Arts of Bilbao, and of many other important museum and international collections. He has also been honored in 2008 with the Orden de Caballero de las Artes y las Letras de Francia by the French Ministry of Culture and Communication. . (Luis Adelantado press-release)
Galería Luis Adelantado: Laguna de Términos 260, Anáhuac Mariano Escobedo, Miguel Hidalgo, 11310 Cd de México, D.F., México
6 april – 9 may, 2015
For the exhibition «Ao túnel-cabo pelo braço», her first solo show in Brazil, Julia Spínola created three new pieces. Do braço ao túnel (2015) is a wooden sculpture that relates to the idea of connectivity and movement. A small part of the sculpture – which looks like the letter “Y” – represents the movement of an arm being lifted, but only the point when the movement starts an the point when it ends. This piece also resembles a tunnel, representing the connectivity and movement in the city.
Very impressed by the great amount of cables present on the sidewalks of São Paulo, the artist created the work Cabo, São Paulo (2015), an image in which one of these cables appears completely pixelated, in order to represent the electric activity running and the connectivity that is provided by them. This same pixelated line appears as a detail on one of the side bars of the work Do braço ao túnel.
And last but not least, the artist presents Carta de cor, São Paulo (2015), a work composed by a table painted in different tones of yellow and a number of limes – containing the tones of yellow – lying on it. This work brings to the show at KUNSTHALLE São Paulo a concept that Spínola has been developing since 2013, in which the object is unfolded and found somewhere in the world outside itself. Interested in the idea of how every colour can be create industrially, she elects a natural element, such as an apple or – in the Brazilian case – a lime to represent its own colour. In this sense, the fruit is not anymore a fruit but starts being a colour, which the artist goes searching in the world. The moment when she finds the exact colour of the lime in the paint colour chart, is the exact moment in which she finds the lime outside itself. This moment of surprise is experienced in the show when one, looking at the limes, sees the tones of yellow and not the limes anymore, and looking at the table, sees the limes and not the tones of yellow. (KUNSTHALLE press-release)
KUNSTHALLE São Paulo. Rua dos Pinheiros, 41, Pinheiros – 05422-010. São Paulo – Brazil
Image: Julia Spinola
11 april – 25 october 2015
The Catalan visual artist Xavier G-Solís will be showing his work at a retrospective put on by the International Shoe Museum at Romans-sur-Isère, a France. The exhibitionwill be inaugurated on 11 April in the presence of the artist and will remain open to the public until 25 October this year. The exhibition aims to take a fresh look at the shoe, transforming it so that we can discover its more aesthetic, poetic, playful and critical side.
After graduating in Philosophy from Barcelona University, Xavier G-Solís(b. Barcelona 1962) moved to the Canary Islands to study sculpture techniques at the Las Palmas Art School, a city that has housed many exhibitions of his. G-Solís is a contemporary artist working in many fields; he has explored sculpture, graphic art, the performing arts, photography and audiovisuals. He has spent much of his career working around the concept of “used shoe”, which he considers a symbol of the history of modern man that reflects the influence of the object on our interaction with other people and with nature. (Musee International de la Chaussure press-release)
Musée International de la Chaussure. Portail Roger Vivier – rue Bistour l 26100 Romans sur Isère
Image: Xavier G-Solís
16 abril - 31 mayo de 2015
Alfredo García Revuelta was born in 1961 in Madrid, Spain. He describes himself as an artist at heart, a citizen of the world and inveterate traveller.
The artist cleverly resolves material problems with the plastic and creates ironic and caricatured figures in his works. His post-cubist approach, combined together with influences from Spanish cartoons, play ironically with classical ideal forms and ideologies. It is these characteristics of the works that invite the audience to experience Revuelta’s creative and yet sarcastic world through the themes and visual details.
“Walk Backwards with the Front View” is a solo show that gathers the artist’s latest sculptural works and creates a significant journey through an extensive period of his career. The artist emphasizes creative originality throughout his works by constantly leaving behind what is already known to work, and makes his own path to move on. The variety of his works gives the impression of an artistic traveller, resisting the temptation to ‘settle down’ into an artistic niche. This not only brings a constant change to the theme of the series, but also, a variety of materials used, from the most traditional to the most modern. The artist’s fear of repeating himself makes the works uniquely difficult to classify.
The artist says: “I keep my eyes and ears open but not too much, because the world I’m creating is being built back to the fragile and brief trends imposed by the market” and expresses that he not only knows the dangers of being an outsider, but also the immense benefits of being oneself; someone trying hard not to be polluted. He claims that, little by little, he started to give shape to a very personal world which is constantly evolving, and has grown along with him to the present day. (art350 press release)
Art350, Bağdat Caddesi No:350. 34738 Erenköy, Istanbul, Turkey
Image:Albert Einstein, 2014. Alfredo García Revuelta
BOSTON. Alejandra Carles Tolra “The Gun Show” Flash Forward Festival. Fort Point Arts Community Gallery
24 april – 24 may, 2015
The Gun Show” brings together photographs of significant visual merit marked by the artists’ inclusion of guns, whether deliberately or incidentally. The intention of this group exhibition is not to say ‘guns are good’ or ‘guns are bad,’ but rather to point out the presence of firearms in our visual and verbal vocabularies and consider their influence on the collective unconscious.
The 13 New England photographers in The Gun Show are not directly engaged in the study of guns, gun culture, or violence. In the context of this show, removed from the artists’ intended series and stories, we look at pictures of guns as pictures about guns.
Alejandra Carles-Tolra is a Spanish photographer from Barcelona, Spain, living in the US East Coast. Her work examines the relationship between individual and group identity, and how the latter shapes the former. Questions regarding what defines it, the role the surroundings play, and the threshold between individual and group identity drive and inform her work as an artist. She received a BA in Sociology from the University of Barcelona and an MFA in Photography from Massachusetts College of Art and Design.
Her work has been published and exhibited internationally, most recently at CNN, Photo Center NW in Seattle, Valid Foto BCN Gallery in Barcelona, and The New York Photo Festival. She has received several awards and mentions, such as LensCulture’s 21 New & Emerging Photographers and Descubrimientos PhotoEspaña 2013. She was a winner of the Biennal D’Art Jove at the Fine Arts Academy of Sabadell in Barcelona. She has taught photography at The University of New Hampshire, Bryant University, and Massachusetts College of Art and Design, among other institutions.
Artists: Roswell Angier, Karl Baden, Claire Beckett, Bill Burke, Alejandra Carles-Tolra, Jim Dow, Jennifer Garza-Cuen, Cig Harvey, Brian Kaplan, Forest Kelley, Camilo Ramirez, Dayna Rochell, Brian Ulrich. (Flash Forward Fest. Press-release)
Fort Point Arts Community Gallery, 300 Summer Street. Boston, MA 02210
Image: Powers Sleeping (from the series Fall In), 2012 by Alejandra Carles-Tolra
STUTTGART. Mario Santamaria, Luis Guerra “The Act & The Tracer” Württem Bergischer Kunst Verein Stuttgart
26 march - 24 may, 2015
“The Act & the Tracer" is an exhibition produced by Mario Santamaria and Luis Guerra, both visual artists based in Barcelona, living and working in Stuttgart as stipendiaries of a new exchange studentship between Catalonia and Baden-Württemberg, based on a cooperation between Württembergischer Kunstverein Stuttgart, Kunststiftung Baden-Württemberg, HANGAR Centro de Arte and Goethe Institute Barcelona.
Mario Santamaria bases his practice in the study of the phenomenon of the contemporary observer. Starting from a specific historical event, Santamaria researches about the contradictions of the transparency, visibility and access system that the technological rhetoric seems to have consolidated at the beginning of the 21st century. In this exhibition, he articulates a series of items in relation to the incident occurred on December 11, 2009, when the owning company of GeoEye1, considered the best provider of satellite imagery at that time, recognized an irregularity in the satellite antenna affecting their data sent to earth.
Luis Guerra presents a sub-set from a larger project called Anarchistory of Action (2014-2017). He conceives his practice as an ongoing process in which the creative event and the ephemeral instant of its manifestation, sometimes, are more important than the possible trace. As such, his works may have not been documented or may just exist under a subtle memory, a tale, or even as a whisper. The Act (2015) works within that condition of the inexistent, a low degree of appearance, an abysmal deed without reason and without justification. (WKV press-release)
Württem Bergischer Kunst Verein Stuttgart. Schlossplatz 2. D-70173 Stuttgart
Image: Mario Santamaría, "Palace of Versailles", Video, 1:18 Min., 2013
21 march - 21 june, 2015
The exhibition that will put on in Tianjin brings together a careful selection of over one hundred works that illustrate the key moments in his remarkable artistic career, works that are at once representative of the different formal and conceptual approaches and of the varied techniques that he used: sculpture, drawing, painting and graphic work. The show is curated by Cyril Boisson and Judit Subirachs-Burgaya.
The exhibition begins with sculptures that still show the influence of his Noucentista predecessors. Then come various works representative of the Expressionist phase, by which time it can be claimed the artist had configured a style of his own that was to lead to very personal abstract work. The exhibition also includes numerous pieces that fall within the so-called ‘new figure work’, a phase full of symbolic elements, in which the analysis of dualities and oppositions was consolidated. From the later years there is a series of metaphysical works, often with architectural references that confer great expressive power on the ties established between the three-dimensional elements and the allegorical components. Contrasting styles and juxtapositions of materials and models define his personality, so much so that the play of dualism – figurative-abstract, form-symbol, innovation-repetition, positive-negative, painting-sculpture – becomes the badge that distinguishes the work of one of the greatest exponents of Catalan sculpture in the second half of the twentieth century. (I.Ramon Llull press-release)
Tianjin Art Museum, Hexi District Pingjiang cultural center in Tianjin Tianjin Museum of Fine Arts
Image: The Stairway of Intellection, 2007. Josep Mª Subirachs
WASHINGTON. Janire Nájera “Moving Forward, Looking Back: Journeys Across the Old Spanish Trail” Former Residence of the Ambassadors of Spain
30 april – 29 june, 2015
Moving Forward, Looking Back: Journeys Across the Old Spanish Trail started in March 2014 with a road trip across the Southwest of the Spanish photojournalist Janire Nájera.
She and her assistant Matt Wright followed the footsteps of trader Antonio Armijo, who opened the route of the Old Spanish Trail between the states of New Mexico and California in the 19th century.
During her trip, Janire met and interviewed Spanish descendants to analyze how the traditions of the first settlers have merged with local cultures influencing the creation and identity of today's pueblos and cities, revealing some traces of Spanish intangible heritage that remains across these states.
Nájera has captured her experience along the route in a daily log, a book and a photography exhibition that will travel across the U.S. and that premieres at the Former Residence of the Ambassadors of Spain in Washington, This project is supported by Spain arts & culture. D.C. (spainculture press-release)
Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, D.C. 20009
Image: Janire Nájera
3 april - 3 de may, 2015
BUNKER is an in situ project designed specifically for the building of the Swiss Pavilion of Le Corbusier, and is based on a recent film of the artist, La Casa, el Bunker, the Ruina (House, Bunker, Ruin) where the characters are faced with a possible nuclear attack. Thus, outside the building near the front door, a tire plant stands as a trench that will put people away in this symbol of architectural modernism building.
The film will be shown continuously in the Salon curve on the opening day. In the control room, a multitude of photographs will be scattered all over the floor, the furniture, the bed ... given the explosion of a large family photo archive. The video presented in the same room evokes themes such as culture and barbarism, art and comfort, fear, intellectual sophistication, the instinct of death, the city facing the country, reason and madness, beauty and function.
In line with his recent work depicting iconic modernist architectures (Eiffel Tower, the Guggenheim Museum in New York, etc.) subject to the invasion of fungi, a drawing will complement the exhibition on the ground floor of the building evoking the strength of natural disasters on human construction
”Daniel Silvo. Cádiz, Spain 1982. I start my studies in Fine Arts in Madrid In 2000. I fit in my academic career and the artistic ones, obtaining a Ph.D. in Fine Arts in 2011. I lived in Berlin (Universität der Künste), Aix-en-Provence (Pépinières européennes pour jeunes artistes), Bilbao, Madrid, Cuba, Utrecht, Netherlands (IMPAKT Foundation) and San Luis Potosi, Mexico (EMARE) through various residence and research scholarships. I have participated in group exhibitions at international art centers such as the Museo Reina Sofia in Madrid, the Fondation Cartier Paris, Laznia Centre of Gdansk, among many others, and I’ve had solo exhibitions at Isabel Hurley Gallery, Marta Cervera, CCEMX Mexico City or École Supérieure d’Art d’Aix-en-Pvce”. (Daniel Silvo). (Fondation Suisse press-release)
Fondation Suisse, Cité Internationale Universitaire de Paris.7 bd Jourdan. Paris
Image: Daniel Silvo
PARIS. Oriol Nogues, Carlos Pazos, Álvaro Laiz y Emilio López Menchero “Chercher le garçon” Mac/Val Musée d’art contemporain du Val de Marne
7 march - 30 august, 2015
The exhibition is the first major part of the MAC/VAL 10th anniversary exhibition programme. 'Chercher le garçon' is a multidisciplinary exhibition which focuses on contemporary ideas and definitions of masculinity. To answer these questions the curator Frank Lamy has selected over a hundred male artists who deal with representations of gender and the male self in their work. Curator. Frank Lamy (Mac/Val Musée press-release)
Mac/Val Musée d’art contemporain du Val de Marne. Place de la Libération, 94400 Vitry-sur-Seine.
Image: Allegories du Grand Théâtre du Monde 2008. Oriol Nogues
1 – 30 april, 2015
Through feelings we are involved in the dance of the universe. We all have feelings that we do not like nor do we want to experience.
By allowing ourselves to feel everything we give opportunity a chance to show us who we really are.
There is no such thing as the perfect world, nature holds and sees happiness and catastrophe with the same eyes. Time to question our intimate and social heritage.
Time to rub out the lines that divide us. Time to have the responsibility to draw what we really are on a piece of white paper.
The man is doing all of this to himself, where actions are not considered as actions, bringing to the surface deep multiple layers of intimacy within our history. Life as a piece of art as we artists see it is the kind of life we choose to live. We are all building ourselves and our time, by acknowledging at our fragility we become stronger.
Certainly to be strong is to be fragile. Albert Coma Bau. (Foresight gallery press-release)
Foresight 32 gallery, Jabal Amman, Ibn Al Roumi Street Villa 32 | Amman | Jordan
Image: Albert Coma
24 march – 8 june, 2015
The exhibition Picasso and Spanish Modernity, made up of a selection of works from the Museo Nacional Centro de Arte Reina Sofía Collection, represents multiple approaches to the plastic and poetic foundations of Pablo Picasso and other Spanish artists, whose contributions were most decisive in the creation of Modern Art. Not only is there a consideration of Picasso’s influence on Modern Art in Spain, but also, primarily, it aims to show the most original and important characteristics in the artistic sensibility with which the artist and other Spanish creators contributed to the international arts scene. As a result, the exhibition refers to the role of Picasso as both artist and myth, putting forward the idea of variation as an element that distinguishes his concept of modernity, embarking on a journey through the way he approached the transfer of meanings, figures and symbols from the representation of monstrosity and tragedy, arriving at the realisation of Guernica.
The exhibition, always based on Picasso, in addition to his relationships with Juan Gris, Joan Miró, Julio González, Salvador Dalí, Óscar Domínguez and Antoni Tàpies, considers, on one side, the singular – and relatively unknown – Spanish contribution to the art of the constructed form, both specific and analytical, while on the other, the new lyricism represented by the painting of signs, surfaces and sculpture understood as “drawing in space”.
Moreover, it analyses the distinctive dialectics of Spanish creation between realism and super-realism, delving deeper into another creative register, into the powerful relationship between nature and culture as an expression of identity, established by artists rooted in their places of origin or vernaculars. The exhibit concludes with an approach to the way Spanish artists foresaw the shift towards another notion of modernity through a chronological and aesthetic opening that moved in the direction of the present.
Some of these ways of understanding and assembling contributions to Spanish plastic modernity are considered for the first time in an exhibition and are the result of studies and work to comprehend and recover carried out in recent decades. Thus, the exhibition constitutes an attempt to reconsider Modern Art by approaching it with originality and from unconventional points of view. Organized by: Museo Nacional Centro de Arte Reina Sofía, Banco do Brasil. Curator: Eugenio Carmona. (MN.Reina Sofia press –release)
Centro Cultural Banco do Brasil São Paulo. Rua Álvares Penteado, 112 - CentroCEP: São Paulo (SP)
Image: Pablo Ruiz Picasso. Seated Woman Resting on Elbows 1939. Museo Nacional Centro de Arte Reina Sofía
16 april – 16 may, 2015
The Path and the Weft" is a new project from renowned Spanish photograph Javier Vallhonrat, dedicated to the figure of Archduke Ludwig Salvator of Austria and his relationship with nature. The show features photographs, drawings and etchings. Departing from the concept of diversity, in an analogy of the wide variety of sights, experiences and interests of the Archduke on, with and towards the Balearic Islands - especially in relation to Mallorca and the mountain range of the Serra de Tramuntana-, Vallhonrat establishes a connection between those former restless times and an extraordinary landscape. The artist's aim is to capture in different modes and manners this passionate and diverse fascination, with its discoveries and experiences: a long-lasting love, passion and dedication which the island of Mallorca still preserves in terms of architectural and cultural landscape heritage
Javier Vallhonrat (b. Madrid 1953) A graduate in Fine Art and Psychology and multidisciplinary artist conspicuous for his extensive noteworthy artistic career, Javier Vallhonrat has been singled out to receive some of Spain’s top photography awards – the National Photography Award, “Villa de Madrid” Award, Madrid Region Award, and PhotoEspaña Bartolomé Ros Award, among others -, in addition to important international awards like the Society of Newspaper Design’s Award of Excellence, the New York Times Magazine’s Silver Award, or the Art Directors Club 76th Annual Awards. Work by the artist features in major Spanish and international collections, like the Madrid region’s contemporary art collection, the Reina Sofía Art Centre, Banco de España collection, Maison Européene de la Photo (Paris), Marsh Collection (London), International Polaroid Collection (Boston), Philadelphia Museum of Art (Philadelphia) and Musée d’Art Moderne Grand Duc Jean of Luxembourg (Luxembourg). (I.Cervantes press-release)
Instituto Cervantes, Na Rybnícku 536/6. 120 00 Praga
Image: Javier Vallhonrat “The Path and the Weft”
10 april – 24 may, 2015
The Spanish-British artist José Manuel Ciria (Manchester, 1960) can be seen as one of the most remarkable artists of this century and internationally successful in the contemporary art world. He succeeded to find the perfect balance between figuration and abstraction. Ciria has a well-balanced feeling for color and composition and found the perfect interaction between the two concepts.
His deep intellectual curiosity, his demanding working methods and the breadth of his vision of the discipline of painting are a continuous element of his work. Ciria maintains a direct dialogue with the classical tradition, but is always looking for new supports for his expressions.
His work is featured in the collections of the most important museums including the Museum Reina Sofia in Madrid, the Moscow Museum of Modern Art and the Albertina Museum Vienna. Under the auspices of the MoMA New York filmmaker Artur Balder made a documentary about him: Ciria pronounced Thiria. (Alicia Winters press-release)
Alicia Winters Gallery, Walstraat 60. 6811 BD Arnhem.
Image: Looking Eye I (2012) José Manuel Ciria
9 april - 23 August 2015
On Wednesday April 8 2015 at 7pm HangarBicocca will open “Double Bind & Around”, the first solo exhibition in Italy dedicated to Juan Muñoz, curated by Vicente Todolí. The artist, who died in 2001, was one of the leading exponents of European sculpture of the last two decades of the 20th century. On the occasion of the exhibition, HangarBicocca is showing his most important work, Double Bind, which was made in 2001 for the Turbine Hall at Tate Modern in London and never exhibited to the public afterwards. The exhibition also includes some of his most significant works, including The Wasteland and Many Times, making this an important opportunity to grasp the work of a great artist who reinterpreted the tradition of classic sculpture on the basis of 20th century avant-gardes. Mainly known for his sculptures in papier maché, resin and bronze, Juan Muñoz often took an interest in writing and in sound art, creating audio pieces and compositions for the radio.
The art of Juan Muñoz (1953-2001) reintroduces human figure at the center of architectonical and sculptural space. Puppets, acrobats, ventriloquists, dwarfs and ballerinas are but some of the characters that inhabit his works, alongside anonymous orient-looking figures, whose presence recalls ambiguous and contradictive scenarios. Many museums have dedicated great retrospective exhibitions of his works. These include the Hirshhorn Museum & Sculpture Garden, Washington DC (2001), the Museum of Contemporary Art, Los Angeles (2002), The Art Institute of Chicago (2002), the Contemporary Arts Museum, Houston (2003), the Musée de Grenoble, Grenoble (2007), Tate Modern, London (2008) and the Museo Nacional Centro de Arte Reina Sofía, Madrid (2009). (Hangar Bicocca press release)
Fondazione HangarBicocca. Via Chiese 2, 20126. Milan. It.
01 April - 19 July 2015
Artist, renowned professor and architectural preservationist Jorge Otero-Pailos contributes an ambitious, site-specific installation entitled The Ethics of Dust: Trajan’s Column to the Victoria and Albert Museum, All This Belongs To You. The Ethics of Dust - a reference to the Victorian art critic John Ruskin’s book The Ethics of the Dust- will interact with the largest object in the Museum, an imposing 98-foot tall cast of the iconic Roman artefact, Trajan’s Column.
The Ethics of Dust explores the modern-day conundrum on how to address pollution, conservation and the preservation of the world’s most precious artefacts. In an attempt to preserve our national treasures for the next generations, Otero-Pailos is, in effect, not only paying homage to humanity’s ancient past, but also immortalizing the threats to our collective history by preserving the pollution and dust that impinge on it.
Jorge Otero-Pailos (b. 1971) works at the intersection of art, architecture and preservation. His work has been exhibited in major museums, festivals, galleries and foundations; notably, Manifesta7, the 53rd Venice Art Biennial, The Keller Gallery at MIT, the Storefront for Art and Architecture and the Victoria & Albert Museum. In 2009, he was listed as one of 10 young Spanish artists to watch in Architectural Digest and featured that same year in the BBC TV’s documentary Ugly Beauty alongside Damien Hirst, Anish Kapoor, Carl Andre, and Yoko Ono. He has received awards from major art, architecture and preservation organizations including the Kress Foundation, the Graham Foundation, the Fitch Foundation, and the Canadian Center for Architecture, and in 2012 the UNESCO Eminent Professional Award. He is a member of the Academy of Arts and Sciences of Puerto Rico. Otero-Pailos studied architecture at Cornell University and holds a PhD from MIT. He is Associate Professor of Historic Preservation at Columbia University’s Graduate School of Architecture in New York. He is the founder and editor of the journal, Future Anterior (Victoria and Albert Museum press-release)
Victoria and Albert Museum, Cromwell Rd. SW/. London.UK.
Image: Jorge Otero Pailos, 2015
14 abril – 15 mayo, 2015
Os adeuses. Photographs by Alberto Martí is an exhibition that recreates images of a relatively recent historical fact: The Galician exodus to America between 1957 and 1963 from the ports of A Coruña and Vigo and subsequent return to Galicia
Alberto Martí Villardefrancos (A Coruña, 1922) is considered a "portrait of human stories". Each of his photographs has emotion, feeling, freshness and naturalness. This selection by the exhibition curator, José Caruncho, allows us to see images in many cases never before revealed, moments to remember and reconstruction of the past who were actors or spectators of emigration of those years, a phenomenon that represented a full lighting and shadowing process but it was one of the fundamental aspects of Galician contemporary history because it affected all facets of their social economic and political life.
The title "Os adeuses" (Goodbyes) perfectly symbolizes the world of the feelings that accompanied persons, crates, bales and bags, recording them forever in the collective memory. With over 70 years dedicated to photography -50 of them worked as a reporter for La Voz de Galicia, Alberto Martí has received numerous national and internacionals awards at speeds as Madrid, Barcelona and Buenos Aires, and part of his work is published a monograph published by the City of a Coruña. (I.Cervantes press-release)
Instituto Cervantes. EPS 707/907 Lote D. Asa Sul - 70390-078. Brasilia – DF
Imagen: Alberto Martí. “A Coruña 1957”
04 - 18 april, 2015
The exhibition "Fragile" presents a set of five installations by the renowned Spanish sculptor Santiago Villanueva (Madrid, 1964) carried out between 2012 and 2015, summarising the variation in his recent creation.
Working with moulding, casting and finishing techniques, Villanueva confers an organic or mineral imagery to his objects, which is especially evident in the spherical or tubular shapes of his choice, such as antennae, tears or stalactites, but above all it is the transitional forms, those which are in a frozen moment of change into a new composition, that are the most abundant and striking in the work of the artist.
Appealing to the sensory aspects of the artist's works, as well as the reflection on sculpture as the medium that they convey, the curator Mónica Álvarez Careaga suggests that we contemplate it in the most naïve way possible, and, at the same time, the loftiest, invoking metaphysical polarities such as absence and presence, stability and change, matter and imagination. Curator. Mónica álvarez Careaga. (Today Art Museum Press release)
Today Art Museum, Building 4, Pingod Community, No.32 Baiziwan Road, Chaoyang District, Beijing
Image: Santiago Villanueva
15 abril – 14 june, 2017
The quest to subvert the logic of the museum through the construction of mobile devices has a long tradition. Since Marcel Duchamp’s Boîte-en-valise(1941), many artists have tried to move the field of aesthetic experience beyond the limits of the museum. In recent years, museums have co-opted this strategy with devices intended to make art “portable.” Instead of extending the linear feet of the museum’s walls, the devices in This Is Not a Museum make nomadic exhibitions as a platform for direct participation. This exhibition showcases more than 50 of these projects from various cities around the globe.
Artists representing This Is Not a Museum: Portable and Lurking/Esto no es un museo. Artefactos móviles al acecho - Call for Projects; Washington, D.C. include: Calder Brannock, Lisa Bulawsky, Michael Dax Iacovone & Michael Blasenstein, Caitlin Cass, Billy Friebele and Joe Reinsel. Curator:Martí Perán. (CCE Miami press-release)
Production:Centre d’Arts Contemporànies de Vic (España) Acción Cultural Española (AC/E) Centro Cultural de España en México.
Centro Cultural Sao Paulo. Rua Vergueiro 1000. Paraíso São Paulo
Image: “Esto no es un museo. Artefactos móviles al acecho”
13 april – 16 may, 2015
Having travelled extensively both as a commercial photographer and as an internationally exhibited artist, Manso portrays quiet landscapes and architectural structures throughout Europe, North America, Asia and the Middle East. Shooting with a large format film camera, he later physically manipulates his negatives, adding a textured final layer to each composition. His use of long exposure removes the presence of the human form, leaving the viewer with a feeling of peacefulness, of solitude.
Calm and ethereal, Manso’s minimalist sensibilities are emphasized by a cool blue-grey colour palette that remains consistent throughout his work, favouring muted hues that gradually fade into distant white skies. Combined with his textured manipulations the resulting work seems otherworldly, as if a nostalgic glimpse into Manso’s memories.
Manso’s eye reveals a beautiful connection between plants, minerals and liquids, the murmuring of the water over the stones, frozen trees that climb into the air, and rocks that reflect the grey clouds like mirrors. He pursues sunrises and analyses the tides, in order to capture landscapes clothed with a mist so thick it could almost be felt. Transforming reality, the viewer is dazzled by this new gaze that transmutes our everyday vision, turning it into something revealing and lasting.
Born in Madrid, Spain in 1961, Fernando Manso worked for an advertising agency before becoming a full time photographer in 1990. Balancing his commercial photography with his fine art pursuits, Manso’s work has been featured in a number of international publications in addition to putting forth three fine art photography books. He has exhibited in a variety of solo and group exhibitions both in Spain and abroad including exhibitions in Columbia, Italy, Japan, Korea, Morocco, Philippines, Russia and now the United Arab Emirates. (Gulf Photo Plus press-release)
Gulf Photo Plus. Street 8, Alserkal Ave, Al Quoz. Dubai
Image: Fernando Manso
11 april – 5 july, 2015
With this exhibition MACBA, with the collaboration of AC/E, investigates the potential of photography as a tool for re-reading recent history through themes that invite us to reflect on our immediate surroundings. Nitrate is the central axis of the exhibition in the Museum, which also includes projects carried out by Xavier Ribas in the last decade. With Nitrate, the exhibition by Xavier Ribas (Barcelona 1960) presents a project that exposes the political geography of the Atacama Desert and the history of the extraction of this mineral. Through a series of works, including photographic polyptychs, texts and videos, Ribas unfolds an investigation in which photography becomes an object of reflection rather than a mere documentary support. By inspecting sites, artefacts and images, the project traces the route of nitrate, a traditional component of fertilisers and explosives, in the genealogical line of the exploitation and appropriation of non-renewable resources that define the process of globalisation. The work shows the mineral in its natural state, its processing in the oficinas (depots) of the Atacama Desert, the transporting of the product for its prospective sale, and its symbolic value in the mansions of London and its surroundings. Other projects by Ribas featured in the exhibition include the series Geografías concretas (Concrete Geographies), since 2003, and Santuario (Sanctuary), 1998–2002, dedicated to the analysis of places whose uses and meanings are highly vulnerable and controversial. These are enclaves in Ribas’ trajectory that reveal his ongoing interest in the representation of human geography, a concern that has led him to conceive photography as a register of absences. . (AC/E press-release)
The Bluecoat, School Lane. Liverpool. United Kingdom
Organized: MACBA, AC Española, Museo Universidad de Navarra y the bluecoat.
Image: Javier Ribas
2 april – 29 may, 2015
"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. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda
27 march – 15 may, 2015
The transformation of the space and the defensive concept in a military, social or political field, are constant themes in the creation of visual metaphors, made in various media: photography, installations, drawings, paintings and documents. The ARCHIVE UFO project develops a metaphorical espionage dialogue between two times -the past time before and during the Iron Curtain in dialogue with the present time-. The term Unidentified Flying Object in the acronym UFO, is used here as a metaphor for the impossibility of understanding publicly disclose or, documents pertaining to the security-privacy-of a nation. The project displays documents, photographs of peculiar objects and other files related to the world of espionage, taking into account the inability of these are completely legible, for in them is hidden an essential part of the information.
Rosell Meseguer. (Spain 1976) Doctor of Fine Arts, Universidad Complutense de Madrid (UCM). She is currently a professor at the Faculty of Fine Arts, Cuenca, Universidad de Castilla La Mancha, Spain (Document art press-release)
Document Art, Castillo 243 / C1414AWE / Buenos Aires / Argentina
Imagen: Rosell Meseguer
29 march– 24 may, 2015
It is easier to imagine the end of the world than the end of the current order of capitalism. – Fredric Jameson BANK presents The BANK Show, Vive le Capital an exhibition that explores, celebrates, and critiques the omnipresent power of global finance through its site-specific venue, the former Bank Union building in Shanghai’s historic Bund district (est. 1925). In the past, political ideology and religious conviction shaped the conduits of power, but as the world accelerates into the 21st century the fate of human sustenance is more and more dependent on the ebb and flow of capital. Over the past decade the divide between the haves and have nots, global south and north, have become less tenuous while national identity and borders have become more tenuous. Through this exhibition we aim to flush out some perspectives from artists and others that examine the momentous and intimate experiences with multi-national capitalism: its virtues and vices, catches and loopholes, what it renders visible or precarious along a discursive discourse from Marx to Piketty. At the outset of the 20th century BANK’s home was at the epicenter of global commerce. Shanghai played host to banks from throughout Europe and the United States as an outpost for Asian manufacturing and trade. Shanghai’s Bund essentially incubated what we know today as modern market globalization. Taking BANK’s distinct location and historic context as a departure point The BANK Show considers creative practices as impressed in the world of global capital and finance, rather than reducing them to vapid gestures of political correctness or over-simplifying dichotomies of morality. MABSOCIETY is a curatorial/consultancy office founded by Mathieu Borysevicz and based in Shanghai. BANK is MABSOCIETY’s curatorial studio. (Bank 1F press-release)
Bank 1F,59 Xianggang Road,Huangpu District, Shanghai
Image: Javier Viver
24 march – 2 may, 2015
Behind a seemingly playful work, the work of Joanpere Massana (Ponts 1968) delves into the recesses of memory, the most ancient symbolism of his thought, without too many concessions, wants to extract those most appropriate meanings represented through a personal and unique vocabulary.
The Water Book, The Book of the trees, The Book of Games are antecedents that make the process of a full reflective work of symbolic content. In these parts has researched steadily while repetitive elements in their work a place of reflection.
While the term limit is linked to an imaginary conception, the border is a transition between two cultures, two worlds, two religions, two ways of understanding life. But also a place of waiting, rest, a break where you can become a deep thought. BORDER is the title the artist has chosen to present his latest work. An exhibition at Fort PARTUS, Bellagarde a French fortress at the border that separates the French town Vallespir de l'Alt Empordà Catalan. An emblematic space which in turn leads to a very pronounced symbolism and history that precedes it. A geographic area where the boundaries of the territory fail to place his poetic and artistic discourse.
A series of paintings and drawings, some large format, along with various facilities, make a process that explores the limits of the concept. The dimension of the line is treated as an element separator separates us from what is real and some fictitious case, without ever forgetting the individual and collective memory in this field divisive. Report as containing experiences, experiences, imagined and unfulfilled desires within us that wander fleetingly element but remain impregnated as part of our existence.
The nature, time, memory, ambiguity, focus the speech sample. It is known that Joanpere Massana repeatedly uses the relationship between man and nature as a full life experiences shared dialogue. A changing nature, full of possibilities where everything swap, everything goes, everything disappears, but something is. Insects, leaves, animals, seeds, plants ... constitute a representative of a curious creator, observer of the world poses new ways to understand and comprehend our surroundings corpus. It is evident, therefore, that this great catalog of images of nature accumulated over time will leave marks and footprints that appear unconsciously, but at certain times emerge in a kind of inner journey walking trails lived through perceptions, looks, places, feelings ... This appropriation of fragments of reality (seeds, leaves, stems, ....) is a way of referring to the complexity of the universe and the basis for approaching knowledge. (Constantini press-release)
Imagen: La piel de los nidos. Joan Pere Massana 2014
14 march – 26 april, 2015
The exhibition consists of about 30 works of different format, an installation of fiberglass over four meters made specifically for this project , and two video creations : The Lifeguard and Hauptunkt . It was produced by the Education, Culture and Universities department of the Balearic government ..
Born in Son Servera (Mallorca ) in 1973 , Amparo Sard has a degree in Fine Arts from the University of Barcelona, where he now teaches art, and is one of Mallorca's most internationally renowned artists . He has won the City of Palma "Antoni Gelabert " Painting Prize and the Deutsche Bank International Award (1999 ) , in 2004 was a finalist for the 2005 Generation Award, Caja Madrid, among other awards . Amparo Sard commented that his work often moves in the field of metaphor. (MACRO press release)
MACRO, Via Nizza 138, 00198 Roma
Image: Limits, Amparo Sard
28 february – 26 april, 2015
The beautiful photographs by José Manuel Ballester for the Project, Glimpses of Asturias. Illuminate retain intact all of his creative qualities, discovering the region’s industrial and natural landscapes with the romantic clarity that defines his work and that has remained present in it throughout his long career, inspiring a poetic intimacy. Between 2010 and 2013, Ballester has taken more than 5,000 photographs of Asturias, visiting almost every corner of the region and giving special attention to the central area and axis of the region’s three largest cities, where for the last century and a half, nature and industry have lived together in diverse industrial environments.
José Manuel Ballester is not an artist of architecture, although the majority of his work is inspired by it. In each composition, he registers presences that are no longer there, that have disappeared or that have not appeared yet. Although his work began three years ago, along with the construction process of the Oscar Niemeyer International Cultural Centre in Avilés, other industrial environments have also gained importance in the project that, finally, has been entitled, Allumar, a word from the Asturian language that has a variety of meanings, including, ‘to illuminate, to give birth and to enchant.’ (Museo da electridade press-release)
Museu da Eletricidade. Av. de Brasília, Central Tejo. 1300-598 Lisboa
Image: José Manuel Ballester
KÖLN. Pablo Milicua and Yolanda Tabanera “Risikofreude. Objekts, installations and works on paper” 100 Kubik Gallery
20 march – 23 may, 2015
Yolanda Tabanera (*1965, Madrid) and Pablo Milicua (*1960, Bilbao) deal in their works with the imponderability of the art in its becoming and reception.
The objects and installations of Yolanda Tabanera reflect her interest in materiality, volume and the texture of surfaces. Materials such as glass, esparto grass, leather and ceramics express originality and naturalness.
Pablo Milicuas collages seem exuberant and can’t be perceived by the eye at first glance. He celebrates in his works the accumulation of the trivial, his curiosity in and the combination of many different subjects and the pleasure of a mythical nature.
Both artists celebrate in their works the pleasure of the unknown and the art itself, which includes always the desire to take risks. (100 kubik press-release)
100 Kubik gallery, Mohren Str. 21. 50670 Köln
Image: Pablo Milicua. Collage
TOKYO. Ricardo Cases / Óscar Monzón / Aleix Plademunt / Antonio Xoubanova “Photography Now! Vol.2: New Spanish Horizon,” IMA CONCEPT STORE
march 13 - april 26, 2015
Ricardo Cases gained recognition in the photography world with his series "Paloma al aire," which captures Spain’s colorful pigeon races. Óscar Monzón's book KARMA receive acclaim for exposing the relation between people and their cars. Aleix Plademunt's "Almost There" is a meditative book that examines the extremes of things nearest and farthest away. Antonion Xoubanova shot "Casa de Campo" at the large-scale urban park of the same name located in west Madrid. All of their works were produced over a period of four years or longer. In a culture that favors immediacy, these four photographers slowly and patiently create their works, which examines Spain as their subject.
The current exhibition was held at the photography gallery“LE BAL”in Paris in December 2014. The widely acclaimed exhibition, which sought to translate photobooks into a photography exhibition featuring four different artists, brought the works into a new narrative and successfully blew new life into the contemporary photography scene. The exhibition has been newly edited for the IMA gallery space.
“Photography Now! Vol.2: New Spanish Horizon” is a collaboration between contemporary Spanish photograph and IMA. It will provide an opportunity for visitors to experience the current state of Spanish photography and likely propose new ideas for the Japanese photography scene as well. Project support: AMPARO. Sponsor: Embassy of Spain (IMA press-release)
IMA CONCEPT STORE 5-17-1 AXIS Bldg. 3F Roppongi Minato-ku, Tokyo
Image: Ricardo Cases
29 march – 24 may, 2014
In Reinterpretada Reinterpreted, Enrique Marty (b. 1969, Salamanca) re-interprets for Deweer Gallery the exhibition he made a few months ago for the Museo Lázaro Galdiano in Madrid. Enrique Marty is the first of a series of Spanish artists who were invited by curator Rafael Doctor to “work” with the collection of the museum. Many of the works Marty created for Madrid now will be on view in Otegem, among others a series of 120 watercolours. On the occasion of the exhibition Deweer Gallery will publish the book Enrique Marty – Reinterpretada Reinterpreted, that illustrates each of these watercolours. (Deweer gallery press-release)
Deweer Gallery. Tiegemstraat 6A. 8553 Otegem. Belgium
Image: Enrique Marty, Revealed Outdoor Scene 4, 2014
13 february – 06 september 2015
The Tattoo exhibition is dedicated to old traditions and new stories. It takes a look at the vibrant, innovative and multifaceted tattoo culture, with a focus on artistic, artisanal and culture-specific issues. International exhibits from diverse perspectives are displayed and current debates considered. This is the first time that an exhibition has brought together such a broad range of references, presenting the phenomenon of the tattoo with a particular focus on art and design, since these enduring pictures, words and symbols inspire artists and designers. The theme of the exhibition is therefore the reciprocal influence of art, traditional and lived tattoo art and visual design
Art is Dangerous, Pablo & Ruth 2010 by Enrique Marty (*1969, Spanien) Oil paint on latex on polyurethane, human hair, textiles, metal, 155 x 90 x 53.5 cm/143 x 60 x 35 cm, loan: Deweer Gallery, Otegem, Belgium Real portraits are always the starting point for Enrique Marty’s tragicomic sculptures. The tattoos of “Pablo & Ruth” in the “Art is Dangerous” series refl ect the iconography of the tattoo motifs in Japanese yakuza which the artist has explored in detail and incorporated into his work. His grotesque fi gures also make reference to early sculptural traditions such as those used in the quaint waxworks exhibitions of the 19th century. He builds on these themes and develops an original sculptural world. Ironic inversions and humour are essential strategies which he uses as an effective weapon. “Art is dangerous”: protest or parody? An allegory of the market system? Can art be dangerous? Or should it be? What role does the art of tattooing play? (MKG press-release)
MKG. Museum für Kunst und Gewerbe Hamburg. Steintorplatz. 20099 Hamburg
Image: Pablo&Ruth 2010. Enrique Marty
18 march .- 25 april, 2015
Joan Hernández Pijuan (Barcelona 1931 -2005) is one of the most important artists in contemporary modern Spanish art. His landscapes, mostly those of Catalonia, are abstract. But he refuses to be called an abstract artist. In his late work the artist makes use of just a few basic media. He reduces chromaticity and mostly keeps his pieces in black, whalería Boiite, green and ochre. Lines are set advisedly, everything that is not necessary is left out. In 2003 Pijuan had a solo show at the MACBA and in 2005 he was represented at the Biennale in Venice.(Bisserée press-release)
Image: "Arbre ocre" Joan Hernández Pijoan 1990
Boisserée Gallery, Drususgasse 7-11 - D-50667 Cologne. Germany
22 march – 28 june, 2015
This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró’s work.
The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist’s ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other —a principal feature of this exhibition.
The paintings and sculptures in the exhibition plumb the process of making art, part of Miró’s concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued.
Joan Miró: Instinct & Imagination is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía. This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities. It is presented at the Denver Art Museum with the generous support of donors to the Annual Fund Leadership Campaign and the citizens who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine, CBS4 and The Denver Post. (Denver Art Museum Press-release)
Denver Art Museum. 100 W 14th Ave Pkwy. Denver, CO 80204
Image. Joan Miró,Woman, Bird and Star (Homage to Picasso)
3 march – 7 may, 2015
The Gabarron Foundation Center for the Arts is pleased to present Contemporary Mula, a group exhibition that awards the creativity and imagination of twelve creators born and based in the town of Mula (Murcia), situated in southeastern Spain, the birthplace of artist Cristobal Gabarron, founder of The Gabarron Foundation. He also developed a cultural organization in 2004, The Painted House Foundation of Mula (La Fundacion Casa Pintada de Mula), committed to the investigation and promotion of contemporary art in its town.
Curated by Nono Garcia and Juan Garcia Sandoval, this exhibition consists of twelve artists, each with their own style, material and concept that will leave no one indifferent, both for its variety and quality of the works. Completely different styles can be found, such as paintings by Ayllon, Daniel Belchi, Calero, Carlos Caballero, Andrés G. Mellado and Cristina Gutiérrez; as well as a video installation by Ramon Lez.
The paintings and photographs face life with a critical attitude in quality artworks. Doubtlessly, with different visions and situations reflected in the paintings, that enrich us all with an interesting reflection from art and its participation in the construction of cultural models, understood as an extensive feeling and varied works of the studies of these artists who mainly share a passion and an environment in which they search for their inspiration. (F. Gabarrón press-release)
The Gabarron Foundation - Carriage House Center for the Arts. 149 East 38th Street. New York, NY 10016
Imagen: Mi alma desnuda 2. Cristina Gutierrez
march 1 - may 1, 2015
A large-scale sculpture by the Spanish artist Jorge Palacios will occupy a privileged space in Manhattan’s mythical Spring Street alongside the iconic Trump SoHo building.
The installation coincides with the opening of the artist’s latest solo exhibition in New York, organized by the prestigious Fridman Gallery. Palacios’s work has attracted the interest of such legendary names in architecture as New York-based Peter Marino,Hernández de la Garza from Mexico and Eric Owen Moss from California.
The artist has brought his sculptural works to public spaces in capital cities and cities of cultural heritage all over the world and has been described in art publications as one of the most important emerging artists. Following in the footsteps of such masters as Eduardo Chillida or, more recently, Jaume Plensa, Jorge Palacios (born 1979 in Madrid) has joined the list of representatives of Spanish art on the international stage.
A large-scale sculpture in teak, his project for the city of New York serves to enrich the dialogue between art and architecture, integrating itself into an environment dominated by large towers of glass and steel. Entitled “Sketch in the Air”, this impressive work of public art is being presented by the renowned Fridman Gallery, which is based in the city of skyscrapers.
Palacios’s work explores abstract forms to test the limits of material, line and restrained expression. A balance is established between the sculpted material and sculpted air, as the works explore the dichotomy between soundness and lightness. The shapes reveal a permanent tension between line and curve.
The title of the exhibition is a reference to the different convergences between lines and planes, which reveal to us the path taken by the artist through the realms of geometric and organic abstraction.
Born in Madrid in 1979, Jorge Palacios has explored the realms of science and nature to discover pure and essential geometric masses and forms, in many cases molecular. He finds inspiration in these shapes to reach maximum expressiveness through minimal expression. In spite of his youth, Jorge Palacios has exhibited alongside such internationally recognised artists as Andy Warhol, Damien Hirst, Sol Lewitt, Olafur Eliasson, Jean Tinguely, Ernesto Neto, Michelangelo Pistoletto and John Baldessari. His sculptures have made their way to all the corners of the planet (Canada, Switzerland, the United States, Spain) and are featured in both public and private collections. He has participated in major international art fairs in the U.S, Belgium, the Netherlands, Italy and other countries and has contributed to international projects for numerous cities (Toronto, Seoul, Chaco, Panama City, New Orleans, etc.) Palacios’s track record as a creator of site-specific projects reveals his keen interest in establishing a dialogue between his sculptures and their surroundings and the importance of this dialogue for his particular conception of art. .(Fridman press-release)
Fridman Gallery: 287 York Spring Street. NY 10013
Image: “Balance and inertia” Jorge Palacios
16 february - 13 march, 2015
Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.
In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.
Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.
Image: Embajada de España en Tokio.
BRUSSELS. Alberto García Alix “Faces, Now. European Portrait Photography since 1990” BOZAR, Centre for fine Arts
18 february – 17 may, 2015
Ever since the invention of photography portraits have become commonplace. In the 1990s photographers rediscovered the portraiture genre. Since the fall of the Wall they have used photography to question the identity and place of the individual in the digitalised and globalised world. What do the face, pose, clothing and backdrop tell us about the person portrayed? FACES NOW exhibits the works of 31 renowned European photographers, including the likes of Alberto García Alix, Tina Barney, Anton Corbijn and Stephan Vanfleteren.
Curator: Frits Gierstberg. Participating artists : Tina Barney, Sergey Bratkov, Koos Breukel, Clegg & Guttmann, Anton Corbijn,Christian Courrèges, Denis Darzacq, Luc Delahaye, Rineke Dijkstra, Jitka Hanzlová, Konstantinos Ignatiadis, Alberto García-Alix, Stratos Kalafatis, Boris Michailov, Nikos Markou, Hellen van Meene, Jorge Molder, Lucia Nimcova, Adam Panczuk, Dita Pepe, Anders Petersen, Paola De Pietri, Jorma Puranen, Thomas Ruff, Clare Strand, Beat Streuli, Thomas Struth, Juergen Teller, Ari Versluis & Ellie Uyttenbroek, Stephan Vanfleteren, Manfred Willmann. (Bozar press-release)
Centre for fine Arts, Rue Ravenstein 23. 1000 Bruxelles
Image: Alberto García Alix. “Mi lado femenino 2002”
february 24 - June 7, 2015
The Davis presents the world premiere of What Does History Know of Nail Biting?, the latest multi-channel video work from acclaimed Spanish artist Francesc Torres (b.Barcelona 1948). Examining the extraordinary history of the Abraham Lincoln Brigade, a group of American volunteers who went to fight for the Republican side against fascism during the Spanish Civil War (1936-9), the work juxtaposes recently recovered archival footage of these soldiers and their battles with recent documentation of the sites of major military encounters during the Spanish Civil War. Curated by Michael Maizels, Mellon Curator of New Media Art, with generous support from the Kathryn Wasserman Davis '28 Fund for World Cultures and Leadership. (Davis Museum press – release)
Davis Museum. Wellesley College, 106 Central Street. Wellesley, MA 02481-8203
Image: Francesc Torres. Film Still from What Does History Know of Nail Biting? (2014).
6 february – 3 may, 2015
Tàpies: From Within is a major historical survey that features a selection of more than 50 large-scale paintings and sculptures, representing diverse moments from throughout Antoni Tàpies’ (b. 1923, Barcelona, Spain; d. 2012, Barcelona, Spain) career. These include early examples from 1945 through to recent works created in 2011—the year prior to his death. The exhibition explores the Spanish artist’s use of unusual materials and forms and the development of his unique visual language, which earned him an international reputation as one of the most successful abstract painters of his generation.
Curated by former Tate Director Vincente Todolí, this retrospective offers a unique view into Tàpies’ groundbreaking practice, which fused impoverished materials with symbols of Eastern and Western culture to create dense works covered with graffiti-like gestures. His alchemical practice mixed spiritual and existential questions with unique material investigations of surface, mark-making, and found objects. The exhibition presents an intimate and unusual view of his oeuvre, through a selection of works drawn exclusively from his own private collection and that of the Fundació Antoni Tàpies. (Perez Art Museum press-release)
Perez Art Museum, Biscayne Blvd. Miami, FL 33132
Image: Antoni Tàpies, Embolcall (Wrapping), 1994
16 january – 16 july 2015
The Mysteries of Columbus is created by Mr. Gabarron in 2006. The work is inspired by the famous explorer and navigator, Christopher Columbus, and his journal. To pay the tribute to human spirit of adventure and the discovery of America, Mr. Gabarron created ten symbolic pieces. Their rounded forms and clear lines suggest the natural lives of mankind and primitivism. The works are also heavily filled with blocks of different colors, which well represents the Indian culture in America.
However to the artist, the meaning of this group of sculptures is much beyond than this. Coming from Murcia, Mr. Gabarron wants to express his reflection on the role of art in our lives, as well as the coexistence and the development of human values through this works.
Such pursuing guided him to the space of public art. His strong commitment has led him to multiple public art projects for different sites and cities. During the creation process, he has been constantly seeking balances among elements of art and urban space: the balance between the closeness with the viewers and improvement of the environment where their daily lives evolve; the balance between humanity and efficient urban planning; the balance between modern metropolitan centers and the culture anchored within it. The Mysteries of Columbus is the answer to those how-to-balance questions. The sculptures play with the monotony urban environment with its most varied forms and colors. Mr. Gabarron also leveraged on his experience in painting and extended the color beyond the boarders of facets and softened the sharpness of angles. By doing so, he redefined surfaces of the sculptures and created more possibilities. The open and free color scheme and form invite the viewers to make a small parenthesis in his or her daily routines and to explore the meaning of the work. No matter what conclusions they draw from them, the process already brings changes to their lives and breaks the walls of intransigence and intolerance. (Gabarrón foundation press-release)
China Art Museum, Pudong, Shanghai. China
Image: Cristóbal Gabarrón
31. January 2015 - 25. May 2015
With his imaginative motifs, Joan Miró (1893–1983) is one of the most popular twentieth century artists. He envisioned a dynamic art that makes its way into life. For him, painting meant creating his own, unique world. Instead of rendering reality, his work was characterized by a new emotional visual language. In February 1920, the 27-year-old Miró left his native city of Barcelona in a quest for inspiration and recognition in Paris. He moved into a studio on rue Blomet which became a gathering place for literary Paris. Miró, who loved to read, was greatly influenced by his friendship with such avant-garde writers as Tristan Tzara, Robert Desnos, Paul Éluard and Michel Leiris. Miró pushed the boundaries of painting and incorporated words to generate associations in many of his painting poems – a term that became the title of many of his works after 1925. The exhibition Miró. Painting as Poetry illustrates how Miró’s pictorial symbolism emerges from his playful treatment of words and images. In the same way that he was inspired by literary works, his own works inspired poets, including André Breton, spokesman of Surrealism. Miró and his literary friends worked on many joint projects together. In addition to around 50 paintings from all of his creative periods, the exhibition will show a representative selection from the more than 250 illustrated books that he designed.
Loans come from the Successió Miró, the Fundació Joan Miró in Barcelona, the Fundació Pilar i Joan Miró a Mallorca and museums in Europe and America.
In collaboration with the Kunstsammlung Nordrhein-Westfalen. The exhibition is under the joint patronage of Mateo Isern Estela, Mayor of Palma de Mallorca, and State Secretary Wolfgang Schmidt, Commissioner of the Free and Hanseatic City of Hamburg to the European Union. The exhibition is sponsered by ExxonMobil, Bankhaus Lampe and Lampe Asset Management.(Bucerius kunst forum press-release)
Bucerius Kunst Forum gGmbH. Rathausmarkt 2. D-20095 Hamburg
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965, Privatsammlung als Dauerleihgabe in der Fundació Pilar i Joan Miró a Mallorca, © Successió Miró / VG Bild-Kunst, Bonn 2015
15 january – 21 may 2015
Jaume Plensa was born in Barcelona in 1955, and shares his residence between Paris and Barcelona. Between his first exhibition in his hometown in 1980 and today, he has been living and working in Germany, Belgium, England, France and the US. Also, teaching at the École Nationale des Beaux-Arts in Paris, giving lectures at a wide array of universities and art institutions, currently as professor at the School of the Art Institute of Chicago.
His sculptural work has, with time, undergone several changes, but always dealing with humanity, body and soul, in mostly figurative expressions. Even when the body is physically absent, it is implied; by gongs ready to be struck, empty houses or cells waiting to be occupied, or text required to be read. Whether made out of steel, glass, bronze, and alabaster or by light, vibration or sound, his ideas and associations are always brought forward. Plensa believes sculptures to be an extraordinary vehicle for accessing emotions and thoughts. His work asks questions and sets up situations that encourage us to think and think again, to talk with one another, to be silent and meditative, to touch, and experience togetherness. The artist is keen to encourage communication and understanding with others and ourselves, producing work with the hope of reconnecting us with our own souls. For Plensa, life is the key concern and thus art is merely a consequence of it. Still it possesses an enormous capacity to touch people deeply, to introduce beauty into any situation, and to celebrate human potential.
A significant part of Plensa´s production is set in the context of permanent public sculpture. “The Crown Fountain” in Chicago´s Millennium Park is one of his most well known works. In 2005 he finished “Breathing”, which was installed in the new BBC building in London, and in 2007 he made an impressive public project for the Place Masséna in Nice. The huge woman’s head, “Dream”, for St Helens in Liverpool was inaugurated in 2009. He is currently working on several new public projects as “Wishing Well” for the Bow Calgary in Canada, “Mirror” for Rice University in Houston, and “Together” for Chichester Cathedral in UK. Plensa´s work has been exhibited in numerous galleries and museums in Europe, USA and Japan; Fundació Joan Miró in Barcelona, Galerie Nationale du Jeu de Paume in Paris, Henry Moore Sculpture Trust in Halifax, Malmö Konsthall, Museum Moderner Kunst Stiftung Ludwig in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, BALTIC The Centre for Contemporary Art in Gateshead, Musée des Beaux-Arts in Caen, The Nasher Sculpture Center in Dallas, Picasso Museum in Antibes, Galerie Lelong in Paris and New York, and The Yorkshire Sculpture Park to mention a few. (Andersson/Sandström press-release)
Andersson/Sandström Gallery, Hudiksvallsgatan, 6. 113 30 Stockholm
Image: Sanna Dream 2014. Jaume Plensa
23 october 2014 – 3 may 2015
What would be about the world without the things that don’t exist?)
Its creation was inspired by the striking experiences provided by the project “Terra Rasgada”, held in the 1990s, in partnership with local artists. The two projects carry in their tittles the meaning of the name “Sorocaba” that, translated from Tupi-Guarani, means “place of slit”.
With execution by Sesc and curation by Josué Mattos, the transdisciplinary project, focused on the visual arts, has participation of artists of different generations and nationalities. It is developed from the interrogative “What would the world be without the things that do not exist?”, inspired by the play “What would we be without the things that do not exist?” conceived and set up in 2006 by Lume Teatro – Núcleo Interdisciplinar de Pesquisas Teatrais da Universidade Estadual de Campinas (Interdisciplinary Core of Theater Research at the University of Campinas).
With the purpose of creating collaborative actions between private and independent local institutions, as well as combing educative processes and continuing education partnerships were established with the Sorocaba City Hall, through the Secretary of Culture. The Estrada de Ferro Sorocabana Museum, Barracão Cultural, Palacete Scarpa Cianê Shopping also cover the project and Patio
Cristina Garrido and Bruno Moreschi presents “THIS IS ART NOW & ART BOOK” If it’s hot in the world today, it’s in these books, this seminar, this wall and this Triennal, the artist duo Bruno Moreschi and Cristina Garrido confronts us with very important questions in the debate concerning modern historiography: Who are the agents that construct history? What aspects define the inclusion of a happening, or a character, in the history books? Who has the power to select the point of view in regard to a determined historical moment? What are the relationships between fiction and reality in the con struction of historical facts?
Inspired by the spacial and social complexity of Brazil’s favaelas, artist and documentary photographer Dionisio González has re-imagined the poor urban dwellings through the lens of modern and contemporary architecture. “Favelas” includes digitally manipulated images from 2004 and 2006 that pose an intriguing challenge to aesthetic notions of shantytowns.
Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artist opens an horizon of visibility of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system. (FRESTAS presss-release)
Frestas Trienal de Arte. Sorocaba. Sao Paulo.
Image: Heliópolis 2006. Dionisio González
22 november 2014 – 10 may 2015
By 2030 the world population will have grown to a staggering eight billion. Of these people, two-thirds will live in cities. And most of them will be poor, with limited access to resources. This uneven growth will be one of the greatest challenges faced by societies all over the world. In the coming years, municipal authorities, urban planners and designers, economists and many others will have to join forces to prevent major social and economic disasters. They will all have to work together to ensure that these expanding megacities are inhabitable places.
The exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities has brought together six interdisciplinary teams of researchers and professionals who, for 14 months, have held workshops aimed at examining new architectural possibilities for six world metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York and Rio de Janeiro. Each team has developed a proposal for a specific city to be presented in November 2014 at the MoMA. The proposals have taken into consideration how the emergent forms of tactical urban planning can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions and other major issues in near-future urban contexts. They have all defied the current assumptions about relations between formal and informal, bottom-up and top-down urban development.
AC/E is collaborating by supporting the participation in the project of the Zoohaus group, which has carried out research on the city of Lagos through its project Inteligencias Colectivas (Collective intelligences). Zoohaus is a creative networking platform that was started up in 2007 to combine the interests of various agents related to architecture and other peripheral disciplines. This platform focuses its interests on projects that reinterpret urban dynamics through fields such as architecture, urban planning, art and the economy and its work is underpinned by community participation and reactivation. (AC/E pres-release)
MOMA, 11 West 53 Street, New York, NY 10019
Image: MOMA. N.Y.