Spanish contemporary art worldwide
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March 13-April 19, 2014
"According to Hippocrates, there were four bodily fluids that established the humors: phlegm, blood, yellow bile and black bile. Depending on your distribution, prevailed in man a certain mood. Thus, the disease called melancholy attributed to blackening of bile. This dimming, caused a depressed, listless behavior and manifest a feeling of sadness. "This explains the Spanish artist Antonio Montalvo (Granada, 1982), the title of his exhibition Bilis Negra (black bile) at AFA Gallery, where he presents 15 of his last works of oil on canvas.
ANTONIO MONTALVO is a graduate of Fine Art from Universidad de Granada. He has taken part in some group shows such as -Certamen Andaluz de Artes Plásticas 2006, Premios Injuve para la Creación Jóven 2007, Circulo de Bellas Artes de Madrid, Generación 2008. Premios y Becas de Arte Caja Madrid…- and his work can be found in Spanish collections such as Fundación Rodríguez-Acosta, Fundación CajaSur, Instituto Andaluz de la Juventud, Museo Gustavo de Maeztu, Facultad de Bellas Artes de Granada or Fundación Coca Cola. (AFA press-release)
Galería AFA: Pasaje Phillips, 116. Santiago Centro
Image: Ibid. Antonio Montalvo
11 – 22 march, 2014
Alberto Reguera was born in Segovia, Spain, in 1961. Now, he lives between Paris and Madrid. In 1984 he attended a contemporary art seminary at the Louvre Art School “L’art du XXéme siécle. In 1985 he obtained his degree in Modern History from the University of Valladolid. From then, on he was selected several times to participate in the “Contemporary Art Workshops” at the “Círculo de Bellas Artes” (Fine Arts Circle), Madrid, where he received guidance from some of the maestros of contemporary Spanish painting including amongst others, Lucio Muñoz. In 1994 and 2001 his works were exhibited in the Stedelijk Museum, Amsterdam, where the Dutch musician Bart Spaan, interpreted some of his contemporary compositions inspired by paintings of Alberto Reguera. In 1995 he received the Paris Fine Arts Academy Award for Painting. In 1999 he designed the poster of the Paris Theatre Festival. In 2001 he won the "Ojo Crítico" Spanish Award, Madrid. This same year, he participated in the project "Relevosf", with Rafael Canogar, in the "Museo de Bellas Artes" (Fine Arts Museum) of Seville. In 2003 it was chosen by a jury of Washington D.C. to be the only Spanish artist invited to join the "Exhibit E", which it was celebrated in the USA capital. Hi has collaborated in projects of painting and poetry with Francisco Pino and Andrée Chedid. (Olivier Nouvellet press-release)
Galerie Olivier Nouvellet. 19 rue de Seine. 75006 Paris
Image: Matiéres Incandescentes en Fusión. Alberto Reguera 2013
11 march 2014 - 20 april 2014
For some years now the investigations of José María Sicilia (1954), one of the most original artists on the Spanish scene, have involved deciphering the language of the things that interest him and for this purpose he works with sound recordings with which he then creates a visual projection of this language.
Using techniques that offer the possibility of translating sounds, obtaining a visual representation of them that allows him to capture and identify their variations and diversity, the artist converts these phenomena into the purpose of his work. Exploring this line of research, he has produced the Fukushima-Winter Flowers Project, which shows the results of converting different sounds and images of the tsunami that occurred in Japan in March 2011 into two and three dimensions. He thus devises a new approach to the tragic events in order to show the reality of Fukushima.
The title of the exhibition is inspired by Tamiki Hara’s literary work ‘Natsu no Hana’ (Summer Flowers). Hara was a survivor of Hiroshima. The death of his wife Sadae Hara and the Hiroshima bomb were the backbone of his work.
Sicilia is interested in the sounds of birds and the tsunami, the noise of Fukushima, and his interpretation of them takes different sources as a starting point using specific parameters: readings of sound data recorded in the ocean during the tsunami, recordings made at the time such as warning messages issued in some of the affected areas or birdsong, and the voices of people recorded in videos of the tsunami posted on YouTube, etc.
The artist likewise brings to the exhibition works that are the result of workshops he has held with children from Japanese schools located near the areas affected by the tsunami. In these sessions the artist, accompanied by a team of psychotherapists and teachers, works with the children, allowing them full freedom to express their experiences or memories of that day artistically.
Basically the exhibition explores sound, pain, creation – everything that is unforeseen, accidental. To quote the artist himself:
‘An accident is what happens, what occurs unexpectedly in the system of our lives, the unforeseen, surprise… Yet everything was already there.
The accident is revealed to us every day, concealed until it comes to light. The accident is closely linked to time, to the instant, to life. All substance can be the stuff accidents are made of. Time devours everything. We are the image of an image, an echo. An instant is birdsong. Chance appears to us increasingly and fear begins to be the passion of life.’ Curator: José María Sicilia
(AC Española pres-release)
Organized by Acción Cultural Española (AC/E) In collaboration with Embassy of Spain in Japan Prefectural Museum of Art, Fukushima
Embajada de España, 1-3-29 Roppongi. Minato-ku. Tokyo
Organiza: Acción Cultural Española (AC/E).
Image: José María Sicilia, El instante, 2013. Cortesía del artista y la galería Meessen de Clercq, Bruselas
15 february – 15 may, 2014
This exhibition is part of the project " Doble Dirección", which begins in February with a first delivery: a selection of works from the collection of the Centre d' Art la Panera will be exhibited in the halls of FRAC Corse, in the city of Corte . The works submitted belong to the following artists : La Ribot , Eulalia Valldosera , Javier Peñafiel , Antoni Abad, Txomin Badiola , Juan Pablo Ballester, Javier Codesal , Casilda Sanchez, Bestué / Vives, Lazkoz Abigail , Daniel Canogar , Francesc Ruiz , Esther Partegàs , Jordi Bernado , Alicia Framis , Izaskun Chinchilla and Azua / Moline .
The second part of the project, which takes place from 18 June to 5 October this year , will show a selection of works from the collection of FRAC Corse, which will pick one of the fundamental features that has defined this French public collection, as linking contemporary art with the world, with its basic elements, such as land , air and water, the sky, the sea, the islands ... , and offer a personal view on the Mediterranean. The artists featured are: Claudio Parmiggiani, Giovanni Anselmo, I. F. P., Marthe Wery, Jana Sterbak, Marcel Dinahet, Bill Culbert, Ignasi Aballí, Jean-Luc Moulène, Jean-Marc Bustamante, Rodney Graham, Hugues Reip, Michelangelo Pistoletto, Marylène Negro, Wilfredo Prieto, Martine Aballéa, Etienne Bossut, Ange Leccia, Dominique Degli Esposti, Adrien Porcu y Agnès Accorsi. (la Panera press-release)
Fonds Régional d'Art Contemporain de la Corse. FRAC Corse. La Citadelle. 20 250 Corte
Centre d’art la Panera
Image: FRAC. Corse
february 25 – march 22, 2014
First Apple is an ambitious work that seeks to recreate various scale models of New York City and in some cases to map these three dimensional renderings to the Twin Towers themselves. To create the base Espantaleón painstakingly constructed Manhattan in clay by forming 31,920 volumetric units each representing actual buildings, at a scale of 1/65. These volumes were then used to create pixelated city blocks from which he cast silicon molds that could in turn be used to reproduce each block with epoxy resin and polyurethane. This reproducible method allowed for a potentially unlimited exploration of space, color, material (and in some cases typography) resulting in the varied forms of architectural model pointillism.
Ramon Espantaleón (Spain 1968), architect and interior designer with over 20 years of experience, is now a prolific ceramic artist whose exploration in the world of applied arts in the last decade it has earned recognition such as Expert in Ceramic Arts from the School Ceramics Francisco Alcantara of Madrid. His participations in several art exhibitions in Spain, Brussels, New York, Houston and Miami have been highlighted by local critics. His artistic work pursues an architectural geometry domain attached to the exploration of organic forms, activated by the rigorous use of colour and the importance of the shadows. Even though he continues to explore a variety of materials such as bronze, resin, wood, but porcelain is one of his preferences. (Birman Wood press-release)
Birnam Wood / Galleries, 514 West 24th Street, New York, New York
Image: Ramon Espantaleón: Midtown Mondrian. 2011. Resin and pigment
16 march - 17 August 1, 2014
The Station Museum of Contemporary Art wishes to announce the major exhibition Collective Reaction,featuring the six solo exhibitions of Democracia, Adel Abidin, Hito Steyerl, Mohammed Al-Shammarey, Prince Varughese Thomas, and Maura Sheehan.
The proliferation of images and the devices that record them has fundamentally shifted the method in which information is interpreted and disseminated. What once was a costly and specialized skill has now become a tool for the masses. The propagation of imagery has been simultaneously displaced and appropriated by both traditional and independent media outlets. Through cropping, manipulation, and contextual placement, images take on new meanings that subvert or recuperate.
Madrid-based collective Democracia presents “Welfare State: Smash the ghetto”
The “Welfare State” project has its provenance in El Salobral, one of Europe’s largest shanty towns located on the southern outskirts of Madrid. In March 2007, the Madrid City Council and the Regional Government decided the town should be demolished and its inhabitants rehoused.
“Smashing the ghetto” is a four-channel video installation transmitting the demolition of these slum properties as if it were a sports event. The public watches the process from its seats on the “terraces” and urges on the excavators hooligan style. The project turns the destruction of the neighbourhood into a show for the members of civil society. Unconcerned by considerations like the disappearance of a specific way of life, civil society celebrates the end of the ghetto as if it were a media spectacle.
The aesthetics of “ultra” supporters, the supposed personalisation of consumption by means of customization (tuning or tattoos…) and hip hop or heavy metal music are used here as cultural references for a society that gets a kick out of the spectacle of destruction. (Station MCA press-release)
Station Museum of Contemporary Art.1502 Alabama St.Houston, TX 77004
Image: Welfare State 2008. Democracia.
10 march – 10 april, 2014
Espaço Fonte is a platform for research and residencies located in Recife, Brazil. This centre has invited the curator Blanca de la Torre and the artist Juanli Carrión to carry out a research residency as guest curators to develop the proposal Re-Quilombos, for which they have enlisted the collaboration of AC/E through the mobility programme of the PICE. It is a multidisciplinary project devised for the specific context of Recife and features interventions in the public space with dance, performance and video and a publication recording the whole process.
Re-Quilombos sets out to question what the exotic consists of in a post-colonial society and, at the same time, the methods of the consumer and entertainment society – dictated by the capitalist system – which are capable of harnessing nearly any cultural expression for its own benefit. Given the political origins of capoeira and its initial tradition as a fighting and informative tool for Brazilian slaves, Re-Quilombos seeks to bring back something of its original use by restoring its value as a means of withstanding the power structures.
Espaço Fonte . Avenida Dantas Barreto, 324, ed. Pernambuco, 4o andar, Recife - PE, Brasil
Image: Espaço Fonte
march 13 – may 10, 2014
“In a world in which social and ethical considerations seem to be losing their force, Álava presents us with situations that linger in our minds as ethical conundrums.”
-Jonathan Goodman, 2010
Álava’s projects in the form of dialogues, verbal descriptions, rumors or random encounters, explore notions of trust and intimacy, and use language as a medium to investigate the interconnections that exist between public, private, educational and interpretative aspects of art. Her work explores the capacity that certain materials have to create a maximum by reversing a minimum. “I am intrigued by how we react to the kinds of situations where we are faced with something that looks like it is about to fall. Do we just let it go and rebuild a new structure, or do we try to balance what is mostly gone?”
Alava’s interactive installation Tell Me 2004-2014, made out of thousands of handwritten pieces of paper pinned to the wall and sensitive to the slightest air current, contains thousands of fragmented conversations maintained for the last decade between Álava and the public in the privacy of NYC art museums, where Álava has worked for twelve years as a lecturer/museum educator, leading more than two thousand gallery talks, and inviting friends to think of different ways to interact inside these communal spaces. “I am an artist intrigued by the way the general public interacts and communicates inside museums. To me, museums are ideal ecosystems and stages where differences can be discussed through dialogue, making it possible to engage with the multiple thoughts that arise from these differences and increase our knowledge via interconnected fields.” (FonteraD, 2010)
Gema Álava (b. Madrid, Spain 1973) is a multidisciplinary artist based in New York City since 2001. She has had twenty solo exhibitions (NYC, Madrid, London, San Francisco). She has exhibited at the Metropolitan Museum of Art, Queens Museum of Art, Bronx Museum of Art, Solomon R. Guggenheim Museum, Rana Museum in Norway and MANIFESTA 8. The Smithsonian Institution nominated her artistic project “Verbal Interaction in Museums” for a 2011 SARF Fellowship. In 2012 she was appointed Cultural Adviser to the World Council of Peoples for the United Nations.(AC.Institute press-release)
AC Institute, 547 W. 27th St, 2nd Floor, #210. New York, NY 10001
Image: Gema Alava
5th – 23rd march, 2014
Carlos Aquilino is a self-taught artist from Madrid, Spain.
Aquilino is one of the international artists in residence at Point B Worklodge, based in the heart of Williamsburg, NY, through the end of March, ’14. The body of work produced during the artist’s 3-month residency is to be exhibited at Artifact Gallery
Aquilino’s work is shaped by cross-cultural experiences that have taken him from the Spanish Academy of Fine Arts in Rome, Italy, to the Virginia Center for the Creative Arts in Virginia, USA; from the New Mexico desert at the Helen Wurlitzer Foundation in USA, to Izvorul Mures in the Romanian Carpathians and to the Hungarian Plain in the Abádzsalóki Nemzetközi Müvésztelep. (Artifact gallery press-release)
Artifact gallery NYC. 84 Orchard Street btw Broome & Grand New York, NY 10002
Image: Carlos Aquilino
01 - 22 March 2014
For some time now Spanish cultural tradition has been disproportionately biased towards the visual arts. For example, the importance of Velázquez, Goya and Picasso, the influential trio of painters, does not strike a balance with the ground-breaking literary modernity of Cervantes. In Spain even good projects in non-visual media are known chiefly by their emblematic figures, such as Don Quixote or Don Juan.
Indeed, visual defines Spanish art in all its forms, both past and present. In the new digital environment everything is images, everything is visual. The emergence of new media is providing a fertile ground for the creators who work in this emerging visual tradition. Young, brilliant, joyful and bold, the work of these artists is both commercial and deeply personal. Their worlds are virtual and tactile; it is the world we live in today. Who nowadays would dare say that what they do is not pure art?
Now, thanks to the joint work of SPAIN Arts & Culture, AC/E and Héctor Ayuso, it is possible to learn in detail about the new generation of Spanish visual creators. The result is a scene characterised by creativity and talent that is shown here for the first time.
The project WeMadeThis.Es Tour stems from the firm intention to launch the book with the same title and also to show the most recent work of the foremost artists on Spain’s creative scene.For this purpose a selection of works in printed and audio-visual format is planned, and two works created specially for each of the venues, always by different artists, will be displayed. The travelling exhibition will also feature the launch of the book WemadeThis.Es, as well as a lecture given by one of the participating artists and a workshop held by the same artist. (AC/E press-release)
Organised by Acción Cultural Española (AC/E)
Sponge Creative Hub. R. Armindo Rodrigues, 36B | 1600-414 Lisboa | Portugal
01 march– 05 April, 2014
A curatorial project presenting a selection of twelve videoart pieces that show how art can function as a symbolic act of resistance to face the amends of our society.
Twelve audiovisual works give answers to some social inequalities and political humiliations, providing an interpretation of politics, from the idea of the aristotelic zoón politikón (political animal).
The project aims to reflect on the existing relationship between art and resistance. The context references the most immediate present, putting an emphasis on the need to find the origin of the current political-social slit from the classical theorization of what should be the State.
Hic et Nuc is curated by Imma Priento. The featured artists are Daniel G. Andújar, Eugenio Ampudia, María Cañas, Mateo Maté, Chus García-Fraile, Jordi Colomer, PSJM, Avelino Sala, Marta de Gonzalo y Publio Pérez, Núria Güell, Jorge García, Pelayo Varela. (Temp Art Space press release)
TEMP Art Space, 47 Walker Street.New York, NY 10013
Image: A vuelo de pájaro. Daniel G.Andujar
04 - 15 march 2014
The Spanish sculptor Roman Lokati (Rota, Cadiz. 1968) has been selected to take part in the Royal Society of British Artists' Annual Exhibition, which shows the best of contemporary painting, sculpture, printmaking and drawing sourced from member artists and through open submission. The Cádiz-born artist will exhibit four iron sculptures.
Roman Lokati has been based in London for the last ten years, where he develops an art work aimed to link communication, language and body expression in order to explore the relations between humans that, apparently, are isolated during their lives. Most of his works are drawings in which he uses linoleum and drypoint techniques.. (Mall Galeries press-release)
Mall Galleries, The Mall (near Trafalgar Square) London, SW1
Image, Román Lokati. Esculturas.
04 march – 30 april, 2014
During September 2013 Marcel Pedregosa (Barcelona 1978) spent three weeks as an artist in residence at the Halsnøy monastery on an island in Norway. In this period of time he developed a new photographic body of work based on portraying the natural heritage of the island.After the making of the images he did a first selection of twenty to edit and create a new series under the title Broader. Used to photograph people in big metropolis at rush hours, Halsnøy unfolded a complete different environment of work for Marcel
Pedragosa’s urban background. Far from, traffic, noise and stress, these photographs reflect a place beyond a state of mind. Nature, harmony and equilibrium are some of the aspects poetically depicted in Marcel’s work produced into the broader Norwegian
landscape. (Fondation Biermans-Lapôtre press-release)
Fondation Biermans-Lapôtre: 9A, Boulevard Jourdan 75014 – Paris
Image: Broader. Marcel Pedregosa 2013
february 27 - april 12, 2014
This exhibition contrasts two frontier zones. David Taylor has documented the 276 historic monuments that mark the border between Mexico and the United States. In contrast, Ignacio Evangelista shows now-abandoned border crossing points between different states in the European Union. Each border is laden with historical, economic and political significance; the fact that one zone is militarized and the other abandoned speaks to each site’s relative freedom of movement and political implications.
The After Schengen project by Ignacio Evangelista (Valencia 1965), shows old border crossing points between different states in the European Union. After approval of the Schengen Act of 1995, most of these old checkpoints remain abandoned and out of service, allowing us to gaze into the past from the present.
“Places once filled with people appear abandoned today, located in a space-time limbo, dislocated from the use and the time for which they were conceived. Border crossings have a function of geographical boundaries, but also an coercive role, since they prevent the free passage of people between one and another state. So, they are places that, along with a cartographic dimension, are provided with historical, economic and political reminiscences, aspects absolutely related to landscape from a contemporary and transversal perspective.”
“After Schengen is an optimistic work, critical but optimistic…However, those old familiar voices I heard on the border crossings seem to resonate again in these controversial times. Terms like “strainer” (Marine Le Pen) or “migratory tsunami (Berlusconi) suggest the idea of closing off the doors to the countryside. History sometimes takes unexpected turns.” Ignacio Evangelista (CPAC press-release)
Colorado Photographic Art Center, 1513 Boulder Street, Denver, CO 80211
Image. Ignacio Evangelista: Zdarky Pstrazna CZ PL."After Schengen"
1 – 22 march, 2014
As winter ends, just before spring, Irene Cruz(Madrid 1987)and Giovannina Sequieira will present their new show HABITAT/NATIVE for the first time. Over three weeks, they will transform Berlin's PPC gallery through photographs, video and performance. Poetically framing their experience of the landscape with a series of playful and sensitive works.
They`ll lead us down woodland paths to share moments of tender connection and antagonism with environment. As we travel with these two artists they'll quietly reveal new layers in our perception of nature and remind us how intense our personal relationship is to the power of the planet. They aim to offer us a fresh and sensitive mix between conception and perception.
Using paper, screen, and the human form they describe a world where the physicality and sensitivity of the human experience relates to nature. Where their own bodies become a media, and where their experimentation reflects experiential perception.
Through images and performance the artists invite us to enter the landscape though playful and beautiful work reveling in both the aesthetic and the personal. They crystallize an experience of nature and ask us to question whether this beauty is inherent or if our sensitivity makes it so. Curator: Sol Izquierdo & Tania Gomes(PPC gallery press – release)
PPC gallery ,12 Selchower strasse, Berlin
mage. Habitat. Irene Cruz
february 15 - march 15, 2014
Víctor Jaenada, Serafín Álvarez, Josep Dominguez, Black Tulip, Mike Ruiz.
Junefirst Gallery opens with a series of works that approach Science fiction as the quintessenial field of the exploration of possibility.
Projections of what the possible futures may look like and what they may bring have been around for a long time and they take different forms, from the apocalyptic to the ridicule or the celebratory. They create a common ground, a domesticated world of fabrications and its inevitable undercurrent of philosophical and moral implications. This self-narration in the likelihood streams through the humorous, the ironic, the analytic or archival approach. Dimensional doors, time traveling, extraterrestrial life, futuristic scenarios, and all the imagery constructed around them. The artists play with the looks and names of artifacts and phenomena produced in the tradition of science fiction, they take these recurring figures out of context and point at certain patterns. They borrow their aesthetics, codes and stereotypes and use them to look beyond existing things.
List of Works: Black Tulip, Trapdoors, 2014. 164 digital color prints, 10 x 15 cm each. A collection of movie frames that presents the trapdoor as the domestic version of the illusion of bodily transportation through space; the magic trick in the actual world that imitates the possibility of disappearing from one space and appearing elsewhere. Víctor Jaenada, Interview with an alien, 2009. Installation and video, 11' 40''. Victor Jaenada impersonates an extraterrestrial artist who elaborates on subjects like the intergalactic art context and own position in the system, entangled with his reflections on existential matters and life-crisis. Together with the video is a collection of the alien's artworks and apparel. Josep Dominguez, BMX airmaster#1, 2012. Acrylic on canvas, 61 x 46 cm. A still image from a videogame where its elements, machinery or characters are erased and the background is painted, resulting in a synthetic, undefined, futuristic-like scenario. Serafín Álvarez, Sci-Fi corridors, 2012-ongoing. Web archive: http://scificorridorarchive.com Online and ongoing archive of stills capturing hallways and passages taken from sci-fi movies; in-between spaces in which the action occurring is by nature transitional. Mike Ruiz, No Time, 2013. 5" video loop. No Time captures all of the sequences of time traveling in Back to the future, embodying a paradox of such concept: the moment of disappearing into another time-frame and not being present in either one of the ends is, still, a process, which takes some actual time. In the movie, these moments of no time add up to 5". (Junefirst gallery press-releae)
JUNEFIRST GALLERY. Scharnweberstr 35. 10247 Berlin
Image: Víctor Jaenada, Interview with an alien, 2009 (Detail). Installation and video - 11' 40''
26 february – 18 april, 2014
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. While we wait for the exhibition to reach Spain, we offer you a preview of 16 works. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators. The first stop will be at the exhibition hall of the Spanish Embassy in Berlin.
The exhibition #the_color_of_optimism features 67 works by artists Ricardo Cavolo, Littleisdrawing, Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen, María Simavilla.
This show aims to promote a generation of young artists whose works can be regularly seen in national and international publications and who have the support that the internet provides to make their work public. (I.Cervantes press-release)
Instituto Cervantes Francfort. Staufenstr. 1, 60323 Frankfurt
Image. Sonia Pulido “Hop hop”
7 february- 31 march, 2014
“Spanish neopop,trends anddissent”, is an exhibition that brings together sixty works, over forty years. The exhibition is composed of works on different sizes of over thirty Spanish artists, including the figure of Eduardo Arroyo. The Neo-pop has been defined as the re-appropriation by artist all cultures, disrupting their aesthetic and social hierarchies, and giving a new meaning to figurative painting as a means of reproduction and activation of a collective memory elements of mass culture and consumption. The exhibition will remain open from 8 February to 31 March at the Cervantes Institute in Tokyo, has been organized in collaboration with the General Department of Promotion of Fine Arts of the Ministry of Education, Culture and Sport Photosai.
With lithographs and prints of boxing and faces, this exhibition highlights the important role of artist Eduardo Arroyo as a key to the world of Spanish pop art. (I.Cervantes press-release)
Instituto Cervantes. Cervantes Bldg. 2-9 Rokubancho. 102-0085 Chiyoda-ku Tokio
Image: Arthur Cravan tras su combate contra J. Johnson.1994 Eduardo Arroyo
TUCSON. Emilio Gil "Mapas que no lo son/Imaginary Cartographies: The Collages of Emilio Gil" The University of Arizona Libraries
24 february – 1 august, 2014
Emilio Gil, Artistic Director of Tau Diseño one of one of Spain’s pioneering and most distinguished graphic design firms present the American opening of his collection of collages, “Mapas que no lo son/Imaginary Cartographies.” “Mapas” opens up a new direction in the career of a distinguished design professional. It challenges the relationships between art and design in a way that fuses the disciplines. The results are exciting new cultural creations based on a fascinating compilation of colors, techniques, textures and artistic conceptions many of which use elements of cartography in their construction.
Emilio Gil founded Tau Diseño in 1980. Since then his firm has produced work for a number of important private and public sector clients including UNICEF, El País Aguilar, Alfaguara,and Santillana publishing groups, Aldeasa, SGAE, Indra, Banco NatWest, Gesinar, Logista Osborne, Tabacalera, The City of Madrid, The Spanish Ministry of Culture and Ministry of Foreign Affairs, the International Monetary Fund (IMF) the World Bank Group and the Reina Sofía Museum and centennial celebrations of Felipe II y Carlos V, Goya 96 among them.
Gil’s work has appeared in a number studies and anthologies of design work and important national and international exhibitions.
His work has garnered numerous Spanish awards for design as well of international honors from the New York Type Directors Club, and the Donside Prize in Great Britain. (Arizona libraries press – release)
University of Arizona Main Library. 1510 E. University Blvd. Tucson, AZ 85721-0055. United States
Image: Emilio Gil
21 february – 19 march, 2014
The 21 february , TJINCHINA Project Space in Tijuana will open it´s doors in one of the hot spots of the border between Mexico and the U.S., the Avenida Revolución. Hosting cultural producers from various nodes of the global network it has generated, but focused on a constant exchange with the artistic community in Beijing , China.
"Nice of you for inviting me here, the city is perfect for what I'm doing, because I'm working on body control, and governments just controlling us with cameras on the streets involving control structures, get here and see the wall of the United States ... very rare ... reaches the sea, is very silly and edge moves and we can see how it moves. It is a very arbitrary thing, a business, who did should win big. Diana Coca”
The Spanish artist Diana Coca explore female identity reconstruction, through performative self-portraits, I focus on the violence of the fragmented body and the conflict between the body as a biological organism and the taboos around it. Fatally, it is always in our body where desire and law are struggling, where we oscillate between being carried away by the passions and be subjects, fighting between obscenity and compliance with the standards that shape the self in society. I am very interested this, the relationship between us as biological organism and the conventions built around it, the bitter conflict between society and the individual, between public and private, especially in contemporary China, where the concept of individuality is new after years of domination by the collective. My work tools are the photographic camera, video and performance, with which I construct narratives in audiovisual format, where the body and its struggles are the main characters. I am also interested in putting together ethics and aesthetics in the artistic language, with analytical disciplines as philosophy, history, feminism, psychoanalysis, art theory, as well as other cinematographic, mythological & literary creations. (Tjchina projectspace press-release)
TJ in China Space, avenida Revolución 1332 Zona Centro. Tijuana. Mexico.
Image: Diana Coca
05 February - 20 April 2014
Pablo Ruíz Picasso, born in Málaga in 1881, in a house facing the Merced Square in the heart of a city that already had 2500 years of history, comes with the memories of a house full of sisters and aunts, with doves fluttering around the square where he played as a small child, and the smell of paint in the walls.
The selection, curated by Mario Virgilio Montañez Arroyo, offering us examples of the stylistic transitions of an artist who has made his mark on visual formats ever since the last century, is a reflection of his world; his constant and never-ending search. Engravings from the Picasso Foundation, Birthplace Museum’s Collection are exhibited to create a full panorama of the models, techniques, and styles of the artist between 1923 and 1969, half a century of changing creation during which he combines and switches between Classicism, Cubism, and Surrealism.
Traditional themes are questioned in six sections, which reflect and bear witness to Picasso’s incessant search, his defence of the freedom and independence of the artist, which made him the 20th century’s greatest artist. Engravings and ceramics, extending from realistic depictions of certain subjects to their Cubist and Surrealist interpretations, are accompanied by his personal elements of Picasso’s belongings when he was a child.
In collaboration with Fundación Picasso and Ayuntamiento de Málaga. (Pera Museum press-release)
PeraMuseum. Meşrutiyet Caddesi No.65. 34443 Tepebaşı - Beyoğlu – İstanbul
27 february - 25.may, 2014
It is for the first time that the series of works of the so-called “black paintings”, “Soñé que revelabas” (“I dreamed that you appeared”), by Spanish painter Juan Uslé (Documenta IX and others) is presented in a German museum. Since 1997, Uslé has been creating this series of paintings which currently comprises 50 works and which takes a central position in his oeuvre. In his works belonging to “Soñé que revelabas”, which are mainly painted at night.
The combination of a subjective and poetic painting aura as well as the conceptual introspection of the medium which defines all of the artist’s works make Uslé’s oeuvre one of the greatest of our time. This is all the more pertinent as Uslé has been living and working in New York and Spain for a long time and the combination of a catholic-baroque picture emphasis and intellectual detachment connect the European and American painting tradition.
After its presentation in Bonn, the exhibition will be shown at the Centro Galego de Arte Contemporánea (CGAC) in Santiago de Compostela, Spain. (Kunstmuseum Bonn press-releae)
Kunstmuseum Bonn. Friedrich-Ebert-Allee 2, 51331 Bonn
Image: Soñe que revelabas, Ural (2009). Juan Uslé
22 February - 22 March 2014
An Approach by Manolo Belzunce (Lorca, Murcia 1944) to Eugene Delacroix´s The Women of Algiers.
To speak about this latest series of Manolo Belzunce’s works, we could begin with a brief overview of his African travels. Africa is, for this ever-enquiring artist, an ever-present feature which becomes more intense with the passing of time. As long ago as 1997, and as the result of his first trip there, he created a poetic series which he titled as “Africa; my love”. Since that time, the African continent was to be an intense passion for Manolo Belzunce; cultures, hidden and unknown; new landscapes never before seen; people with movements and rhythms different to ours. Already he had travelled to Australia, part of Asia and now he intensifies his trips, in part in a random way, of the African continent; possibly the least known of all. Mauritania, Mozambique, Mali, the Sahara, South Africa, ... impossible to find differences more profound in geography, light, structures, people, smells and colours. Every one of those excites and incites the artist.
Frequently Manolo Belzunce turns to myths, to classic works, to the grand allegories of the divinities, or to history, to justify his compositions. Now, in this African journey, the composition is born of nature, of the people, of the animals which cross our path. From myth and history they assume a life. (Single Art 100 press-release)
In collaboration with the Spanish Embassy in the Netherlands and Sala Dalmau (Barcelona)
Singel 100, 1015 AD Amsterdam, Netherlands
Image: Manuel Belzunce, "Las mujeres de Argel, Variaciones sobre la obra de E.Delacroix" 2013, Mixta/tabla, 60 x 78 cm.
22.february – 22.march, 2014
Ana Talens presents “Beauty an Decay” in the context “Betwen you and Me.
Art as the prince wakes the sleeping beauty with a kiss, only to perform a vibrant and opulent wedding party. That is the idea of the new exhibition project Between You and Me, curated by Bettina Springer having initiated „Espace Surplus“ before.
Under the title of „Espace Surplus Le Grand“ the succeful work will be continued.
In the context of Between You and Me she will present a series of spacious installations that create a poetic symbiosis with their surrounding architecture. In regular cycles artists are invited to individually kiss the long forgotten and unaccessible space in the very heart of Berlin awake: artisticly transformed the fantastic architecture will then be open to the public – but only for a limited time and only Between You and Me.The installations are created for this space only and are only showed for the duration of this very exhibition. With these site-specific pieces the whole is more than the sum of its individual parts.
Ana Talens, (Carcaixent (Valencia) España, 1978) Artist and Doctor in Fine Arts by the Universidad Politécnica de Valencia (cum laude, 2011). Thesis: "The transformation of the experience of nature in art. Nomadism and the ephemeral”, Prof. Maribel Domènech and Pr. Javier Maderuelo. She has been working as a researcher and teacher in the Sculpture Department, UPV (2003-2007) and has an international academic training as a guest student at the Bauhaus Universität-Weimar (D); The Australian National University, School of Art, Canberra (Australia); Fabrica, Benetton, Treviso (IT) y Fakultät Bildende Kunst - Universität der Kunste Berlin (D) and as a guest researcher at the Bauhaus Universität-Weimar (D) y en Central Saint Martins College of Art and Design, University of the Arts, London (UK) (Espace Surplus press-release)
Espace Surplus Le Grand. Between You and Me. Wallstraße 85, 10179 Berlin
Image: Ana Talens
18 february – 18 april, 2014
The Instituto Cervantes presents an exposition of paintings by José Luis Resino titled “Memory Landscapes” or “Paisajes de la Memoria”
José Luis Resino describes the paintings in his exposition “Memory Landscapes” as follows:
In a world where we are exposed to a constant amount of images at an ever increasing speed, these images will eventually end up taking possession of reality and make it impossible for us to gain access to the truth of matters. That is why it has been searched, through these paintings, for silence, stillness and calmness as symbols of truth. When it comes to choosing a project, it is the style of painting that sets its own standards in an uninhibited manner. It tries to reach the memory of all those places where our eyesight travels to and gazes at. Empty spaces, whose sole owner is the light that enters a stream through its hallways. These are works that bear witness to those interiors: doors which are embedded in uninhabited houses and give them significance. Architectural structures that are assembled in conjunction with water and seem to have grown out of water itself. What I am trying to do, is to invite those who observe my work to reflect upon that which moves me, allowing them to draw their own conclusions from an exhibit that aspires no more than to transmit sensitivity. José Luís Resino (Instituto Cervantes press-release)
Image: José Luís Resino
20 february - 3 april, 2014
"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 de Rabat, 3-5, zankat Madnine. 10.000 Rabat
Image: Jaime Belda
7 February – 29 March, 2014
Following the inaugural UK retrospective of Spanish artist Enrique Brinkmann, ‘The Poetics of Silence’ in 2011, which featured works covering a span of 50 years, a new exhibition ‘Painting in Space – The Dilemma of Gesture’ showcasing the artist’s most recent work, is opening tomorrow at the Rosenfeld Porcini gallery.
For the first time, Brinkmann is exhibiting two sculptural pieces, Estela (2013) and Cuatro Estudios de Sonajero Chino (2011). He is also showing his series on paper Reportajes (Reporting, 2013), which recalls his black and white period from 1961–74, when Franco was ruling in Spain. As a lifelong committed socialist, opposed to the Franco regime, his primary concern was with narrative. There was a sense of foreboding in all the paintings he produced in those years. Since the death of Franco, he has been concerned above all with formal language. With Reportajes, Enrique Brinkmann has returned to black and white, combining his need for narrative and with formal experimentation. He also designed the complex pressed cardboard frame around the work. Here, Brinkmann no longer deals with specific political issues but rather presents a more philosophical approach to human drama.
The series is completed by the sculpture Estela, which is, in effect, a three-dimensional approach to what is happening in the paper works. The four pieces that make up Cuatro Estudios de Sonajero Chino, which are in fact freestanding partially painted steel mesh, shift the artist’s practice into sculpture. With these works, Brinkmann continues his experimentation with gesture and transparency, which inspired him to begin working with steel mesh in 1998.
The final part of the show will feature a selection of Enrique Brinkmann’s latest paintings on steel mesh, where he continues to explore the idea of using the metal weave as a form of sculptural relief. Working the paint from both sides, sometimes even having as many as three different layers, enables the artist to produce extremely complex pieces. Elements constantly seem to appear and disappear under the multiple layers of paint.
For the first time also, Rosenfeld Porcini will present a selection of Enrique Brinkmann’s graphic works. This is yet another departure from both the drawings and oil paintings; these delicate works on paper display his attention to the possibilities of these particular practices, whilst presenting us with another facet of his passion for mark-making.
Enrique Brinkmann (b. 1938, in Malaga, Spain) abandoned his training as an industrial engineer (1955) to focus on painting. Self-taught, he exhibited for the first time in Malaga, in 1957. He later joined the Picasso group and collaborated with the M.A.M. (Artistic Mediterranean Movement). Between 1961 and 1966 Brinkmann lived in Cologne and Berlin., travelling periodically across Europe. This led him to collaborate with the Fluxus Group, illustrating a music score for experimental composer Cornelius Cardew. In 1967, the artist permanently relocated to Spain, living between Malaga and Madrid. Enrique Brinkmann has exhibited with numerous museums and galleries in Spain and internationally including at the Bronx Museum of the Arts, New York; the Museum of Modern Art, Johannesburg; a retrospective at The Museum of Malaga and the Reina Sofia Museum, Madrid (formally MEAC). His work is featured in numerous private and public collections, such as MoMA, New York; the Albertina Museum, Vienna; the Wallraf-Richartz-Museum, Cologne. In 1994 Brinkmann was given the ‘Premio Nacional de Grabado de la Calcografía Nacional’ in Madrid (National Prize for Copperplate Engraving). (Rosenfeld Porcini press release)
Rosenfeld Porcini,37 Rathbone Street. London W1t 1NZ
Image: Enrique Brinkmann, Con trazo blanco 2011
15.february –22 march, 2014
The artistic work of José Noguero, which on the whole is distinguished through an uncommonly broad repertoire of media and means of expression (including sculpture, painting, drawing, object art, installation, video and photography), has since 2009 centered on painting. Although the motif of landscape served at first almost exclusively as a springboard for Noguero's dense and colorful paintings, his new works, which were created in connection with his time as a grant recipient at the Royal Spanish Academy in Rome (2012), have found their point of crystallization in the human figure. With precise attention, Noguero's figures prove to be a paraphrasing of the image 'workforce' of modern painting, with themes such as the crucifixion and the annunciation. Streaming forth from the iconographic and emotionally loaded figures, which the artist carefully prepared through numerous drawings, unfolds a fulminant painting, characterized by richly orchestrated color tones. Numerous interactions of colorful planes and gestural marks are accumulated within, together with rudimentary perspectival traces, to form exquisitely complex pictorial spaces. Noguero's painting masterfully negates the conventional differentiation of figuration and abstraction as well as the contrast between compositional calculus and spontaneous gesture.
The conscious reference to painting of the 16th and 17th centuries - such as the 'crucifixion' triptych by Joos van Cleve, in the Museo Nazionale di Capodimonte in Naples - is so much more than a post-modern game of citation: in that José Noguero intensively struggles with the technical and compositional accomplishments of the Renaissance and the Baroque, he develops the criteria for a sustainable culture of painting. With his newest paintings, José Noguero succeeds in dissolving the antagonism that persists between, on one hand, an affiliation to tradition and on the other, the quest for a decidedly contemporary stance from which to paint free from tradition.
José Noguero (*1968, Barbastro, Spain) is represented in the following collections: Museo de Arte Contemporáneo Reina Sofía, Madrid – CAC, Málaga – CDAN, Huesca – ARTIUM, Vitoria-Gasteiz – Fundació Suñol, Barcelona – Diputación General de Aragón – Diputación de Huesca – Ayuntamiento de Pamplona, Navarra – Colección Coca-Cola, Madrid – Künstlerförderung, Berlin. (Greusslich Contemporary press-release)
Greusslich Contemporary. Andreas Greusslich .MBA. Buchholzer Str. 11
Image. Prometium, 2012, 150 x 200 cm. José Noguero
16.february - 06.april, 2014
By the use of an exclusive selection of large-sized works the exhibition allows insight into the Spanish artist’s imposing body of work. It rests only upon the most creative representatives of contemporary art to turn externally restricted image spaces into gigantic stages, to fill them with illusions and fantastic scenery and to allow the recipient a moment of sublime experience. This ability lies not only in an extraordinary understanding of the art form – it also demands perfect devotion for the characteristic aesthetic language from the artist. Because of their complexity the works are breathtaking at first sight and with deeper intrusion once irritating, often visionary and always fascinating. They are the result of an avant-gardist in our days: Eugenio Recuenco. Eugenio Recuenco’s visual short stories presents selected works all show a visually stunning opulence. The textual divergence between them is the creative spirit’s expression of the artist who draws on the world of literature, film and the depths of history of art in his often cinematic seeming works. Thus breathtaking parallel realities emerge which move between a real tangible familiarity and a fanciful imaginative illusion.
Born in 1968 in Madrid, Eugenio Recuenco studied graphic art in order to focus on photographic art later. Already in the early years of this career he worked for magazines like »GQ«, »View« or »Vogue« and thus also in the context of campaigns for brands like Diesel or Wilkinson and also Rammstein or Nina Ricci. In addition to that, Recuenco was hired as Art Director for the opera »Les Huguenots« in New York. Henceforth the artist began to produce spots, campaign- and short films as well as to create documentaries and music videos for many bands. Eugenio Recuenco received numerous awards for his body of work, his works are a regular part of solo and group exhibitions. The artist lives and works in Madrid and is considered one of the most significant contemporary photo artists.
.( Kunsthalle Rostock press-release)
Kunsthalle Rostock, Hamburger Straße 40. D-18069 Rostock
Image: Eugenio Recuenco
6 february– 11 may, 2014
The rapid technical development of the film medium is an inspiration for the Spanish artist Daniel Canogar. His installations make new use of outdated technologies: celluloid 35 mm film, VHS tapes and analogue television screens. The piece Sikka Magnum, consists of over two hundred DVDs. Films are projected onto their reflective surfaces and mirrored across the room as a mosaic.
The works of Daniel Canogar comments on man’s relationship to the technological development, and on the changes in memory and identity caused by constant upgrades. He imagines that the dated media he uses represents these lost memories and identities. Quadratura refers to the Renaissance technique to create three-dimensional effects on plane surfaces. Daniel Canogar (born 1964) works with photography, video, sculptures and installations.(Fundación Telefónica press-release)
Espacio Fundación Telefónica. Av. Arequipa 1155, Lima
Image: Filcker 2012 Daniel Canogar
14 February - 11 May 2014
The exhibition presents to the Japanese public a number of works which have been chosen from among the more than one thousand six hundred that make up the MUSAC Collection’s holdings and are grouped together under the theme of Lo real maravilloso. Taking its title from a well-known preface to a novel by Alejo Carpentier, the exhibition deals with the problems of today’s world through works that bring together elements of realism and fantasy as tools for developing specific political and social discourses that are inherent in contemporary society.
Using magical realism as a backdrop, it brings together a selection of works displaying a visual language that is common to Spain, Latin America and Japan. The featured works are by artists of these nationalities who use the imaginary of fantasy and, at the same time, play with the perception and treatment of current problems such as identity, communication, the environment and urban transformation in order to devise an approach to a global vision of today’s society with its economic problems and political challenges. By exploring the everyday realm, these representations span several layers of history and culture with the hope of generating knowledge of our reality.
This selection is an effort to explore and reflect on the notions of the marvellous, the supernatural, fantasy, fiction, parody, play and radical imagination as important ingredients of artistic, social and political discourse. While play appears to have pervaded late twentieth-century artistic strategies, imagination, fantasy and fiction have provided meeting places and a framework for thought and action for the urgent political struggles of the present.(AC Española press-release)
Organised by Acción Cultural Española, AC/E, Museo de Arte Contemporáneo de Castilla y León, MUSAC
In collaboration with: Museum of Contemporary Art, MOT, Embassy of Spain in Japan.
Museumof ContemporaryArt, MOT. 4-1-1 Miyoshi, Koto-ku, Tokyo 135-0022 Japan
february 13th - april 19th, 2014
Rómulo Celdrán makes sculptures and drawings of objects from the artist’s everyday life on an exaggerated, larger than life scale. The works in this exhibition, encompass two series, Zoom and Macro.
Working with common and mundane subjects, Rómulo Celdrán observes famed artist Claes Oldenburg, an unavoidable reference, who was first inspired to make large-scale sculptures of objects as projects for imaginary outdoor monuments, eventually conceptualized. Oldenburg’s works are interested in the vision of contemporary icons, simplifying the details in his subjects, making his works whimsical and playfully recognizable. Celdrán’s works differs from those of Claes Oldenburg and contemporaries such as Tom Friedman, in execution. Each work is a meticulous and obsessive process, working with new, often unexpected materials and techniques to best realize each sculpture, adding an element of surprise and wonder to the objects. The highly exacting and impeccable nature of his works obfuscates that all works are handmade.
Rómulo Celdrán’s works have been acquired and are included in esteemed public and private collections such as the Artphilein Foundation, Liechtenstein; The city of Murcia, Spain; Beth Rudin DeWoody Collection, USA; The National Library of Spain, Spain; Biedermann Museum, Germany; Museum of Contemporary Art Vasco, Spain; Genty Latimer Collection, United Kingdom; Contemporary Spanish Engraving Museum of Marbella, Spain; and University of Murcia, Spain. Born in 1973, the Spanish aritst lives and works in Madrid (Hasted Kraeutler Gallery press-release)
Image: Rómulo Celdrán, Zoom XXXIII, 2013
February 13 - May 25, 2014
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.
This exhibition is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía (Spain Arts & Culture press-release)
Seattle Art Museum, SAM Simonyi Special Exhibition Galleries, 1300 1st Avenue, Seattle, WA 98101
Image. Joan Miró,Woman, Bird and Star (Homage to Picasso)
13. February– 30. March 2014
Ibon Aranberri's art presents a critical exploration of the complex interconnections between aesthetics, history, and politics. He devotes particular attention to the exhibition format, which he regards as highly significant aesthetic and spatial event that functions like an organism: the autonomy and individuality of the various works is subordinate to the interplay of the interconnections, affiliations, and contradictions between them.
In his exhibition Finite Location at the Secession, Aranberri slips into the role of curator to implement a reconfiguration of existing works. With a view to the idea of an imaginary landscape, he sets up the large-format photography installation Política Hidráulica (Water Policy, 2004–2010) face to face with the sculpture Found Dead (2007) and the empty casting mold for a bronze sculpture of an "unknown philosopher". The common denominator of these three works lies in their original readings, in which they revolve around themes of the landscape, the monument, and the representation of power. The title Aranberri has chosen for the exhibition, Finite Location, emphasizes the temporary nature of this installation, which contains the seeds of its dismantlement even at the moment it is put together. In designing the presentation, he creates a complex whole that sublates the original contexts and intentions of the individual works while also undermining the cycle of the production, presentation, and commercial valorization of works of art.
Ibon Aranberri was born in Itziar, Basque country, in 1969 and lives and works in Bilbao. Curated by Bettina Spörr (Secessión press-release)
Wiener Secession, Association of Visual Artists. Friedrichstraße 12, A-1010 Wien
Image: Ibon Aranberri, Found Dead, 2007, Courtesy Galería Pepe Cobo, Lima
7 february – 7 april, 2014
The International Biennial of Contemporary Art of Cartagena de Indias is an exhibition of contemporary art with international and national artists.
The Biennial is created with the idea of further enhancing Cartagena as a center for the arts by incorporating the visual arts along with the existing presence of music, literature, and film, and other cultural manifestations already emblematic to the city, for the cultural enrichment of the community.
The Biennial will bring together artists from different countries whose works will be exhibited throughout the city of Cartagena and will include painting, sculpture, photography, electronic and audiovisual media, installation and performance. In conjunction with the Biennial there will be a rigorous academic program of forums, discussions, workshops and site visits to local artists’ studios, among others. Artistic director: Berta Sichel. Spanish artists: Elena del Rivero, Guillermo Paneque, Guillermo Mora, Raúl Valverde, Carlos Schwartz, Nuria Carrasco, Federico Guzmán. (BIACI press-release)
BIACI: Calle 37 No. 13A-19, Bogotá, Colombia
21 january – 13 april, 2014
Cabello/Carceller (Helena Cabello and Ana Carceller) were born in Paris (France) and Madrid (Spain), respectively, and it is in Madrid where they continue to live and work. After graduating in Fine Arts and Art Theory in Madrid, they travelled to Glasgow and then to San Francisco, where they studied at the San Francisco Art Institute. Informed by feminist and queer theories, their work has a distinctive nature, due to their personal approach to these discourses. Primarily concerned with issues of gender (de)construction and their intersection with space and cinema as contexts in which patterns of behavior and the regulation of the gaze are built, Cabello/Carceller have been working together as a team on a regular basis since 1993. They work in video, photography, installation and drawing, and have published essays and reviews about topics ranging from the place of feminist discourses in contemporary art or the artistic collaboration and the role of the artist as critic. They also teach at the School of Art and Architecture, Universidad Europea de Madrid, and have lectured widely, mainly in Spain.
From the beginning of the nineties, we have developed a multidisciplinary work that uses video, photography, writing, sound or the creation of environments with the intention of questioning the hegemonic means of representation, and suggesting critical alternatives to them. Our research is the consequence of a personal experience in a conservative social and artistic context which tried to label us and simplify our work, a common practice when it comes to artists who openly address queer contents or who acknowledge an influence from feminist theories in their work. These are some of the reasons why we decided to engage in ambiguous practices which would try to escape easy definitions without avoiding conflict.
“Un texto es un Texto”contains,videos and installations that seek to connect the revolutionary feminist discourses and release of dissident sexualities in the 70s with institutional critique from art.
Centro Cultural de España en México, Pasaje cultural Guatemala 18-Donceles 97
Colonia Centro Delegación Cuauhtémoc, C.P. 06010 México, D.F
26 january – 30 march, 2014
The LF/S BROOKLYN show will be the first solo exhibition of the Catalan photographer's work in the U.S.
Guillamet's work has been widely exhibited in Europe, most recently at Valencia's contemporary art museum, the IVAM. He was the official photographer for El Bulli, the renowned restaurant of Ferran Adria. 2 large scale photos by Guillamet will also be on display at The Drawing Center in SoHo on January 25th, complementing an exhibition of drawings by Ferran Adria.
Francesc Guillamet born in Figueres, Catalunya. Self taught, he is the author of 1846 photos, the entire ouvre of Ferran Adria of El Bulli Restaurant. He has taken gastronomic photography to an entirely new level and has worked with the greatest chefs in Spain producing more than 70 books. His most recent books are COMER ARTE and MAILLOL, a photographic anthology based on the work of the French Catalan artist Aristide Maillol. His work has been seen internationally in galleries and museums.
LF/S BROOKLYN. 315 Berry Street (between S. 3rd an S. 4th) Williamsburg, Brooklyn
Image: Francesc Guillamet
STAVELOT. Sylvie Macias Diaz “Krystal Fontaine: Installation, drawing, painting” Triangle Blue Gallery
12 january – 9 March, 2014
The artistic production of Sylvie Macias Diaz is characterized by simple and clear lines and composition.
She knows how to depict simple objects in shapes and colors that look like preparatory sketches for something yet to come, something bigger. She also created numerous interesting assemblages and even a very large truck that she schematically built
with identical containers. The playfulness of her work, however, hides a strong social commitment - the intentional grounds of all art that is important.
Opting for toys such as a rifle or rockets are of course no value-free "signs" but "things" that art elevates. She recently made a series of drawings under the title La Disparition (the disappearance) in which she portrays a slow and smooth transformation from “hair” (no face) to a bird trapped in a cage and then to freedom.The critical tone of her work is strengthened by the fact that she does not fall into the trap of using politically correct subjects for her illustrations. The imagination speeds up with her ideas via transformations that evolve like a soap bubble in art history, through her
appropriation of the works of Van Ruisdael, Goya and Bonnard: Les Bulles the Savon (Soap Bubbles). She describes the transformation of 'She-bird' to a 'bubble' like a process that leads to freedom: "From Spain to Amsterdam”, the bubbles represent the fragmented, dissolved thinking that extends itself over a journey through art history".
(Luk Lambrecht,Extract text ’Factory #3’)
Galerie Triangle Blue, Cour de l´Abbaye, 5. 4970 Stavelot. Belgique
Image: Série: Fontaines. Dim : 110 x 77cm. © Sylvie Macias Diaz 2014
CLICHY. “City after the Applause” Pavillon Vendôme. Centre d´Art Contemporaine de la Ville de Clichy
25 january 2014 - 13 april 2014
At this second exhibition staged by the recently established Pavillon Vendôme- Centre d'Art Contemporain de la Ville de Clichy since it was opened in September 2013, five Spanish artists – Carme Nogueira, Julia Montilla, Juan Pérez Agirregoikoa, Francesc Ruiz and Oriol Vilanova – have been invited to produce new works in the context of Clichy. The idea is to produce five tales of the south that come from a close but different tradition based on the conviction of being able to transform artistic production and the political conception of the work through the representation and construction of discourses rooted in the contexts that lead, almost as a consequence, to its very production.
By analysing the city using the investigative methodologies of contemporary artists, it will be possible to build a story with five voices showing Clichy as an area of transit, an open meaning, an articulation of tales of the city. The intention is to provide an alien gaze at a distance from the show, long after the applause, which will serve above all as an aid to reflection, pleasure or a certain emotional intensity: an individual but shared experience, a way of building a more intense and participatory community beyond the conventional spectator.
AC/E is collaborating with the Centre d'Art Contemporain de la Ville de Clichy through its mobility programme by supporting the involvement of the above mentioned Spanish artists. .(AC/E press-release)
Organised by Pavillon Vendôme. Centre d'Art Contemporain de la Ville de Clichy
With the collaboration of Acción Cultural Española .
Pavillon Vendôme – Centre d’art Contemporain, 7 rue du Landy 92110 CLICHY
18 January - 27 April 2014
Celebrated as one of the greatest modern Spanish artists, Joan Miró (1893–1983) created more than ten thousand artworks in a variety of styles across many media, including oils, prints, sculptures and mixed media. In a career spanning almost a century, Miró's vision and energy were vividly reflected in a very personal visual language inspired by the forms and colors he observed in nature. All of his artworks present aspects of a cosmic panorama, synthesized into a personal system of codes representing a microcosm of the artist's interior world.
Through some 86 artworks from Fundació Joan Miró, Barcelona and the Miró family collection, the exhibition reveals Miró's mature style of the 60s and 70s, when women, birds and stars became the major motifs of his artistic expression. (NTMOFA press-release)
National Taiwan Museum of Fine Arts. 2,sec.1, Wu Chuan W.Rd.Taichung.403 TAIWAN.
Image. Joan Miró Foundation
january 13 – march 28, 2014
Elena Bajo was born in Madrid (SP) and lives and works in Los Angeles and Berlin. Her concept-generated and research based practice is concerned with the social and political dimensions of everyday spaces, the strategies to conceptualize resistance, the poetics of ideologies, and the relationship between temporalities and subjectivities. She works individually and collectively across installation, sculpture, painting, performance, participatory events, film, text and writing. She uses exhibition spaces as studios or laboratories where an experimental, itinerant, site-specific performed work can unfold, building improvised actions and choreographed movements. Using art production processes as her point of departure, Bajo works with places as they are given to her and is limited by the materials available in and/or around them. She rearranges these found elements into new compositions, juxtaposing the identities of prefigured social and political spaces and dimensions, creating a, sometimes, cryptic but always revealing new code of signifiers. Bajo presents to her viewers a re-staging of a space and time, of the past, into future events that uses chance, contingency and ambiguity of the moment.
Recent solo exhibitions La Femme Radicale or The Point of No Return, 2013, D+T Project Brussels (BE); The Absence of Work, 2012, Platform3, Munich (DE); The Factory of Forms, 2012, Manifesta Parallel, Genk (BE) and group shows Zero Hours, Art Sheffield 2013 Sheffield UK; Original Doubt at Plataforma Revolver, Lisbon; Throw a Rock and see what happens, Casa Encendida, Madrid; Vers une Hypothese Fort Du Bruissin Xll Lyon Biennial Lyon, Material Conceptualism at Anaant and Zoo Gallery, Berlin; Pacific Standard Time, LAXART, 2012, Los Angeles; Perform Now! Los Angeles 2010. (18th Street Arts Center press-release)
Organized by 18th Street Arts Center and made possible with the generous support of Los Angeles County Arts Commission and The Andy Warhol Foundation for the Visual Arts.
18th Street Arts Center, 1639 18th Street, Santa Monica, California 90404
Image: Fabio Salvo: Elena Bajo, L'Après-Coup (After the Fact), 2013, Performative Sculpture.
24 january – 15 march, 2014
In the paintings of Victor Dolz (Begur, Gerona 1945) appear elderly persons, sick bodies in wheelchairs or beggars on the streets. His way of portraying, undress the characters presenting their most weak side. The paintings are a look into their souls to denounce abandonment, misery and decrepitude. Unsuccessful beings, dramatic moments, bloodstained glances. His paintings of expressionist strokes could well be considered within a black tradition that starts in Spain with the paintings of Goya and flares up in other places with painters like Francis Bacon, Lucian Freud, Chaim Soutine and even Georg Baselitz.
Victor Dolz’s vision is part of the brutal reality of society, pretending to hide it as if it wasn’t part of the everyday life. He gets under the skin of the portrayed persons and revieves them, visualizing the unanswered questions of the individuals he paints. Without pretending to be provocative, his paintings provoke strong reactions by the viewers because of the way they are captured by the glace of the portrayed individuals. . (100 Kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21. 50670 Köln
Image: “Self-portrait” Victor Dolz
January 23 – March 16, 2014
Rice University Art Gallery has commissioned Spanish design studio El Ultimo Grito to create a new site-specific installation.
Based in London, the husband and wife team of Rosario Hurtado and Roberto Feo are winners of the 2012 London Design Medal and internationally known for creating an eclectic range of objects and installations that defy easy categorization.
At Rice University Art Gallery, El Ultimo Grito will expand upon their approach to design and construction in which they rely on their hands, bodies, and readily available, inexpensive materials to “free” them from traditional methods of production. Grito explains this creative mode as, a return to a kind of primitivism, before tools and machines could inform the way we design and think about design, and it is exemplified in their recent installation in a public plaza in Mexico City as part of Abierto Mexicano de Diseño Festival of 2013
Difficult to pigeonhole, El Ultimo Grito also produces objects with high finish that are professionally fabricated, but still revel in ambiguity. Their famous Mico Multi-use Stool (2006) in Design Collection of the Museum of Modern Art, New York (MoMA) is an amorphous shape cast in red plastic with four odd protrusions that allow the object to be flipped and rested four different ways. We always try to reflect on what design is, Feo explains.For us, design is just the processes by which you materialize ideas. When you think about design in these terms, everything comes into design — philosophy, writing, everything — and the disciplines are just mediums within which you work. You no longer need to think about whether it’s art, design, a film or whatever. Hurtado adds, Leonardo Da Vinci did everything. Nobody ever told him, ‘Excuse me, you’re an artist, why are you doing that?”(Rice Art press-release)
Rice Art Gallery, 6100 Main Street, Houston, TX 77005
Image: El Ultimo Grito, Dr. Moreau, 2008, UNO design
21 january- 25 march, 2014
Money has been one of the main issues, if not the most important, in defining a space, a territory. Frontiers created for economic reasons and by financial markets also influence how cities develop. In recent years we have begun to regard capitalism as a failed system and it has probably ceased to be the only possible option. This concept is gaining ground rapidly and can be seen in movements such as ‘Occupy’, but how can all this affect architectural practice? And what kind of proposals can come from architecture in the framework of this exchange of ideas? What would happen if our cities were capable of evolving without money? Can we design new territories that operate on the fringes of economic guidelines? And finally, what role does the architect play in this scenario?
As part of the Think Space Programme of the Zagreb Society of Architects, two Spanish architects, Ethel Baraona and César Reyes, have been invited to a devise a competition for designs. The idea is for pioneering designs that combine architecture, sociology and economy. The three concepts on which the competition is based are territory, culture and environment, and each entry will be judged by very prominent figures on the contemporary architectural scene such as Pedro Gadhano, curator at the Moma.
AC/E is collaborating with the Zagreb Society of Architects through its mobility programme PICE in setting up the third part of the cycle that deals with the environment.Organised by Zagreb Society of Architects. With the collaboration of
Acción Cultural Española. (AC/E press-release)
ZagrebSociety of Architects. Trg bana Josipa Jelačića 3/1. HR - 10000 Zagreb. Croatia
Image: MONEY [The Echo of Nothing]
15 january – 16 march, 2014
Catalan photographer Joan Fontcuberta is the 33rd recipient of the Hasselblad Foundation International Award in Photography, and this exhibition at the “Maison Européenne de la Photographie presents a selection of some of his most iconic photography series 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.Curators: Joan Fontcuberta, Jean-Luc Monterosso, Pascal Hoël
La maison Européenne de la Photographie. 5/7 Rue de Fourcy - 75004 Paris
Image: Joan Fontcuberta
12 december 2013 – 13 april 2014
Isidro Blasco (Madrid 1962) combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. Using digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist’s personal cityscape. His work often references the realm of private or domestic space. Blasco normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that Blasco orchestrates risk comparison with the actual streetscapes or rooms he’s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Isidro Blasco is held in the collections of The Museum of Modern Art in New York, The Whitney Museum of American Art, The Chicago Institute of Contemporary Art, The Baltimore Museum of Art and many International Museums. ( MASP press-release)
Museu Oscar Niemeyer. Rua Marechal Hermes 999. Centro Cívico . 80530.230.Curitiba. PR
Image: "La oleada" Isidro Blasco
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
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.
8 May - 21 July 2013
A leading figure of contemporary art, Manolo Valdés will be at Pera Museum between 8 May and 21 July 2013 with a selection of works that extend from the 1980s to the present. Following the dissolution of Equipo Crónica, the pioneering group of Pop art in Spain, which he cofounded, Valdés continued his career solo as of 1981. His works derive their strength from the masterpieces of the past, bear historic clues, colors, and textures, and make strong references to art history, carrying traces that extend from Velázquez to Zurbarán, and from Matisse to Picasso and Lichtenstein. Stripping a painting from its original context and reinterpreting it through pop art, the artist primarily focuses on figures, objects, and series.
Pera Museum, Meşrutiyet Caddesi No.65. 34443 Tepebaşı - Beyoğlu - İstanbul
Image. Manolo Valdés/marlborough gallery