Spanish contemporary art worldwide
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15 july – 6 august, 2015
Alejandro Carro POP and MARCH & ART present at Galleri Bredgade 22 from July 15th to August 6th two consecutive exhibitions:Alejandro Carro’s So What? and María Cano’s Tuesdays Head start on July 15th and end on July24th:
Alejandro Carro insists on the ways of POP Imposture intervening over his own or others works in diverse formats and techniques, namely: Sketches, Newspaper covers, poems, child art or Goya etchings, child art or Goya etchings, So What? María Cano offers her world of small big thing...s; in Tuesdays Head meticulous leisure scenes featuring smooth figures, charm us with the suggestion of organic shapes. Form is a reason itself. Between July 25th and August 6th, Alejandro Carro’s Black Strokes and Soulscapes by Leandro Alonso:
Carro shows a different face. Black strokes presents possible pictoric atmospheres generated by a sensible interpretation of the signs. Closer to abstraction, obsessed with offering a different view of matter, process and phenomenon. Leandro Alonso votively offers the substance of his “Soulscapes” to poetry. His sculptures distil the essence of ephemera through the accurate balance of the inherent beauty of the materials and the accurately veiled presence of calligraphy.
You’ll also have the chance to discover in “Thoughts so Far” Javier C Temboury’s work, a young artist in full expansive creativity.MARCH & ART is dedicated to the promotion of Spanish art and the representation of artists. During the exhibition, March & ART will anticipate the works of other Spanish artists, facilitate the contact among galleries and aim to participate in projects with other cultural institutions. In Tuesdays Head meticulous leisure scenes featuring smooth figures, charm us with the suggestion of organic shapes. Form is a reason itself. Between July 25th and August 6th, Alejandro Carro’s Black Strokes and Soulscapes by Leandro Alonso:
Carro shows a different face. Black strokes presents possible pictoric atmospheres generated by a sensible interpretation of the signs. Closer to abstraction, obsessed with offering a different view of matter, process and phenomenon. Leandro Alonso votively offers the substance of his “Soulscapes” to poetry. His sculptures distil the essence of ephemera through the accurate balance of the inherent beauty of the materials and the accurately veiled presence of calligraphy.
You’ll also have the chance to discover in “Thoughts so Far” Javier C Temboury’s work, a young artist in full expansive creativity.
MARCH & ART is dedicated to the promotion of Spanish art and the representation of artists. During the exhibition, March & ART will anticipate the works of other Spanish artists, facilitate the contact among galleries and aim to participate in projects with other cultural institutions. (Galleri Bredgade 22 press-release)
Galleri Bregade 22, Bregade 22. 1260 K Kovenhavn
Imagen: Alejandro Carro
18 july – 10 october, 2015
Between the late eighties and early nineties, Antoni Abad (Lleida, 1956) focused on the development of mobile sculptures that, accompanied by photographic sequences, already inquired into the possibilities of the expanded and moving image. After a period as artist-in-residence at The Banff Centre for the Arts (Alberta, Canada), he began working with the videographic medium, without renouncing to the spatial and architectural concerns of his earlier work, as we can see in the piece Últimos deseos (Latest Wishes), 1995, which was presented in 1999 at the Venice Biennale curated by Harald Szeemann. In 1996, following an invitation from Roc Parés for the platform ‘MACBA online’, a project initiated by the Universitat Pompeu Fabra and MACBA, Abad made Sisyphus, a video installation that reinterprets the classic myth and that also unfolds into a new version for the web: his first foray into the Internet. In 1997 he made a further video installation, Natural Sciences, which investigated users’ reactions of empathy and repulsion.
Since then Antoni Abad has focused on digital media, making proposals as emblematic as Z (2001–3), a work that anticipates the use of social networks, where users interact with each other by downloading to their computers a virtual fly allowing for collective and simultaneous interaction. The Z project was presented at MACBA in 2002 and received the Ciutat de Barcelona 2003 award in the Multimedia category.
Based on the above-mentioned investigations, megafone.netpioneers the exploration of other possible social and communicative uses for mobile phone technologies, which were in wide use at the end of the last century.(Pinacoteca do Estado press-release)
Pinacoteca do Estado de São Paulo
Praça da Luz, 2 - 11 3324-1000 | Lg. General Osório, 66 - 11 3335-4990
Image: Antoni Abad. megafone.net
14 june- 4 july, 2015
'Structure of its Theme' is a study of the facade of the iconic Neue Kreuzberger Zentrum (NKZ) building in Kottbusser Tor, in order to convert its antennas into musical notes from which their score lines constitute the structure of the building. The reason for the large number of antennas at the Neue Kreuzberger Zentrum is connected to the origin of the building. Designed by Wolfgang Jokisch and John Uhl, it was built between 1969 and 1974 within the first program of urban renewal in West Berlin.
It was negatively received and completely rejected by the local residents as it meant the demolition of much of the surrounding area’s buildings that had predated and survived the war. Moreover, the new building was designed to shelter a highway that would cross the neighborhood; hence its characteristic shape. NKZ was intended to accommodate the mass of immigrants that arrived as «guest workers» in the 60s and 70s due to the economic boom in West Germany, mainly Turkish people in the case of Berlin.
«I’m interested in the antennas as a connection tool to their culture of origin; like enormous ears or belly buttons which connect to a distant motherland. They become architectural elements, as the inhabitants of the building modify and personalize its appearance through an unintentional act of mere functionality. I am interested in the poetic act of encoding through music the physical facts, in this case obtaining a soundtrack which is defined by the tenants themselves, so fragile and connected to them, and exposed to be easily altered as soon as they have to change home.»
Rubén González Escudero was born in Madrid in 1979, graduated in Visual Arts by the Complutense University of Madrid in 2007. Since then he lives in Berlin and has performed screenings of his videoworks in GlogauAIR (Berlin) and Loop (Barcelona) and exhibited in different places like Casal Solleric in Palma de Mallorca, Galería Kreisler in Madrid, Alte Kindl Brauerei, Tachelles o Werkstatt der Culturen in Berlin. Since 2009, he is part of the artistic collective Dreiecke with Elena García Jiménez and Marina Escorial.
His work comes from a particular view of the world and its context, that he sees as an affecting cultural construction of our perception. His interest lies primarily in the subject and his environment, which he considers not only on a physical level, but also in its broader meaning. In his artistic process, he begins with the observation and exploration of his surroundings, to later analyze them by photos, paintings, drawings or video. This is followed by the deconstruction, contextualization, alienation and abstraction of the results. Ultimately, reality is reconstructed in a new order again, gathered up or associated in an alternative way. The result of this process brings up the question of how unconditional conventions affect our reality. (Vesselroom Project press release)
Vesselroom Project is located in Kottbusser Tor, on the Adalbertstr. 4. Berlin
Image: Ruben González Escudero
3 july – 22 august, 2015
Instituto Cervantes Dublín, PhotoIreland and espai d’art fotogràfic in Valencia present this exhibition by artist Emilio Andrés Codina. This collection clearly displays his robust classic and balanced style.
His work aims to open up the debate on some of the consequences of uncontrolled consumerism in society. His assignment was supervised by Nicolás Llorens, Director of espai d'art fotogràfic, and the international photographer Philipp Scholz Rittermann. Images were taken at the Salton Sea Lake in the State of California, Unites States. This location is considered one of the most contaminated lakes in the country. Sewage and industrial waste from local towns, to name a few, have created a place in decline. A phantasmagorical site where fish lay dead and the damaged landscape contradicts the ideal image of the “American Dream”
The work showcased in this exhibition is the result of the Master's degree in Photography at espai d'art fotogràfic. Students were asked to prepare a photographic project of a professional, personal and artistic nature. Out of all the projects completed at the Master's degree 2009-2010, a panel of judges awarded Emilio Andrés Codina’s work with the financing of a monographic publication, the production of this exhibition in a prestigious venue and its entry into a circuit of international exhibitions that includes Instituto Cervantes. The panel of judges was made up by Francesc Vera, Doctor of Audiovisual Communication from the Polytechnic University of Valencia, Romà de la Calle, Professor of Aesthetics and Art theory at the Polytechnic University of Valencia and Tomàs Llorens, art critic.
Emilio Andrés Codina (Villanueva de Castellón, Spain 1953) trained as a photographer at the espai d’art fotogràfic photography school in Valencia. He undertook a Diploma in Photography (DEF) and completed his training with the Master's Degree in Photography. Emilio Andrés chose to specialise with the Arquitecture Photography workshops by Juan González Fornes and Travel Photography in National Geographic by Tino Soriano. During his learning process Emilio devised his first solo exhibition entitled No places (No-lugares) in 2009 and participated in a group exhibition on Arquitecture in 2010. (I. Cervantes press-release)
Instituto Cervantes - Sala de Exposiciones. Lincoln House, Lincoln Place. 2 Dublin
Image: Emilio Andres Codina
BERLIN. Rafel G. Bianchi, Martin Llavaneras, Teresa Solar Abboud “Mount Analogue” invaliden1 Galerie
20 june - 01 august, 2015
Mount Analogue is an unfinished book by René Daumal (1908–1944), which was published in 1952. It is a fictional story based on an enthusiastic search for a mountain that is beyond reach since it occupies a parallel dimension. It is protected by an invisible shell and held by an ontological and metaphysical condition impossible to prove. The epic narrative of its conquest begins a speculative exercise on the limits of knowledge, understanding and belief. Daumal’s sudden death of in 1944 left the novel unfinished.
The proposals by Rafel G. Bianchi (Olot, Spain, 1967), Teresa Solar Abboud (Madrid, Spain, 1985) and Martin Llavaneras (Lleida, Spain, 1983) are not an illustrative approach to Mount Analogue, quite the contrary. In this regard, Daumal sets a point of departure that, far from imposing itself, remains the possible tone under which to thread an exhibition focused on the management of the incomprehensible.
Rafel G. Bianchi’s work implies a constant review of the artist condition. He develops a metareferential discourse where commitment to humor, irony or game produces a conceptual charge based on antagonistic combinations: success and failure, hope and frustration, knowledge and ignorance, relevance and futility… After a euphoric reading of Mount Analogue, Bianchi recoups old works to confront them with new productions. This generates a set of postcards, photographs and small-format oil paintings that construct a fabulous imaginary, inspired by the perceptive impossibility of Daumal’s scenarios. In addition, the artist adds a curious narrative twist: he extracts phases from the book and titles his artworks with them, a subtle detail that helps questioning the images. While the postcards and photographs show moments related to the anticipation of a physical destiny, the oil paintings bring back two key figures for the artist: Joseph Albers, a reference artist for Bianchi and his research on failure, and Miss Pancake, the protagonist that paints mountains in the novel.
Teresa Solar Abboud’s work uses an audiovisual language and sculpture to explore issues like those of the emotional construction of landscape, the physical qualities of the image or those of nonverbal communication languages. For the exhibition, the artist presents Ghost (2015), a new production linked to her research on sign language. This thesis combines three independent but complementary videos where she includes a series of close references to an extreme vision of narrated experience. First, we witness the sign language gestures corresponding to an “Air Malaysia Ghost Plane” in direct reference to the mysterious disappearance in the middle of the ocean of the Malaysia Airlines Flight 370 more than a year ago. Next, there is one hand exposed to the optical effects of the Schlieren machine, an apparatus through which we are able to visualize the density of heat produced by bodies or fluids. While we are observing the chromatic changes of the image, a brief fragment of Joseph Conrad’s Heart of Darkness challenges us about life in the wilderness. Finally, some hands are modeling in clay, under the same codes of sign language, the word “ghost”, thus giving a material translation to a gesture that exhibits illusory and immaterial traits. Here, a quote of Austerlitz de W. G. Sebald makes a reference to the building of seventeenth century defense fortifications. In short, these three gestural actions developed by the artist expand toward contexts related to unverifiable, inaccurate or directly impossible suppositions.
Martin Llavaneras’ work brings forward a conceptual approach to sculpture using processes where performance, the body and physical endurance play an important role. For this occasion, the artist presents a new installment of The Power of the Press Belongs to Those Who Can Operate One (2014–2015), a long-term project focused on the recovering of lithographic stones that, broken by their continuous use, are restored by Llavaneras through the application of his graphic interventions. This operation points out to a gradual process of erosion, the product of the pressure that the lithographic press applies to each copy, that eventually causes the physical breakdown of the stone. In this sense, the stone claims its double status: as a mechanism of technological production and, at the same time, as organic sediment, combining, therefore, fossilized cultural remains with natural fossils. We witness an inseparable fusion that achieves its ultimate condition: that which, as defended by the anthropologist Bruno La Tour, depends on both human as well as non-human properties. The exhibition shows two of his recent lithographic stones, objects of great analogic precision that the artist brings face to face with the current systems of digital representation, establishing, therefore, several similarities between the micro-pore of the stone and today’s micro-pixel.
In short, Mount Analogue is an exhibition that comes from a share fascination with René Daumal. It develops a three-points-of-view scheme where each of them focuses on discourses that aim to explore unstable perceptions of reality. Although all of them take enough distance from the novel, I can help noticing some pleasant coincidences among the artists and some of the members of the expedition that take part of Mount Analogue. I am thinking, for instance, about Judith Pancake, high-range mountain painter, Ivan Lapse, a notable linguist, or the brothers Hans and Karl, acrobatic climbing specialist. Curator: David Armengol (invaliden 1 press-release)
invaliden1 Galerie. Schönleinstr. 25. 10967 Berlin
Image: Rafael G. Bianchi
12 june - 04 september, 2015
French artist Eltono (1975) worked in Madrid for the last decade, then in Beijing for four years and now lives in southern France. Flâneur, stubborn walker and chronic observer, for years Eltono has used public space as support, studio and inspiration source. His sensitivity to what is happening around him and his knowledge of the nature of the street – its whims and its unpredictability – are his main tools when generating works.
He has worked in the street of more than ninety cities and has shown his works in many world-renowned galleries and museums, including the Tate Modern, the Somerset House, Fundacion Miro and Artium Museum. Over the last twelve years, the development of Eltono’s work in galleries has focused on finding solutions to address the problems of showing public art in private indoor spaces. (I. Cervantes press-release)
Instituto Cervantes - Salle d expositions / Sala de Exposiciones. 7, Rue Quentin Bauchart. 75008 París
NEW YORK. Andrés Jaque “COSMOS” MoMA PS1 23 june – 7 september, 2015 The Spanish architect is the winner of the MoMA PS1 Young Architects Program (YAP) in New York. Now in its 16th edition, the Young Architects Program at MoMA and MoMA PS1 has been commi
23 june – 7 september, 2015
The Spanish architect is the winner of the MoMA PS1 Young Architects Program (YAP) in New York.
Now in its 16th edition, the Young Architects Program at MoMA and MoMA PS1 has been committed to offering emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation at MoMA PS1 that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. Andrés Jaque, drawn from among five finalists, will design a temporary urban landscape for the 2015 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
The winning project, COSMO opens at MoMA PS1 in Long Island City in late June. This year’s unique construction, COSMO, will be a moveable artifact, made out of customized irrigation components, to make visible and enjoyable the so-far hidden urbanism of pipes we live by. An assemblage of ecosystems, based on advanced eliminating suspended particles and nitrates, balancing the PH, and increasing the level of dissolved oxygen. It takes four days for the 3,000 gallons of water to become purified, then the cycle continues with the same body of water, becoming more purified with every cycle.
Andrés Jaque addresses the statistic put forth by the United Nations, estimating that by 2025 two thirds of the global population will live in countries that lack sufficient water. COSMO is designed as both an offline and an online prototype. Its purpose is to trigger awareness, and to be easily reproduced all around the world, giving people access to drinking water, and to a dialogue about it. But above all, COSMO will be a party-artifact moving in whatever direction the party happens to take it. (MoMA press-release)
MoMA PS1, 22-25 Jackson Avenue, Long Island City, NY 11101
Image: COSMOS, Andrés Jaque
june 12- july 2, 2015
"Spatial Articulation" is an art exhibition all about how color, patterns, and geometry can transform a space. The artworks featured include kaleidoscopic maelstroms, arabesque flowers, minimalist geometries, and wispy, hushed abstractions. The techniques used by each artist allow the colors and motion of their works to latch onto the viewer’s preconceptions in order to redefine the canvases and even the rooms they occupy. In this regard, the viewer travels from piece to piece while also traveling from past to future, morosity to giddiness, and even nation to nation: each through sheer association. (Agora press-release)
Agora Gallery. 530 West 25th Street, New York, NY 10001
Image: La Calma. Virginia Saldaña
23 may – 2 august 2015
Global interconnectedness due to the growing movements of travel and migration, and to increasingly complex flows of goods and data, raw materials and capital has made often ambivalent changes to the reality of life in various regions of the world. The developing processes of globalisation are leading to ever new questions, experiences, images and formal languages of globality, which are manifest in the personal and social reality of life. The international group exhibition Worlds in Contradiction – Zones of Globalisation presents works by 16 artists from Europe, Asia, America and Africa who investigate global and local contexts within diverse thematic fields. In research-based and documentary, but also narrative, poetic and thought-provoking works they reflect on aspects of mobility, the ambivalent links between production, transport and consumerism, the essence of global information and knowledge networks, or the effects of the global economy on work and our environment.
With Michael Blum, Christian von Borries, Bureau d’études, Cristina Garrido, Andreas Gursky, Kasmalieva & Djumaliev, Rosmarie Lukasser, Eva and Franco Mattes, Nyaba Léon Ouedraogo, Oliver Ressler, Allan Sekula and Noël Burch, Gabriele Sturm, Thomson & Craighead, Gruppo Tökmag, Wang Qingsong, Yin Xiuzhen. Curators: Julia Brennacher, Jürgen Tabor (Galerie im Taxispalais press-release)
Galerie im Taxispalais. Galerie des Landes Tirol. Maria-Theresien-Straße 45. 6020 Innsbruck
Image: Cristina Garrido
28 may – 1 august, 2015
In his second solo exhibition at Mario Mauroner Contemporary Art Vienna Carlos Aires confronts the viewer with shocking images of catastrophes, wars and violence, everyday icons and attributes of a capitalist society. Dazzled by the shining light of the banknotes and the gleaming gold, the complexity of Carlos Aires’ works is often only revealed upon second glance. This is also true, for example, in the exhibition’s eponymous work „Sweet Dreams (Are Made of This)“, in which the artist cuts the text of the 1983 Eurythmics classic out of banknotes from the 20 strongest financial markets and poses the question whether our dreams are made of money. The letters and flies made of laser cut banknotes and fastened with gold pins call to mind entomological preparations and underscore our mortality. Aires explains the vanitas motif as follows: „Love is in the Air“ deals with the dark side of our daily melodrama: the same finger that switches off the computer screen on which you have just watched horrible images of a war, afterwards rings the bell of a private nightclub.“
Carlos Aires (Ronda, Málaga 1974) currently lives in Spain, his work developped his aesthetic of ambiguity and analytical attitude to the way we perceive the reality around us. From collage to photography, video and performance, shows a provocative art, full of concern and skepticism. We dipped into a disturbing and questionable reality, where regular myths lose their meaning, the story takes new nature and gives space to the truth lies halfway. Carlos Aires liked propose games to the public, to find out how many and what might be the different ways of reading an image, a video, a performance, to interpret a situation. (Mario Mauroner press-release)
Weihburggasse 26. 1010 Wien. Austria
Image.Carlos Aires. Sweet Dreams (are made for this)
19 june - 17 december, 2015
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service, allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed.
"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, between animate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Stiftung-mercator press-release)
Mercator Centre Berlin Neue Promenade 6. 10178 Berlin
Imagen: After Schengen, Ignacio Evangelista
2 june - 2 august 2015
Artists: Simon Callery, Adriano Costa, Deb Covell, Angela de la Cruz, Lydia Gifford, David Goerk, Alexis Harding, Jo McGonigal, DJ Simpson, Finbar Ward.
Castlefield Gallery is pleased to present Real Painting, an exhibition of new and existing work by ten artists working nationally and internationally including 2010 Turner Prize nominee Angela de la Cruz and 2004 John Moores Painting Prize winner’s Alexis Harding. Curated by Deb Covell and Jo McGonigal the exhibition emphasizes the essential grammar of painting, considering not necessarily what a painting means but what it ‘does’.
Each artist shares a purposeful interest in the material components of painting and its ability to assume its own presence, rather than being symbolic of something else. Slipping between painting and object, the visual and physical, the work in the exhibition highlights the expressive capacity of the materials and processes speciﬁc to painting to be sites of investigation in their own right.
Throughout the exhibition painting is transformed from subject matter to object matter, transcending its flat surface to fix the viewer’s attention on ‘seeing’ as both a visual and physical encounter.
Angela de la Cruz (b. 1965, Galicia, Northwest Spain) lives and works in London, she is represented by Lisson Gallery, London. De la Cruz received a BA in Philosophy from the University of Santiago de Compostela in 1989 before moving to London where she graduated from Goldsmiths College with a BA in Fine Art (1994) and an MA in Sculpture and Critical Theory from the Slade School of Art (1996). She was nominated for the Turner Prize in 2010 the same year as her solo exhibition at the Camden Arts Centre, London. De la Cruz was selected for Adventures of the Black Square: Abstract Art and Society 1915-2015, Whitechapel, London (2015). Selected solo exhibitions include: Escombros, Fundación Luis Seoane, Spain (2015); Larger Than Life, Galerie Thomas Schulte, Berlin, Germany (2015); Angela de la Cruz: Transfer, Lisson Gallery, London (2011); and Angela de la Cruz: Burst, Lisson Gallery, Milan (2014). Her work is held in numerous private and public collections including: Tate, England; the British Council Collection; Contemporary Art Society Collection, England; Collection of Contemporary Art, Fundacion La Caixa Fundacion, Spain; National Gallery of Victoria, Melbourne, Australia; FRAC Nord Pas De Calais, France. (Castlefield Gallery press-release)
Castlefield Gallery, 2 Hewitt Street. Manchester, M15 4GB
Image: Angela de la Cruz, Mini Nothing (Pink), 2010. © the artist & Lisson Gallery. Photo Ken Adlard.
27 june – 24 july, 2015
A defragmentation of the morphology of the city and a psychological study of the multiplicity of realities.
In this new series Lola Del Fresno includes a projection/sound installation, paintings and sculptures. She likes to explore the pull between superficial reality and inner emotions.
The paintings are imbued with a powerful understanding of the subjects. No poses are involved, no superficiality. The subjects reveal their true nature in a free and unconscious way.
Lola Del Fresno works are mostly life-sized figures. They range from 10”x10” to 103”x61”. She works on paper that is laid over canvas, and mounted on wooden frames. She uses acrylic, graphite, inks, and resins to create the images.
The purpose of representing people is a way to magnify their existence and their values. I treat these images as sacred forms, almost as Icons. I try to avoid any social element to make a more universal statement. These are confrontational pieces that face the viewer with the experience of the inner self, the artists says. (825 gallery press-release)
LAAA/Gallery 825, 825 N La Cienega Blvd, Los Angeles, CA 90069
Image: Lola del Fresno
6 june – 21 september, 2015
Built out of waste materials, the 95sqm canopy promotes cycling and allows 500,000 visitors to chill out under NY's biggest bouquet.
Izaskun Chinchilla Architects is an architectural Spanish office, winner of the City of Dreams Competition 2015. The first non american winner in the history.
Their winning design takes inspiration from nature to create an innovative and flexible solution that directly engages with local communities and familiar materials. Flower structures such as those found in hydrangeas have the ability to respond to the natural environment, growing and morphing to remain in balance with nature. They believe architecture must adopt a similar responsiveness, adapting to uncertain budgets, social change and ecological dynamics naturally, beautifully and intuitively.
The proposal is intended as a sheltered gathering place for people to meet, learn about the arts programs on the island, engage with performances or lectures, and the historic context of Governors Island.
This project will be fully funded through a Kickstarter campaign so if you want to enjoy the pavilion this summer please help them to make it happen. (Figment project press-release)
Trust for Governors Island. 10 South Street. Slip 7. New York, NY 10004
Image: Organic Growth Pavilion by Izaskun Chinchilla Architects, Madrid/London
24 june - 7 september, 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 Rio de Janeiro, Rua Primeiro de Março, 66 CentroCEP: 20010-000 / Rio de Janeiro (RJ)
Image: Pablo Ruiz Picasso. Seated Woman Resting on Elbows 1939. Museo Nacional Centro de Arte Reina Sofía
4 June - 11 July 2015
The Passerby is a series of cast polyurethane sculptures based on the familiar synthetic tarpaulins that are used to shelter and protect goods and people. Partegàs transforms these resistant materials into translucent and ethereal objects of beauty. Made by placing resin directly onto tarpaulins and adding a little pigment, they show their sources’ creases and wear. Hung in rows in the front gallery, they form an environment reminiscent of a closed market street that has been transfigured into a space of fractured light and subtle color.
In the backspace, labels are scattered around buckets, and bins. The realism of the scene diminishes on closer inspection: the containers – cast in pigmented resin – appear handmade, while the labels – silk-screens of found airline tags, and postage and courier stickers – are over-sized. A container’s role is to support other materials; yet, here they are given center-stage; no longer secondary objects, they are now crafted, unique subjects of our attention. Inside the containers and spilling out over the floor of the space, the labels act as traces of the journeys of people and goods, accounts of people and objects uniting and separating.
Ester Partegàs (La Garriga, Barcelona, 1972) lives and works in Richmond, VA. She holds an MFA from the Universitat de Barcelona and has completed postgraduate studies in Multimedia at Hochschule der Künste, Berlin. Partegàs is Assistant Professor in the Sculpture + Extended Media Department at Virginia Commonwealth University, Richmond. Exhibitions include: Species of Spaces, Museum of Contemporary Art, Barcelona (2015); In __ We Trust, Columbus Museum of Art, Columbus, OH; You Are Here, Anderson Gallery, VCU, Richmond, VA (both 2014); Samesation, DA2 Domus Artium, Salamanca, Spain (2013); Keeping it Real, Whitechapel Gallery, London (2011); Less World, Christopher Grimes Gallery, Santa Monica, CA (2010); Rebava, Galeria NoguerasBlanchard, Barcelona, (2009); The Invisible, The Aldrich Museum for Contemporary Art, Ridgefield, CT (2008); and Invaders, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2007). (Foxy Production press-release)
FOXY PRODUCTION. 623 W 27 ST. NYC 10001. USA
Image: Ester Partegás
24 june - 13 september, 15
This summer new works by some of the promising names from the Belgian art scene will be on display in the Centre for Fine Arts. Of the 250 dossiers submitted, an international jury selected ten artists, all of whom work in Belgium and are under 35 years of age. In September the jury meets to reveal the winners of the Young Belgian Art Prize. Since 1950 this is the very highest distinction for young artistic talent in Belgium. The finalists are in competition for three prizes. During the exhibition you can vote for your favourite artist via www.youngbelgianartprize.com - this will increase his/her chances of winning the ING Public Prize.
Selected artists: Hamza Halloubi, Katrin Kamrau, G. Küng, Lola Lasurt, Hana Miletic, Max Pinckers / Michiel Burger, Emmanuelle Quertain, Emmanuel Van der Auwera, Hannelore Van Dijck, Floris Vanhoof.
Lola Lasurt (Barcelona 1983) “My work comes from graphical material that testify a period of time that correspond at that of my previous generation, thus a temporal space that I have never occupied. I work with displaced time aspects, those which make us appeal to the past at present when it becomes difficult to embrace. I work with the time just before I was born and with the paradoxes of an epoch that was to suppose lots of changes. It is about having a concrete and stable case to study. I vindicate personal historical time working from my own family's albums where referents operate as narrative structures. I also work with concrete editions that were instructions dictated by hegemonic culture. I work with the last layer of things which deal with appearances in two different ways; it can be even through a phenomenon of recognition or, on the contrary, through a phenomenon of strangeness unable to approach the rare in familiar terms. Taken all together, it marks a return to the past that establishes a dialogue between our current beliefs as a collective which are still in a state of confusion posing questions about what it is that makes up now our identity” (Bozar press-release)
Rue Ravenstein 23, 1000 Ville de Bruxelles, Belgium
Image: Lola Lasurt
25 June - 18 October 2015
Serpentine reveals today designs for the 15th annual Pavilion. The render by Madrid-based architects selgascano shows an amorphous, double-skinned, polygonal structure consisting of pane als of a translucent, multi-coloured fabric membrane (ETFE) woven through and wrapped like webbing. Visitors will be able to enter and exit the Pavilion at a number of different points, passing through a ‘secret corridor’ between the outer and inner layer of the structure and into the Pavilion’s brilliant, stained glass-effect interior.
Serpentine Galleries Director, Julia Peyton-Jones and Co-Director Hans Ulrich Obrist said: ‘We are proud to work with selgascano in this, the 15th year of a commission unique in the western world that continues to showcase some of the boldest and innovative designs in contemporary architecture internationally. In keeping with their reputation for playful designs and bold use of colour, selgascano’s structure will be an extraordinary chrysalis-like structure, as organic as the surrounding gardens. We can’t wait to go inside to experience the light diffused through the coloured panels like stained glass windows. It will be a place for people to meet, to have coffee and to experience the live events we put on throughout the summer.’
Since the commission was launched in 2000 by Director Julia Peyton-Jones, the annual Serpentine Pavilion, unique in terms of its conception, delivery and funding model, has been designed by some of the world's greatest architects, including Zaha Hadid, Oscar Niemeyer, Rem Koolhaas and Cecil Balmond, Frank Gehry and Jean Nouvel. Projects have ranged from SANAA’s floating, aluminium cloud in 2009 to Peter Zumthor’s zen-like garden enclosure in 2011 to Smiljan Radić’s shell-like structure in 2014. In keeping with the criteria of the commission, this will be the first built structure in England by selgascano.
The architects describe their design: “When the Serpentine invited us to design the Pavilion, we began to think about what the structure needed to provide and what materials should be used in a Royal Park in London. These questions, mixed with our own architectural interests and the knowledge that the design needs to connect with nature and feel part of the landscape, provided us with a concept based on pure visitor experience. We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, color and materials. We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it.
Each entrance allows for a specific journey through the space, characterised by colour, light and irregular shapes with surprising volumes. This is accomplished by creating a double-layered shell, made of opaque and translucent fluorine-based plastic (ETFE) in a variety of colours. At the heart of the Pavilion is anopen space for gathering as well as a café. We are also very much aware of the Pavilion’s anniversary in our design for the 15th annual commission. The structure therefore had to be, without resembling previous Pavilions, a tribute to them all and a homage to all the stories told within those designs.” (Serpentine Gallery press-release)
Serpentine Gallery, Kensington Gardens, London W2 3XA, United Kingdom
Image: SelgasCano, Serpentine Pavilion 2015
june 23 - august 14, 2015
Paul Kasmin Gallery is pleased to announce "A Moment," an exhibition of recent paintings by Brooklyn-based, Spanish painter Santi Moix on view at 297 Tenth Avenue from June 23 to August 14, 2015. This is the artist’s sixth solo exhibition with the gallery since 2007.
Santi Moix’s works have long been characterized by their accumulation of saturated biomorphic forms that are simultaneously figurative, narrative and abstract. In this vein, these new canvases mark a continuation of his signaure collaged aesthetic. Moix works quite rapidly, exploring inspirations, ideas, and stories through a mass of studies in watercolor on paper pinned to the walls of his studio in Brooklyn’s Navy Yard. In a recent essay on the artist, contemporary art critic and curator Luca Beatrice cited what comes of this process as “generous, eclectic, no-holds-barred, pure energy,” and it is these energized studio materials that now serve as the basis for new compositions. Here, Moix returns to the central themes in his oeuvre, evoking plant and animal life by sifting through the breadth of studies and trial works on paper then collaging them onto large canvas backdrops. The result is an intricate, ethereal world that is Moix’s own.
Santi Moix was born in Barcelona in 1960. Recent solo exhibitions include “Brooklyn Studio,” M77 Gallery, Milon, Italy; “Santi Moix on Huckleberry Finn: Watercolors and Wall Dryawings,” Paul Kasmin Gallery, New York; and “Las Aventuras de Huckleberry Finn,” Centro Cultural Fundación Cïrculo de Lectores, Barcelona, Spain. In 2013 he was commissioned for a 200-foot mural at Prada’s SoHo Epicenter. His work is included in numerous private and public collections including the Brooklyn Museum, New York and Museo de arte Moderna de Sao Paulo, Brazil. Moix lives and works in Brooklyn, New York. (Paul Kasmin press-release)
Paul Kasmin Gallery. 297 Tenth Avenue, New York, NY 10001
Image: Santi Moix. Palebufranse, 2011
5 june – 18 july, 2015
Eva Navarro (Madrid, 1967) belongs to the mainstream of fine art that find their expression in figurative painting, but with a very individual style. Her works are realistic, but still you cannot recognize the figures she paints. They have turned their back to the spectator. By using special colours and empty fields around the presented persons, it looks like they are excluded from reality.
Often it seems they have this far-away look at the distance, scanning the horizon where everything looks empty, anyway for the spectator. The persons themselves look as if being deep in thoughts. As in reflection, Eva travels a lot, making photographs of different persons that she takes as a starting point for her work. The paintings tell a story and they stimulate your imagination. (Alicia Winters press-release)
ALICIA WINTERS GALERÍA. Walstraat 60, 6811 BD Arnhem, The Netherlands
Image: Eva Navarro
23 june – 12 september, 2015
Curated by SCAN (Spanish Contemporary Art Network)
In an image saturated age, digital media, internet, television, film, and video entertain, inform and surround us every waking hour. Hand-held technologies have made us not only incessant consumers but also constant maker/editors of images. The artistic value of the painted image has been in crisis for a century and, particularly in recent decades, painting has been relegated to the periphery of contemporary art discourse. Amidst numerous and expanding media and visual technology, what is the role of painting now?
SATURATION looks at the persistence of painting in contemporary artistic production. Coinciding with the 100th anniversary of Kazimir Malevich’s Black Square, SATURATION explores the range, methods and means of painting production today through the work of seventeen Spanish painters in three simultaneous London exhibitions.
FIGURE/GROUND at The Fitzrovia Gallery from 23 june until 31 july: ROSANA ANTOLÍ, ANA BARRIGA, GLORIA CEBALLOS, VICTORIA IRANZO, KEKE VILABELDA, RUTH MORÁN, PEPA PRIETO, SANTIAGO YDAÑEZ
Figure/Ground explores readings of narrative and sub-narrative in works on canvas, paper, acrylic, and concrete. Drawing on techniques from film and photography, painters re-assemble appropriated imagery to overlay and alter associations, spatial and narrative hierarchies and meaning. Cut-and-paste, collage, scale distortions, photographic transfers and animation and video become tools for destabilising painting conventions and introducing fluidity and ambiguity to the medium. What is foreground, what background? Is the viewer witness to the depicted event or a party to the act of witnessing itself? This reading of figuration elides such distinctions, offering both and neither.These borrowed images are neither stable nor stealable. The fact of paint on a ground stands for itself alone.
ADD SUBRACT DIVIDE at COPPERFIELD Gallery, 16th - July to 12th of September: GUILLERMO MORA, MARÍA ACUYO, LOIS PATIÑO, RUBÉN GUERRERO, SONIA NAVARRO, ALAIN URRUTIA
Add Subtract Divide sees artists revisit the abstract painting tradition with new media, processes and experimentation. Some works take physical issue with the discipline by disassembling or reconfiguring canvas and stretcher, preferencing material qualities over any notion of the picture plane. The historical reading of flatness in the language of Modernist geometric painting is investigated using trompe l’oeil and collage, flickering between picture plane and referent. Other works experiment with scale and non-traditional materials to re-position otherwise familiar forms, investing them with political or gender narratives; Geometric abstraction is reworked in stitched lines and layers of applied felt, transforming the medium and linking it to other traditions of making.
PERFORMED PAINTING at The RYDER Project 17th- July to 12th of September: ALAN SASTRE, VICKY USLÉ, FERRÁN GISBERT, ROSANA ANTOLÍ
Performed Painting explores the act and re-enactment of painting whether directly on the gallery wall or abstracted into video or film. Physical and visual limits are probed and tools or technologies deployed to extend the artist’s reach, expand the extent of a brushstroke or amplify the colour spectrum visible to the human eye. The image can resemble a movement-map for the eye to wander over and revisit, trailing the artist’s hand. This is action painting - or an idea of action painting we can no longer be certain (SCAN press-release)
The Fitzrovia Gallery, 139 Whitfield St, London, W1T 5EN
Galería Copperfield, 6 Copperfield Street,London SE1 0EP
The Ryder Projects, 19a Herald Street, London E2 6JT
Imagen: ‘Mitad tú, mitad yo (Pedro) Guillermo Mora-2015
19 june – 11 october, 2015
This summer, over 20 sculptures from international museums and private collections by the Spanish artist Joan Miró (1893-1983) will adorn the freely accessible gardens of the Rijksmuseum. Following Henry Moore and Alexander Calder, this is the third in a series of five open air exhibits that are made possible in part by the BankGiro Loterij.
Joan Miró was born April 20, 1893 in Barcelona. He died December 25, 1983 at Calamayor near Palma de Mallorca. A major figure of twentieth century art, Joan Miro assert throughout his life an absolute freedom avoiding any agreement - Cubist, Surrealist, Abstract - that could lock him up. For six decades, the Catalan artist author of a language of signs of great wealth, painter and poet, engraver prolific, sculptor, ceramicist, illustrator and designer of sets and costumes for stage, will invent his world.
At 14, he studied at the Art School of Llotja. From 1912 to 1915,he enrolled in art school anti-academic Francesc Gali and devoted himself entirely to painting. By the early 20s, he shared this year between Paris and Mont-Roig, near Tarragona, and often very quickly the Surrealist group. In a continuing effort to pictorial research, he realized, by 1929, its construction, three-dimensional works made â€‹â€‹with wood, iron, objects founded, cut and assembled to announce his sculptures.
In 1940 he began work in ceramics, in Barcelona, with his friend Llorens Artigas (many vases and plates enamelled). Then he made his first sculptures in bronze and terra cotta. Exhibited in major museums, two foundations open to the public now bear his name. (Rijksmuseum press release)
Rijksmuseum Amsterdam. Postbus 74888. 1070 DN Amsterdam . The Netherlands
Image: Joan Miró, 213 Personnage, 1970 © Maeght Fondation (detail)
24 may - 16 august, 2015
Joan Miró “A força da Matería” focuses on the artist's interest in the matter, which served both to learn new techniques and to get the purity of art. The exhibition, organized under the direction of Rosa Maria Malet, includes paintings on canvas, paper and other props, sculptures and graphic works made between 1931 and 1981.
The show centred on Miró’s interest in different materials, which helped him master new techniques and reach the purest sources of art. It included paintings on canvas, paper and other media, sculptures and prints made between 1931 and 1981.
Instituto Tomie Ohtake, Faria Lima 201. Pinheiros. Sao Paulo.
Image: Joan Miró: Femme et Oiseau dans la Nuit, 1947
12 june – 10 july, 2015
In his project ‘Transmongolian,’ Alvaro Laiz (Spain, 1981) depicts a world of solitude and crushed dreams within the Mongolian community of homosexuals and transgender. The Secret History of the Mongols, considered to be the oldest Mongolian language literary work, is the single significant native account of Mongolia’s rise to power around the 12th century AD. It recounts how the warrior Genghis Khan was able to organize more than thirty tribes battling for control, and how once in power, with the objective to augment his population and face his enemies, declared homosexuality illegal under death penalty. Today, more than eight hundred years later, Mongolia is a sovereign country with the lowest population rate in the world, lower than two inhabitants per square kilometer and being a homosexual, continues to be taboo. (I.Cervantes press-release)
Palazzo Ziino. Via Dante 53. 90141 Palermo.(ITALIA)
Image: “Transmongolian” Alvaro Laiz
5 june - 23 august 2015
The University Museum and Art Gallery is delighted to collaborate with Spanish artist Alberto Reguera on Blue Expansive Landscape. This exhibition highlights a borderless space that is woven together by the artist’s paintings, sculptures and installations. Reguera’s work across various media shares a similar visual structure formed through an expansive use of the colour blue. Diverse stylistic elements are then linked to create a single aesthetic and conceptual unit.
Born in Segovia, Spain, in 1961, Alberto Reguera now divides his time between Paris and Madrid. His work originates in his admiration for the French lyrical abstract artists; in his evocation of the Romantic landscape painters; and in the spectacular vistas of his native Castile. Reguera's abstract landscapes represent fragmented elements of nature that he constitutes via a discrete series of shapes and colours. Tones and textures multiply as he experiments with the colour blue's position in space. Depending upon the play of light, greater nuances and ranges appear.
Reguera’s overall intention is poetic—in his use of painting materials, in the luminous layered textures and in his affirmation of the physical act of painting. He stresses a sense of visual depth and offers a three-dimensional view that transforms the two-dimensional medium into sculptural pieces. Several of the ‘painted objects’ are installed on the ground, so as to form an installation of paintings. Within this construct of blue, each painting is an integral aspect of a larger and more complex work. Multiform volumes offer various views, and the work extends across a flowing space seeking equilibrium with the material.
This exhibition has been generously supported by the Spanish Consulate in Hong Kong and Macau, and it received corporate sponsorship from Blue Move and El Corte Inglès. (University Museum press-release)
University Museum and Art Gallery, The University of Hong Kong
90 Bonham Road, Pokfulam, Hong Kong
Image: Oriol Nieto "Deslizamientos pictóricos" Alberto Reguera, 2010
5 june – 5 july, 2015
As the inaugural exhibition for ARTGANG gallery, we present to you an exhibit featuring paper works from two important artists who have made their name in the streets of Europe and the world, who also have a strong studio practice.
Miss Van is a name that is known throughout the street art world as one of the pioneering female figures in this scene. Originally from Toulouse now residing in Barcelona, Miss Van's work is iconic. She has exhibited extensively for decades in Europe, USA and Asia. Her work is renowned for its figurative representations of women known as the poupées (dolls). These female figures are strong, sexy but can also be melancholy, sad and determined. They have their own personalities and emotional complexity. Miss Van has chosen to rebel against male supremacy by exhibiting her femininity in a raw and unabridged manner. She paints to represent herself rather than all women. Her strong lines render fine subtleties and sensuality in her work. Miss Van has evolved with her work becoming more complex as the years pass. She has created a body of work that is recognized worldwide and represents a strong feminine point of view, which continues to create a conversation and break barriers.
Nuria Mora is based in Madrid and is known for her work with geometric patterns, abstraction and color. She originally comes from a fine arts background but started working on the street because of its direct communication to the public and the experimentation it allowed her to do with her visual language. Nuria's motif - the key (La Llave) is the starting point of her abstractions. Her motivation is to invite reflection and calm and also to give value to the surface or environment she is working in. Her street practice informs her studio practice and vice versa. Constantly experimenting and pushing barriers with her work, Nuria proposes a unique artistic vision that has led her to work on 2D and 3D formats as well as working with textiles and fashion. She is one of Spain's leading contemporary artists.
In this opening show we have a contrast of styles from the figurative in Miss Van's work to the geometric color and form abstractions of Nuria's work. This exhibition brings the work of Nuria Mora to Montreal for the very first time. Miss Van has shown in the city before but this is the first exhibit that goes deeper into her oeuvre. We hope to introduce a Montreal audience to these two powerhouse artists who when grouped together create a strong duet of work highlighting two currents of work by contemporary female artists whose work originates on the street. Curator: Pablo Aravena (Artgang press-release)
Artgang Montréal. 6524 Saint-Hubert. Montréal(QC) H2S 2M3
Image: Miss Van& Núria Mora
8 june – 15 november, 2015
Santiago Calatrava´s exhibition will feature seven new monumental aluminum sculptures in red, black, and silver installed along the central median on Park Avenue between 52nd and 55th Streets in New York City. These works represent the artist’s continued exploration of expressive forms and structure abstracted from nature. In the artist’s own words, “their relation to the natural world suggests a link between man and nature, implying the sculptures are found objects in a human forest.”
Two of the works, S2 and S3, are complex tension compression structures wherein each element is held in place through the utilization of very fine, almost invisible cables. Calatrava’s intention is for the sculptures to “simply grow from the ground. Within each sculpture, an internal logic of autonomy delivers lyrical forms and implies a sense of elevation and spiritual uplifting.” Santiago Calatrava builds basswood models to evaluate the aesthetic and structural characteristics of each work before moving to full-scale metal sculptures. The largest of these, S1, is 40 feet across and approximately 20 feet tall. From the side, its rib-like structure appears as a thin arched line. When approached, the massive layered roof reveals its architectonic depth.
Santiago Calatrava’s work continues to shape and redefine the boundaries that have historically separated the visual arts, particularly sculpture, from architecture and engineering. This is evident in the artist’s broad oeuvre , which includes ceramics, drawings, paintings, sculpture, architecture and engineering projects. As a whole, these works express a unified aesthetic anchored in the artist’s continuing exploration of the relationship between the origins of creativity and the evolutionary structure of the natural world. (Marlborough Gallery press-release)
Marlborough Gallery.40 West 57th Street. New York, NY 10019
Image: S1, 2015, painted, welded aluminum plate. 396 x 168 x 216 in.
13 june - 27 september, 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. ( K20 GRABBEPLATZ press-release)
K20 GRABBEPLATZ. Kunstsammlung Nordrhein-Westfalen. Grabbeplatz 5. 40213 Düsseldorf
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965
29 may – 28 august, 2015
For some forms of artistic representation the reproduction of reality is not sufficient, this is also the case with the artists Cristina Ghetti (*1969, Buenos Aires) and Carlos Albert (*1978, Madrid).
For both the basic element of expression is the line and the geometry that emerges from it.
The fluent lines of Cristina Ghetti change by its conception and its illusionism the perception of the space and have a meditative effect on the viewer. Pure geometry is also the language of the works of Carlos Albert with his powerful sculptures of Corten steel and iron. The sculptures originate three-dimensional lines which enter a dynamic symbiosis with their environment.
Both artists experiment in their works with new concepts which allow to interact and incorporate with the viewer and stimulate him to rethink this own concept of space. (100 Kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21.50670 Köln
Image: Carlos Albert
may 22 - november 1, 2015
The upcoming exhibition at Cheekwood marks a rare opportunity for visitors to experience the spectacular work of Plensa in Nashville. This is the first time the artist’s work has been seen in such depth since his 2010 exhibition at the Nasher Sculpture Center in Dallas.
Plensa’s work in the United States include Crown Fountain in Chicago’s Millennium Park , and Echo, formerly on view in Madison Square Park in New York, now permanently sited at Olympic Sculpture Park at the Seattle Museum of Art. The recipient of many awards and accolades, Jaume Plensa was most recently awarded the 2012 prestigious National Visual Arts Award of Spain, the 2013 Velasquez Prize awarded by the Spanish Cultural Ministry, and Spain’s 2013 National Graphic Arts Prize. Nine large-scale outdoor sculptures, indoor installations and sculptures, and a selection of works on paper comprise this comprehensive exhibition, which will span the historic estate’s grounds, gardens and museum galleries for a uniquely engaging visitor experience. As a part of the exhibition, Jaume Plensa will create new works including a double sculpture entitled Soul of Words, which will be sited on the prominent color garden lawn. A monumental cast iron head, Laura with Bun, a 23 foot high cast iron portrait will grace the entrance of the grounds.
Plensa’s body of work is primarily inspired by the complexities of the human condition. He is known for the exploration of the tension between the interior and exterior life. The artist uses a variety of materials—from cast iron to steel and bronze to alabaster and synthetic resin—choosing the material which will best communicate his idea for the image. Plensa’s portraits are a radical reinterpretation of what is usually considered the domain of a more classical art.
Plensa is also involved with the transmission of language and culture. He often uses excerpts of texts from authors and poets whose writings are meaningful to him. The characters from many world alphabets are the physical elements that form a sculpture, making language as central to his work as human forms themselves. In this body of work, Plensa blurs the line of language, culture, belief system and physicality. The result is what is often described as work with a luminous beauty and grace, a sense of harmony, and supreme calm.
Plensa’s new sculptures are informed and inspired by Cheekwood’s landscape and essence. Specifically designed for Cheekwood’s exhibition, Awilda & Irma consists of a pair of monumental stainless steel mesh faces that will engage with each other as well as the landscape visible through them. Visitors to Cheekwood will see the U.S. premier of The Soul of Words I and II, a pair of white stainless steel seated figures formed from the symbols and letters from nine different alphabets.
In addition to the installation at Cheekwood, a portion of Jaume Plensa: Human Landscape will be presented at the Frist Center for the Visual Arts, located at 919 Broadway Avenue in downtown Nashville. One large-scale sculpture will be placed at the museum’s Demonbreun Street entrance, with three additional large-scale works on display June 5 through September 7, 2015 in the Gordon Contemporary Artists Project Gallery. (Cheekwood press-release)
Cheekwood Art Museum . 1200 Forrest Park Drive Nashville Tennessee
Image: Jaume Plensa, Paula, 2013
5 may – 17 july, 2015
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists – Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba – have been selected for the show. (I. Cervantes press-release)
Instituto Cervantes. Via Argenteria Nuova, 33. 90133 Palermo
Image: Córdoba Soledad “Un lugar secreto” 2007
CHONGQING. “I International Photography & Video Biennale” Chongqing Changjiang Museum of Contemporary Art
26 april – 26 july, 2015
The first edition of Changjiang International Photography & Video Biennale is organized by Chongqing Changjiang Museum of Contemporary Art (CCMCA) which will open on April 26, 2015 and last for three months. We are fortunate to invite Alejandro Castellote (Spain), Francois Hebel (France) and Wang Qingsong (China) to be the chief curators for this Biennale.
The Biennale will explore the theme of “Real/Unreal” and deliberate on if photography and video can accurately document the past, interpret the reality during this fast-paced transformation epoch and enlighten us for future vision. Photography was the major invention in the 19th century. Because of its accurate quality of documenting the reality, it exerted an influential impact against the then popular classic painting, hence perturbing the tradition of classic painting arena. However, as a matter of fact, simply because of the invention of photography, painting itself launched its own revolution which accelerated the outcome of impressionism and cubism for the artistic development in the recent era.
Spanish artists: Alejandro Marote, Ana Galán, David Jiménez, Julián Barón, Mikel Bastida y Valentín Vallhonrat.
Chongqing Changjiang Museum of Contemporary Art
Image: I International Photography & Video Biennale
VENICE. Pepo Salazar, Cabello&Carceller and Francesc Ruiz “The subjects“ 56th Venice Biennale 2015. Spanish Pavilion
09 May - 22 November, 2015
The theme of the 56th Venice Biennale is All the World's Futures and it is curated by Okwui Enwezor. This year the Biennale proposes a project devoted to a fresh appraisal of the relationship of art and artists with the current state of things.
The Spanish Pavilion at the Biennale is organised by the AECID with the collaboration of AC/E and is curated by Martí Manen. Its project, entitled Los sujetos (The subjects), features works by the artists Pepo Salazar (Vitoria, 1972), Helena Cabello (Paris, 1963) & Ana Carceller (Madrid, 1964) and Francesc Ruiz (Barcelona, 1971). Los sujetos is intended to provide a very free view of Dalí through the works of the chosen creators. It is a direct dialogue that does not set out to illustrate the past from the present but shows a present that makes it possible to re-site creation, identity and a timeline from today’s perspective, from our current situation, from multiplicity.
The artistic team formed by Cabello y Carceller produce interdisciplinary works including video, stage design, photography, writing and musicals in order to question the prevailing means of representation and propose critical alternatives. Their artistic work based around the idea of multiple identity and their proposal linked to feminism and queer thought make up a critical approach to Dalí that reveals intimate layers and allows the public and private realms to be positioned at the same political level.
Pepo Salazar, who lives in Paris, also combines photographs, videos, installations and objects in his creations, manipulating the meaning of representation in order to introduce a critical viewpoint. Like Dalí, Pepo Salazar broadens the scope of artistic action by overstepping norms and through extensive knowledge of what working in art means.
Francesc Ruiz takes as a basis the language of comics, which he uses “as a tool for contemporary art interventions, just as I could use video or another material”. If Dalí fully embraces the media and understands how they function, Ruiz goes one step further and makes them the setting for a surreal narrative, for a spatial deconstruction towards sensual narrative fields. (AC/E press-release)
Spanish Pavilion, 56 Bienal de Venecia. Giardini della Biennale. Venecia
Image: Cabello/Carceller, Suite Rivolta. An Aesthetic Proposal for Action, 2011. HD Video. Elba Benitez Gallery
JERSEY. Elena Bajo and Marlon de Azambuja “THEOREM.You Simply Destroy the Image. I Always Had of Myself” Mana Contemporary
may 3 – august 1, 2015
Curated by renowned curator and art critic Octavio Zaya, Theorem presents large-scale installation, sculpture, video art, and photography by 30 international artists.
Several artists from far-flung locations such as Peru, Brazil, and Norway, are traveling to Mana to create their installations on-site. The artists address the hypothetical question ‘what if?’ – as inspired by Pier Paolo Pasolini’s 1968 film Teorema – contemplating a world turned upside-down, where social tensions can be amplified to the point of poetic subversion, achieving possible transcendence.
Exhibiting artists include: Miguel Andrade Valdez, Julieta Aranda, Kader Attia, Marlon de Azambuja, Elena Bajo, Otto Berchem, Monika Bravo, Fernando Bryce, Marìa Magdalena Campos-Pons, Heman Chong, Elena Damiani, Aleksandar Duravcevic, Radames "Juni" Figueroa, Nicole Franchy, Richard Garet, Kendell Geers, Pedro Gómez-Egaña, Lucia Koch, Annette Lemieux, Ramón Miranda Beltrán, Warren Neidich, Jo Ractliffe, Rivka Rinn, Santiago Roose, Susan Siegel, DM Simons, Milagros de la Torre, Sergio Vega, Antonio Vega Macotela and Zoé T. Vizcaíno. (Mana Contemporary press-release)
Mana Contemporary. 888 Newark Avenue. Jersey City, NJ 07306
Image: Elena Bajo
22 May - 12 July, 2015
AC/E is collaborating on this project with the Kunsthaus Baselland to support the activities of the Spanish artist Lara Almarcegui, who has been invited to hold an exhibition at the Kunsthaus featuring part of her work as a retrospective and also including new work in a complex, very physical installation designed as a voyage of discovery.
The Almarcegui exhibition shows her works distributed throughout the rooms and architecture of the Kunsthaus in the manner of a tour. One of the most important installations occupies the whole main bay of the Kunsthaus and is the result of the artist’s very thorough research on Basel and Kunsthaus that questions the gallery’s relationship with the material world and with available resources. With this installation, Almarcegui sets out to raise the audience’s awareness of materials reclaimed from construction debris.
The exhibition is accompanied by a monograph on the artist, published by Christoph Merian, which will be launched to coincide with ART Basel. The monograph includes articles about Almarcegui’s work, an interview with Ines Goldbach, director of Kunsthaus Baselland, and a careful selection of photographs of the artist’s works. Kunsthaus Baselland is a leading contemporary art institution not only in the Basel region but also internationally. Its main purpose is to promote the art of young artists who normally produce new works specifically to be shown at the Kunsthaus. . (AC/E press-release)
Kunsthaus Baselland , St. Jakob-Strasse 170. 4132 Muttenz/Basel
Image: Lara Almarcegui
9 may – 22 november, 2015
Invited by the Biennale and with the support of AC/E, the Spanish artist Dora García is taking part with a performance project entitled The Sinthome Score based on a transcription of Jacques Lacan’s 23rd seminar Le Sinthome.
The artist was selected by Okwui Enwezor, curator of this 56th International Art Exhibition. Enwezor is an art critic, writer and publisher and director of the Munich Haus der Kunst since 2011, Okwui Enwezor has proposed as this year’s title All the World´s Futures.
All the World´s Futures is intended as a dramatisation of the exhibition space as a continuous live event that is constantly unfolding. It shows existing works but also invites artist to produce contributions specifically for the exhibition.
The Sinthome Score is a performance and installation.It allows a few different formats. In all of them there are two essential elements: the score and two performers.The score is made of text + drawings depicting sets of movements. The text is one of the transcriptions of the seminar XXIII of Jacques Lacan, “Le Sinthome”, “unofficially” translated into English (I have made previous to that an “unofficial” translation into German-‐). This text is divided into 10 chapters. For each of those ten chapters there is a set of movements, appearing at the beginning of the chapters.
There are two roles in the performance: reader and mover. Each chapter being read by the reader is accompanied by the corresponding set of movements performed by the mover, from chapter I to chapter X, from set of movements I to set of movements X. The ten sets of movements are formulated so as to be performed by any type of person, without previous training or rehearsal, of any age and physical condition. It is just enough to pick up a score and follow it. Idem for the reader-‐there is no concept of “reading well”; and the difficulties, and repetitions, when pronouncing certain French terms or technical words are welcome. Therefore, anyone is qualified to perform the Sinthome Score, either as reader or as mover. The performers can switch roles (reader-‐mover) when they wish, and they can agree on which chapter they prefer to start with. They determine the rhythm, cadence and speed of both reading and moving.
There are no rehearsals for this performance. There is a long meeting where the artist briefs the future performers and discusses with them the intention of the piece. The main point to understand is that they are not performing for an audience but for each other-‐therefore the performance is never triggered by the presence of the audience; it happens in relation to the two performers, they play for each other, unmindful of the audience.In the two occasions when The Sinthome Score has been presented, it has been as an installation and performance.
The performance happens within the installation or, if you prefer, the “set design” for the performance, consisting of: -‐A wallpaper, based on the diagrams of the score. -‐A group of photographs (of the type seen sometimes in dance academies) showing individual performers performing some of the movements of the score. Within this “set design”, the performance happens in a continuous way, for as long as the audience can enter the exhibition space, having the same duration as an exhibition, two or three months, six days a week… (AC/E press-release)
Pabellón de España, 56 Bienal de Venecia. Giardini della Biennale. Venecia
Image: Dora García
07 may – 22 november, 2015
On the occasion of the 56th International Art Exhibition of la Biennale di Venezia, one of Venice’s most celebrated landmarks, the Basilica of San Giorgio Maggiore, will host Together, a major exhibition of new works by Spanish artist Jaume Plensa. Plensa (Spain, b.1955) is one of the world’s foremost artists working in the public art space, with permanent works spanning the globe including the Crown Fountain (Chicago), Echo (Seattle), Breathing (London) and Roots (Tokyo). The exhibition is curated by Clare Lilley, Director of Programmes at Yorkshire Sculpture Park. The works in the exhibition all make their debut in San Giorgio and reflect the artist’s continued interest in a bodily relationship to space, scale, material and place.
For four hundred years the Basilica of San Giorgio Maggiore has been a place of worship, communication and meditation, where Palladio’s profound architecture creates a stilling and contemplative environment. Plensa’s response to this powerful space is Together; a conversation between two sculptures - hand, suspended beneath the cupola in the foreground of the altar, and head, sited in the nave. Placed on the dominant west-east axis of the building, the works set up a line of spiritual and intellectual discourse which evokes emotion and seeks to connect with his viewers on an intuitive level.
As a speaker of five languages alongside a nomadic life that takes him around the globe, Plensa’s work reflects a desire to break down barriers. Merging difference is a cornerstone of his work, and here it is further emphasized by the installation of meticulous drawings and a group of five alabaster portraits in the contiguous Officina dell'Arte Spirituale, located 300 meters from the entrance to the Basilica on the island’s northern edge. Plunged in darkness and lit to reveal their luminous opacity, the sculptures were carved using reformed scans of real girls; chosen because, like nomads, they have traveled, settled and traveled again. Chosen, too, because they are teenage girls on the cusp of leaving and arriving, whose potential – like that of all humanity – so deeply glows.
Clare Lilley, Curator, commented: “Plensa’s installations for the Isola di San Georgio Maggiore are testament to his acute understanding of space and scale. His sculptures do not impose themselves on these historic spaces; rather they capture and reflect the actual light and shadows within to communicate a metaphorical language. Both visually stunning and intimate, they draw our attention to a world where migration and difference challenge civilised behaviour; in this place, which for centuries has welcomed world travellers, Plensa’s work will connect people of many faiths and of no faith.”
In collaboration with the monks of the Abbazia di San Giorgio, as part of the cultural activities of the Benedicti Claustra Onlus, Together hopes to advance the Benedictine community’s efforts to develop a number of restoration projects of the monumental Palladian complex on San Giorgio Maggiore. Inspired by textual elements in the body of Plensa’s work, the project has contributed a significant donation to restore the Abbazia’s 15th and 16th Century illuminated manuscripts; prayer books previously too delicate for public view.
Dr. Carmelo Grasso, head of the Benedicti Claustra Onlus explains: “During the Plensa exhibition an 'Illuminated choral' of San Giorgio Maggiore Abbey, liturgical instrument of prayer and spiritual dialogue used by the monks for centuries for the daily Opus Dei and community prayer, will be placed on the lectern of badalone's choir behind the main altar. This is the contribution of the Benedictine Community to strengthen the sense of togetherness and the intellectual and spiritual dialogue between the hand, the head and those who wish to enter into a relationship with the artist's work and the great Palladian Basilica.” (Plensa press-release)
The Basilica of San Giorgio Maggiore and Officina dell'Arte Spirituale are located on the island of San Giorgio Maggiore across the waters of Bacino San Marco.
9 may - 22 november 2015
If today Raymond Williams were to decide on more entries for his celebrated text,Keywords, he surely would include, ‘Singularity’. The term refers to the moment when artificial intelligences will surpass human capacity and human control. In mathematics, singularity describes a point at which a given mathematical object is not defined or “well-behaved”, for example, infinite or not differentiable. Filmmaker Albert Serra will take this notion as a point of departure in his next film. Interested in how images act in diverse contexts, the project presents the audience with a filmic space investigating the range of “applications” the notion of singularity has. It designates a turning point in the way in which we relate to information, to “matter”, to images produced by machines, to representation, to the interplay between culture and nature. It actually names a new era where these dualisms are no longer contemporary. A machine-made cosmology, a capital of knowledge capable of altering our dreams, the image we have and will have about the world.
Albert Serra’s movie is broken down into several perspectives - ways of seeing, ways of narrating the world. His cinema makes the statement that being aware of the world is not simply a result of the mind’s existence, but rather it is the mind in action. Intellect is not an eye that observes us from some vague place within, but rather, the very fact of thinking. To link cinema with the singularity condition means to foster belief in the notion that thought, will and imagination are not made of the same substance as the world, objects and things, but of images, feelings and ideas. Nothing can happen beyond what is real, and what is real can only be grasped through language. This implies a revolution: since we cannot expect to find correlations between the world of ideas and the world of matter, our questions cannot hope to find answers, but rather to become sense-making operations. Like untangling a knot, solving a problem involves changing the order of what is known.
The exhibition is a site that offers both the artist and the curator an opportunity to address this question: how does the cinema-machine create a mind? Chus Martínez, curator. (I. Ramon Llull press-release)
Catalonia in Venice, Cantieri Navali (Via Castello 40). Venice
Image: Singularity. Institut Ramon Llull
1 may – 31 october, 2015
Antoni Miralda, one of the great figures in contemporary “food-art”, is the artist in charge of bringing to life the exhibition El Viaje del Sabor (The voyage of flavour); a poetic proposition designed to induce reflections about food and acting as an artistic link between Spain Pavilion and the theme of Expo Milano 2015: “Feeding the Planet. Eneilionrgy for Life”.
Materialised as a large, 5 by 4 metre suitcase-museum at the entrance of Spain Pavilion, this sculpture is an icon unto itself, as well as the starting point of the audiovisual exhibition El viaje del sabor, created by the multidisciplinary artist and representative of Food Cultura to connect with the theme of Expo Milano 2015:“Feeding the Planet. Energy for Life”.
After this first encounter, a series of real-sized suitcases will guide visitors towards the Pavilion, transforming the main access into a kind of airport where ideas and information about food move around constantly. Once inside, the exhibition invites visitors to join the journey of certain products through a series of video setups that can be watched separately or as a group. A delicate and generic journey through Spain which, according to the artist, is “a cornucopia of the history of food”.
To enhance the evocative power of each suitcase, the artist Antoni Miralda relies on the musical support of original compositions by Pablo Salinas, which seek to immerse spectators in a journey through Spain’s musical diversity and influences. Visitors will be able to interact with the exhibition, answering questions relating to food through a series of words appearing on the suitcases. (AC/E press-release)
Expo 2015 S.p.A. Via Rovello, 2 - I-20121 Milan Italy
Image: Arroz. Antoni Miralda
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
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
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
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
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
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
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.
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
20 december 2014 – 7 february 2015
The exhibition draws its name from the seminal book by the German Romantic painter Philipp Otto Runge and celebrates the expressive potentiality of colour through the works of four international female artists. The works featured in The Colour Sphere demonstrate each of the artists’ diverse and unique relationship with colour within their contemporary abstract art practice.
Maya Hayuk (Baltimore 1969) lives and works in Brooklyn, New York. She started her artistic career with massively scaled murals recalling a multitude of references, such as mandalas, pop culture and the Mexican muralist movement. From the hypnotizing murals to the smaller works on canvas or paper, Hayuk’s practice is characterised by a vibrant colour palette, geometric abstraction and elaborate patterns.
Nuria Mora (Madrid 1974) lives and works in Madrid. Mora became well known for her urban interventions that pop up on walls and take over advertisement stands around the world. She seamlessly integrates colourful, angular patterns and nature inspired illustrations with their surrounding environment to reassert aesthetic values and to create a new appreciation of the space around us.
Anna Taratiel (Barcelona 1982) lives and works in Amsterdam. With a background in graphic design and mural paintings Taratiel, previously knows as Ovni, developed a style dominated by colour and geometry. Her newest body of works consists of paintings on canvas, drawings and assemblages of found materials, such as tape. The smooth and clear-cut qualities of the recycled pieces of tape invigorate the graphicness of her work.
Clélia Zida (Paris 1980) lives and works in Amsterdam. Zida is an interdisciplinary artist with a background in hand lettering, textile based works and filmmaking, who graduated cum laude from the Rietveld Art Academy in 2005. Her most recent works consist of abstract geometrical drawings with repetitive grid structures and seemingly identical patterns. (Mini galerie press release)
Image: Nuria Mora
Mini Galerie. Kinkerstraat 12A. 1053 DT Amsterdam