Spanish contemporary art worldwide
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24 december 2014 – 8 march 2015
Forty-two years after his first and only solo exhibition in Italy, which took place at the Galatea in Torino, Antonio López García has agreed (upon Marco Goldin’s invitation) to hold his second show in Italy. It is to be an exceptional event since the Spanish artist has always limited the opportunities to see his works. Four of them, which are extraordinary in their beauty, have been added to the vast exhibition on night at the Basilica Palladiana. The five rooms of the ground floor of the Palazzo Chiericati (home to the civic museum), won’t be the only place this exhibition takes place, with the works evenly distributed in the space. The exhibition will begin outside the city walls with two monumental bronze sculptures, Carmen Asleep and Carmen Awake, thanks to a loan from the artist’s collection. They will be located at the beginning of Corso Palladio as a sort of “announcement” of the solo exhibition as well as the exhibition (in line with the theme of night and awakening) taking place in the Basilica Palladiana. The focus on López García’s sculptures will continue within Palazzo Chiericati, with a clear division of materials and themes. For example, Man (2003), the renowned sculpture measuring over two metres tall will be presented on the left side of the building and one of its preliminary sketches will also be on display. These designs are just some of the things that make this exhibition stand out. Two other prominent sculptures, again complemented by their large preliminary sketches, establish the millimetric adherence to reality. This endeavour, as stated in the show’s subtitle, has to do with the secret and magic of silence. Therefore, the other two sculptures will include Hombre tumbado (2011) and a more recent one which was finished last year, Figura de mujer. Fátima. Alternatively, on the right side of the building, there will be a selection of paintings that have helped make López García famous like Madrid from Capitán Haya Street (1986 and 1997) from the Museo Rein Sofía in Madrid. The paintings were created at a slow pace, in a continual discovery of themes that as they deepen, enter a soft yet very pure light, suspended in uninterrupted silence that painting limits in the absoluteness of enduring vision. Along with these more recent paintings, there will be a brief round-up of paintings in two rooms done by López García in his early life, originating from the relationship with his uncle, painter Antonio López Torres. Curated by Marco Goldin.(lineadombra press-release)
Palazzo Chiericati, Piazza Giacomo Matteotti, 37/39, 36100 Vicenza VI, Italy
Image: Antonio López. Madrid from Capitán Haya Street (1986 and 1997) from the Museo Reina Sofía in Madrid.
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
19 december 2014 – 15 january, 2015
Os adeuses. Photographs by Alberto Martí is an exhibition that recreates images of a relatively recent historical fact: The Galician exodus to America between 1957 and 1963 from the ports of A Coruña and Vigo and subsequent return to Galicia
Alberto Martí Villardefrancos (A Coruña, 1922) is considered a "portrait of human stories". Each of his photographs has emotion, feeling, freshness and naturalness. This selection by the exhibition curator, José Caruncho, allows us to see images in many cases never before revealed, moments to remember and reconstruction of the past who were actors or spectators of emigration of those years, a phenomenon that represented a full lighting and shadowing process but it was one of the fundamental aspects of Galician contemporary history because it affected all facets of their social economic and political life.
The title "Os adeuses" (Goodbyes) perfectly symbolizes the world of the feelings that accompanied persons, crates, bales and bags, recording them forever in the collective memory. With over 70 years dedicated to photography -50 of them worked as a reporter for La Voz de Galicia, Alberto Martí has received numerous national and internacionals awards at speeds as Madrid, Barcelona and Buenos Aires, and part of his work is published a monograph published by the City of a Coruña.(I.Cervantes press-release)
Instituto Cervantes.Av. Paulista, 2439 - Planta baja. 01311-300 São Paulo
Imagen: Alberto Martí. “A Coruña 1957”
MAR DEL PLATA. Ángel Marcos”The Black Sea” 4th International Biennial of The End of the World, "Contrasts & Utopias"
12 december 2014 – 28 february 2015
With more than 150 artists from 35 countries on 5 continents and a new Contemporary Popular Music Festival, the Biennale Argentina, opens on Friday December 12 fourth edition which will run until the end of February
Initially, to develop this Project,”The Black Sea” the work was made at “both sides”, firstly at the Cristianos port in Santa Cruz de Tenerife, attending at the cayuco arrivals, and then in Senegal, specifically in Sant Louis, bordering with Mauritania where they live or attend many of the people who leave on fishing boats (cayucos) to try to achieve their dreams.
Ángel Marcos presents as the main causes that push people to emigrate, the shortage of basic resources and the desire of better-off people who want to share what we sell as quality of life of the first world. They try over and over again in inhuman conditions to reach the other shore. A shore full of traps and tricks that invite to come, but this invitation make some of them lose their lives, others achieve it and meanwhile there is a great illusion coming although the price is high. (Bienal Fin del Mundo press-release)
Bienal del Fin del Mundo, Mar del Plata, varias sedes
Image: Ángel Marcos
20 december 2014 - 16 january 2015
In Vanessa Linares' in Asia, "The Family Tree", the artist examines relationships in different forms and colours. Through a series of works with white and black backgrounds, Vanessa, who is heavily inspired by Japanese manga, brings her own interpretation and understanding of the world around her to the canvas.
Approaching the theme of family and friendship, with two different methods, Vanessa manages to combine vastly different styles into a cohesive exhibition. Born into a family of seven, she grew up in the lively and sunny neighbourhood of Verneda, in Barcelona. There, she learnt to create a world with no boundaries using her own imagination.
In "The Family Tree", her white canvases deliberate mimics the translucence and gradient of watercolours. In Marron Y Azul, her use of shapes and colour create a world that seems to be perpetually in motion. Animals, representations of childhood memories as characters that have neither grown nor matured, collide with each other in bursts of colour and light.
Her black canvases use strong primary colours to create the effect of woodblock printing, capturing a more grounded perspective. Nonetheless, her trademark surrealist signatures remain: in Vacio, the animals all gather on the border of the canvas, interacting with each other as the moon shines brightly in the centre of the painting. (Barnadas Huang press-release)
Barnadas Huang gallery, 22 Dempsey Road, Singapore 249679
Image: Vanessa Linares
NEW YORK. Cristina de Miguel “Extraños en la noche, intercambiando miradas” Arts+Leisure project space
december 16th, 2014 - january 18th, 2015
Cristina de Miguel makes disarmingly witty and endearing gifs* and sketches in a new series on view at Arts+Leisure project space in East Harlem. On the heels of very well-received solo exhibition at Freight+Volume in Chelsea last summer, this new series picks up where her NYC from a fresh and tender perspective. Her gifs portray modest human movements – undressing, kissing, jumping, falling, dancing, etc – with a unique blend of awkward stop-animation and graceful precision. Her line oscillates between classical and neo-expressionist – nods to Schnabel, Clemente and Baechler are all present, as well as her fellow countryman Miguel de Barceló – but the underlying sly humor and rebelliousness against tradition are clearly her own.
She writes: Working on this series of gifs I have been thinking about the relationship between classical drawing, historically understood as a preliminary sketch, and what has became drawing in the XXI Century. In the age of the internet, all the information goes so fast that there’s no time to digest it; we are overwhelmed with visual information. There's basically no time for making anything preliminary so the first drawing in itself works as the actual finished one. Therefore, freshness in drawing nowadays is greatly appreciated, maybe because it reflects the frenetic times of information overload we are in….So, how could I create new meanings and worlds by merging traditional and virtual drawing? Cristina de Miguel (b. Seville, Spain 1987) is a Brooklyn-based painter represented by Freight+Volume Gallery. De Miguel creates large, playful, and often provocative paintings that reference the imagery of contemporary everyday life. She received a MFA from Pratt Institute and a BFA from the University of Seville. De Miguel was awarded a Skowhegan residence in the summer of 2013. Her work has been reviewed in ARTINFO, NY Arts Magazine, El Correo de Andalucia, and others. Recent solo exhibitions include Absolutely Yours at Freight + Volume Gallery, and Nike Head at Cuchifritos Gallery. (Arts+Leisure press-release)
Image: Cristina de Miguel “Dos cabezas y un platano”
AMSTERDAM. Pilar Albarracín, Xavier Miserachs, Isabel Muñoz, Pedro G. Romero & Israel Galván y Miguel Ángel Ríos “Dancing Light / Let it move you” Huis Marseille Museum voor Fotgrafie.
december 13, 2014 - march 8 2015
Pilar Albarracín, Xavier Miserachs, Isabel Muñoz, Pedro G. A photograph is a photograph, and a dance is a dance: stillness versus movement. At first sight these two art forms might seem to be poles apart, but the exhibition Dancing Light, open from 13 December throughout the newly double-sized Huis Marseille, proves the opposite. Along with film and video, photography turns out to be an ideal way to illuminate the characteristic emotionality and transport of dance – its ‘primal power’ to move us. In Dancing Light the ‘dark undertone’ that is characteristic of both flamenco and butoh, and which unites seemingly incompatible opposites such as joy and sorrow or hope and despondency, is linked to many different manifestations of both photography and dance.
To unravel the mystery at the heart of dance the exhibition takes inspiration from flamenco and its concept of duende, that intangible and ineffable moment of rapture when the chemistry between flamenco musicians, dancers and audience bubbles up and overwhelms everyone. Duende (literally ‘elf’ or ‘spirit’) is an untranslatable concept, a mysterious force that is manifested in the combination of certain sounds, words and gestures. Dancing Light captures the raw expression of flamenco in photography and in moving images: from the flamenco legend Vicente Escudero, who used film in the early 20th century to establish a dialogue with modern art, to the extremely individual dance expression of the flamenco dancer Antoñita La Singla, born deaf, whose unique energy was captured in the early 1960s by the photographer Xavier Miserachs. Ranging from various moving video works to the work of the artist Pilar Albarracín, who interprets her Spanish flamenco legacy in an entirely personal way. It is, of course, true that once a dance is over its momentum vanishes; but a photo or video not only fixes our original experience, it also independently adds something to our memory.
The photographer Noaya Ikegami documented every performance by the legendary butoh dancer Kazuo Ohno from 1977: ‘I was astonished by the strong emotional energy coming out from Ohno’s body, which required me to use all of my energy to photograph him.’ Kazuo Ohno in turn had been so moved by a performance of the Spanish dancer Antonia Mercé y Lucque (‘La Argentina’) that she became the inspiration for his famous piece ‘Admiring La Argentina’, which he performed until his death in 2010. Ikegami’s photographs have captured forever deeply poignant moments from performances by the ageing Ohno dressed as ‘La Argentina’, and the power and expressiveness of these photographs have earned them a fame of their own. Choreography is used to define and prescribe dance movements, but in fashion photography it is used to make poses more natural. Dancing Light shows how stiff the corset of classical ballet can be, in a poignant and inadvertently comic work, full of awkward movements and flailing limbs, by Doa Aly, who subjects her untrained body to 48 ballet lessons. The fluidity of the movement of trained dancers is analyzed in ultra-slow motion in David Michalek’s Slow Dancing. Guido van der Werve’s video Nummer twee links classical ballet with a staging of death and hope, and in Untitled (Ghost) by Elad Lassry the spirit of the dance is almost literally personified. Choreography is the beating heart of these artworks, the rhythm of – and the vehicle for – works inspired by dance.
Parallels are drawn with the primal forces of nature: flocks of birds by Lukas Felzmann, birdwing hand movements in photographs by Xavier Miserachs and Isabel Muñoz, the surprisingly frequent presence of ‘dancing with animals’, and the spontaneous eruption of dancing in the street, as in the 14th of July celebrations in Paris in the 1950s immortalized by the Dutch cinematographer Johan van der Keuken.
With work by: Pilar Albarracín / Doa Aly / Valérie Belin / Frank van den Broeck / Vojta Dukát / Marco van Duyvendijk / Vicente Escudero / Lukas Felzmann / Scarlett Hooft Graafland / Craigie Horsfield / Naoya Ikegami / Dora Kallmus / Johan van der Keuken / Elad Lassry / Jochen Lempert / Danielle Levitt / Herbert Matter / Carlijn Mens / Antonia Mercé / David Michalek / Xavier Miserachs / Isabel Muñoz / Yuki Onodera / Paolo Porto / Pedro G. Romero & Israel Galván / Miguel Ángel Ríos / Benjamin Roi / Tejal Shah / Martine Stig / Wolfgang Tillmans / Guido van der Werve / and others
Dance performances will be given during the exhibition, as well as at its opening, in collaboration with the Flamenco Biënnale.(Huis Marseille press-release)
Huis Marseille Museum, Keizersgracht 401,1016 EK Amsterdam
Image: Xavier Miserachs, ”Antoñita Singla”
29 november - 2014 – 15 february 2015
The exhibition presented in Zachęta, “Progress and Hygiene”, is devoted to the pitfalls of modernization in the context of the idealistic faith in progress and the possibilities of “betterment” common to both art and science at the beginning of the 20th century. It was conceived as an essay which critically analyses such phenomena as genetic engineering, eugenics or research into the purity of races, also drawing attention to their continued impact on today’s world.
The exhibition is composed of the works of Polish and foreign artists realised in a diverse range of media – such as painting, installations, film and photography – and of others especially prepared for the exhibition. The context for these will be formed by historical materials, including posters, archival photographs and documentation. Through the confrontation of contemporary works with those from the modern period, the spectator will be able to explore such themes as social health, eugenics, social engineering, racial hygiene, national identity, the problem of the “other” and exclusion, or even cosmetic surgery and self-creation. “Progress and Hygiene” poses a question as to what today has remained of the idea of modernism and as to the directions in which contemporary modernization is heading.
Artists: Nelly Agassi, Korbinian Aigner, Mirosław Bałka, Yael Bartana, Anna Baumgart, Rafał Bujnowski, Robert Capa, Marek Cecuła, Jan Fabre, Jorge Galindo, Felix Gmelin, Hadassa Goldvicht, Dina Gottliebova-Babbitt, Jos de Gruyter & Harald Thys, Marianne Heske, Erez Israeli, Sonia Khurana, Anna Konik, Zofia Kulik, Zbigniew Libera, Bernard Moreau (Tymek Borowski & Paweł Śliwiński), Ciprian Mureşan, Michael Najjar, Marina Naprushkina, Jean-Gabriel Périot, Krystyna Piotrowska, Agnieszka Polska, Joanna Rajkowska, Gerhard Richter, Hans Richter, Leni Riefenstahl, Alexander Rodchenko, Wilhelm Sasnal, Ahlam Shibli, Chiharu Shiota, Santiago Sierra, Pablo Sigg, Luc Tuymans, Magnus Wallin, Vadim Zakharov, Zuza Ziółkowska. Curator Anda Rottenberg
Zachęta – Narodowa Galeria Sztuki.pl. Małachowskiego 3.00-916 Warszawa
Image: “Los Encargados” Santiago Sierra y Jorge Galindo
december 18, 2014 -17 march 2015
This dialogue between Chinese and Spanish contemporary art comes from the hand of three residents contemporary artists in Beijing Ren Bo,
Carlos Sebastia and Gisela Ràfols. His works, albeit from different points, they lead to the same destination, the dematerialization of being. . (I.Cervantes press-release)
Instituto Cervantes. A1 Gongti Nanlu. 100020 Chaoyang Beijing
Image: Gisela Ráfols
december 18th, 2014 - january 17th, 2015
The Winter Collective Part I will introduce Spanish painter Jorge Pombo to the gallery.
We are thrilled to add Pombo (b. 1973, Barcelona) to our roster of contemporary international artists. Pombo creates colorful cityscapes that play with perspective and layering. The show will also include new art by Joseph Adolphe, watercolors by Elizabeth Allison, abstract pieces by Jorge Enrique and sculptures by Beth Carter. Born in 1971 in Barcelona, Spain, Jorge began drawing as a young child and completed his first painting at the age of 20. By age 24, he was painting professionally and in 2000, Pombo had his first solo show in Barcelona. Since then, he has had 18 solo shows and dozens of group exhibitions in countries across Europe, including Spain, Switzerland and Italy. Pombo has traveled to Greenland, Mexico, Siberia, Tibet, India and many other countries to observe the cultural differences and find subjects for his works.
Pombo uses photographs of cities to inspire his works but his paintings are solely oil on canvas. He often incorporates several scenes from various cities layered on top of one another to draw comparisons between the metropolises. On these unusual, layered cityscapes. (Bertrand Delacroix press-release)
Image: Jorge Pombo
Bertrand Delacroix Gallery.535 W 25th Str, New York, NY 10001
13 december 2014 – 25 february 2015
Lois Patiño presents his first exhibition in Portugal. After his presence in the past editions of Curtas Vila do Conde — International Film Festival, the Galician director Lois Patiño presents his first exhibition in Portugal. "A Double Immobility" opens on December 13th, by 6 pm, at Solar – Cinematic Art Gallery, in Vila do Conde, Porto. Under the scope of the Cave project, dedicated to the promotion of emerging authors, Patiño invited the Spanish artist Carla Andrade to exhibit her work at Solar during the same period.
"A Double immobility" presents a series of video installations filmed in different locations - Iceland, Morocco, France and Galicia - including an original work created especially for this exhibition.
Exploring the concept of landscape, the work of Lois Patiño establishes a dialogue between body and space, space and time, movement and stillness, leading the viewer to observe the images through a new perspective and to reflect on their situation as a human being in a certain period of time. For this, the gallery is transformed into a space that allows a landscape experience from a contemplative and sensory vision.
In addition to the landscape, video installations related to body experience as something ghostly will also be presented. In the images, totally immobile individuals are presented contrasting with the natural elements that are moving: the water of the river, the tree branches and the light. Lois Patiño therefore follows the concept of the French philosopher Gaston Bachelard, establishing a difference between "horizontal time", which is the time of nature, wind and water, and the "vertical time", the poetic image, inner time experienced by consciousness.
Under the scope of the Cave project, dedicated to promoting the work of emerging authors, Patiño invited the Spanish artist Carla Andrade to exhibit her work at Solar during the same period. In "The Overflowing" we immerse ourselves in a symbolic trip through a subjective nature, which is experienced directly, without analysing it. Working mainly in photography, Carla Andrade has a powerful and poetic work in video and 8mm. The artist also collaborated in "Costa da Morte", the award-winning documentary directed by Lois Patiño. The feature film had its world premiere at the Locarno Film Festival, where Lois Patiño received the award for Best Emerging Director. Subsequently, "Costa da Morte" has been presented on many and prestigious international film festivals and was awarded in South Korea, Mexico, Italy, Chile and Spain.
Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Documentary Film at Pompeu Fabra University in Barcelona. He has developed courses of videocreation in the UdK of Berlin, and in different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor, Erice, José Luis Guerín or Daniel Canogar. His videos and videoinstalations have been shown in art centres such as Centro Cultura San Martín (Buenos Aires), Casa Encendida (Madrid), CCCB (Barcelona), MARCO (Vigo), Fundación Luis Seoane (A Coruña). His films have been screened in international film festivals such as Locarno, Rotterdam, San Francisco FF, Ann Arbour, Cinema du Rèel, Rome IFF, Viennale, Jhilava, Curtas Vila do Conde, Media City, Punto de Vista, Rencontres Internationales París/ Berlín/ Madrid (Centre Georges Pompidou, Paris), and also at Reina Sofía Museum (Madrid) and Haus der Kulturen der Welt (Berlin), among many other presentations.(Solar press-release)
Solar de São Roque. Rua do Lidador, Vila do Conde. Porto. Portugal
Image: Lois Patiño
6 december 2014 – 15 february 2015
What material does an artist select, and for what reasons? The international group exhibition Living in the Material World examines the role of materials in contemporary art. The aspect of materiality has again come to represent a key concept for a young generation of artists today. In the 1960s the definition of art was expanded radically due to the questioning and re-evaluation of various materials. However, the possibilities of digital technology led to a reduction in the importance of concrete materials at the end of the 20th century. In contemporary art the aspect of materiality is being addressed once more against the background of current social and cultural developments, and is even being elaborated further, and transformed. The twelve artists invited to participate in the exhibition focus on the characteristics and narrative potential of such diverse materials as concrete, wood, ceramics, glass, plastic or paper. They take up artisanal traditions and industrial production methods, are occupied with recycling and do-it-yourself, devote themselves to material analysis and the reconstruction of specific places and objects, or develop fragile architectonic constructions.
Lara Almarcegui is born in Saragossa, Spain, in 1972. She lives and works in Rotterdam
Since the mid-1990s, Lara Almarcegui has been interested in the “interstices” that exist in urban and suburban areas, the empty lots, underground passages, ruins and construction sites, spaces that are normally ignored or overlooked, which she rigorously studies in order to pass on her experience of them.
Artists: Lara Almarcegui, Michael Beutler, Karla Black, Berta Fischer, Theaster Gates, Ane Mette Hol, Jessica Jackson Hutchins, David Jablonowski, Markus Karstieß, Alicja Kwade, Marie Lund, Oscar Tuazon. (AC/E press-release)
Galeríe im Taxispalais. Maria Theresien Straße 45 6020 Innsbruck Austria
Image:Nick Ash, Taxispalais gallery
5 november 2014 – 4 january 2015
Aitor Ortiz has an unrelenting drive to tackle head-on the dilemma between representation and interpretation (perception). In doing so, he forges connections between the content of his images, the physical qualities of the supports he chooses for his works, and the position they occupy in the exhibition space. Aitor Ortiz (Bilbao 1971) is one of the most widely recognised Spanish photographers. He has had numerous solo and group exhibitions in major museums in Europe, America and Asia. His most recent solo-exhibitons include: Museo Guggenheim, Bilbao (2011); Fotografiska (Swedish Museum of Photography, Stockholm, 2012); and Sala Canal de Isabel II, Madrid (2012). In 2011, Hatje Cantz published an important monograph of his work, for which he has received critical acclaim and has won numerous awards, including the following: Ciudad de Palma Award; ABC Photography Prize; Honorary Prize at the Alexandria Biennale (Egypt); First Villa de Madrid Photography Prize. His works are in many important collections including MNCARS, Fundación La Caixa, ARTIUM, CAB, IVAM, AXXA, Museo Guggenheim Bilbao, MACUF, Foto Colectania, Fundación Telefónica, Museo Es Baluard, among many others. (Le Centquatre press-release)
Le CENTQUATRE-PARIS. 5 rue Curial, Paris 19th, France
Image: Aitor Ortíz
december 13, 2014 - january 31, 2015
What if an art exhibition were an exercise, and the preparations toward a process of common exercising between artists, ideas, hosts and curators? Would it shift how we understand development and time—the time of making and of experiencing? For the exhibition at REDCAT, Anna Craycroft and Mark Vives have been invited to work collaboratively in an experimental project titled The Wilson Exercises. The repeated interactions between the two artists will lead to the development of a collective language through riffs, point/counterpoint dynamics, and provocations. Through a back-and-forth process of exchanges between their two distinct fields of expertise, the artists will explore novel processes of learning in the real-time space of the exhibition. (Redcat press-release)
Redcat. 631 West 2nd Street, Los Angeles, CA 90012
Image: Marc Vives 2014
11 december – 11 february, 2015
The current global capitalist constellation has been rendered vulnerable by the crisis of capitalism itself, which has proven to be inimical to human rights. This condition opens a space for the construction of alternatives from which new meanings, knowledges, courses of action and goals in the political, economic and cultural realms of global society may take shape. This challenge concerns the urgent task of the cultural worker as artist and political thinker today. A requisite for this task is a reflexivity that must bear within itself the necessary critique of ideological premises that shape artistic practice. Therefore, the aim of this project is both to thresh out a critique of capitalism and advance alternatives derived from social struggles and contending rationalities
The interest of global monopoly capital in increasing private profit while paying lip service to human rights defines the contemporary political scenario. Whereas the majority of theories and hypotheses are driven by a will to reform governing models and pursue supposed fundamental changes, they are paradoxically compatible with capitalism, which has established a compartmentalized form of knowledge production, prohibiting ways of seeing and acting that are collective, integrative and universal. Hence, it is necessary to subtract from the dominant theoretical supplements to capitalism and advance alternative thought and practice to give way to new models of existence and cooperation. (AC/E press-release)
Galería Umberto di Marino. Via Alabardieri 1 – 80121 Nápoles. Italia
Image: Paloma Polo
4 december 2014 – 20 march 2015
The Centrale for contemporary art shows for the first time an exhibition of a major artist of the Brussels art scene. Emilio López Menchero, a Brussels citizen of Spanish origin, was singled out by his performances in the capital (such as Checkpoint Charlie at the Canal – 2010) and the emblematic urban integration Pasionaria, a megaphone near the South Station – 2006. Multifaceted artist, he developed a protean work (painting, video, photography, performance). At our suggestion, he chose to enter into dialogue with the world-renowned artist, Esther Ferrer, a pioneer of performance art. Both of Spanish origin, their efforts come together through the themes of identity and corporeality. An exceptional exhibition of two artists for whom art is a political space for freedom beyond the dictates of all kinds. (The Centrale press release)
Place Sainte-Catherine 44 Sint-Katelijneplein Bruxelles 1000 Brussels
Image: Emilio López Menchero
5 december 2014 – 15 january 2015
Throughout his career New York appears as the stage for Fernando Bellver’s visual reflection. Evidence is found in this exhibition through drawings dedicated to films, or etchings which add a Goyesque irony to Rauschenberg’s pop dadaism or Warhol’s impersonality. Fernando Bellver (b. Madrid 1954) is one of the most prominent Spanish artists and has received numerous awards including the National Graphic Arts Award. (I.Cervantes press-relase)
Instituto Cervantes at Amster Yard. 211-215 East 49th Street. New York, NY 10017
Image: Fernando Bellver
22 november 2014 – 10 may 2015
By 2030 the world population will have grown to a staggering eight billion. Of these people, two-thirds will live in cities. And most of them will be poor, with limited access to resources. This uneven growth will be one of the greatest challenges faced by societies all over the world. In the coming years, municipal authorities, urban planners and designers, economists and many others will have to join forces to prevent major social and economic disasters. They will all have to work together to ensure that these expanding megacities are inhabitable places.
The exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities has brought together six interdisciplinary teams of researchers and professionals who, for 14 months, have held workshops aimed at examining new architectural possibilities for six world metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York and Rio de Janeiro. Each team has developed a proposal for a specific city to be presented in November 2014 at the MoMA. The proposals have taken into consideration how the emergent forms of tactical urban planning can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions and other major issues in near-future urban contexts. They have all defied the current assumptions about relations between formal and informal, bottom-up and top-down urban development.
AC/E is collaborating by supporting the participation in the project of the Zoohaus group, which has carried out research on the city of Lagos through its project Inteligencias Colectivas (Collective intelligences). Zoohaus is a creative networking platform that was started up in 2007 to combine the interests of various agents related to architecture and other peripheral disciplines. This platform focuses its interests on projects that reinterpret urban dynamics through fields such as architecture, urban planning, art and the economy and its work is underpinned by community participation and reactivation. (AC/E pres-release)
MOMA, 11 West 53 Street, New York, NY 10019
Image: MOMA. N.Y.
november 8th - december 20th 2014
Towards the end of the nineteenth century, King Ludwig II of Bavaria ordered an artificial cave to be built at his Linderhof Palace. The cave was turned into a grotto that featured a lake illuminated by coloured lights to create a rainbow-like effect. His grotto was complete with handcrafted stalactites that drew upon the geological formations of the Grotta Azurra in Capri. Sergio Belinchón used the fascinating architecture of the Venus Grotto, located on the grounds of Linderhof Palace, as the basis of his eponymous exhibition. Belinchón presents photographs of numerous caves that have been adapted to the needs of mass tourism. The pictures are reminiscent of man’s manipulation of nature and the construction of artificial environments, a recurring theme in Sergio Belinchón’s work.
This series of photographs unites a number of ideas Sergio Belinchón has been working on for some time, including tourism as a key factor in the artificialisation of natural spaces; the manipulation of nature, and man’s mark on particular environments.
The artificial lighting used during visits to these natural spaces results in pictures that resemble colour-saturated early twentieth-century photographs that were coloured by manually applying dyes and anilines and skilfully create powerful dreamlike imagery. These are contrasted with the nocturnal pictures of mountainous landscapes that stand in opposition to the colourful and elaborate underworld; they act as a reflection of the gloomy reality that Ludwig II was attempting to escape in his grotto. Belinchón’s photographs produce connotations of a world of fantasy und unreality. They reflect on the thin line between reality and fiction and allude to a pictorial abstraction of surprising plasticity. Aesthetically, his photographs resemble the shapeless materiality of not knowing what we are seeing. Sergio Belinchón returns the natural elements of these architectural spaces and their manipulated geology to us in their natural form, without filters. Tania Pardo. (Invaliden 1 press-releae)
Invaliden1 Galerie. Schönleinstr. 25. 10967 Berlin
Image: “Venus Grotto” Sergio Belinchón
BUENOS AIRES. Raquel Ponce and Gregorio Viera “... on the tip of the tongue” Moving Image Biennial. CCEBA
18 november – 18 december 2014
Contemporary art has drawn strong links with other disciplines; our concept of art as an object of contemplation remains in the background. It is a multi-linear system which may involve overlapping, crossing and turning and which interlock arts, science and history in a vortex across space that may emerge anywhere. Strategies of representation are currently nothing more than strategies in a heterogeneous time; a time without an explicit structure. Despite this lack of narrative, art remains a consistent thread linking to explanations of our contemporary lifestyles and methods for the configuration of contemporary narrative conscience. For this reason, some artists have ceased to think
of their work as a tool for signification, but as a logic encircling the subject, understood as an event and its dissemination in a given context. This gaze aims at directing the eye towards a constantly vanishing reality; confronting even lack of identity; walking around the edges of the logos through de-centring, dispersion; the estrangement of self. All of this enables the spatial transcription of an erratic internal universe, changing and – for this very reason – doomed to remain a fragment, without centre or end, but turning the unfinished into a revelation. On the inspiration of the creator, Peter Handke says as
follows: ‘I was sure to have something amazing on the tip of the tongue. But all I could think about was: representation’.
Inspiration seems to be a temporal device prone to losing direction, but Raquel Ponce still has time to recreate such a fragile structure in her work Back, which integrates the fiction of her reality in the ‘process’ and the record of space-time. The latter involves the negation of an earlier part in a continuum, and this phenomenological character places this work between the document and the residue. Learning this time that flies away implies a renunciation; the days are engraved on the walls of the studio. We find a vocabulary of signs and motions, of interior maps which entangle the composition
across space and which seem to stand as a metaphor for the vulnerable condition of creation among contradiction.
In Algunas cosas… Gregorio Viera analyses the network of routes and junctions, obstacles and crashes which constitute our perception. The object is a form of art without essence; what we perceive are the qualities emerging from things when collisions occur. Things are nothing but the material residue of all these gestures, pieces with which we reconstruct the shine and weight of the world. ‘The recipient is an object from the submerged world of objective influences. Recipient of a place, emitter
of all angles…’ says Lucretius. The ‘random’ sense of the objects on the wall alludes to man’s social space and the most intimate memory; a way to contemplate human beings and the minimised self. From a certain perspective, it is a self-portrait which directs us towards a more analytical place: our relationship with space-time and, consequently, our fear of emptiness. (CCEBA press-release)
Centro Cultural de España en Buenos Aires. CCEBA Paraná 1159. Buenos Aires.
Image: Raquel Ponce
04 november – 19 december 2014
The Languedoc-Roussillon Regional Contemporary Art Collection [FRAC] and the Greater Montpellier Advanced School of Fine Arts [ESBAMA] are pleased to be jointly presenting a solo show of the Spanish artist Mabel Palacín. Living and working in Milan and Barcelona, she is one of the emblematic figures of a generation offering relevant analyses of current image production methods and their powerful questioning in contemporary art (as a conventional context and “environment”), together with their analysis of reality (as a social or imaginary world). She represented Catalonia and the Balearic Islands at the 2011 Venice Biennale.
Mabel Palacín has devoted herself to the issue of the frozen/static image and the image in motion. The presentation systems of photography and film projection interest her as much as the production tools which permit their creation. This is why her works and her exhibitions have often taken the form of installations, in which the different forms of the recorded image co-exist, mutually question each other, and present the challenge of the relation they allow “subjects” (spectators and people involved with the works themselves) to have with the world. For the artist, this “world”, or reality, is as much the objective and exterior space in which human beings move about as the representations which surround them, inform them, and existed before them.
“My work examines our relation to images and the go-between function they have with reality. There are two aspects in this relation which particularly interest me: the resistance of images to a stable interpretation and the propensity of image techniques to produce a kind of specific language (lingua franca) in contemporary art.” Mabel Palacín.
The two-part show being proposed by the FRAC Languedoc-Roussillon and the ESBAMA will be a twofold way of experimenting with Mabel Palacín’s work, based on viewpoints put forward by these two institutional contexts (teaching and creation at the School of Fine Arts, “memory of art” at the FRAC): (ESBAMA press-release)
ESBAMA 130 rue Yehudi Menuhin 34000 Montpellier. France
Imagen: installation "La distancia correcta", 2002/03. Mabel Palacín
06 november 2014 – 30 january 2015
Number Twelve has been throughout the history of mankind the most representative and enigmatic number . In its mythological, philosophical , religious or scientific backgrounds twelve sense has become in positive aspects and perfection. Twelve has also symbolized the wisdom and balance. In this sense MECA Mediterranean Art Center has organized the program Twelve.Douze. Contemporary Art to be held at the Cervantes Institute in Lyon with unpublished works of 12 participating artists: Toña Gómez, Juan Morante, Fernando Baños, Jerónimo Muñoz, Antonio de Diego Arias, Fernando Barrionuevo, Tomás Cordero, Belén Mazuecos, Marie-Pierre Guiennot, Pedro Cuadra, Manuel Vázquez y Carmen Sicre. (I Cervantes press-release)
Instituto Cervantes. 58 Montée de Choulans. 69005 Lyon. France
Image: Fernando Barrionuevo
8 november– 16 february, 2014
This landmark exhibition features rarely loaned works from more than 20 international art museums and private collections worldwide pairing these two legendary artists.
Over 80 works –with a focus on paintings, and also featuring drawings, prints and sculpture– are on display exclusively at The Dali Museum in St. Petersburg, Florida, from November 8, 2014 through February 16, 2015 (and at the Museu Picasso in Barcelona from March 19–June 28, 2015).
The story of Pablo Picasso and Salvador Dali is one of influence, rivalry, and artistic greatness. This exhibition presents these two giants of modern art who changed the way we understand images and the role of the artist. They are presented side by side in this exhibit, perhaps for the first time.
This exhibition shows how these artists were shaped by the currents of their time. Yet, their individual and insistent reactions to these currents inspire us all to find our own ways. Each artist, drawing his art from an interior and personal vision, tried to rescue the power of art from meaningless invention. In so doing they changed the ways that art was understood.
Picasso/Dali, Dali/Picasso was organized by The Dali Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dali and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities. (Dalí Museum press-release)
DalíMuseum. One Dali Blvd,St. Petersburg, Florida 33701
Image: Pablo Picasso. Femme dans un fauteuil rouge. 1939
14 november – 20 december 2014
To celebrate its first anniversary, Barnadas Huang will host a solo exhibition by one of its best-selling artists in Asia, Didier Lourenço.
Born in the stunning seaside town of Premia de Mar in Spain, Lourenço is an artist whose pieces are romantic yet enigmatic, frequently capturing fleeting moments, connections and emotions he hopes to bottle and keep in real life. Having built a following in Asia Pacific by exhibiting in countries such as Singapore, Hong Kong and Malaysia, Didier Lourenço’s first solo exhibition in South East Asia is titled “Muse” – an homage to the mysterious woman whose portraits and glances he has immortalised on canvas.
While her identity is deliberately left unclear, Lourenço prompts the viewer to discover the essence of her character by offering hints and suggestions of her personality and life. Lourenço refuses to contextualise his paintings, intentionally leaving most of the background and settings in his paintings ambiguous. By doing so, he urges the viewer to build their own narrative around the muse, making her a part of their lives as much as she is a part of his.
Approximately 20 artworks are scheduled to be shown during this exhibition, with a quarter of them brand new pieces from his new “Invisibles” series, in which a collection of smaller portraits come together to reveal a larger hidden portrait of the muse. (Barnadas Huang press-release)
Barnadas Huang gallery, 22 Dempsey Rd. Singapur 249679
Image: Didier Lourenço
EINDHOVEN. Antoni Miralda y Fernando García-Dory “Confessions of the Imperfect: 1848 – 1989 – Today” Van Abbemuseum
22 november 2014 – 22 february 2015
A traverse through modern culture. Confessions of the Imperfect is an exhibition on art, design, life and work, structured as a practical and experiential survey of the modern world. The exhibition presents a diverse mix of historical material, design and contemporary art projects to reflect on but also to use. It takes its title from the Romantic art critic and social reformer John Ruskin, who in Stones of Venice (1869), presented a holistic and ecological view on the relation between art and life as a perpetual and necessary struggle with human imperfection. “We may expect that the first two elements of good architecture should be expressive of some real truths. The confession of Imperfection and the confession of the Desire of Change”. You could not summarise the modern dilemma more succinctly than this. We dream of a perfect world which is actually within reach with all our technological progress, but every time that we achieve our ideal, the utopia we dream of turns out to be a dystopia.
He developed this vision as a critique of industrialising and capitalist societies that tried to resolve human imperfection through standardised forms of production and government. Instead of worrying about the outcome, however, Ruskin suggests we should focus on the process. How can we live life artfully and experience work not only as toil for reward, but as an organic part of a total social and ecological system of life and work? This question inspires this exhibition to take an unusual tour through modern times Artists: The basis of the exhibition is an impressive, architectural intervention by artist Liam Gillick, who constantly puts up different barriers in the exhibition based on the barricade, which the visitor has to conquer in a playful way. In this architecture you will come across new and old work by artists including Constant, Jeremy Deller, Fernando García-Dory, Liam Gillick, Renzo Martens, Antoni Miralda, Li Mu, Wendelien van Oldenborgh, Alexandra Pirici & Manuel Pelmus, John Ruskin, Static and Akram Zaatari. Curators: Steven ten Thije, Alistair Hudson. Curators: Steven ten Thije, Alistair Hudson. (Van Abbemuseum press-release)
Van Abbemuseum. Bilderdijklaan 10.5611 NH Eindhoven. The Netherlands
Image: Miralda, Power Food Canbarricade, 2014. Courtesy Missile Energy Drink
november 13, 2014 - january 15, 2015
With a series of 21 photographs the exhibition "Mare stone" runs nearly the whole coast of the Mediterranean. This "Mare Nostrum" by Isabel Muñoz, in the words of Christian Caujolle, curator of the exhibition, "seems to be made of water but illusions and seductions evoke the sculpture". The technique used by Isabel Muñoz to perform his works is platinotype. This technique obtains monochrome copies sensitized by contact with iron and platinum salts.
Isabel Muñoz (born 1951, in Barcelona) is a Spanish photographer who lives in Madrid. In 1986, she made her first exhibition, "Toques" and she has already made more exhibitions in several countries of the world for more than 20 years. Her works are in the Maison Européenne de la Photographie, in Paris, the New Museum of Contemporary Art, in New York, the ContemporaryArts Museum in Houston or private collections. (I.Cervantes press-release)
Instituto Cervantes - Sala de Exposiciones. 7, Rue Quentin Bauchart,75008 París
Image: Isabel Muñoz
14 november 2014 – 15 february 2015
“Turning Points” is the title of the contemporary art collective exhibition organized by EU Cultural Institutes represented in Hungary (EUNIC) in partnership with the Fine Arts Museum of Budapest and the National Gallery of Hungary. The exhibition’s opening ceremony will take place in November the 13th and will be open to visitors from November the 14th 2014 until the 15th of February 2015.
Within the context of the First World War Centenary (1914), the 75th anniversary of the Second World War (1939), the 25th anniversary of the Fall of the Berlin Wall (1989) and the 10th anniversary of EU enlargement to Central and Eastern Europe (2004), this art project, led by curator Zsolt Petrányi, pays tribute to the most relevant happenings of the 20th century, those events that made a significant turning point in the European contemporary history. With the aim of exploring last century’s history, the exhibition will display a collection of works of twenty six artists from sixteen different and diverse countries, as the UK and Israel or Japan and Spain may suggest.
The Spanish artists who take part in this exhibit are Javier de Villota and the work team Democracia. Javier de Villota, an architect, painter, and sculptor with a long professional career, will exhibit his series “Los Grises” (“The Grays”), draw with pencil and pastel. Democracia, a team work with Iván López y Pablo España, will display three channels video art installation under the title “Ser y Durar” (“To Be and to Last”) . (AECID press-release)
Galería Nacional de Budapest, 1014 Budapest, Szent György tér 2.Hungary
Image: Colectivo Democracia
LONDON. Libia Castro y Ólafur Ólafsson “The Partial Declaration of Human Wrongs” Waterside Contemporary
20 november 2014 – 15 february 2015
The mobility grants awarded by AC/E are enabling the artists Libia Castro and Ólafur Ólafsson to take part in an exhibition project at London’s Waterside Contemporary, for which they are developing a fragment of their project The Partial Declaration of Human Wrongs. This project consists of a series of works based on texts published in newspapers by the British philosopher Nina Power and a large installation on the façade of St. George’s Hall in Liverpool. The texts underline how easy it is to subvert, ignore and corrupt the rights enshrined in the Declaration of Human Rights.
Castro and Ólafsson use many artistic strategies to promote political debate, from advertising to public interventions and music – elements that can be seen in the exhibition at the Waterside, on the façade of the gallery. In addition to the exhibitions, a series of parallel activities will be staged, including a talk at the gallery with Nina Power and the screening of works by video artists at Tate Modern. The whole project will be compiled and published by Waterside Contemporary. (AC/Españolana press-release)
Waterside Contemporary. 2 Clunbury Str. London N1 6TT
Image: The Partial Declaration of Human Wrongs. Libia Castro y Ólafur Ólafsson
31 october 2014 – 10 january 2015
Abel Azcona is an spanish interdisciplinary artist specially bonded to performance art, his work, though, explores and focuses great attention to the aesthetic results and is therefore related with mediums such as photography, videoart, installation and sculpture. His art work has been presented in various museums, contemporary art centers, galleries and artistic spaces from countries all over the world like Spain, Portugal, France, Italy, Denmark, United Kingdom, Germany, Greece, Poland, Mexico, Colombia, Venezuela, Peru, Ecuador, Argentina, United States of America, China, Philippines and Japan.
His work is usually defined under two axises explored between one another through a constant synergy: autobiographical and critical. This makes his work highly heterogenous, and renders it as a personal portrait. This thoughts find in art a tool for criticism, but also a tool for self knowledge that questions reflections about society in which they are involved. Azcona invites the public to share their experience dragging them to his inner world
His artistic exploration considered highly biographic looks into his own childhood, scarred experiences of abuse, abandonment, and child maltreatment, being his biological mother a key reference of his experience and therefore of his artistic craft. The feeling of abandonment experimented for the first time because of his mother, who practiced prostitution, and his pass through multiple child shelters, mental institutions and different foster homes, are determinant to the way Azcona expresses himself. His life experience, marked by drugs, prostitution, or several suicide attempts during his adolescence, are linked to his creation and so he doesn't hesitate to share with the viewers through his work. In his works on this intimacy, Azcona is known for experiencing pain and physical stamina, exposing himself to beatings, intoxications, aggressions and various tortures both physical and psychological, and doesn't cower to confront himself. Azcona tells us that when inner pain is so intense, outer pain can disappear; uses pain to empathize with his own feelings and own experiences during childhood and teen ages. Also, he assures that when he practices self-harm, it's his own choice to alter the shape of his body, as opposing to an abused child or woman, without a chance to decide. A resilient Azcona, creator of a cathartic work as a mean of self knowledge and personal construction. . (MAC press-release)
Museo de Arte Contemporáneo de Bogotá MAC. Carrera 74 No. 82A - 81
Image: “No deseado” Abel Azcona
ALBURQUERQUE. “VAIVEN. Six visual journeys back and forth between Spain and the U.S” Instituto Cervantes
november 21 – february 20, 2015
An exhibition featuring six photographers from Spain and the U.S. who interpret the realities of both countries from multiple perspectives, creating a visual round trip.
The dichotomy of belonging to two places and the constant play between the influence of cultural background versus the setting, remains the core of this exhibition. Memories, popular culture, identity, the every day life, nature and urban spaces function as starting points to analyze the motivations and expectations that lie behind each photographic series.
The diverse backgrounds of all the artists meet on the common grounds of their intersecting perspectives of both countries. Born in Madrid and raised in Maryland, Ana Hayes-Pérez, explores her personal connection with Spain through souvenirs and family memories. Spanish photographer Raúl Urbina observes Chicago by foregoing its iconic side to focus on the city’s driving forces, from its people to its infrastructures. Hailing from Canada and born to Spanish parents, Chicago based photographer Xavier Nuez uses dark alleys and ruins of the city to turn his pictures into monuments that give dignity to rejected urban spaces. Javier Corso reinterprets the military imagery of Spain through the strong visual references present in the popular culture of the U.S. Tarragona-born photographer Monica Lek uses her photographs of New York to reflect the human reality of the city through portraits of her neighbors. New York-based photographer Carla Tramullasanalyzes the process of remembrance with shots snapped on her trips across the US with her grandfather’s Leica. (I.Cervantes press release)
Instituto Cervantes, 1701 4th St SW, Albuquerque, NM 87102
Image: Carla Tramullas
31 october 2014 – 02 february, 2015
'The Copenhagen Declaration' is one large installation that fills the whole of Faurschou Foundation’s exhibition space. As with Haaning’s and Sierra’s other works, this is a work that takes its point of departure in socioeconomic and political matters. The work operates in the field between the ceremonial, formal declaration and the open statement of this declaration, which is dependent on context and the cultural background of the viewer. The artists have no wish for a direct communication or interpretation of this work, and there is no indication of who is the source or who is the recipient. Both Jens Haaning’s and Santiago Sierra’s works deal with issues of national origin, state boundaries and cultural differences, and their works urge reflection over the state of the world.
SantiagoSierra (b. Madrid 1966) is preoccupied in his practice with, among other issues, problematizing the value of labour, as can be seen in the many works where he pays excluded social groups to participate in what are often quite pointless, physically exhausting, directly humiliating, labour. This can be seen in the work '10 People Paid To Masturbate' (2000) where ten men from Havana, Cuba, were paid 20$ to masturbate alone in front of a video camera. In '133 Persons Paid To Have Their Hair Dyed Blond' (2001) 133 illegal immigrants from third-world counties in Asia and Africa were paid to have their hair bleached in connection with the Venice Biennale the same year. A small group of immigrants who primarily lived by selling copied bags were subsequently invited to sell bags as part of the actual art exhibittion. The work 'NO' (2009) consists of a simple “No” in large black-painted letters. The expression only takes on meaning when it is placed in a context and the meaning changes depending on the specific setting of which it forms a part. Sierra in other words offers us a work that is on the one hand meaningless, but on the other hand can be inserted in a multitude of contexts and functions as a kind of protest or opposition to the way things work. (Faurschou Foundation press-release)
Faurschou Foundation. Klubiensvej 11. 2150 Nordhavn. Denmark
Image: Installation view of the exhibition “Jens Haaning / Santiago Sierra: The Copenhagen Declaration” at Faurschou Foundation Copenhagen. Photo by Guston Sondin-Kung, © Faurschou Foundation
november 7 - december 27, 2014
The Gabarron Foundation is pleased to announce the upcoming exhibition entitled Landscapes of the Soul, which will bring together 42 works by 22 photographers from Castile and Leon. Curated by Gabriel Villamil and Carlos Aganzo, these 42 Visions of Castile and Leon inspired six poets from the historical Spanish region to create a poem for each of the seven different images. This exhibition contributes to exploring the roles that art and culture play in shaping the physical, social and economic futures of our communities; from the rural to the urban landscapes of nine provinces (Avila, Burgos, León, Palencia, Salamanca, Segovia, Soria, Valladolid and Zamora) that all together constitutes the biggest region of the European Union and treasures over 50% of the artistic patrimony in all of Spain.
Artists: David Arranz, Claudio de la Cal, Enrique Carrascal, Justino Diez, Santiago Farizano, Jesús Formigo, Peio García, Ramón Gómez, Luis López Araico, César Manso, Andrés Martínez Casares, Marian Montesinos, Ricardo Muñoz, Víctor Otero, Antonio Quintero, Raúl Sanchidrián, Henar Sastre, Antonio de Torre, Concha Ortega, Fidel Raso, Alberto Rodrigo - Miguel A. Valdivieso, Gabriel Villamil.
Poets: Carlos Aganzo, Antonio Colinas, Asunción Escribano, Fermín Herrero, José María Muñoz Quirós, Gonzalo Santoja.
"Landscapes of the Soul collects the work of 22 photographers who have captured the passion for their land in their images. A particular vision that has been transformed into 42 snapshots that collect a vision of a territory full of stories and legends, of culture and tradition. Starting from absolute creative freedom, each of the artists creates a setting of reflection that is able to add reality to what is real, of incorporating new aspects to what is known with the purpose of enduring the memory of what is lived in this exhibition in the memory of the visitor." Gabriel Villamil, exhibition curator for photography.(Gabarron press-release)
The Gabarron Foundation Center for the Arts. 149 East 38th Street. New York, NY 10016
Image: “Tierra de Campos” Gabriel Villamil 2014
7 noviembre 2014 – 10 enero 2015
For over 25 years, Alberto Hernández (b.1959, Béjar, Salamanca) has been researching with ceramic procedures and tools, and reinvented a new field in painting. His works are produced in the moment of confrontation with the fire: the artist paints directly with flames and smoke effects of fire. The technical complexity, the need for speed of movement and the extreme physical conditions exert a strong pressure to which the artist undergoes, to achieve his results. This enables the audience to expect a unique experience with new and exciting surfaces.
Olga Simon (Madrid, 1974) has a degree in Fine Arts from the University of the Basque Country. His career received highlights grant by the University of the Basque Country, her solo exhibition at the Sala Recalde Area2 Bilbao and Thibierge & Comar II Prize Awards in Paris. His images are part of the Photo Archives Madrid in Memoriam Ministry of Culture in Madrid and the Photographic Archives of the Museum of Elysée in Lausanne Switzerland, among others. Image. Jardín Polar.15. Olga Simón. (100 Kubik press-release)
100 Kubuk, Mohren Str. 21. 50670 Köln
19 october 2014 – 11 january 2015
This exhibition calls the audience to dive into the oneiric, provocative and fanciful universe of Salvador Dalí.
Including approximately 164 works, paintings, drawings and prints, in addition to documents and photographs from major institutions holding the artist's collections, i.e., Gala-Salvador Dalí Foundation (Figueres), the Centro de Arte Reina Sofia National Museum (Madrid) and Salvador Dalí Museum (Florida), the exhibition presents the artist's production since the 1920s all the way to his last works, providing visitors a clear perception of Dalí's evolution – not only in terms of technique -, but his influences, theme capabilities, ideological references and forms of symbolism.
In the words of curator Montse Aguer, the works have been selected to "show not only surrealist Dalí, but also an artist that gets ahead his time, is daring and shows up in defense of the artist's unshackled imagination in his/her own creative processes. Concomitantly, the exhibition strolls over Salvador Dalí's artistic and personal paths."
Curator: Montse Aguer
The exhibition in Brazil will include around 164 paintings, photographs, films and objects lent by the Reina Sofía, the Fundació Gala-Salvador Dalí in Figueres, Spain and the Dali Museum in St Petersburg, Florida.(I.Tomie Ohtake press-release)
Instituto Tomie Ohtake. Av. Faria Lima, 201. Pinheiros. Sao Paulo
Image: Salvador Dalí. I.Tomie Ohtake
october 30 - december 13, 2014.
Apocryphal Times is an exhibition that presents the work of eleven international artists who grapple with the ultimate-elusive concept of time. Striving to grasp time’s essence, these artists were invited to reflect on traditional temporal notions and to create narratives that defy, fictionalize, or capture ‘time’ as we know it. Organized by Thorsten Albertz, gallery director at Friedman Benda, and artist Tamara Kostianovsky.
Through sculptures, performative works, installations, and drawings, the artists in the exhibition demonstrate a common preoccupation with clocks, memory, ruins, the aging body, and anxiety about the future. Informed by the power of history, myths, scientific theories, and personal experiences, the selection of works ultimately challenge the idea that ‘time’ is what keeps everything from happening at once. Featuring the work of Diana Al-Hadid, Juanli Carrion, Cesar Cornejo, Lars Fisk, Valerie Hegarty, Hedwige Jacobs, Jessica Lagunas, Aili Schmeltz, Julien Salaud, Mark Lawrence Stafford, and Tamara Kostianovsky.
The digital prints of Spanish artist Juanli Carrion postulate further on peripatetic projections of time and the hierarchy of memory in the virtual realm, by using thousands of layered images of ‘ruins’. Born in Yecla, Spain. 1982. Lives and works in Brooklyn. (Friedman Benda press-release)
Friedman Benda. 515 West 26th Street. New York, NY 10001
Image: Un-Dramatics After the Fall, 2011. Archival C-PRINT and Saint. Juanli Carrión
30 october 2014 – 1 february 2015
Salvador Dalí’s artworks are traditionally divided into periods, directly related to the geopolitical situation in the world. However, the exhibition in the MMOMA will not be arranged chronologically. Viewers can choose the way they go through the exhibition themselves. The show is divided into two parts, inextricably connected with each other. The first one will demonstrate Dalí at work. Covers and articles for Vogue, GQ, TV Guide, Newsweek, Town&Country, This Week magazines and many other editions will introduce the audience to Dalí the illustrator and the art director, the writer and the editor. The MMOMA halls will tell about each new role of the artist. The second part is a world of images which are an integral part of the era of the Fourth Estate, where the artist worked. Giant eggs, female legs in Bryans Hosiery, lips and, of course, Dalí’s famous mustaches recreate the unique space of Dalí’s mad world. But surrealism will be interrupted by a hall of ratio, without which it is impossible to imagine the work of the genius with media. Numbers have accompanied from the very beginning of his creative work be it circulation of a publication he has contributed to, a number of covers or the author's emoluments he received from one of the largest publishing houses.
Dalí’s oeuvre in mass media was inextricably connected with the imagery one finds in his art. His work as an illustrator was neither casual nor a temporary passion. It was one of the foundations of his total oeuvre. (MMOMA press-release)
MMOMA, 10 Gogolevsky boulevard
Image: Photo Monde, 02/1954. Image Rights of Salvador Dalí reserved. Fundació Gala-Salvador Dalí, Figueres, 2014
18 october 2014 – 1 february, 2015
A Curitiba new look. That's what Isidro Blasco proposes in his solo exhibition entitled Landscape Deconstruction in the Muma Curitiba Municipal Art Museum. Curated by Denise Gadelha, the exhibition is an art installation of 26 meters long. They are photographs and videos offering to visitors a different perception of the city.
Isidro Blasco (Madrid 1962) combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. Using digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist’s personal cityscape. His work often references the realm of private or domestic space. Blasco normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that Blasco orchestrates risk comparison with the actual streetscapes or rooms he’s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Isidro Blasco (b.Madrid 1962) is held in the collections of The Museum of Modern Art in New York, The Whitney Museum of American Art, The Chicago Institute of Contemporary Art, The Baltimore Museum of Art and many International Museums.
(MUMA press - release)
Image: Isidro Blasco
19 october 2014 – 18 january 2015
Animal que no existeix inhabits an immaterial, abstract and unstable space. Animal que no existeix wanders through Daniel Steegmann Mangrané's exhibition, developing in it, as a process of exchange and operations of transformation.
Animal que no existeix is a perceptible space with no object. Animal que no existeix is made up of relations between subjects (entities) and exchanges of perspectives which engage the viewer in visualizing the potential for transformation of the phenomena perceived. Animal que no existeix spatializes viewpoints in the exhibition, and by being one with it, the viewer tries to adopt them … these viewpoints.
Animal que no existeix may (at times simultaneously) use drawing, collage, cut-outs, film, and installation, and develop organically to achieve the right level of abstraction allowing it to migrate from one piece to the other. Animal que no existeix overlays different strata of relations and ramifications. Geometric grids, and in the middle of these grids, a lozenge. A combination of V-shaped chevrons that can be multiplied ad infinitum. An element structuring the abstract motifs of the “people who draw” of Amazonia, referring to the myth of the Great Anaconda a seasoned, chevron-striped snake which allegedly taught the Indians how to weave and draw. Animal que no existeix makes the wall vibrate and crunch and dissolves in the abstract space of thought. Animal que no existeix is an ambiguous song which has lost an S’. Animal que no existeix is an animal which does not exist.
A monographic book of Daniel Steegmann Mangrané designed by Manuel Raeder and edited by Rivet will be released in 2015. (CRAC. Alsace press-release)
The exhibition is supported by KriskaDECOR, Montblanc, Spain.
Centre Rhénan d´Art Contemporain, 18 rue du chateau. Altkirch
Image: Daniel Steegmann Mangrané, Phasmides, 2012
21 october 2014 – 25 january 2015
This exhibition of photos by Alberto García-Alix, on show at the Maison Européene de la Photographie (MEP) in Paris from 21 October 2014 to 25 January 2015, brings together a selection of the León-born photographer’s best work of the past five years. Through leaps in time, these photographs establish dialogues with other works from the artist’s past, paying special attention to unpublished works that help contextualise the photographer and his oeuvre.
To cite Alberto García-Alix, Un horizonte falso (A false horizon) is “a world of altered presences trapped in an instant of eternal silence. Here the visible is a metaphor of itself and of a thought. Thought as a revelation fuelled in a monologue that is stretched over a horizon. A false horizon...”
The ambiguity of photography, life, death… Portraiture and self-portraiture, defying natures, urban landscapes and plays on scale dominate García-Alix’s snapshots in this project. The exhibition is organised by the Maison Européene de la Photographie (MEP) with the collaboration, in addition to AC/E, of the artist’s main galleries: Kamel Mennour (Paris) and Juana de Aizpuru (Madrid). RM publishers have been entrusted with the exhibition catalogue. (AC/E press-release)
La maison Européenne de la Photographie. 5/7 Rue de Fourcy - 75004 Paris
Image: Alberto García Alix
october 25, 2014 – march 08, 2015
Mallorcan artist Bernardí Roig installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum.
Bernardí Roig (b. 1965) participates in the contemporary art projects series Intersections at The Phillips Collection. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary.
Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light —whether a single light bulb, neon tubes, or fluorescent lights— Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.
Intersections is a series of contemporary art projects that explores —as the title suggests— the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. Whether engaging with the permanent collection or diverse spaces in the museum, the projects suggest new relationships with their own surprises. Many of the projects also riff on the nontraditional nature of the museum's galleries, sometimes activating spaces that are not typical exhibition areas with art produced specifically for those locations.(Phillips Collection press-release)
The Phillips Collection, 1600 21st St NW, Washington, DC 20009
Image: An illuminated head for Blinky P. (The Gun) (2010) Galerie Klüser, Munich
23 september 2014 – 1 february 2015
The exhibition titled ‘Joan Miro: Women, Birds and Stars’ focuses on the artist’s mature period and is partly organized by Joan Miro Foundation in Barcelona.
Creations including oil and acrylic paintings, lithographs, etchings and assemblages with relevant models and drawings as well as his textiles and ceramic works will be exhibited.
Speaking at a press conference at Sabanci Museum, director Nazan Olcer said that preparation for the exhibition took three years."Our dream was to add the third link with this great Catalan master to the trilogy of Spain’s great masters," Olcer said, referring to the museum’s earlier exhibitions of Pablo Picasso and Salvador Dali.
"Some of his art in different techniques and some of his personal belongings will be exhibited for the first time in Turkey," she added. "A series of documentaries will also be shown at the exhibition thus giving us the chance to observe the artist’s life, inner world, his transformations, friends, anger and reaction to the political events in his country and in the world," she said. Miro's grandson Joan Punyet Miro was also at the launch. Speaking to The Anadolu Agency, Punyet Miro said that one of the objects displayed at the exhibition had a special meaning for him as it reminded him of his childhood. Posing along with a water tap he said: "When I was a child I was using the water tap to fill a tank where I was swimming in Catalonia. One day the water tank disappeared and it was used in one of his sculptures."
Punyet Miro described the exhibition as "complete" as there are paintings, drawings, sculptures and tapestries. Rosa Maria Malet, director of the Joan Miro Foundation, said that Miro defined himself as 'painter' but a painter who tries to work with all kind of material that he finds. "He was a big explorer and a big teacher; Miro tried to explore new techniques," Malet said.
Both an artist and sculptor Miro was born in 1893 in Barcelona and lived between Barcelona and Paris. The great Catalan artist died in Mallorca in 1983.(Anadolu Agency press-release)
Sakip Sabanci Museum, Sakıp Sabancı Cad. No:42. Emirgan 34467. İstanbul
Image: Joan Miró Foundation
24 september 2014 – 22 february, 2015
As part of Beijing Design Week 2014, which is the guest Barcelona city, the Cervantes Institute and the Institut Ramon Llull offer this exhibition, from the perspective of Barcelona artist Perico Pastor, how cultural exchanges established throughout the Silk Road have finished modifying and configuring both the public and private space in European and Chinese cities. With the representation of people, objects and places using the traditional technique of Chinese ink on paper, Perico introduces us to the human landscapes of cities like Barcelona, Beijing and Xi'an, and we discover the nature of its inhabitants: the customs and styles lives of three of the most important urban areas of the planet in the twenty-first century. (I.Cervantes press-release)
Instituto Cervantes , A1 Gongtinanlu, Distrito Chaoyang.100020 Pekín
Image: Xativa. Perico pastor
12 September 2014 - 11 January 2015
With his imaginative pictorial motifs, Joan Miró is one of the most popular artists of the 20th century. The Albertina is dedicating a solo exhibition to the Catalonian artist containing around 100 paintings, drawings and objects, which strives to emphasise the poetic quality of the famous Surrealist.
Miró's painting is characterised by a sense of lightness and spontaneity. He looks upon the world with a carefree, almost childish fascination for all things. His unmistakable pictorial language is as magical as it is universal. Moons, stars and comets, eyes and insects, birds and women populate his paintings and are among the most recognisable elements of his art. Miró's works provide insight into his poetic perception and interpretation of the original, of that which is actually essential in things, the world and the universe. Curator: Dr. Gisela Fischer. Guest Curator: Jean Louis Prat (Albertina press-release)
AlbertinaMuseum. Albertinaplatz 1, 1010Vienna. Austria
Image: Metamorphosis. Joan Miró 1936
AHMEDABAD. Taller La Casquería “Live Architecture” XII BEAU. Bienal Española de Arquitectura y Urbanismo
01 november – 31 december 2014
Since the year of its establishment, the Spanish Architecture and Town Planning Biennial – Bienal Española de Arquitectura y Urbanismo, formerly the Spanish Architecture Biennial – has been incorporating into its overall programme a number of specifically architecture-related activities organised by the various collaborating institutions and a travelling exhibition which each year features the works that are shortlisted and win awards in each of the categories on account of their qualities.
The theme of the 2013 biennial was ‘Inflexión/Turning Point’, and the award-winning and shortlisted projects focused on rehabilitation, a town planning based on change, and an architecture that is environmentally friendly and not costly to maintain.
As a result of this call and of the selected works, the Ministry of Development, with the collaboration of AC/E, is organising and producing the Live Architecture exhibition designed by the young architects’ studio Taller de Casquería.
Live Architecture shows the award-winning architecture from a close and dynamic approach. The centrepiece of the exhibition is a major video installation that conveys not only the value of the prize-winning projects but also how they are used and experienced and how they behave over time, in daylight and with night illumination. Its design allows it to be shown simultaneously in several cities and in different formats.
The exhibition project was presented at the 12th Spanish Architecture and Town Planning Biennial (BEAUXII). Its aim is to make known the award-winning architecture in use, by showing the different stages of activity and how spaces are understood through their users. The focal point of the exhibition space is a black box with a large screen that displays all the information. All the buildings selected by the biennial are shown, evidencing their relations and unique features. Cross-cutting readings are made as equivalent or contrasting situations appear and are related on the screen. Management software was specially developed for this purpose to coordinate the different live entries in relation to the pool of recorded videos. A red light. . (AC/E press release)
Imagen: XII Bienal de Arquitectura
20 september 2014 – 21 february 2015
As of 20 September 2014 Palazzo Strozzi in Florence will be focusing on modern art once again with a major new event devoted to one of the greatest masters of 20th century painting, Pablo Picasso.
The exhibition will present a broad selection of works by this great master of modern art in an effort to stimulate a reflection on his influence and interaction with such leading Spanish artists as Joan Miró, Salvador Dalí, Juan Gris, Maria Blanchard and Julio González: art reflecting on art and on the relationship between the real and the surreal, the artist's heartfelt involvement in the tragedy of unfolding history, the emergence of the monster with a human face, and the metaphor of erotic desire as a primary source of inspiration for the artist's creativity and world vision.
Picasso and Spanish Modernity will be showing some ninety works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving and even film, thanks to the Fondazione Palazzo Strozzi's synergistic cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art on display will include such celebrated masterpieces as Woman's Head (1910), Portrait of Dora Maar (1939) and The Painter and the Model (1963) by Picasso, Siurana, the Path (1917) and Figure and Bird in the Night (1945) by Miró and Dalí's Arlequin (1927), along with Picasso's drawings, engravings and preparatory paintings for his huge masterpiece Guernica (1937), none of which have been displayed outside Spain in such vast numbers before now.
Organised by Fondazione Palazzo Strozzi and Museo Nacional Centro de Arte Reina Sofía. Curated by Eugenio Carmona (Palazzo Strozzi press-release)
Fondazione Palazzo Strozzi - piazza Strozzi 50123 Firenze
Image: Pablo Picasso. El pintor y la modelo (The Painter and The Model), 1963. Museo Nacional Centro de Arte Reina Sofía, Madrid
31 August - 21 December 2014
This is a group exhibition in which AC/E is supporting the participation of Spaniard Adrià Julià along with artists Bas Jan Ader, Meris Angioletti, Ali Cherri, André Cadere, Mathis Collins, Alighiero Boetti, Jimmie Durham, Naufus Ramirez-Figueroa, Julia Meltzer and David Thorne with Rami Farah, Gilad Ratman, Olve Sande, Benjamin Valenza, Guido van der Werve, Nancy Spero and writer Golan Haji.
The exhibition, curated by Elena Lydia Scipioni (Rome, 1979), explores the history of the artists and intellectuals who sought refuge in Marseilles when the Second World War broke out, and waited for an opportunity to escape to North America. In 1941, they stayed at the Villa Air Bel, where André Breton and a group of surrealists – Victor Brauner, Oscar Domínguez, Jaques Harold, André Masson and Frederic Delanglade – created a deck of hybrid cards (a mixture of traditional playing cards and tarot cards) known as ‘Le Jue de Marseille’ as entertainment. These cards are now held in the Musée Cantini, and are being shown especially on this occasion.
In this context Adrià Juliá (Barcelona, 1974) has been invited to create a new work based on Siegfried Kracauer’s texts – ‘Two planes’, written in 1926, ‘Apparition at Le Cannebière’ (1928 / 1931) – and Walter Benjamin’s texts ‘Marseille’ and ‘Hashish’. Julià explores the spatial, social and geometric relations that Karacauser describes around a square in Marseilles, but without disclosing its exact location or name. The text describes the square, which is now unknown or has disappeared, as an everyday, controlled theatrical space. It can also be found in the text written by Walter Benjamin on Marseilles and even in the letters exchanged by the two abovementioned authors. Julià treats this square as a space for speculation and promotion, with different interlinked stories and chronologies. For this purpose he has made a film that is projected in the exhibition space and refers to the architectural framework dealt with in Kracauer’s text. Julià sets out to make a slight shift in the focus of historical references in order to highlight the key role played by Marseilles. (AC Española press-release)
Le Cartel de la Friche, 41 rue Jobin - 13003 Marseille
Image: Adriá Juliá
july 19 – december 31, 2014
As part of the project TRANSIT- Creative Placemaking with Europe in Baltimore, the Spanish artist collective mmmm… has created a fun and interactive bus shelter in S. East Avenue, Highlandtown A&E District, right next to the Creative Alliance.
This is a bus stop that you can’t miss. It consists of three large sculptures that form the letters B U S. Each letter stands 14 feet tall and 7 feet wide and it’s made with wood and steel. The artist collective mmmm... has created a place for the community to enjoy, interact, and meet while waiting for the bus. They have transformed the experience of waiting for the bus to an entertaining, leisurely space in the middle of the lively rhythm of Highlandtown.
mmmm… is a collaboration between Emilio Alarcón, Alberto Alarcón, Ciro Márquez and Eva Salmerón, who have been creating projects for public spaces since 1998 in Madrid, Spain. They have arranged 100 couples kissing simultaneously throughout the crowds of the city center. Noise levels on the streets unexpectedly plummeted during that moment of mass intimacy. They have scattered members of an orchestra that played the same music simultaneously on various streets. Pedestrians experienced the music differently depending on which street they walked past, the speed at which they walked, and by which direction they were headed.
They have also built the Meeting Bowls in Times Square (New York), large objects shaped like bowls with seating to accommodate eight people. They constructed temporary and playful urban furniture, designed to promote interaction by having those seated inside face one another. The Meeting Bowls were social places for gathering and getting to know people.
TRANSIT – Creative Placemaking with Europe is an initiative of the Washington DC cluster of the EU National Institutes for Culture (EUNIC) and the Baltimore Office of Promotion and the Arts (BOPA), supported by a grant from the European Union. TRANSIT is supported by the British Council, Goethe-Institut, SPAIN arts & culture, the Embassies of Austria, Greece, Ireland, Finland and Poland. (Spain arts&culture press-release)
Bus Stop, S. East Avenue, Highlandtown A & E District
Image: Bus Stop. mmm..
23 july - 05 february 2015
An eye-opening collection of photographs and artefacts is set to intrigue visitors to the Science Museum this summer as Media Space stages the first major UK exhibition by award-winning Catalan artist Joan Fontcuberta.
Fontcuberta subtly questions the use of the photographic image as evidence, by combining visually compelling and mischievous narratives with an acute, deadpan humour.
With highlights including astonishing photographs of mermaid fossils and incredible reports on mysterious fauna, Stranger Than Fiction presents six conceptually independent narratives from Fontcuberta’s body of work; a visual universe in which the real and the imagined combine to startling effect.
Co-curated by the artist with Greg Hobson, Curator of Photographs at the National Media Museum, the exhibition will feature some of Fontcuberta’s best-known works, including photographs, film, dioramas, scientific reports and related ephemera to form the second show in the Science Museum’s 550m² Media Space gallery.
Joan Fontcuberta, born in Barcelona in 1955, artist, teacher, writer and curator Joan Fontcuberta is one of the most significant figures in contemporary photography. After beginning his career in advertising, he went on to teach in the faculty of Fine Arts at the University of Barcelona, as well as numerous other institutions including Harvard University. He co-founded PhotoVision magazine in 1980 and has many other publications to his name. He was named Chevalier des Arts et des Lettres by the French Minister of Culture in 1994, received the 1998 National Prize in Photography from the Spanish Ministry of Culture, the National Prize in Culture for Visual Arts from the Catalan Government and was last year chosen as the recipient of the Hasselblad International Award in Photography.(I.Ramón Llull press-release)
Stranger Than Fiction is presented in collaboration with the Government of Catalonia, organiser of the Catalan Tercentenary programme.
London's Media Space, Science Museum. Exhibition Road, South Kensington, London, SW7 2DD
Image: Joan Fontcuberta
18 june 2014 - december 2015
On the occasion of the 10th anniversary of Jaume Plensa’s Crown Fountain, the artist presents four monumental sculptures installed in Millennium Park for this special exhibition, 1004 Portraits. The sculptures are portraits of young girls created in cast iron and resin; they continue the story of the original 1000 portraits of local Chicago residents that illuminate the Crown Fountain every day. (Millennium Park press-release)
MillenniumPark. 201 E. Randolph St., between Michigan Ave. & Columbus Ave. Chicago, IL 60602
Image: Jaume Plensa
AUGSBURG. Jaume Plensa “The secret Heart” H2 Centre for Contemporary Art in the Glaspalast and Augsburg-Oberhausen gasworks
7 June 2014 – 30 january, 2015
Following an invitation by the Kunstsammlungen und Museen Augsburg, the Catalan artist Jaume Plensa designed a project for an extensive exhibition at three locations in Augsburg. The project’s centrepiece is The Secret Heart / Das Geheimherz in the gasometer of the Augsburg-Oberhausen gasworks. Here, Plensa has installed a monumental suspended heart with an accompanying sound installation, giving a new meaning to this industrial space. When he first saw this space, in the disc-type gas holder, Plensa was both fascinated and daunted. Its massive dimensions presented a huge challenge: how could a contemporary artist fill such a space? Can art overcome the artificiality of this space? Would what is technically possible be at all compatible with the artist’s creative ideas? Plensa’s spectacular heart is the emphatic response to such questions. This creation, reminiscent of an anatomical model of a heart, forms the crystallising centre of Plensa’s artistic deliberations, which seek to represent society as a complex image or symbol. The ‘secret heart’ is enclosed, or wrapped, in the steel cylinder of the building, in the interior of which the pulse of society becomes visible and audible. With this artistic concept, Plensa on the one hand takes up elements already present in his work to date, but the sculptural motif of the heart appears here for the first time.
Plensa’s work is always location-specific. He analyses the locations he uses for his installations, gets a sense of their specific features and integrates them into his works, drawing artistic energy from the place itself. This reciprocal relationship between place and artwork is also evident in his installation Void – Air – Water in the ballroom of the Schaezlerpalais, the second exhibition location in Augsburg, where Plensa has arranged three sitting figures, illuminated in changing colours from the inside. The three figures are related to their theatrical context in the rococo ballroom and respond to it in a contemporary way. Finally, in the great hall of the H2 Centre for Contemporary Art in the Glaspalast, Plensa presents sculptures whose common formal feature is the letter, for example his Self-Portrait of 2013, a globe inside which the sitting artist sculpturally constructs himself, or Talking Continents (2013), a series of floating figures composed of letters which interact with the situation, the light and the breadth of the room. The artist describes his Augsburg project as a grown trinity, as moments of the emotional (gasometer), the rational (Schaezlerpalais) and the intellectual (H2), which come together to form an organic whole. (H2 press-release)
H2 – Zentrum für Gegenwartskunst im Glaspalast. Beim Glaspalast 1 D-86153 Augsburg. Germany
Image: “The secret Heart” Jaume Plensa
NEW YORK. Laura F. Gibellini “Dom (Variations)” Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
june 17 – december 31, 2014
The project consists of a mosaic mural and twelve laminated windows located at the Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
Dom (Variations) appears as an apparition at the Fresh Pond Station a warm and inviting bedroom welcoming commuters to their home station. A neat bed, wallpapered wall, firm pillows and shiny furniture complete the scene. The artist’s intent is to reflect the path that flows from within the interior space of a cozy home to the exterior world, tracing the daily commute to work and the return home.
Based on the concept of “home," the mosaic mural, located across from the mezzanine entrance, depicts a lived in domestic interior scene, complete with scattered garments, books and a floor lamp. The pattern of the wallpaper on the bedroom’s back wall derives from a map, while natural elements like tree-leaves and branches invade the room, and seem to themselves form into wallpaper. The image of a window within the mosaic emulates the real windows in the next two stations. Overall, the work seeks to inspire an ethereal and dreamy atmosphere that evokes memories of the past and of a dreamed home.
Laura F. Gibellini(Madrid 1978) is a visual artist and theorist whose work grapples with the notion of ‘place‘ and what it means to inhabit the world. She is especially concerned with the emergence of specific places in the interstice between ideal and factual gestures, in the gap between conceptualization and practice. In her work, Gibellini pays particular attention to the conditions in which, at a given moment, specific artworks find their expression and manifest themselves. This places emphasis in the (thinking) process and how the artwork may appear as a result or residue of such development.
Gibellini’s art practice involves substantial investigation in a variety of disciplines and extends to the field of writing. She uses drawing, collage, photography and video and, at times, she produces site-specific installations. (ISCP press-release)
Commissioned and owned by MTA Arts for Transit & Urban Design
Fresh Pond, Seneca Avenue and Forest Avenue Stations (M Line), Queens, NY
Image: Laura F. Gibellini
28 june – 31 october, 2014
Manifesta is a European contemporary art biennial that takes place in a different city every two years. In 2014 Manifesta will be held in St Petersburg, the main venue being the Hermitage, which is furthermore celebrating its 250th anniversary. The curator of this year’s event, German Kasper König, has made a very small selection of artists in comparison to previous years, including two Spanish artists: the deceased Juan Muñoz and Jordi Colomer. AC/E is collaborating in the project to exhibit the works of both.
Juan Muñoz (Madrid 1953 – 2001) His first exhibition was in 1984 in the Fernando Vijande galleryy of Madrid. Since then, his works have been frequently exhibited in Europe and other parts of the world. At the beginning of the 1990s, Juan Muñoz began breaking the rules of traditional sculpture by sculpting works in a "narrative" manner which consisted of creating smaller than life-size figures in an atmosphere of mutual interaction. Muñoz's sculptures often invite the spectator to relate to them, making the viewer feel as if they have discreetly become a part of the work of art. His slate-gray or wax-colored monochromee figures create a sort of discreetness due to their lack of individuality, but that absence of individuality questions the viewer, perhaps even so much as to make the viewer uncomfortable. When asked his occupation, Muñoz would respond simply that he was a "storyteller."
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these. (Manifiesta 10 press-release)
StateHermitage Museum, Palace Square, 2, St Petersburg, Russia, 190000
Image. Juan Muñoz, Jordi Colomer
21 february – 19 march, 2014
The 21 february , TJINCHINA Project Space in Tijuana will open it´s doors in one of the hot spots of the border between Mexico and the U.S., the Avenida Revolución. Hosting cultural producers from various nodes of the global network it has generated, but focused on a constant exchange with the artistic community in Beijing , China.
"Nice of you for inviting me here, the city is perfect for what I'm doing, because I'm working on body control, and governments just controlling us with cameras on the streets involving control structures, get here and see the wall of the United States ... very rare ... reaches the sea, is very silly and edge moves and we can see how it moves. It is a very arbitrary thing, a business, who did should win big. Diana Coca”
The Spanish artist Diana Coca explore female identity reconstruction, through performative self-portraits, I focus on the violence of the fragmented body and the conflict between the body as a biological organism and the taboos around it. Fatally, it is always in our body where desire and law are struggling, where we oscillate between being carried away by the passions and be subjects, fighting between obscenity and compliance with the standards that shape the self in society. I am very interested this, the relationship between us as biological organism and the conventions built around it, the bitter conflict between society and the individual, between public and private, especially in contemporary China, where the concept of individuality is new after years of domination by the collective. My work tools are the photographic camera, video and performance, with which I construct narratives in audiovisual format, where the body and its struggles are the main characters. I am also interested in putting together ethics and aesthetics in the artistic language, with analytical disciplines as philosophy, history, feminism, psychoanalysis, art theory, as well as other cinematographic, mythological & literary creations. (Tjchina projectspace press-release)
TJ in China Space, avenida Revolución 1332 Zona Centro. Tijuana. Mexico.
Image: Diana Coca