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Spanish contemporary art worldwide

 

PARIS. Antoni Clavé “Prints” BNF. François-Mitterrand Library/Donors’ gallery

january 9 - february 25, 2018  

Both a painter and a printmaker, Antoni Clavé (1913 Barcelona - 2005 Saint Tropez) was one of these 20th century artists who, like Pablo Picasso and Joan Miró, considered printmaking as a complementary practice essential to painting. His illustration engravings and original prints created as soon as the late thirties to the early 2000 compose a set of works which is particularly interesting from the technical and stylistic point of view.

The exhibition presented at the BnF follows the bequest of a series of prints by Antoni Clavé’s grandchildren. It is concomitant with the publication of a Catalogue raisonné of his printed works. From the first lithographs portraying kings that made him famous in the late fifties to the large-size abstract works of the nineties, the exhibition allows to (re) discover the engraved works of a singular and unclassifiable artist. (BNF press-release)

Bibliothèque Nationale de France, François-Mitterrand Library. Quai François-Mauriac, 75706 Paris

http://www.bnf.fr/en   https://www.antoni-clave.org

Image. Antoni Clavé, La main noir, 1971

BERLIN. Concha Argüeso “DER TRAUM DES PHOENIX” KM13 Studio Showroom Storefrom

27 january -16 march, 2018

“I have always asked myself, what it is that I see in the artworks by Concha Argüeso.  There is something that is not really visible –not in a way that is clearly recognizable. Sometimes it is the silhouette of a body, or just a circle, a gate, mostly not even that. And the more I look at it, the more addicted I become. It must be something like the soul.” David Kermani

KM13 Studio Showroom Store. Kurmärkische Str.13. 10783 Berlin
www.conchaargueso.eu

http://km13.info/en

Image: Concha Argüeso

ROME. Daniel Muñoz (SAN) “Vexillum Transparent“ Galleria Varsi

20 january – 25 february 2018

Muñoz‘s artistic path reflects his desire to investigate the collective dimension of public spaces, and to interact with each specific location, always aware of the complexity and the contradictions of artistic interventions in public sites. In the Nineties, as a boy, he starts by doing graffiti, and immediately understands that it is the openness of the street that allows artists to express themselves somewhere between freedom and risk, play and protest. Later on, he develops further intuitions that give room to more mature communications with viewers, an ephemeral dialogue whose caducity becomes part of his poetics. As he starts interacting with his viewers in his home country, Muñoz paints thoughts on walls that turn into conversations. His Public Art becomes a bridge between himself and the world, a free and open exchange that creates intellectual connections and severs ties with daily images.
Muñoz’ aesthetics can be found in his drawings, an intimate and spontaneous technique – his first language – which elevates his research and applies its results to a critique of reality.

“Vexillum Transparent” is a reflection on human beings on the move, on the meaning and on the consequences of this movement on society, on us and on the needs that make us want to cross our national borders. But do these borders, which are also points of encounter and of conflict, really contain “something”? Can there be identity without differences?
Travel is inherent to the history of human beings, since the earliest and most primitive ages when people left their original environment for a variety of reasons: the fulfillment of vital needs, communication between distant centers, territorial expansion, exploration and socio-economic or environmental problems, but also cultural or religious reasons, such as pilgrimages to places of worship. Travel is also a pastime, a diversion to occupy free time in a playful way. This recreational factor characterizes the modern mass tourism phenomenon which exploded in the middle of the 20th Century.
Mobility can be considered one of the first differentiating factors amongst individuals in our millennium; it widens or limits possibilities, causing a net gap. Do we travel driven by personal desires or by boredom; are we looking for a real experience with meaningful exchanges and new knowledge, or maybe just fleeting evasions and consumptions?

At Galleria Varsi, Muñoz investigates the most significant movement of human beings of our era, generating a series of questions. Does tourism correspond to an invasion or is it a step forward? What consequences does the tourist experience have on the world? Are there places still able to generate meanings? And what meanings can we activate when encountering others and other places?
The artist presents a series of new paintings, drawings, silkscreens and a site-specific installation where the weapons of military struggles blend in with the iconography of Classical Art and with ordinary objects, in a saturation of symbols. In the works there are images and concepts that if approached carefully, take on new connotations and produce infinite other ones.
Muñoz imagines a demonstration of tourists who seem to rebel against the nature of their paradoxical condition.

The banner, the symbol of identity par excellence, is stripped of signs and colors to narrate today’s social fabric and the plot of contradictions which tourists must untangle and which ironically make them complex and ambiguous.
The title of the exhibition: “Transparent Flag” symbolizes the oxymoron shared by what is global and local, the crisis of space (excessive and empty) and identity (fluid).
Can a collective identity manifest itself in a transparent flag? (Galleria Varsi press-release)

Galleria Varsi. Via di Grotta Pinta 38, Rome, Italy

http://galleriavarsi.it

http://www.eseaene.com

Image: Daniel Muñoz. Souvenir 2. Gouache on paper 2017

MADRID. David Bestué “ROSI AMOR” Museo Nacional Centro de Arte Reina Sofía

until 26 february, 2018

In recent years, David Bestué (Barcelona, 1980) has realised a series of sculpture projects which critically review certain historical events and aesthetic/formal developments characterising last century’s avant-garde movements in the fields of art, architecture and literature.   

For the exhibition ROSI AMOR, put together specifically for the Fissures programme, the artist sets forth a material and formal investigation, drawing inspiration from the Madrid districts of Las Tablas and Vallecas, and the nearby El Escorial Monastery. Each of these places bears associations with different sculpture techniques, identified, in turn, in the aesthetics of business, the popular and the historical.     

Moreover, an accompanying exhibition leaflet features a conversation between the artist and María Salgado, the poet whose work also retrieves the past. 

David Bestué has held solo exhibitions at García Galería, Madrid, and Barcelona’s La Capella, and has exhibited at renowned international events such as the Venice Biennale (with Marc Vives) in 2009 and Gasworks, London, in 2010. (MNCARS press-release)

Museo Nacional Centro de Arte Reina Sofía. Edificio Sabatini: Planta 1 y Sala de bóvedas

http://www.museoreinasofia.es

http://www.davidbestue.net

Image: David Bestué, Motor de sangre sobre banco de arena y vasos de hueso y mármol, 2017. Resina, arena, harina de sangre, y polvo de mármol y hueso. Medidas variables

GUADALAJARA. MEX. Carlos Aires and Miki Leal “Abierto_Abierto” PAOS GDL

15 january 2018 - 26 february 2018

Abierto_Abierto is an artistic exchange project that will begin in 2018 with the participation of artists Carlos Aires and Miki Leal  (Spain) and Octavio Abúndez and Cynthia Gutiérrez (Mexico), who have been selected by the organizers for this pilot programme. The residencies last for three weeks and the program of activities includes the opening of the artists’ studios in the host spaces.
Carlos Aires and Miki Leal will undertake a residency in Guadalajara, Mexico, as part of the Abierto_Abierto exchange project carried out by PAOS GDL (Mexico) and Open Studios Madrid (Open Mind Art and Culture Association), with the support of Acción Cultural Española. Artists will be welcomed in the residential spaces in which other local and international artists work: PAOS GDL and Guayabos. As part of the residency, they will develop a project, open their studios and hold conferences in the city of Guadalajara. This exchange will consist of a new residency programme that aims to promote the mobility of young and mid-career visual artists from both countries, as well as their visibility and international profile.
The Spanish artists will share their studio with the Mexican artists during their stay in Guadalajara, and later the Mexicans will take up residence in the work spaces of the Spaniards. Within the framework of these residencies, artists from different disciplines and nationalities will share their work and space, which enriches them and gives them acces to artist internationa networks and gives them the opportunity to understand at first-hand the artistic context of their respective countries.
Archivo Abierto is a documentation centre and bibliographic collection based on the recent history of art in Jalisco. It includes a space for residencies for projects derived from literature, publishing, writing, research and analysis of archival work. (AC/E press-release)

PAOS GDL. Aurelio Aceves #27. 44130 Guadalajara (México)

http://paosgdl.org  http://openstudio.es

Image:Paos Gdl

EDINBURGH. Alberto Vazquez “Dark Fables / From Comics to Annimations Films” Summerhall

28 january – 4 february, 2018

The work of Alberto Vazquez takes from traditional fairy tales and fables to adapt them to contemporary points of view with strong political and ecological echoes. The protagonists in these stories are animal characters in a fantasy planet that seems quite similar to the human world we live in.

Alberto Vazquez have changed Spanish modern animation with his distinctive artistic style that doesn’t look like anything made before in Spain. With a dark sense of humour, Vázquez’s films show an innovative approach to translating the techniques and devices from his original comics to animation.

The exhibition is part of an overall retrospective in the work of Alberto Vazquez, which includes masterclasses, workshops and film screenings in Edinburgh and Glasgow. 

Alberto Vázquez (A Coruña 1980), animation director, illustrator and cartoonist. His books and comics have been published in countries like Spain, France, Italy, Brazil and Korea and his illustrations have been published in magazines and newspapers around the world.

He has written and directed short animation as “Birdboy” , “Unicorn blood”or “Decorado”based in his comics. He just finished his first featured film “Psiconautas”, whose is director, scriptwriter, art director and based on the graphic novel of the same name by the own Vázquez.

His works have won three times the Goya Awards (best animation film and best animation short film twice) and He has won over 100 awards in international events such as the Festival of Annecy, Platino Awards, Chicago, Foyle, Silver Meliés or Expotoon. His works have been exhibited in prestigious festivals worldwide as Cannes, EFA Awards, Toronto, Annecy, Clermond-Ferrand, Animafest Zagreb or Slamdanc. (CCA press-release)

Summerhall. 1 Summerhall. Edinburgh. EH9 1PL

https://www.summerhall.co.uk

http://www.albertovazquez.net

 Image: Alberto Vázquez. Psiconautas

LONDON. Daniel Canogar “Asalto” Westminster City Hall.

18 – 21 january, 2018

Lumiere London is back for its second edition, even bigger and brighter than before. With more than 50 site-specific interventions, the festival will be giving the architecture of the city a new look, with the help of notorious creatives like Spanish visual artist Daniel Canogar, whose piece Asalto will be on display on the façade of the iconic Westminster City Hall.

Asalto is conceived both as a public intervention and a video installation, in which local residents will appear to be climbing the building in order to overcome the obstacles we face in our daily life. The work explores the relationship between the city and the citizen, and how architecture can be both an obstacle and a tool. (Lumiere London press-release)

Westminster City Hall, 5 Strand London
Read more at https://www.visitlondon.com/lumiere/installation/46121790-asalto-london#HX3AGr1otMUowvhJ.97

http://danielcanogar.com/

Image: Daniel Canogar. Asalto (Times Square NY)

BARCELONA. Blanca Casas Brullet “Material Sensible” Rocio SantaCruz Art

11 january – 10 march, 2018

From the beginning, the work of Blanca Casas Brullet (Mataró, 1973) has been nourished by images inscribed in the everyday language, the polysemy and the poetic load that hides in the interstices and in the passage from one language to another.

The rhetorical figures and the images of the language we invoke to give an account of the world permeate the artist’s gaze, always attentive to losses and false friends, to misunderstandings and to the poetic -and sometimes also ludic- potential of translation

For some years now, the artist has questioned herself plastically about the moment of the appearance of the image, as well as its manufacturing process. He conceives, at the end of the day, the work of creation as the place where to develop a plastic language to try to “make sense” while “forming”. That is why the workshop, the work table, the blank page are the center of their exposure devices, as well as the overflows, wrinkles, holes and accidents that occur in the process of the plastic material in transformation.

We find, in the work of Blanca Casas, materials, means and processes used in a contradictory way in paradoxical proposals that put in question the essay, the attempt or the unfinished. Proposals that speak metonymically of work from the interrogation of its own consistency: the image appears to us as unstable, unfixed, in the form of uncertain and incipient objects.

Thus, the set of attempts and errors that inhabit the corners of the workshop, the crumpled papers that fill the paper mills, the sometimes costly assemblies of different materials, tell us about the work of plastic research itself. And is that despite the tendency to hide the error (in a world that would be effective), the drift and the trial, the accident and the unexpected are at the base of all learning and creation process, at the root same as the work, artistic or not.

In Material sensible, the interrogation on the fragmentary, the discontinuous or the unstable refers to the notion of precariousness. Her plastic exploration is situated in the suspension between two states, while, within her paradoxical logic, the artist appropriates construction materials on this occasion to ask herself how to resist and build from that uncertain space. The plastic forms and materials come into resonance with social, economic, political, historical situations, but without being an illustration of them.

It is, in short, an unhindered exploration of polysemy and analogy, composing with words, materials and forms, with displacements, losses and enrichments, the deviations and interrelationships of the translation of one discipline to the other, of a technique to another, from one medium to another. (Rocio SantaCruz press-release)

Rocio SantaCruz Art. Gran Via de les Corts Catalanes 627. 08010 Barcelona

http://rociosantacruz.com

Image : Blanca Casas Brullet. Plan de travail, 2015

LONDON. Alejandra Carles-Tolra, Sam Laughlin and Lua Ribeira “Jerwood/Photoworks Awards” Jerwood Space

17 january - 11 march 2018 

New work by Alejandra Carles-Tolra, Sam Laughlin and Lua Ribeira shows at Jerwood Space, London in the second Jerwood/Photoworks Awards exhibition. The exhibition explores themes of such as death, belonging and the fragility of the natural world. Following its London premiere, the show will tour across the UK to venues including Impressions Gallery, Bradford and Belfast Exposed. Spectrum Photographic is the Jerwood/Photoworks Awards official print partner.

Alejandra Carles-Tolra is interested in the relationship between individual and group identity and how one identity influences the other. In Where We Belong she explores themes of belonging, femininity and escapism by following a group of Jane Austen devotees.

We are delighted to be presenting this, the second edition of the Jerwood/Photoworks Awards, a unique opportunity, recognising and supporting potential with a distinctive combination of mentoring, production resources, and a national exhibition tour. It has been an incredible year of dialogue and development for the Awardees who have each received support from the team at Photoworks and Jerwood Charitable Foundation and insights from our brilliant mentors. It’s been a privilege to see their ideas develop and this year’s exhibition is truly diverse, both in the subjects explored and the artists’ individual approaches to image-making. The Awards have already proved to be an important platform for artists and we look forward to seeing Alejandra, Lua and Sam’s careers continue to flourish. Celia Davies, Director of Photoworks and Sarah Williams, Head of Programme, Jerwood Visual Arts

Jerwood Space, 171 Union Street, London SE1 0LN

jerwoodvisualarts.org 

http://www.alejandractr.com

Image: “The Bears” Alejandra Carles Torla

NEW YORK. Cristina Iglesias “Entwined” Marian Goodman Gallery

january 9 –february 10, 2018

Throughout her career, Iglesias has defined a unique sculptural vocabulary, building immersive and experiential environments that reference and unite architecture, literature and culturally site-specific influences. Through a language of constructed and natural forms rendered in various materials and ranging from suspended pavilions, latticed panels, passageways, mazes, to walls inbued with texts and structural and vegetative forms, she poetically redefines space by confounding interior and exterior, organic and artifice, combining industrial materials with natural elements to produce unexpected new sensory sites for the viewer.
For the upcoming exhibition, Iglesias has created several mural pieces that seem to grow from the ground along the walls.  Reminding us that life lies under everything we stand upon, the pieces invade the walls, constructing various forms.  Looking closer, we discover details that recall a kind of crystallized nature.
There is a transition throughout the space to the 'Phreatic Zones' in the South Gallery, featuring sculptural works with water made of cast aluminum set within a terraced gallery floor, in which water ebbs and flows over organic relief forms. Bringing the city plaza into the gallery, Iglesias once again gives us a public site for contemplation and communion, while hinting at the pulsating, beating body of water barely contained underneath.  Just as Deep Fountain and Tres Aguas brought a rising water pool and a river back to the respective cities of Antwerp and Toledo, Phreatic Zones recalls the rivers ever present in the history and life of cities.
All the spaces unite to become imaginary places representing urban plazas as well as topographical, fictional sensory spaces.  In this alternate world, the constraints of architecture dissolve into landscape as the water and the cast roots flow in a carefully syncopated choreography of movement and sound, as the filling and emptying of a vessel occurs.
Iglesias has participated in numerous international exhibitions and international public commissions to date.  She represented Spain at the 1986 and 1993 Venice Biennales and has participated in others such as the Sydney Biennale in 1990 and 2012, and Site Sante Fe in 2008.

Forthcoming projects include a solo exhibition planned for October 2018 at the Botin Foundation, Santander, Spain, preceded by Villa Iris Visual Arts Workshop in September, an initiative of the Botin Foundation.
Recent solo shows of Iglesias’ work include Cristina Iglesias, at the Musée de Grenoble, France (2016), On Reality, with Thomas Struth, Ivorypress Space, Madid, Spain and Cristina Iglesias, BOZAR, Centre for Fine Arts, Brussels, Belgium (both 2014),  a large retrospective, Metonimia, at Museo Nacional Centro de Arte Reina Sofia, Madrid (2013), A Place of Reflection, Casa Franças, Rio de Janeiro (2013) as well as previous solo shows at Fondazione Arnaldo Pomodoro, Milan (2009), Ludwig Museum, Cologne (2006), Irish Museum of Modern Art, Dublin and Whitechapel Gallery, London (both 2003), Museu Serralves, Fundaçao Serralves, Oporto (2002), Guggenheim New York (1997) and Guggenheim Bilbao (1999), among others.
Recent and ongoing group exhibitions in 2017-2018  include Art and Space, Guggenheim Museum, Bilbao, Spain; Espacio tiempo: Sobre  Espacitiempo: Sobre la luz como materia, instrument y lenguaje, DA2, Salamanca, Spain; El arate y el Sistema (del arte), Artium Museum, Vitoria, Spain ;  Grey Matters, Wexner Center for the Arts, Columbus, Ohio;   Discursos  Premeditados Colección Fundación Caja Mediterráneo, Museo de bellas artes de Valencia, Spain; Artists’ Choice: Works from the Serralves Collection, Porto, Portugal. (Mariam Goodman press-release)

Marian Goodman Gallery. 24 West 57th Street. New York

http://www.mariangoodman.com

http://cristinaiglesias.com

Imagen: Cristina Iglesias “Entwined” Marian Goodman Gallery

SOMERSET. Fernando García-Dory “The Land We Live In – The Land We Left Behind” Hauser & Wirth

20 Jan – 7 May, 2018

Hauser & Wirth Somerset is delighted to announce ‘The Land We Live In – The Land We Left Behind’, curated by Adam Sutherland. This ambitious survey exhibition explores the contradictory nature of society’s relationship to the rural. The presentation features over 50 international artists and creatives, as well as works on loan, by artists working from the 1500s to the present day, including Paul McCarthy, Beatrix Potter, Carsten Höller, Laure Prouvost, William Holman Hunt, Samuel Palmer, Frank Lloyd Wright, Marcus Coates, Fernando García-Dory, Mark Dion, Roni Horn, Aaron Angell and Mark Wallinger.

With protagonists ranging from 10th-century anchorites to 21st-century urban ruralists, ‘The Land We Live In – The Land We Left Behind’ tells the story of humanity’s evolving connection to the land, our perception of, and reliance upon it. Viewers will have the opportunity to engage with the themes of the exhibition through a series of participatory artists’ projects and practical presentations, such as aquaponics, fermentation, goat milking and cheese making.

The exhibition’s title refers to a toast used by migrants in the 18th and 19th centuries, which celebrated the land they had arrived in, followed by a riposte celebrating their country of origin – a place that for many embodied romantic longing. The selected works suggest the rural as a laboratory for the development of ideas, in particular the notion of a rural utopia, exploring the religious migrants, the industrial escapees, the metaphors of the flight from Egypt and the return to Eden, that are embedded in humanity’s collective unconscious. This vision is counter-balanced and punctuated by pieces of documentary and reportage, from works illustrating the reality of modern farming, to artefacts relating to boy racers’ car culture. The exhibition explores these tangible themes of territorial friction, procreation, death, and our primeval base instinct, against the backdrop of a more elusive and arcadian incarnation of the rural.

Upon arriving at Hauser & Wirth Somerset viewers may encounter goats grazing in the grass farmyard; artist Fernando García-Dory and Hayatsu Architects have created a wooden pavilion – a functioning artwork – for goats to climb on and socialise.

Fernando García-Dory ´s (b. 1978) work engages specifically with the relationship between culture and nature now, as manifested in multiple contexts, from landscape and the rural, to desires and expectations concerned with identity, through to (global) crisis, utopia and the potential for social change. He studied Fine Arts and Rural Sociology, and now prepairing his PhD on Agroecology. Interested in the harmonic complexity of biological forms and processes, his work addresses connections and cooperation, from microorganisms to social systems, and from traditional art languages such as drawing to collaborative agroecological projects, actions, and cooperatives.

Hauser & Wirth Somerset. Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL. U.K

 https://www.hauserwirth.com

http://fernandogarciadory.info

Image: “The Land We Live In – The Land We Left Behind” Hauser & Wirth

KHÓLN. Matías Krahn “Rubedo” 100 Kubik Gallery

26 january -13 march 2018

With "RUBEDO“, Matías Krahn  presents the last series of his alchemistic journey into his self-knowledge as an artist, which bonds and unite the preceding ones. After “Nigredo” and “Albedo” Krahn’s unadulterated image-language and stylistic handwriting reaches yet again a higher level of harmonic stability: Once more, aspects like the pure and varied use of bright colours as well as the poetic materiality of the surface are to the fore in his artworks. This witty and intellectually stimulating result of a steady wish to understand the world, is hopefully going to enchant as well as positively surprise you as much as us! (100 Kubik press-release)

GALERIE 100 KUBIK. Raum für spanische kunst. Mohren Str. 21. 50670 Köln

http://matiaskrahn.net

http://100kubik.de

Image: S/T. Matías Krahn

NEW YORK. Isidro Blasco and Cristina del Campo “Beyond the Brush” Black & White Gallery / Project Space

january 5 - february 18, 2018

Black & White Gallery/Project Space presents Beyond the Brush, a group show that brings together seven artists using divergent mediums to reflect on the world they live in. 
"The world is full of objects, more or less interesting; I do not wish to add any more. I prefer, simply, to state the existence of things in terms of time and/or place."  Douglas Huebler

"My current artwork generally focuses on depiction of various banal items related to everyday life as a theme. 
The objects and structures I select are fragments of our environment that often go unnoticed. They interest me
for various visual and conceptual reasons. I see them as isolated, out of context, mixed together and overlapping characters in this fictional reality."
 Cristina del Campo

"I connect my experience as an outsider who walks the streets
and interacts with the city with my more intimate feelings about closed and private spaces."  Isidro Blasco

Blasco combines architecture, photography, and installation to explore physical and psychological terrains. He uses digital
images and building materials to create large- and small-scale architectural environments and three-dimensional reconstructions of neighborhoods, producing snapshots of cityscapes that play with perception.  (Black&White press-release)

BLACK & WHITE GALLERY / PROJECT SPACE. 56 Bogart Street. Brooklyn New York 11206

http://www.blackandwhiteartgallery.com

http://cristinadelcampo.com  http://isidroblasco.com

Image. Cristina del Campo “Drapings” oil & graphite on canvas. Isidro Blasco: “Subway”(L Train /Morgan Av) c-print. Archival museum board, wood

BARCELONA. Kenor “Rítmica” N2 Galeria

11 january  – 2 march, 2018

N2 Galería presents the exhibition «Ritmica», by the multidisciplinary artist Kenor. Structurally linked to the urban space, Kenor continues working in this medium, not as a showcase to be known, but as an almost obsessive personal requirement to interact with space, with passers-by and with himself, in order to achieve a sense of creative freedom. In his artistic career the pictorial evolutions have not been accompanied by a change of instrument or material, but of a corporal gesture. The direct and natural movement of its lines painted with spray on the street, is captured in the fabrics with a clean and expansive action. The defragmentation of those lines in pieces of color abounds in his work. In some cases it seems as if the contour of the lines imploded and in others it seems as if external splashes contaminated the scene. In both cases it transmits a sense of movement and rhythm, hence the title of this exhibition.
Rhythmic tells about, on the one hand, the basis on which he works his canvases and sculptures and, on the other, the way of interpreting the artwork. Creative development usually begins by choosing a song and interpreting it, in this case, Detroit’s techno music. Its abstract and futuristic rhythm is perceived in a composition made exclusively of straight lines, each beat seems to correspond to a gesture, a color. The lines intersect and overlap. In the same way that the compass forms the color of the song, the set of lines and their colors form the rhythm of the work. When a melody or a change of rhythm is associated to each set of lines and colors, it is possible for Kenor’s work to transmit all its potential. In the artist’s own words, his intention is to incite the viewer to “feel part of a sound fragment.”
The work in sculpture is formally close to its first installations in abandoned spaces, when he used the residual materials that remained after the dismantling of such spaces, mainly iron. And now it is still that same material that takes center stage again. The sculptural work allows his work to transcend the bi-dimensionality linked to painting on canvas and the consequent limitation of movement as merely virtual, suggested. On the other hand, in the three-dimensional sculptures, the viewer is required to walk through the work, what makes the movement no longer merely suggested, but real. . (N2 press-release)

N2 Galería. Enrique Granados, 61. 08008 BARCELONA

http://www.n2galeria.com

http://elkenor.com

Image. Kenor “Rhythim is Rhythim”. 100 x 100 cm. Acrylic on canvas. 2017

 

SAN FRANCISCO. Walter Martin y Paloma Muñoz “Through That Which Is Seen” The Palo Alto Art Center

january 20 – april 8, 2018

The exhibit spotlights the use of dioramas in contemporary art, featuring work by Walter Martin and Paloma Muñoz among other artists.

Much can be said about why the practice of creating miniature worlds persists, and in particular why so many contemporary artists find this art form to be a useful tool of expression. Dioramas can turn even the most mundane of subjects into something special and worthy of attention; they direct focus and consideration on their narratives, encouraging an extended gaze; they are a means of escape from the everyday and a window into the dream world; they facilitate a suspension of belief; and at their best, like those earliest examples, blend fantasy and reality so seamlessly we are magically transported into another dimension.

Each of the artists in this exhibition wants to tell you a story through sculpture, photography, painting, or video works. Some of these stories, as those by Walter Martin and Paloma Muñoz, are full of alienation and dark humor, and some crystalize a feeling of foreboding or a coming apocalypse. Others are carefully crafted social commentaries, either about current events or about the controversial history of the diorama itself. Many are pure reverie. All of them reflect the careful craftsmanship and inner dream worlds of their makers.

For centuries artists have tried to fit reality’s scale into smaller confines: framed canvases, chiseled statues, portraits on ivory… Walter Martin and Paloma Muñoz have climbed into their own distinct niche. Known collaboratively as Martin & Muñoz, they sculpture and arrange miniature, three-dimensional scenes of alienation, dread and dark humor and set them inside snow globes.

Participating artists include: Matthew Albanese, Gregory Euclide, Abigail Goldman, Ju Lim, Walter Martin and Paloma Muñoz, Didier Massard, Michael McMillen, & Gerber, David Opdyke, Curtis Talwst Santiago, Joshua Smith, Wendy Red Star, Charles Young

The Palo Alto Art Center. 1313 Newell Rd, Palo Alto, CA 94303

https://www.martin-munoz.net

https://www.cityofpaloalto.org

Image: Walter Martin and Paloma Muñoz

BERLIN. Rubén Grilo “Draped” Future Gallery

16 december 2017 – 17 february 2018

Future Gallery is proud to present ‘Draped’, a group exhibition featuring new works by Rubén Grilo, Spiros Hadjidjanos, Femke Herregraven and Nicolas Pelzer. Drapery refers to fabric used for decorative purposes. Fabric in general is thought of as woven threads bound together into a whole often used for clothing or wrapping something. The examples in the show offer different often counterintuitive lines of logic regarding the utility of fabric. Through digital processes these seamingly textile generated works have been manifested as: laser etched sheets of denim demonstrating the reversal of labor driven wear and tear, a 3D printed cloth with an extruded photograph coming out of it, the satellite infrared financial geo-mapping of a resource rich landscape in east Africa, and a stretched acrylic print usually used as an advertisement but rather used to demonstrate what a 3D rendered archaic tool would look like.

‘Pattern Free: Ripped from Zara’ is an ongoing series of work Rubén Grilo started in 2013. Grilo will present works from this series, where he reproduces the “used look” of Zara jeans. Examining the relationship between the body and craftsmen work, he designs industrial objects targeted for consumption and is observing the field of artistic production from the industrial perspective and vice-versa. Revealing the jeans traces of usage can be attributed to wear and tear caused by movement and friction, but here they are laser etched. This laser technique derives from high-street fashion, which helps to imprint the denim cloth with a single mark that can be replicated several times. He is designing creations of grotesque body imagery as huge handprints. Grilo’s observation of a fashion detail leads to the history of the material that is at the same time a history of altered body-labor relations. Marks of physical labor becoming almost obsolete in the digital era, artificial signs of hard work becoming increasingly exoticized. Grilo’s usage of standardization, scaling and abstraction deals with the history of industrialization and modern production with a view on the cultural digital paradigm shift and the Internet.

Ruben Grilo (Lugo 1981), lives and works in Berlin. Selected solo exhibitions include ‘Solo’, Nogueras Blanchard, Madrid (2017); ‘Proof of Concept’, Union Pacific, London (2016); ‘Rubén Grilo’, Fundació Joan Miró – Espai13, Barcelona (2015); ‘Mit eigener Hand’, Kunstverein Hildesheim (2014); ‘Drawings of Alien Control’, V4ULT, Berlin (2013); ‘The Need for Speed’, CIRCA Projects, Newcastle upon Tyne (2013); ‘Bioscope’ Wilfried Lentz, Rotterdam (2012); ‘They’re Not All Funny, but They’re in a Row’ 1646 (La Haya) o ‘PowerPoint Karaoke’, MARCO, Vigo (2011). He has also participated in group shows at la Casa Encendida, Madrid (2017), el Künstlerhaus Halle für Künst & Medien, Graz (2015); Galerie Martin van Zomeren, Amsterdam (2013); Tatjana Pieters, Ghent (2012); CSS Bard, New York (2011); CGAC, Santiago de Compostela (2009), amongst others.

Grilo has been a resident artist at Rijksakademie van Beeldende Kunsten, Amsterdam (2011-2013) and Gasworks, London (2015), and he has received the Fundación Botín grant, Santander (2013), the ARCO prize from Comunidad de Madrid (2016), and Generación 2017 prize. (Future gallery press-release)

Future Gallery, Schöneberger Ufer  5910785 Berlin. Germany

http://futuregallery.org   http://www.rubengrilo.net

Image: Rubén Grilo

NEW YORK. Juan Miguel Palacios “Imbalance” Booth Gallery

20 january – 27 february 2018

In his first solo exhibition with the gallery, Juan Miguel Palacios seeks to bear representation to the state of affairs of the modern world —what he refers to as an “ugly society,” a term he borrows from Noam Chomsky’s documentary Requiem for an American Dream. Advantaged members of the society make others fear and hate each other while reaping as many benefits as possible, thereby embracing the advancement of the self at the cost of others. Palacios presents a visual commentary on the seemingly existing schism between empathy and apathy the world is experiencing.

While his work has a clear figurative language, the large-scale paintings of Palacios contain a strong conceptual load, where his work developed in series, has a constant wandering of the individual’s identity and its relationship with the environment. Concepts such as mourning, duel, luxury, restlessness, and inequality, are constants vital in his work. Palacios continually explores the complex range of human emotions. He is driven by the search for new forms of expression and fuses socio-political themes with personal experiences and historical antecedents of art, creating a modern environment on the most outstanding and controversial issues of contemporary society.

Born in Madrid in 1973, Juan Miguel Palacios began to paint at the early age of 6. After a long journey with many Art Professors and Fine Art Schools, at age 12 he joined the studio of the renowned Spanish painter Amadeo Roca Gisbert (a disciple of Joaquin Sorolla) for six years. During these years, he was educated and formed in strict academic training until he joined the Faculty of Fine Arts in Madrid in 1991.

When he completed his college degree in 1997, he founded the Laocoonte Art School of Madrid, where he combined mentoring and teaching with the development of his career as an artist and had successful exhibitions in cities across Spain and Europe. He also worked as a muralist, theater stenographer, and film posters painter during those years. Palacios now lives in New York. (Booth Gallery press-release)

Booth Gallery. 325 West 38th St.. Store #1. New York, NY, 10018

http://www.paulboothgallery.com

http://www.juanmiguelpalacios.com

Image: Juan Miguel Palacios

MONZA. Bernardi Roig “Blow Up” Serre della Villa Reale

21 december 2017 – 23 march 2018

In order to be developed in the park of Villa Reale in Monza, Bernardi  Roig’s Blow-Up project requires the positioning of five, life-sized, white aluminium statues that face each other and constantly dialogue with the natural space of the landscape. The sculptures, hidden among the greenery and shrubs of the park, force the viewers to search for the revelation of the hidden image. This is a show of sculptures that, while being heavy and voluminous, seem not to be present. Just as Thomas (the photographer) obliged us, by way of his oblique view, to follow a trail into which to insert a meaning with his intervention in the park of Villa Reale, Bernardi Roig attempts to push the viewers further beyond their own view.  All his work has always been based on the close relationship and tension with the memory of images, always using light as a metaphor for memory itself. This is the plot of the story that allows us once again to deal with our visual heredity and put us on the frontline of our emotions.

Through his sculptural work, mainly his white sculptures created from casts of living people, which are a post-mythological reflection on the very meaning of the human figure as a final and solitary presence, Bernardi Roig proposes an itinerary based on strong ideas about the heroic act of looking. By using light, not in order to illuminate but quite the reverse, to blind us, he obliges us to explore an image imprisoned within our memory. 

His latest works are nothing other than an emotion, a contemporary vanitas that we build as a result of the impossibility of creation in order to follow along our path over the ashes of images.

Bernardi Roig (Palma de Mallorca, 1965) is one of the most outstanding Spanish artists of the current international scene. His multidisciplinary work (sculpture, video, drawing, painting, texts) is an obsessive reflection on isolation, erotic drive and desire through a distilled language of minimalist and conceptual heritage that places the representation of the human figure in the epicenter of its problems. His obsessive and disturbing works can be understood as devices of solitude in which the urge to “speak from the impossibility of speech” is present, trying to find figures and images for a deranged time. Organized by M.AR.CO. Monza Arte Contemporánea

Serre Reali, Viale Brianza 1, Monza (MB) Italia

http://www.monzaartecontemporanea.com

Image: Bernardi Roig

NEW YORK. Eva Davidova “Intentions/ Matt, Esquina Adidas” 10 Times Square

until 21 january 2018

Spanish artist Eva Davidova presents “Intentions” (2017) and “Matt, Esquina Adidas” (2010) in a video takeover at 10 Times Square created by ZAZ.

24:7 is a two week video art takeover by an alliance of international artists on the billboard at the corner of 41st St and Broadway (10 Times Square). This project brings together artists from Asia, Africa, Europe, Australia and the Americas and tests the power of art to meaningfully engage the public.

Connecting to the context of Times Square’s billboards, Eva Davidova’s Intentionsexplores the fictitious neutrality of data and its mixture with our bodies. Deceptively “cold” and omnipresent, data becomes public space, where our mental spaces are seized, enraptured, or excluded.

Davidova is a Spanish/Bulgarian multidisciplinary artist based in New York. The issues in her work –behavior, cruelty, ecological disaster and manipulation of information– emerge as paradoxes rather than assumptions, in an almost fairy-tale fashion. Davidova has exhibited at the Bronx Museum in New York City; Everson Museum, Syracuse; Albright Knox Museum, Buffalo; MACBA, Barcelona; CAAC Sevilla and Instituto Cervantes, Sofia among others.

She received the 2008 M-tel Award for Contemporary Bulgarian Art and the 2009 Djerassi Honorary Fellowship. Recent shows include Birds Birth at the ASU Emerge Festival and at the PhotoEspaña Festival in Madrid; a curatorial project, Happenland,at Radiator Gallery in NY; Playground for Drowning Animals; and Transfer and Disappearance at the Media Center by IFP

10 Times Square, New York, NY 10018

https://www.zaz10ts.com        

http://www.evadavidova.com

Image: Eva Davidova. “Intentions/ Matt, Esquina Adidas” 10 Times Square

MARSEILLE. Borondo “ Matiere Noir” Galerie Saint Laurent

until 31 january 2018

It smells like dust and wood. We get into the limbo of memory. An endless number of carefully carved objects tell us that there was once a time when clocks could take their time. There are mirrors of all sizes. Contained inside the glass is a heavy, sparkling history that is now coming across new eyes. I can’t stop wondering how many glances coexist in this reflection.
Within this universe of furniture, certain vessels of different cultures materialise. Sound waves lie hidden in its curvatures, words from a past life that do not reveal its secret. Hundreds of statuettes, old-time icons, have gone from being avant-garde to being memories, to discover the sound of an unstoppable metronome that seems to set the beat faster and faster. Singing of the past, voices reverberate out of magnetic tapes and interfere directly in the present. At the same time, an absent-minded listener modifies these sounds with his contemporary perception in a return trip around the collective consciousness. Meters and meters of celluloid, immortalised memories are afraid of losing their eternal nature when confronted with fire.
On 8-millimeter film, a little girl looks at her dad’s camera while she is playing in the river. The little girl is laughing and dancing. She fascinates us speaking about the unique, yet it scares us when she shows us what is unrepeatable. She draws an invisible past, without which our existence would be impossible. Dark matter of the present time.
According to cosmologists, dust, wood, mirrors, vessels, statuettes, the little girl and any other thing we can see with our eyes, or through using instruments at our disposal, are just five percent of the universe. The rest is dark energy and dark matter, a mysterious substance that reminds us just how much we do not know compared to what we know. That our perception is limited and subjective and that life would not be as it is without this mysterious and dark reality. Just as it would not be as it is if the little girl, her father, the camera or the river had not existed. Just as life anywhere in the world would be the same if all these thwarted realities at Marché aux Puces in Marseille had not taken place. Just as all the stories lying about in the market had not occurred if the rest of the universe had not been in motion. My dark matter.
A reality that is not there anymore and whose echoes are the only things I can still hear. A reality that is not mine and I do not mind, because I do not even know that it exists. A reality that I cannot touch and whose unknown nature scares me. The sleeping truth in the unconscious. The invisible. My dark matter. Borondo

In collaboration with BRBR FilmsCarmen MainDiego López BuenoEdoardo TresoldiIsaac CordalRobberto AtzoriSBAGLIATO. Gif by A.L. Crego. Curated by Carmen Main

Galerie Saint Laurent. Hall des Antiquaires, 130 Chemin de la Madrague-Ville, 13015 Marseille

http://www.galeriesaintlaurent.com

https://gonzaloborondo.com

Image: Borondo. Matiere Noir. Marché aux Puces. Marseille

GUANGZHOU. Carlos Irijalba / Jon Cazenave “Simultaneous Eidos” Guangzhou Image Triennial 2017

15 december 2017- 8 march 2018

The predecessor of Simultaneous Eidos -- Guangzhou Image Triennial was Guangzhou International Photography Biennial Exhibition hosted by the Guangdong Museum of Art, which was one of the major international photography biennials in China. Its basic purpose is to uphold the humanistic standpoint with international horizon and sociology of images and participate and promote the development of contemporary photography and culture in China. Reviewing the past three photography biennials (in 2005, 2007 and 2009), each exhibition established a theme and academic orientation focused on the history of photographic photography in order to showcase contemporary photographic practices. At the same time, the passion of national art museums for photography research and collection is ignited. Curators: Wang Shaoqiang, Alejandro Castellote, Bao Dong, Zeng Han

The exhibition showcases 16 international visual artists whose works establish different kind of dialogues among each other: Daisuke Yokota, Kensuke Koike and Go Itami (Japan); Carlos Irijalba and Jon Cazenave (Spain); Caio Reisewitz and Gisella Motta&Leandro Lima (Brazil); Marcela Magno (Argentina); Giancarlo Shibayama, Felipe Esparza and Pepe Atocha (Peru); Thomas Sauvin, Noémie Goudal and Antoine D’Agata (France), and Penelope Umbrico (USA).

Carlos Irijalba was born in Pamplona,Spain in 1979 and graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin.He currently lives and works between Amsterdam,Netherlands and New York,USA.

Inertia deals with the construction of reality.The piece emerged from some scenes,not included in the video of previous twilight project,that refer to the transit of light from one location to another.In both projects the lighting device engages directly with the real.In Inertia ,the route is a place and the vector imposes itself on the object.The present then tends to disappear in a continuous movement and what happens is indeed its non-presence.

Over its four-minutes length,Inertia responds to the conventions of rhythm,visual axes,and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum.There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged,confronted with the inescapable physical connotations of gravity,weight,or the volume of the elements in its service

Jon Cazenave  born in Basque Country,Spain,in 1978 graduated from the University of Deusto in 2001. Cazenave' swork has been exhibited at international art institutions including Canal de Isabel ll Foundation(Spain),CCCB(Spain),Museum Belvédère(The Netherlands),Foto Museum Antwerp(Belgium) or CaixaForum(Spain).He has also participated in several international photography festivals such as Les Rencontres de la Photographie d'Arles(France),Noorderlicht(The Netherlands),Photoespaña(Spain) or Tokyo International Photography Festival(Japan). In 2016 he was selected to participate in the 18th edition of "European Eyes on Japan"program as a representative of the European Capital of Culture San Sebastian 2016. (Guangzhou Image Triennial press-release)

Image:”Carlos Irijalba.  Inertia 3 , photography ( C-print ), 127cm×190cm, 2012.

http://www.guangzhouimagetriennial.org/en

http://www.carlosirijalba.com

http://joncazenave.com

GUANGZHOU Image Triennial 2017 Guangdong Museum of Art , Er-sha Lsland ,Guangzhou , China. 

FREIBURG. Pilar Millan “In good times and in bad. How to operate” Museum für Neue Kunst

until 8th april 2018

How can art endure, age, change? How can the museum create and cultivate relationships with artists, as well as with private and public partners? Indeed, how can it use and enrich the history of its own collection? How can the collection be developed and extended in future? Both in good times and in bad? A new special exhibition will address these questions, focussing in particular on one influential feature of the museum as a public site: it undertakes a responsibility over a long period, promoting discourse and fostering connections and relationships.

Five artists from the contemporary collection – Monika Baer, Katharina Grosse, Svenja Kreh, Chiharu Shiota and Georg Winter – were asked for suggestions regarding which artist or which work they consider to a be fitting counterpart for their work. Not only does the Museum für Neue Kunst listen to these opinions, it also accords them a lot of weight.

What has emerged from these consultations are a number of exciting and unusual connections, dissonances and collaborations which will be on show for a period of six months. 

This experimental format permits the museum to reflect upon its collection and readjust the paradigms and perspectives that attend it. At the same time, it represents an opportunity for a fresh approach to the museum's duties: collecting, conserving, researching, exhibiting and educating.

How art comes about. Who makes art. How art endures – these three aspects will be examined during the exhibition run. This unusual approach unearths interesting and illuminating facts and circumstances hidden in the artworks on display.

Monika Baer | Cynthia Cruz | Liza Dieckwisch | Frédéric Ehlers | Katharina Grosse | Svenja Kreh | Pilar Millán | Lila Rose | Chiharu Shiota | schwarabia import-export | Martina Wegener | Georg Winter | Amelie von Wulffen

Museum für Neue Kunst. Marienstraße 10ª. 79098 Freiburg im Breisgau

http://www.freiburg.de/pb/,Len

http://www.pilarmillan.com

Image: Pilar Millán “Su peso en oro”, 2015, balanza para pesar hilos de 1837 de la antigua aduana barcelonesa en bronce, hilo de melhfa saharaui

MADRID. Paula Anta “Kanzel “ Galería Pilar Serra

16 december 2017 – 26 january 2018

Paula Anta is an artist with a deep sensitivity that she usually expresses through photography; landscape photographs in which she intervenes, creating a link between the natural and the artificial, a very subtle alteration of the landscape that starts with the natural materials: stone, sand, water, dust, natural pigments or in some cases elements such as plastic, PVC, aerosols that contrast with the landscape or with an increasingly denaturalised nature.

Anta has been carrying out photographic series since 2007: Palmehuset, Paraísos Artificiales, Rutas Negras, Edera, L´Architecture des Arbres, Hendu and now the Galería Pilar Serra presents Kanzeln, a series carried out in Germany, on a shooting reserve in the town of Walterschen, in the region of Westerwald, a volcanic, rural area where spaces devoted to agriculture and livestock farming can be found, alongside dense forests of oaks, firs and birch trees. Kanzel means ‘hunting hide’ in German - huts built for hunting, comparable to a dark room, a window from which you can observe, wait, watch; they are usually located in terms of the natural elements that surround them and the animal runs, their hiding places, paths, their eating places, sleeping and resting places are all taken into account, along with the density of the trees, the flow of the wind, the rivers, the valleys…. The artist made a methodical trip around all the hides located in the landscape, observing them from outside, spending time inside them, faced with a powerful, beautiful, silent landscape, in a wilderness that promotes our getting to know ourselves and leads us to a reflection on life and death, on beauty and violence, on our relationship with nature and with animals, from a position of deep rejection towards the cruelty that hunting means, which has no contribution to conservation or the protection of the environment, nor is it a valid form of animal selection. If only these hides were only ever used again for the view to be recreated in this outside world, in this explosion of life

Paula Anta (Madrid 1977) is a Doctor in Fine Art from the Complutense University of Madrid, Paula Anta also holds professional piano qualifications. She has been awarded many prizes and grants, such as the Premio Aena de Fotografía (Aena Photography Award), the Premio de la Comunidad de Madrid at the Estampa Trade Fair (Community of Madrid Award), the Special Mention Combat Prize Livorno (Italy), amongst others. The grants have taken her to live in Rome, Paris and Frankfurt. From 2005 to 2015 she has given many master classes and conferences at the Higher School of communication, Image and Sound CEV, in HochschulefürGestaltungOffenbach (Frankfurt), the Cornell University of Rome, the University School of Art and Entertainment TAI of Madrid, the University of Murcia and the University Francisco of Vitoria. She divides her time between Germany and Spain. (Pilar Serra press-release)

Galería Pilar Serra. Santa Engracia, 6 – Bajo Centro. 28010 Madrid, España

http://pilarserra.com

http://www.paulaanta.com

Image: Paula Anta “Kanzel”

BERLIN. Alvaro Urbano “Altbau” ChertLüdde Gallery

until 27 January 2018

ChertLüdde is pleased to present the first solo exhibition with the gallery of Spanish artist Alvaro Urbano (b. 1983, Madrid), Altbau.

Alvaro Urbano’s installation Altbau evokes and distorts deceivingly generic spaces that ultimately escape into inaccessibility, unfamiliarity and abandonment. The exhibition completely appropriates the three stories of the gallery. On the basement level, metallic cigarette butts and withered leaves linger on the floor next to an invented infrastructure made up of paper pipes and paper ventilation shafts. One story up, paper and cardboard boxes—made out of metal like the letters—are scattered across a grey carpet, underneath the suspended paper ceiling. A corridor guides the viewer past shut office doors. Upstairs in the attic, unaddressed letters pile up below the mail slot in the entrance door. On the walls, Urbano’s collection of anime cellophane backgrounds from the 80s, on watercolour paper. They are exhibited in diorama-esque frames that curve inwards to create a trompe-l’œil of depth. Their bent flatness and their generic papery presence resembles the spaces downstairs, they too are backgrounds for unidentified protagonists.

In Urbano’s universe, the camouflaged materiality takes on a fictional existence and the viewer hovers somewhere between the representation of a space and the evasive idea that makes something feel real. The installation invites the viewer to step in for an absent protagonist-inhabitant of this abandoned office and its locked rooms, and it simultaneously prevents any interaction. The installation excludes and frustrates on a material level: if you were to look for traces or information in one of the sealed letters, its metal edges would resist viciously. Paper is metal and infrastructure is paper: the art work’s materiality creates its own fictional temporality that exists right here and elsewhere—somewhere you can’t quite picture: the backdrop of a painted story, a cartoon or anime universe that we can watch but never enter. Urbano’s Altbau promises and withholds our entry into that space on paper, behind the screen, within sealed metal and beyond paper doors. This is what it feels like to fall in and out of fiction. Text by Natalie P. Koerner

Alvaro Urbano (Madrid 1983) The connection between nature and fiction is the starting point regarding the work by Alvaro Urbano. During the last two years, the old gardens of Florence and Rome got in the focus of his interest: There, he creates situations in which remains of uncertain provenance will be visible for the viewer. He brings antique statues to life by arranging traces of their alleged nightly activities in their surrounding. The viewer gets confronted with an uncanny feeling which remains vague, and reality is put on a level that only consists of imagination. The pieces we see in the exhibition shows a number of leafs that he found at Giardini dei Mostri in Rome and whose dissections remind of grotesque-like faces. With this, the uncanny of the nature gets visualized again – it functions with its own mechanisms, and at the end they stay invisible for the viewer. (ChertLüdde press-release)

Bundeskunsthalle, Bonn, 2015; Festival of Future Nows, Neue Nationalgalerie, Berlin, 2014.

ChertLüdde Galerie, Ritterstr. 2a, 10969 Berlin, Germany

http://chertluedde.com

http://www.alvarourbano.com

Image: “Alvaro Urbano, Backalley, 2017; 30 elements: two pipes, window with bars and foil, 18 leaves, 9 cigarettes; Cardboard, paper, glue, foam, plexiglas, metal, paint, artificial light; Overall variable; Pipe: 252 cm ø 11 cm; Pipe: ø 4 cm; Window with bars: 86 × 107 × 10 cm”. Photography: Trevor Lloyd; Courtesy the Artist and ChertLüdde, Berlin

NEW YORK. Santiago Ramón y Cajal “The Beautiful Brain” Gray Art Gallery

9 january – 31 march 2018

Santiago Ramón y Cajal, considered the father of modern neuroscience, was also an exceptional artist. He drew the brain in a way that provided a clarity exceeding that achieved by photographs. Combining scientific and artistic skills to produce drawings with extraordinary scientific and aesthetic qualities, his theory that the brain is composed of individual cells rather than a tangled single web is the basis of neuroscience today. This traveling exhibition of Cajal’s original drawings was organized by the Weisman Art Museum in collaboration with Drs. Eric NewmanAlfonso Araque, and Janet Dubinsky, neuroscientists at the University of Minnesota and leaders in the field of neuroscience. Dr. Araque was formerly at the Instituto Cajal in Madrid, where Cajal worked and where his drawings are housed.

The exhibit is organized in collaboration with Ricardo Martinez Murillo, neuroscientist and curator of the Cajal Legacy at the Cajal Institute (CSIC) in Spain. Eighty of Cajal’s drawings, many appearing for the first time in the United States, will be accompanied by a selection of contemporary visualizations of the brain, photographs, historic books, and scientific tools. After the debut at WAM, the exhibition will travel to university galleries and museums throughout the United States and Canada. (WAM press-release)

Grey Art Gallery. 100 Washington Square E, New York, NY 10003

https://greyartgallery.nyu.edu

Image: Santiago Ramón y Cajal “The Beautiful Brain”

GLASGOW. Alberto Vazquez “Dark Fables / From Comics to Annimations Films” CCA Glasgow, Intermedia Gallery

18 – 27 january 2018

The work of Alberto Vazquez takes from traditional fairy tales and fables to adapt them to contemporary points of view with strong political and ecological echoes. The protagonists in these stories are animal characters in a fantasy planet that seems quite similar to the human world we live in.

Alberto Vazquezhave changed Spanish modern animation with his distinctive artistic style that doesn’t look like anything made before in Spain. With a dark sense of humour, Vázquez’s films show an innovative approach to translating the techniques and devices from his original comics to animation.

The exhibition is part of an overall retrospective in the work of Alberto Vazquez, which includes masterclasses, workshops and film screenings in Edinburgh and Glasgow. 

Alberto Vázquez (A Coruña 1980), animation director, illustrator and cartoonist. His books and comics have been published in countries like Spain, France, Italy, Brazil and Korea and his illustrations have been published in magazines and newspapers around the world.

He has written and directed short animation as “Birdboy” , “Unicorn blood”or “Decorado”based in his comics. He just finished his first featured film “Psiconautas”, whose is director, scriptwriter, art director and based on the graphic novel of the same name by the own Vázquez.

His works have won three times the Goya Awards (best animation film and best animation short film twice) and He has won over 100 awards in international events such as the Festival of Annecy, Platino Awards, Chicago, Foyle, Silver Meliés or Expotoon. His works have been exhibited in prestigious festivals worldwide as Cannes, EFA Awards, Toronto, Annecy, Clermond-Ferrand, Animafest Zagreb or Slamdanc. (CCA press-release)

Centre for Contemporary Arts . 350 Sauchiehall Street . Glasgow G2 3JD . United Kingdom

http://www.cca-glasgow.com

http://www.albertovazquez.net

Image: Alberto Vázquez

NORTHAMPTON. Silvia Lerin “Open Exhibition” NN Contemporary Art

13 january – 17 march 2018

Every two years NN Contemporary Art hosts its Open Exhibition of work by artists from across the world in a wide range of media. The show is selected by a changing panel of judges; this year’s panel were co-directors of originalprojects Kaavous Clayton and Jules Devonshire and artist and Goldsmiths Senior Lecturer in Fine Art Practice (Studio Practice) Roxy Walsh 166 artists responded to the open call submitting 347 individual works. From this selection the judges chose 73 artists to feature in the exhibition.

The Open Exhibition launches at NN on 12 January 2018 at 6pm and visitors will be able to see a wide range of artworks: from a video about slugs to utopian philosophy, from washing machine parts and wool to photographs of doves and much more from across the globe including Ukraine, Iran, Lithuania and the UK.

Silvia Lerín (Valencia, 1975). Bachelor of Fine Arts from San Carlos Fine Arts College of Valencia. Lives and works in London, UK. Lerin has exhibited extensively in the UK and Europe. In 2014, she won the Pollock-Krasner Foundation Grant, New York. Her art work can be found in museums and foundations across Spain, UK and Germany.

Artists: Jonathan Alibone, Zahra Amirkamali, Emily Arnold, Tristram Aver, Catherine Baker, Sharon Baker, Sophie Bament, Emma Barford, Ben Bird, Giulia Cacciuttolo, Lorsen Camps, Tadao Cern, Anya Charikov-Mickleburgh, George Chinnery, Fran Copeman, Benjamin Duax, Daniel Earey, Robert Fitzmaurice, Louise Freeman, James Fuller, Alison Goodyear, Anna Gonzalez, John Griff, Colette Griffin, Keren Goresh-Freedman, Luke Harby, Jade Hanley, Matt James Healy, Charlie Hurcombe, Sarah Jenkins, Sarah Louise Keber, Jonathan Kelham, Kyle Kirkpatrick, Marine Lefebvre, Silvia Lerin, Maria Lewis, William Lindley, Eugene Macki, Zara Makhdoom, Tahira Mandarino, Ryoko Minamitani, Alvin Ong, Sylvia Owens, Alistair Payne, Karen Piddington, Maksim Podorozkin, Duncan Poulton, Richard Powell, Lisa Price, Srecko Radivojcevic, Alison Ranson, Attia Rashid, Chernaya Rechka, Scott Robertson, Luís Filipe Salgado Pereira Rodrigues, Marjan Samie, Cassander Edftinck Schattenkerk, Veronica Slater, Emily Sparkes, Stephanie Spindler, Alcaeus Spyrou, Natalka Liber Stephenson, Pamina Stewart, James Tebbutt, Clare Thatcher, David Theobald, Ross Tomkins, Mererid Velios, Satu Viljanen, Jane Walker, Mark Wilsher, Claire Yspol, Jasmin Yusuf. (NN press-release)

NN Contemporary Art Number. Nine. Guildhall Road. Northampton. NN1 1DP, UK

http://www.nncontemporaryart.org

http://www.silvialerin.com

Image: My own electricity I and II, 2017 © Silvia Lerin

BRÜHL. “MIRÓ - World of monsters,” Max Ernst Museum Brühl des LVR

until 28 january 2018

The selection of works on display features sculptural works by the artist between 1960s and 1970s. During this time, the artist worked with found materials and created objects in bronze. These sculptures were vibrant and colorful depicting a dreamlike world of monsters. Miró’s work offers a fascinating range of pictorial means that reflect variations and his innovative techniques. “MIRÓ - World of monsters” comprises a total of 67 works; the focus of which are bronze sculptures. These are in direct dialogue with selected paintings, works on paper, and a tapestry. The exhibit offers viewers an opportunity to gain insight into the creative world of the artist that transcends all genres.

 

Joan Miró (1893-1983) was a Spanish painter, sculptor, and ceramicist. He studied at the fine art academy at La Llotja and the Cercle Artístic de Sant Lluc. The artist has had a significant influence on 20th-century art with his lyrical abstractions and color field paintings. The artist received several awards and accolades during his artistic career such as the Venice Biennale print making prize in 1954 and the Guggenheim International Award 1958. Miro received the doctorate honoris causa from the University of Barcelona in 1979. (MEM press-release)

Max Ernst Museum Brühl des LVR. Comesstraße 42 / Max-Ernst-Allee 1. 50321 Brühl (Rheinland). Germany

http://www.maxernstmuseum.lvr.de

Image: Quelle: dpa. MIRÓ - World of monsters

NEW YORK. “Esteban Vicente“ Ameringer McEnery Yohe Gallery

14 december 2017 - 27 january 2018

Esteban Vicente was born in Turégano, Spain in 1903. His father served in the Civil Guard and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.

In 1936, Vicente left Europe at the onset of the Spanish civil war for New York City. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt.

The late works of Esteban Vicente explore the endless emotive properties of color, light, and their effect on nature. The canvases featured in this exhibition highlight Vicente’s examination of natural forms, which he studied at his home in Bridgehampton, NY during the later years of his lengthy career. His sweeping brushstrokes in subtle hues form abstract configurations that evoke imaginative scenes in the viewer’s mind, both foreign and familiar.

Vicente’s acute attention to all the senses informs his detailed use of color: gentle strokes of yellow, orange and red recall the sensation of a warm spring day in his garden. Delicate patterns of soft pink and green conjure a vision of fresh, blooming flowers, captured in a single moment as seen though the artist’s eyes. His constant interplay between abstract and concrete remains a timeless delight to viewers, revealing alternate interpretations with each observation.

Vicente spent a good portion of his career teaching, and was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, NY; and the University of California, Berkeley, CA, among other institutions.

At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.

Vicente died at the age of 97 in 2001 in Bridgehampton, NY, ten days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90s at his home in Bridgehampton (AMY press-release)

Ameringer McEnery Yohe. 524 West 19th Street, NY, NY 10011

Image: Esteban Vicente. Untitled, 1991, Oil on canvas, 48 x 62 inches, 121.9 x 157.5 cm, AMY#6385

ZURICH. Miquel Barceló “El Planeta de los Toros” Tobias Mueller Modern Art AG

until 2 February 2018

Modern bullfighting begins with the curves. You don’t see that because you are in the ring. But before the muleteers withdraw, when they are cleaning the arena, the thing you see most clearly is the curving line of the bull being dragged out, but, depending on the ground, you can also make out perfectly the passes, the movements, the memory of the faena (the entire performance of the bullfight).“ Excerpt from a conversation between Miquel Barceló and the bullfighter Luis Francisco Esplá, Nîmes 2002 The exhibition El Planeta de los Toros is dedicated to Miquel Barceló’s most recent series representing the centuries-old tradition of the Corrida, the spanish style bullfighting. Paintings, paper works, and ceramics created between 2015 and 2017 will be on view. “We are delighted to show this extraordinary new series of Bullfighting works as our first solo exhibition. We want to thank Miquel for his trust and are thrilled to be representing him as his principal gallery. Furthermore it is an honour for me to organize this exhibition in partnership with my legendary mentor and friend Bruno Bischofberger who had exhibited Barceló since the early 1980s”, states Tobias Mueller, Zurich September 2017).

Miquel Barceló was born in 1957 in Felanitx, Majorca. With his participation at the Documenta in 1982, the artist earned instant international renown. Numerous institutional and gallery exhibitions followed from Boston to Zurich. Barceló exhibited as the youngest artist ever his watercolours illustrating Dante's Divine Comedy at the Louvre Museum in Paris in 2004. After six years of work, Barceló completed his gigantic ceramic work at the Santísimo chapel of the cathedral in Palma de Mallorca in 2006. 18 months later, he finalized the 1500 m2 ceiling painting in the ellipsoidal dome in the The Human Rights and Alliance of Civilizations Chamber at UN in Geneva. The Prince–of-Asturias-Awardee (2003) was honoured with a solo presentation in 2009 at the Spanish Pavillon of the Venice Biennale. On the occasion of their 800-year anniversary the University of Salamanca awarded Barceló 2017 with the Doctor honoris causa title. Selected exhibitions: Musée Picasso, Paris; Institute of Contemporary Art, Boston; Whitechapel Art Gallery London; Musée d’Art Contemporain de Nîmes; Kunsthal Rotterdam; Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museo National del Prado, Madrid; Museo de Arte, Sâo Paulo; Tel Aviv Museum of Art, Tel Aviv; Galleria Nazionale d’Arte Moderna, Roma; Museo Guggenheim de Arte Moderno y Contemporáneo, Bilbao; Irish Museum of Modern Art, Dublin et al. Miquel Barceló lives and works between Majorca and Paris. (Tobias Mueller press-release)

Tobias Mueller Modern Art AG. Waldmannstrasse 8. 8001 Zurich. Switzerland

https://muellermodern.com

https://www.miquelbarcelo.org/

 Image: Miquel Barceló

LEICESTER. Juan delGado “Altered Landscapes”Attenborough Arts Centre

6th january – 25 february 2018

An immersive multimedia installation which tackles themes of trauma, displacement, personal narratives and landscape. The work is an intimate account of the personal experience of travelling through an unfamiliar landscape reminiscent of the experience of refugees.

Through the use of video, photography, light and sound, Altered Landscapes aims to engage the viewer in a journey. It asks the viewer to navigate the different elements in the gallery space so as to be absorbed in the experiences and journeys of the refugees, in order to open up contemplation and discussion about the current situation in Europe, a place that that has become filled with militarised border control.

For this exhibition delGado travelled to Greece, Macedonia and Calais to film, photograph and record the journeys taken by refugees. delGado has not filmed these ‘invisible’ people, who proliferate our media, but the places they have passed through. There are traces of their existence, fragmented experiences, fleeting moments and marks left on the land as they pass through to find safety.

Inspired by the text The Metamorphosis by Czech writer Franz Kafka, the project centres on a personal diary from a narrator, a European subject, who is describing how his human identity is gradually being transformed into something else, as a response to the suffering he is viewing.

These reflections are provoked by the events and debates of the last few years around the refugee crisis and are contextualised in a landscape which is strongly embedded in our collective imaginary, Greece with its Acropolis, the ancient citadel of Athens, and the birthplace of the democratic values and culture.

Juan delGado works across a range of media including installation and photography and has produced an extensive body of work that explores themes of trauma, landscape, disability, dislocation and gender. delGado has exhibited widely including at ARCO’05, Madrid, End of the World Biennial, Argentina, and the 2014 Mardin Biennial, Turkey. He was selected in 1997 for the John Kobal Photographic Portraiture Awards, for the 2012 BBC Big Screens programme, in 2013 he was shortlisted for the Jerwood Open Forest exhibition, and in 2014 he was awarded a major project commission by Unlimited that premièred at the Southbank Centre, London. His work has been supported by many prestigious organisations including the British Council, the Wellcome Trust, Arts Council England, Spanish Ministry of Culture, and ArtSchool Palestine.

Attenborough Arts Centre. Lancaster Rd. Leicester. U.K.

http://www.attenborougharts.com

http://cargocollective.com/JuandelGado  

Imagen “Altered Landscapes”Juan delGado

PARIS. "Picasso and Maya: Father and Daughter” Gagosian Galerie

until 24 february 2018

“These pictures are unbelievably true to life. Everything’s here: my little girl’s clothes, my hair, even my toys and yet…” Maya Ruiz-Picasso, 1996

Gagosian is pleased to present “Picasso and Maya: Father and Daughter,” the first exhibition dedicated to the artist’s diverse portrayals of his eldest daughter, Maya.

María de la Concepción, known as Maya, was born on September 5, 1935. During the first ten years of her life she was a constant subject in her father’s drawings and paintings, who observed with fascination and tenderness her physical and mental development. Her mother, Marie-Thérèse Walter, was the artist’s most iconic model. After meeting in 1927 at the Galeries Lafayette in Paris, Picasso and Marie-Thérèse began a long-lasting love affair, resulting in Picasso’s first daughter Maya. Following Maya’s birth, Picasso chronicled intimate details of their private life together en famille, exploring the archetypal theme of maternity. Maya’s portraits reflect the great joy that she brought into the artist's life, even in the looming shadow of World War II. Out of all of Picasso’s children Maya was most frequently depicted, a muse in the image of her mother.

This exhibition presents major works from the 1930s to the 1950s, including a collection of intimate portraits of Maya and Marie-Thérèse, sculptures and little paper cuts-out fashioned especially for his daughter. Like many of his favorite portraits of family members, most of the pieces remained in Picasso's personal collection until his death in 1973. Alongside the artist’s works, a selection of archival material—unpublished photographs, films, letters, and poems—will explore the relationship between father and daughter, while providing an invaluable testimony of this new-found happiness. Curator: Diana Widmaier Picasso. (Gagosian press-release)

Gagosian Galerie. 4 rue de Ponthieu. 75008 Paris 

http://www.gagosian.com

Image: Pablo Picasso, Portrait de Maya de profil, 1943, graphite, chalk, and pastel on vellum paper from spiral notebook, 14 5/8 × 12 1/4 inches (37 × 31 cm) © Succession Picasso 2017

BRISBANE.Picasso “The Vollard Suite” Queensland Art Gallery

2 december 2017 – 15 april 2018

Pablo Picasso jammed plenty of creativity into his 91-year life, including paintings, sculptures, prints, ceramics, stage design, plays, poetry and more. During the 1930s, he also etched and engraved a set of 100 pieces, in a series that was named after the art dealer who commissioned them: The Vollard Suite.

Produced over an eight-year period, the collection takes inspiration from stories, tales and myths, as well as the human form, his mistress and politics at the time. In other words, it proves an artistic overview of his favoured themes and fascinations, while also offering an autobiography of sorts.

It's the kind of intimate work that gives fans an insight into the Spanish master beyond his more famous pieces. And, courtesy of the National Gallery of Australia — who boast a complete set — the suite is on display at the Queensland Art Gallery from December 2 to April 15. (QAG press-release)

Queensland Art Gallery . Stanley Place, South Bank, Brisbane

https://www.qagoma.qld.gov.au/whats-on/exhibitions/picasso-the-vollard-suite

Image: Pablo Picasso, from the Vollard Suite. Etching and scraper, printed in black ink. National Gallery of Australia. ©Succession Picasso. Licensed by Viscopy, 2017.

BRAGA. “Face to Face: Portraits from the Foto Colectania Collection” Museu da Imagen

15 december  2017 – 30 january 2018

Face to Facedemonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from Foto Colectania's collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance, if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "

The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of this exhibition are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself. Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.

The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection.

Participating artists: Helena Almeida, Manel Armengol, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fotocolectania press-release)

Museo de la Imagen. Campo das Hortas 35, 4700-421 Braga, Portugal

http://museudaimagem.blogspot.com.es

http://www.fotocolectania.org

Image: Miguel Trillo

BARCELONA. Jordi Mitjà “Llegir amb les condicions idònies” Bombon Projects

12 december 2017 – 2 february 2018

Llegir amb les condicions idònies (To read with ideal conditions) brings together drawings and sculptures made with metal tubing, wire, coins, papers, ink and cardboard, that Jordi Mitjà has especially produced for the exhibition.

“Learning to read materials, disabling its uses, turning around its logics. Rejecting nothing, skipping conventions and improvising. Including all that we find in the process and assuming the accidents.”

Taking as a starting point discarded elements and the use of very simple materials, Jordi Mitjà presents his fourth solo exhibition of the year, which synthesises the past ones and ends the circle that began with L’escultura no és important (Sculpture is not important) at Fundació Suñol (Barcelona, 2017), where the artist incorporates his father’s blacksmith profession to explore different drifts related to materials, techniques and sculpture itself.

The previously melted and burning iron is thrown, in an unpredictable way, over the papers that the artist places on the floor of the studio. This generates burns that are extended through the wind, drawing traces and grooves, thus making us doubt of the limits of drawing and of this with sculpture.

The press that his father fabricated is now used to bend and crush metal tubes as if they were paper or cardboard. Using the tools of a blacksmith, exploring material, the process, its functioning; his modus operandi is applied by getting rid of the narrative, escaping sense and shooting at the logics that material imposes.

Jordi Mijtà’swork has its origins in inconsequential events, accidents strongly connected to his everyday, his biography, his dyslexia and the constant struggle to make things in a different way. Llegir amb les condicions idònies revolves around understanding and the impasse between what we make and the reception of it. Does the lack of sense generate sense? Does the difficulty of language create language?

Jordi Mijtà(1970, Figueres) has had recent solo exhibitions at several institutions such as Fundació Suñol (Barcelona, 2017), Bòlit Centre d’Art Contemporani (Girona, 2016), Fondazione Zimei (Pescara, 2015) or l’Espai 13 Fundació Joan Miró (Barcelona, 2012). His works have also been exhibited in group exhibitions at La Panera (Lleida, 2017, 2011), MACBA (Barcelona, 2016), CA2M (Madrid, 2015, 2010) or Ex Terese Arte Actual (Mexico DF, 2010). ).(Bombom Projects press-release)

Bombon projects, Trafalgar 45, 08010 Barcelona España

https://bombonprojects.com

http://www.jordimitja.com

Image: Jordi Mitjá

 

PARIS.“ Picasso 1947. A major donation to the Musée national d’Art Moderne” Musée National Picasso

until 27 January 2018

The Musée National Picasso-Paris will present the ten masterpieces which were offered by Picasso to the Musée National d’Art Moderne at the Hôtel Salé for its inauguration in 1947. An opportunity to celebrate two important moments in the history of the Musée National d’Art Moderne’s collection — its inauguration at the Palais de Tokyo and its transfer to the Centre Pompidou — by rediscovering masterpieces such as Atelier de la Modiste (1926), La Muse (1935) or L’Aubade (1942). This project brings together the two partner institutions in order to present not only the works of art but also the archives and the documents that tell the story of their creation, their acquisition and their first exhibition. The exhibition is also subject to a publication showcasing the state of research on this major moment of the history of art and the national collections. (Musée Picasso press-release)

Musée National Picasso. 5 rue de Thorigny 75003 Paris.

http://www.museepicassoparis.fr

Image: L’Aubade. Pablo Picasso, 4 Mai 1942. Paris, Centre Pompidou – Musée national d’art moderne – Centre de création industrielle. Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais.© Succession Picasso

ZURICH. Santiago Sierra “Extra Bodies – The Use of the ‹Other Body› in Contemporary Art” Migros Museum

18  november 2017  –  4 february 2018

The exhibition sheds light on a phenomenon in art that first rises to prominence in the 1990s and then explodes in the early years of the new millennium: the artistic practice of resorting to and deploying ‘extra bodies’. Artists select these ‘other bodies’ because of their specific social or biosocial role—which is why they may also be characterized as extras. All works on view share a basic ‘performative’ or ‘theatrical’ quality. Strikingly, the viewer is neither drawn into the action nor invited to participate. Unlike many artistic productions discussed under the rubric of relational aesthetics, these pieces do not demand his active engagement. Taking up both exhibition floors at the museum, the extensive group exhibition featuring numerous works from the collection scrutinizes the various modes in which extras with their social and biosocial roles are presented, and function, in art.

Santiago Sierra(b. Madrid, 1966) lives and works in Madrid. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11

Featuring artworks by:
Vanessa Beecroft   Guy Ben-Ner   Oscar Bony   Christoph Büchel  Clegg & Guttmann   Gino de Dominicis   Maria Eichhorn   Jens Haaning  Yves Klein   L.A. Raeven   Teresa Margolles   Yoshua Okón   Yuri Pattison  Edwin Sánchez   Christoph Schlingensief   Santiago Sierra  Studio Jonas Staal and Democratic Self-Administration   Ai Weiwei   Ai Weiwei   Stephen Willats   Carey Young   Artur Żmijewski

Migros Museum für Gegenwartskunst. 270. CH-8005 Zurich

 http://www.migrosmuseum.ch

 http://www.santiago-sierra.com  

Image: Santiago Sierra. Object measuring 600 x 57 x 52 cm constructed to be held horizontally to a wall, 2001. Schwarzweissfotografie. 234 x 155 cm

 

 

AMSTERDAM. Lara Almarcegui “Terrestrial Records” Manifesta Foundation

24 november 2017 – 25 may 2018

Manifesta is proud to present Terrestrial Records by Ellen de Bruijne PROJECTS. Terrestrial Records is part of an ongoing series of in-house exhibitions hosted by Manifesta in its Amsterdam headquarters. Every 6 months, a different contemporary art gallery from Amsterdam is invited to curate a site-specific show that links to the key topics of Manifesta biennials or reflects the history of Manifesta HQ, a 17th-century canal house on Herengracht. The exhibitions become a starting point for public meetings, discussions, performances and receptions. Through this program we would like to show our appreciation and support towards the Amsterdam art scene. Curated by Ellen de Bruijne PROJECTS, Terrestrial Records features a series of works that explore diverse contemporary themes, such as our attitude and relationship with nature; the interplay between digitalization, power and privacy; and the hidden presumptions within our societies.

Lara Almarcegui’s “Mineral Rights (Tveitvangen)” questions ownership of the Earth and her natural resources. In her "City Weights" she creates awareness for our urban environment opposed to nature, and in her "Guides" she focusses on the importance of wasteland within our constructed surroundings. “Naturist Campsite” by Maria Pask shows our distance and alienation from nature. Presented as a video work within the Terrestrial Records exhibition, “Naturist Campsite” was a one-day live event at the back garden of Marres in Maastrict, where hired actors played the roles of naturists, confronting the visiting public with a fully functioning naturist campsite. A large projection work by Pauline Curnier Jardin “Explosion Ma Baby” depicts how seemingly primitive rituals merge into a Catholic religious process.

Artists: Lara Almarcegui, Pauline Boudry/Renate Lorenz, Pauline Curnier Jardin, Jeremiah Day, Maria Pask, Falke Pisano, Michael Smith

Manifesta Foundation offices. Herengracht 474, 1017CA Amsterdam

https://manifesta.org

Image: “Mineral rights” Lara Almarcegui

BERLIN.Vicky Uslé “Open Shear”Alexander Levy Gallery

25 november 2017 – 27 january 2018

Vicky Uslé, born in 1981 in Santander, Spain, is continuing her investigation on the

possibilities of painting as well as navigating deeper into the complexity of surfaces. She uses drawing and painting to express observations, dreams and reflections from her everyday life. Inspired by architecture and nature, Uslé creates her own language of painting.

In her new work cycle of paintings, which will be shown for the first time, she constructs and deconstructs forms and rearranges them into dynamic situations.

As known in her earlier works, Uslé consciously uses the visible brushstroke to create organic and floating forms. For her new works, the use of two traditional and opposite syntaxes are coming more to the fore. The allusion to architecture is becoming stronger.

With her paintings, Uslé comes into connection with parts of our world that generate new visions and she changes their perception. Industry and nature can exist side by side without disturbing each other, a desirable utopia. (A. Levy press-release)

Alexander Levy. rudi-dutschke-str. 26 | d-10969 berlin

http://alexanderlevy.net

Image: Vicky Uslé.Ascendente, 2014 Oil and acrylic on canvas. 200 x 150 cm

DUBLIN. Isidro Ferrer “Collection of Wonders” Instituto Cervantes

17 november 2017 – 10 february 2018

The exhibition Collection of Wonders gathers a selection of the most significant works by Isidro Ferrer, one of the most remarkable designers and illustrators from Spain known for his originality and genius. The show has a great number of his poster design work and book illustration and has been curated by Tina García, specialised in cultural management and illustration from Asturias, Spain.
Isidro Ferrer (Madrid, 1963) is currently one of the most representative artists in Spain in the fields of design and illustration. He has worked for international firms as a commercial artist, graphic designer and in animation and storyboarding for TV. In Spain, he has received the National Design Award in 2002, the National Illustration Award in 2006. He has also been granted a European Design Award in the Posters category in 2008 and gained the Silver in the Golden Label Awards in 2013. His work has been exhibited in numerous solo shows in Spain, France, Chile, Mexico or Portugal, among other countries. . (I. Cervantes press-release)

Instituto Cervantes - Sala de Exposiciones. Lincoln House, Lincoln Place. 2 Dublin. (IRLANDA)

http://dublin.cervantes.es

http://www.isidroferrer.com

Image: Isidro Ferrer

BRUSSELS. “Private Choices : 11 Brussels Collections of Contemporary Art” CENTRALE

9 november 2017 – 27 may 2018

Private Choices lifts the veil on a significant aspect of art: contemporary art collections and its initiators, the art lovers. The latter play an increasingly important role in the constantly growing art world and, in the era of disproportionate commercialisation and globalisation of the art market, these passionate people invest time and money in contemporary creation, often lavishly.

This project sheds light on 11 Brussels collections including works by Belgian and international artists, both confirmed and emerging, in an attempt at showcasing the specificity of each one. Through a selection process carried out hand in hand with the collectors, we discover a facet of their vision of art and life.

Carine Fol, art director at the CENTRALE and curator of the Private Choices show confides:
I experienced a fascinating journey as I went on the discovery of works, collections and the many fascinating personalities behind them. From kitchen to dining room, from bedroom to entrance hall, each room tells a story through dialogues between the works. Consciously or unconsciously, each collector gives sense to the work inside her/his universe. Whether these collections are methodical, intuitive, secretive or shared, they all tell a private story: the tale of the collector who found them, the acquisition, and the (mental and physical) proximity of works that feeds their lives. Constantly mutating and endlessly growing, their collection gives them energy, motivation to travel, to question their choices, sometimes beyond reason…

From the first to the last piece (personal tastes change whether one is 20, 40 or 60), all these works testify of the commitment towards an artist and her/his creation, confirming that collecting means staying alive all the while stirring certainties, unsettling and questioning the complexity of creation and its ties to the world. A collection reveals the collector insofar as collecting is a personal activity, a work onto oneself that allows the collector to look at the world differently in an aim of discerning its inconsistencies.

Among these artists, stand out the works of Spanish artists: Oriol VilanovaPep VidalCristina GarridoChema Madoz and Carlos Aires. (CENTRALE press-release)

 CENTRALE. Place Sainte-Catherine 44 Sint-Katelijneplein. Bruxelles 1000 Brussels

http://www.centrale.brussels

Image: Private Choice. CENTRALE

WARSAW. "Painted architectures” Xanadu Gallery

1 – 20 december 2017

Xanadu Gallery invites for a very special exhibition titled "Painted architectures. Architecture in Spanish Painting of the XXI century" organised in cooperation with Spanish Embassy in Poland and Spanish ministry of culture, education and sport. The opening will take place on December 1st 2017 at 6 p.m. - 9 p.m.

The exhibition will present works of 17 renowned contemporary Spanish artists: Ángel Mateo Charris, Marcelo Fuentes, Dis Berlin, Damián Flores, Carlos García Alix, Paco de la Torre, Teresa Tomás, Joël Mestre, Roberto Mollá, Jorge Tarazona, Fernando Martín Godoy, Elena Goñi, Juan Cuéllar, Guillermo Peñalver Fernández, Nelo Vinuesa, Chema Peralta and Gonzalo Elvira. Curators: Juan Cuéllar and Roberto Mollá. 

The artists participating in the exhibition are known as representatives of the Spanish post-conceptual Figuration. What joins them together too, is undertaking the subject of architecture, geometry and space in their art. On the exhibition we will show mostly paintings and drawings, but also a spatial installation and a video. The exhibition has been already presented with a great success in MEINBLAU Projektraum in Berlin, Germany in November 12-20th 2017.  (Xanadu press-release)

Xanadu Gallery and Auction House. 51 Hoża Street. 00-681 Warsaw, Poland

http://www.galeriaxanadu.pl

Image: Juan Cuellar

MADISON. Jaume Plensa “Talking Continents” Madison Museum of Contemporary Art

1st december 2017 – 15 april 2018

Jaume Plensa: Talking Continents is an exhibition of work by the celebrated Spanish artist, internationally known for his large-scale public sculptures that tap into literature, psychology, language, and history to address the collective unity inherent to the human condition.

Installed in the State Street Gallery, Talking Continents includes nineteen stainless steel sculptures suspended in the gallery space to create a floating archipelago of cloud-like shapes. Plensa’s biomorphic creations are comprised of a multitude of die-cut steel letters derived from nine different languages. Metaphorically imagined as islands or continents, the multi-lingual sculptures speak to the diversity of language and culture, while simultaneously gesturing toward global interconnectedness as a path to tolerance and acceptance. This notion of universal understanding is reinforced by representations of human figures seated atop five of the floating continents. Similarly assembled from a steel motif of alphabetic characters, the gathering of figures encourages us to think about the ways in which we are linked together as a collective humanity. Through his installation, Plensa offers us a space to meet, observe, and contemplate while engaging in a dialogue that inspires inward reflection and outward generosity. (MMoCA press-release)

Madison Museum of Contemporary Art. 227 State Street, Madison, WI 53703 

http://www.mmoca.org      

 http://jaumeplensa.com

Image: Talking Continents  Jaume Plensa         

LEEDS.Saelia Aparicio “Your Consequences have actions” The Tetley Gallery

24 november 2017 - 28 january 2018

Your Consequences Have Actions is Saelia Aparicio’s first major exhibition in a public gallery in the UK, bringing together newly commissioned works made especially for The Tetley with a selection of existing works, shown alongside several drawings and sculptures from the Musgrave Kinley Outsider Art Collection at the Whitworth, The University of Manchester.

The body is a malleable source of wonder and horror for Aparicio. For her it is simultaneously a mask, a costume to be worn, and a changing, ever moving form shaped by ageing and disease. Aparicio’s figures take their skin off and leave it behind draped over chairs, creatures emerge from under fingernails, features are squashed and smashed together.

Underneath the skin, the body’s hidden functions are affected by the world outside, in the film A Mysterical Journey we travel into digestive tracts and through nerves and veins, as the body improbably digests chairs, mops, knives and pot plants. Humour, and an aesthetic style inspired by comic books and cartoons, belies a concern for the bodily impact of daily life, disease and age.

Aparicio will create a new drawing for The Tetley’s Leeds Beckett Atrium wall – filling the gallery space and flowing into the ground floor Bar & Kitchen. Spanning four floors and curling around walls the drawing will be impossible to view in its entirety.

Saelia Aparicio studied an MFA in sculpture at the Royal College of Art in London and a Bachelor in fine arts at the Univerdidad de Castilla la Mancha in Spain. Solo exhibitions include her latest work Burning with Joy, Epidermal Speleology (2015), Among the Things Billy Pilgrim Could Not Change Were The past, The present And The Future (2013), San Borondón (2012), Si Abres La Puerta Me Hago La Muerta(2009) and Dejadme En Paz Hasta Que Inaugure (2008).

The Tetley, Hunslet Road, Leeds, LS10 1JQ

https://thetetley.org   http://saelia.blogspot.com.es

Image: Saelia Aparicio

BARCELONA. Santiago Picatoste “Mimesis” Galería 3 Punts

30 november 2017 – 3 february  2018

Santiago Picatoste (b. Palma, Mallorca) studied Fine Arts at the Escuela Libre del Mediterráneo in Palma, Mallorca. He received the Graphic Arts Scholarship of the Pilar and Joan Miró Foundation in Palma and the Plastic Arts Scholarship of the Casa de Velázquez in Madrid. He won the Ibeart first Painting Prize at the ABC Museum in Madrid, was a finalist at the Premios Generación of La Casa Encendida in Madrid, and won the honorable mention at the International Sculpture Prize of the Gabarrón Foundation, among others.

His work is in several important collections such as the Giorgio Cini Foundation in Venice, the La Caixa Foundation in Barcelona, ​​the Flingthon Collection in Copenhagen, the CAC in Malaga or the Carmen Thyssen-Bornemisza Collection in Madrid. He has participated in around 30 solo shows and more than 90 group shows in countries as diverse as Spain, the United States, Denmark, England or Italy.

Picatoste is particularly interested in what he calls the "crystallization of the gesture" and the psychology of color, and his creative process is based on alchemy and research with the translucent and industrial materials he uses, in balance with more traditional materials such as oil and acrylic. His style can be defined in relation to the new post-painterly abstraction.  (3 punts press-release)

Galería 3 Punts. Carrer d'Enric Granados, 21, 08007 Barcelona

http://santiagopicatoste.com  http://3punts.com

Image: Santiago Picatoste “Atlas Silver” 2017

 

 

MADRID. Esther Ferrer “All Variations Are Valid, Including this One “ Palacio de Velázquez

26 october 2017 – 25 february 2018

Esther Ferrer (San Sebastián, 1937), a pioneer and one of the foremost representatives of performance art in Spain, began participating in the activities of the Zaj group — with Walter Marchetti, Ramon Barce and Juan Hidalgo — in 1967. From that point on, she brought action art to the fore in her artistic practice, although from 1970 she did return to visual art by way of reworked photographs, installations, pictures based on the series of prime numbers or Pi, objects, and so on. These pieces most notably include the series Autorretratos (Self-Portraits), in progress since 1981, Números primos (Prime Numbers), carried out with different spatial-temporary formats, and Juguetes educativos (Educational Toys), from the 1980s, her work adhering to the Minimalist and Conceptual Art initiated in the 1960s, with Stéphane Mallarmé, Georges Perec, John Cage and Fluxus the points of reference, along with aspects of feminism from the time.

Ferrer gives repetition and chance the capacity to enhance her work, generating manifold variations which lead on to otherness and unpredictability. The exhibition Todas las variaciones son válidas, incluida esta (All Variations Are Valid, Including this One), presented by the Museo Reina Sofía, addresses these issues and reflects upon other key aspects in her artistic practice, for instance the visibility of the creative process in time and space and the mobilisation and transformation of the body. As it enhances and experiments with the idea of continuity and the performance side of Ferrer’s work, the show activates certain pieces and a non-chronological discourse which facilitates unexpected connections and changing approaches to her oeuvre. The selection of works includes performances and installations, and a series of visual projects — preparatory works and finished series, and documents from her main actions (photographs and videos).

Running alongside Ferrer’s artistic practice is her significant theoretical work, developed in both her journalistic collaborations for wide-ranging publications and in courses and lectures given at European and American universities. The exhibition’s accompanying catalogue features a selection of these texts.

Esther Ferrer has, throughout her extensive career, participated in a number of Action Art festivals and has exhibited her work in different museums, in addition to gaining recognition in different contexts: in 1999 she was one of Spain’s representatives at the Venice Biennale; in 2008 she was awarded the Premio Nacional de Artes Plásticas; in 2012 she won the Premio Gure Artea del Gobierno Vasco, and in 2014 the Premio MAV (Women in the Visual Arts), the Premio Marie Claire de l’Art Contemporain and Premio Velázquez de Artes Plásticas.Organized: Museo Nacional Centro de Arte Reina Sofía. Curators: Mar Villaespesa and Laurence Rassel. (MNCARS press-release)

Palacio de Velázquez. Parque del Retiro, Paseo Venezuela, 2, 28001 Madrid

http://www.museoreinasofia.es

http://estherferrer.fr/en

Image: Esther Ferrer, Biografía para una exposición, 1982. Collage. Fotografía y tinta sobre papel. 32,5 x 24 cm. Cortesía de la artista

LONDON. César Dezfuli “The Taylor Wessing Photographic Portrait First Prize” National Portrait Gallery

6 november 2017 - 8 february 2018

2017 winning image is a striking portrait of 16-year-old Amadou Sumaila by spanish photograph César Dezfuli, Amadou had just been rescued from the sea off the Libyan coast by a European vessel, apparently fulfilling his dream of starting a new life. He confronts the camera with an unflinching gaze that cannot quite hide his trauma and his conflicting mixture of emotions. The judges praised the portrait for the unsettling directness of Sumaila’s gaze and the way in which it “powerfully conveys his loss, solitude and determination”.

The Taylor Wessing Photographic Portrait Prize is the leading international photographic portrait competition, celebrating and promoting the very best in contemporary portrait photography.  The selected images, many of which will be on display for the first time, explore both traditional and contemporary approaches to the photographic portrait whilst capturing a range of characters, moods and locations. The exhibition of fifty-nine works features all of the prestigious prize winners including the winner of the £15,000 first prize.

César Dezfuli(b. Madrid1991), in a context of cultural mixture given by my Spanish-Persian origins, it soon awakens on me an interest to know different social and cultural realities. This will suppose that during my training at the University Rey Juan Carlos, where I study a Double Degree in Journalism and Media Studies, I decided to specialize in the international arena, with two exchanges of studies in Poland and Argentina.
After passing through the newsrooms of daily 20minutes and El Periodico de Catalunya, my work as journalist has focused on documentary and investigative reports, mainly dealing humanitarian issues, but also international politics and anthropological research. I combine work as written journalist with photographic reports. I have specialized in the practice of photojournalism, with a Postgrade in Photojournalism at Universitat Autònoma de Barcelona, and several training workshops. My work has been published in media such as Al Jazeera, The Guardian, The Atlantic, De Groene Amsterdammer, El Mundo, El Pais, Eldiario.es, El Periódico, 20Minutos, BBC, Deutsche Welle TV, The World PIR, Antena 3, TVE, La Sexta or Cadena SER. César Dezfuli.

National Portrait Gallery. St Martin’s Place. London. WC2

https://www.npg.org.ukhttp://www.cesardezfuli.com

Image: 2017 winning image. The Taylor Wessing Photographic Portrait Prize” César Dezfuli

BARCELONA.“RAW MATERIAL” Fabra i Coats. Centre d´art Contemporany

8 november 2017 – 1 april 2018

RAW MATERIAL is an expository project whose intention is to explore the current local ecosystem of visual artists in order to develop a map of some of the most significant projects and work created here over the past few years. In this sense, the exhibition, as the fruit of a labour of exploration, is a sort of mining exercise of this RAW MATERIAL principally worked with by local organizations, public and private, involved in research, production, exhibition and contemporary art mediation in our country.

Like another type of mining, data mining, RAW MATERIALaims, through the management of the information derived from this exploration and from its results, to initiate a process of generation of patterns of approaches to and the reading of symbolic value and of the material circumstances present in our artistic ecosystem.

Within the framework of the premises of this exploration, in RAW MATERIAL the range of observation of the local visual art ecosystem has centred on those artists who, having already left – often far behind – a first emergent phase of their trajectories, today find themselves in the midst of the consolidation of their artistic careers. In the majority of cases, this is a course that is permanently unstable and temporally undefined. These are artists and trajectories that some, while eschewing generational implications, have defined as "mid-life", halfway between local emergence and international consecration.

These "mid-life" artists and trajectories make up the RAW MATERIAL of our local ecosystem of visual arts, and are the reason that an exhibition space like Fabra i Coats in Sant Andreu–whose mission it is to become the centre of contemporary art to which this city aspires – must carry out a systematic exploration designed to discover them and make them visible. Curatorial committee: David Armengol, David G. Torres i Martí Peran

Artists:Antoni Hervàs, Antonio Ortega, Avelino Sala, Dani Montlleó, Daniela Ortiz, David Bestué, Domènec, Enric Farrés Duran, Erick Beltrán, Ester Partegàs, Jaume Pitarch, Javier Peñafiel, Joan Morey, Joana Cera, Jordi Mitjà, Lúa Coderch, Luis Guerra, Luis Bisbe, Luz Broto, Martí Anson, Mireia Sallarès, Núria Güell, Oriol Vilanova, Patricia Dauder, Pere Llobera, Rafel G. Bianchi, Regina Giménez, Tere Recarens, Xavier Arenós and Yamandú Canosa.  (Fabra i Coats press-release)

Fabra i Coats. Centre d´art Contemporany. c/ Sant Adrià, 20. 08030 Barcelona

Fabra i Coats. Centre d´art Contemporany.

http://ajuntament.barcelona.cat/centredart/es/

Image: MATERIA PRIMA. Pere Llobera

FLORENCE. Daniel Canogar “Tensioni Strutturali #3” Eduardo Secci Gallery

25 november 2017 – 11 february 2018

The Tensioni Strutturali trilogy has been articulated and conceived as an organic project, broken down into three independent exhibits, which, however, are interconnected between one another, and have been gradually presented in the gallery's exhibition spaces.
Entropy is generally appointed as an orientation that is intrinsic to a system, and which irreversibly loses part of its order, or of its qualities, whereas, in the theory of information, it is associated to what prevents the clarity and uniqueness of a specific message. A tendency to irregularity, to an apparent disorder, in which, probably, there is a concealed balance, even if it is complex and hard to understand, which can provide some indications on daily realities. In this chaotic process, the individual is often lost and attempts to resist to all that is beyond his/her control, creating labels, classi cations and categorizations to try and contrast it, as well as to adopt a strict control system that, to some degree, can guarantee serenity and both a physical and psychological stability.
With this in mind, the four artists who have been invited to participate in this last part of the trilogy, have developed their work as an analysis of both the entropic processes that loom above our every- day lives and of the possible attempts to instill an order, elaborating a taxonomy of the components of reality in order to suggest a potential stable structure or, ultimately, to consciously overlook this intent. From natural and atmospheric phenomena to emotional and psychological states, from historical processes regarding the symbolism of specific shapes to the studies carried out on mechanical and functional rhythms, the exhibit unravels itself as a moment to evaluate and measure the degree of chaos that is present, the possibilities of nding a balance, and the acceptance, throu- gh empirical observation, of the fact that "chaotic" configurations are the most probable ones. And, nally, a series of works that interrogate themselves, in contrasting ways, on the possibilities of building a stable and solid narration, but that, at the same time, ask us to what point we should pursue such research, instead of letting ourselves go in the relentless fallibility of our certainties. Curated by Angel Moya Garcia. Artists: Daniel Canogar - Baptiste Debombourg- Levi Van Veluw – Zimoun.

Eduardo Secci Gallery. Piazza Carlo Goldoni, Florence. Italy

Daniel Canogar   http://www.eduardosecci.com

Image: Daniel Canogar “echo” 2016

BARCELONA. Max de Esteban “Twenty Red Lights” La Virreina Centre de la Imatge

10 november 2017 – 4 february 2018

In Twenty Red Lights, a project named after a phrase from the Rolling Stones song Far Away Eyes, Max de Esteban questions some of the foundations of contemporary financial capitalism.

From the new capitalist alphabet to the architecture of power, from the confessions of those who manage global markets to the exaggerated and frenetic imagery of media neoliberalism, Twenty Red Lights dissects the abstractions that support the present-day macro-economy. The exhibition is complemented by a publication that includes two unpublished texts by the philosophers Franco “Bifo” Berardi and Michel Feher as 3 well as several writings by the artist himself, together with the set of materials developed during the preparation of this project.

Max de Esteban(b. 1959 Barcelona) is a Fulbright Alumni, who holds a PhD from the Universitat Ramon Llull in Catalunya and a Masters from Stanford University. His work has been featured at the Deutsches Technikmuseum (Berlin), Rencontres Internationales at the Palais de Tokyo (Paris) and Darmstädter Tage der Fotografie, among others. He is the recipient of the National Award of Professional Photography in Spain and the Jury’s Special Award in Fotofestiwal, Poland. His artworks are held in several notable collections, including the Museum of Fine Arts, Houston; Museu de Arte Modena do Rio de Janeiro in Brazil; and the Deutsches Technikmuseum. De Esteban’s work has been shown in numerous exhibitions worldwide, and featured widely in the press and media. His monograph Heads Will Roll, was recently selected as a photo-book of the year by LensCulture. Max de Esteban lives and works in Barcelona, Spain, and is represented in the United States by Klompching Gallery

La Virreina Centre de la Imatge Palau de la Virreina La Rambla, 99. 08002 Barcelona

http://ajuntament.barcelona.cat     http://maxdeesteban.com

Image: “No Covenants” Twenty Red Lights. Max de Esteban

MANCHESTER. David Guillén “A Tale on the Mile” Instituto Cervantes

1 noviembre 2017 – 27 january 2018

A Tale on the Mile, the work of photographer David Guillén, is a harmony of original photography and text that explores the personalities and places on one of the most historically vibrant streets in Scotland: The Royal Mile.

Throughout the course of human history, societies have always grown from the same fundamental principles, regardless of the time or place.

Society seems to be a symbiosis, a macro-organism. Individuals cluster together to work as groups, which form a mind of their own, and in turn influence each individual. These small tribes that begin around a campfire, on the beach or on the mountain, create towns. Those towns become cities, those cities unify to create countries. It may seem strange, but often the story and character of an entire nation of people can be read in a single one of its streets. (I. Cervantes  press-release)

Instituto Cervantes. 326-330 Deansgate, Campfield Avenue Arcade. M3 4FN Mánchester Lancashire (REINO UNIDO)

http://www.davidguillen.co.uk http://manchester.cervantes.es

Image: David Guillén

PHILADELPHIA. “Patricia Urquiola: Between Craft and Industry” Philadelphia Museum of Art

november 19, 2017 - march 4, 2018

Internationally acclaimed designer Patricia Urquiola creates cool, innovative objects for the home and office. Perhaps more than any other designer working today, she has successfully fused the artisanal and the industrial.

Urquiola moves with ease between product and interior design and architectural commissions. She develops seductive shapes that are meant to be experienced, from her Nordic-inspired “Fjord” armchair and “Openest” lounge furnishings to stylish interiors for luxury hotels.

In this exhibition, explore a selection of her designs as well as her creative process from concept to final product. Discover how she uses personal sources of inspiration—a Japanese whisk, a broken seashell, the shape of antibodies—to imbue objects and environments with a soul.

Spanish-born designer Patricia Urquiola trained as an architect in Madrid and later graduated from Polytechnic University of Milan, where she studied with influential lighting designer Achille Castiglioni. Since opening a studio in 2001, she has collaborated with Alessi, B&B Italia, Flos, Kartell, Moroso, and Haworth. In 2015 she was appointed art director of the iconic Italian company Cassina.

Urquiola has received numerous accolades and awards, including Spain’s Order of Isabella the Catholic and the Gold Medal of Merit in Fine Arts. This November, she receives the Design Excellence Award from Collab, a group that supports modern and contemporary design at the Museum.(PMA press-release)

Philadelphia Museum of Art.  2600 Benjamin Franklin Parkway. Philadelphia, PA 19130

http://www.philamuseum.org   http://www.patriciaurquiola.com

Image: Patricia Urquiola

PALERMO. Cristina García Rodero “Open-Mouthed” Instituto Cervantes

17 november – 26 january, 2017

“Open-Mouthed” is a black and white retrospective journey, created in 2014 it offers a different view of one of the most expressive parts of the human body—the mouth—an expression of the full spectrum of emotions: anger, joy, fear, or happiness. This is the first solo exhibition in Bulgaria of Cristina García Rodero, one of the most popular Spanish women photographers, and the third visit of the artist to our country. In 2015, she worked on a theme dedicated to the Kukeri in Pernik.

Cristina García Rodero is one of the most celebrated documentary photographers in Spain and the first Spanish woman to become a full member of the Magnum photographic team. Over the years, she has progressed through various stages, most of which related to projects exploring specific rituals, customs and groups of people throughout the world. Her photographs are impressive, provocative, arousing curiosity and emotion. The themes are always beyond the scope of the already familiar.

An artist by education, Cristina is a self-taught photographer. She began at the age of 23 with photographs of various religious and pagan customs in Spain, collected in 1989 in her book, España Oculta, which won the ‘Book of the Year Award’ at the prestigious Arles Festival of Photography. Then followed years devoted to travelling, in which this Spanish woman, attracted by different cultures, used her camera to explore them as a counterpoint to the modern, fast-paced world.

Instituto Cervantes. Via Argenteria Nuova, 33/35. 90133 Palermo Sicilia (ITALIA)

http://palermo.cervantes.es

https://www.facebook.com/CristinaGarciaRodero

Image: Con la boca abierta. Cristina García Rodero

 

THE HAGUE. “González, Picasso and friends” Gemeente Museum

25 november 2017 - 02 april 2018

Together with Constantin Brancusi and Pablo Picasso, the Spanish artist Julio González (1876 – 1942) is considered one of the most important sculptors of the 20th century. This retrospective of over 100 works, most of which are being exhibited in the Netherlands for the first time, sheds light on his personal development: from his days as a metal worker in his father’s workshop in Barcelona to his time as an avant-garde sculptor in Paris. It also addresses the unique collaboration and friendship between González and Picasso (1929 – 1932). This collaboration played a decisive role in the development of González’ unique and innovative style, and it also gave rise to new forms of expression in Picasso’s work.

They worked together on a number of sculptures over a four-year period. For both artists, the collaboration provided a major push to further development. Thanks to González, Picasso discovered new modes of expression in sculpture and for González the collaboration was the final leg of his journey towards a distinctive artistic style. This exhibition at the Gemeentemuseum Den Haag focuses principally on González’s development from craftsman to avant-garde artist. With no fewer than 20 works by Picasso, it is also a celebration of the friendship between the two men.

The exhibition also examines the highly personal friendships that Julio González maintained with other artists. He worked for some years as an assistant to Constantin Brancusi (1876 - 1957). Pablo Gargallo (1881 - 1934), who drew on González’s technical expertise as early as 1923, recognized his artistic talent and encouraged him to devote himself entirely to sculpture. And it was in González’s workshop that Gargallo’s son-in-law, Hans Hartung (1904 - 1989), created his first and only sculpture in 1938. (Gemeentemuseum press-release)

Haags Gemeentemuseum. Stadhouderslaan 41, 2517 HV Den Haag

https://www.gemeentemuseum.nl/en

Image: Julio González (1876-1942), Monsieur Cactus (L’Homme Cactus I), Collectie Gemeentemuseum Den Haag

BARCELONA.Francesc Torres / Santiago Ydáñez “does history know of nail-biting? Troquel” Arts Santa Mónica

31 october 2017 – 14 january 2018

This exhibition proposes a dialogue between two artists from highly distinct generations and two projects created using completely different techniques. On one hand, Francesc Torres presents us with a video installation stemming from unpublished film and photographic material from the University of New York library donated by Harry Randall, a photographer and cameraman for the Lincoln Brigade, an outfit of American volunteers who travelled to Spain to defend the Republic during the Spanish Civil War. The footage was filmed during 1937 and 1938, featuring several war fronts - Central Region (Guadalajara), Terol and the Ebre river-, with the appearance of relevant figures, such as Ernest Hemingway, journalist Martha Gellhorn and Vladimir Copic, commander of the 15th Brigade, to which the Lincoln Brigade was deployed.

On the other hand, Santiago Ydáñez, having previously revised historical periods such as Nazism, presents us with a series of large-format paintings that depict, expand upon and delve deeper into specific moments of the aforementioned video documentary.

Until now, Francesc Torres’ video installation had been shown independently at various museums, such as The Davis Museum of Wellesley College, Massachusetts USA, 2015 and Museo de Teruel, 2016.

On the occasion of this new presentation, Torres requested that Ydáñez create a new project also based on Harry Randall’s unpublished video documentary. This fact grants the project an entirely new dimension, due to the fact that the duplicity of viewpoints on a single historical source transforms the end result in accordance with the specific art form employed by each artist. Torres uses video, photography and found objects; Ydáñez focuses exclusively on painting, interpreted as a translation of static moments from the film in a removed, immediate and almost conceptual way.

Idea: Glòria Picazo: Curators: Francesc Torres and Santiago Ydáñez. Organized: Arts Santa Mònica (Barcelona) and Centre d’Art La Panera (Lleida). Colaboration: Museo de Teruel and Newhouse Center for the Humanities (Wellesley) ). (Sta.Mónica press-release)

Arts Santa Mónica. La Rambla, 7 08002 Barcelona

http://santiagoydanez.com          

http://artssantamonica.gencat.cat/es

Image: Santiago Ydañez

NEW ORLEANS. Maider López “Under the Walls. That Unseen Also Matters” P.4. 4 ª Trienal PNO

11 november 2017 – 25 february 2018

Prospect New Orleans, Inc. (PNO) is a citywide triennial of contemporary art. 'Prospect.4: The Lotus in Spite of the Swamp' 'is PNO’s 4th iteration and will run from 11/11/17 – 2/25/18 showcasing 60+ local, national, and international artists at 15+ venues citywide. We anticipate an audience of 100,000+ individuals from local, national and international locations. P.4 is being curated by P.4 Artistic Director Trevor Schoonmaker, also the Chief Curator of the Nasher Museum at Duke University.
A/CE supports the participation of Spanish artist Maider Lopez who will feature her work as a critical component of the triennial's curatorial exploration.
Maider Lopez's "Under the Walls. That Unseen Also Matters" is a public art installation for inclusion in Prospect New Orleans' 4th international contemporary art triennial, Prospect.4: The Lotus in Spite of the Swamp. It replaces advertising on the walls of houses being constructed with colored surfaces throughout the City. As a result, the houses will conceal large areas of color beneath the final constructed surface. During construction of the house, chromatic planes will replace the layer of advertising, later to be hidden by the wood façades.
The project emphasizes what is there -under the skin- even if unseen; it provides a non-commercial space as well as an aesthetic experience to the passer-by, bringing awareness to the construction process, the housing itself and political context. During P.4, 4 houses around the city will be marked on the map, so that visitors can find these public art pieces. In the exhibition space, the photographs of the process and another of the same house once completed will be on show.

Maider López. b. 1975 San Sebastian, Spain. Resides in San Sebastian, Spain Maider López’s interest relays in interrupting norms in space and architecture, inviting us to experience common spaces in novel and potentially rewarding ways. She has exhibited extensively internationally as 51st Venice Biennale, Sharjah Biennial 9, and 13th Istanbul Biennial.

Some of her works include: 1645 Pieces of Chalk, Matadero Madrid (2016); Play Time, 4th Les Ateliers de Rennes Biennial. Rennes. France (2014); Mom, Am I barbarian?, 13 th Istanbul Biennial, Mountain. Lower Austria Contemporany. Austria (2013); Between you and I, Witte de With and Skor, The Netherlands; ISCP, Nueva York (2012); Eclats, Centre Pompidou Metz; Arts Towada, Japón. (2010); Sharjah Biennial 9, United Arab Emirates (2009); SCAPE Christchurch Biennial of Art in Public Space, New Zealand; Line of sight, Zendai Moma Museum, Shanghai; Actions: What You Can Do With the City. Graham Foundation, Chicago and Canadian Centre for Architecture, Montreal (2008); AdosAdos, Guggenheim Bilbao, Spain (2007); Columnes, Caixa Forum, Barcelona (2006) and 51st Venice Biennale (2005). (AC/E  press-release)

 Prospect New Orleans750 Carondelet Street . New Orleans, LA 7013

www.maiderlopez.com  https://www.prospectneworleans.org

Image: Cappadox 2016.  Maider López

STOCKHOLM. Núria Guell “Manipulate the World. Connecting Öyvind Fahlström”Moderna Museet

21 october 2017 – 21 january 2018

In a text from 1964, Öyvind Fahlström urges to manipulate the world. What does this mean for artists today, in our era of alternative facts, relative truths and fragmented narratives?

In an exhibition filling two floors in the Museum, 28 Swedish and international artists explore and challenge Öyvind Fahlström’s ideas on manipulation and theatricality. Four historic works by Fahlström define the playing field for the exhibition, which takes place in three zones: the main exhibition hall on Floor 4, the spaces connecting both floors, and the exhibition halls on the lower ground floor.

Núria Güell's artistic practice is about the analysis of how power devices affect our subjectivity, subjecting it to law and hegemonic moral.
The main resources that she uses in her work are to flirt with the established powers, complicity with different allies and the uses of privileges that artistic institutions she works with have, as well as those socially granted to her for being a Spanish and European. These tactics, diluted into her own life, are developed in specific contexts intending to question commonly-assumed identifications and cause a disruption in power relations.

Artists in the exhibition: Lawrence Abu Hamdan, Rossella Biscotti, Juan Castillo, Aslı Çavuşoğlu, Kajsa Dahlberg, Detanico Lain, Economic Space Agency, Róza El-Hassan, Harun Farocki, Öyvind Fahlström, Goldin+Senneby, Núria Güell , Candice Lin, Jill Magid, Ibrahim Mahama, Nicholas Mangan, Sirous Namazi, Rivane Neuenschwander, Otobong Nkanga, Sondra Perry, Pratchaya Phinthong, Katarina Pirak Sikku, Natascha Sadr Haghighian , Jonas Staal, Hito Steyerl, Hanan Hilwé i samarbete med Walid Raad, Thu Van Tran, Alexander Vaindorf, Wermke/Leinkauf.

Moderna Museet Skeppsholmen, Stockholm

https://www.modernamuseet.se   http://www.nuriaguell.net

Image: Nuria Guell

KÖLN. Eduardo Navarro y Teresa Solar “KölnSkulptur #9: La Fin de Babylone”Skulpturenpark

from 15 october 2017

KölnSkulptur #9 opens on October 15, 2017, at 11am, marking the 20th anniversary and ninth edition of Skulpturenpark Köln. Under the exhibition title "La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!” the curator Chus Martínez invites you to listen to the stories that the park has to tell. 
The focus is on eight new works by artists Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar, and Pedro Wirz. The artworks are not magic, though they all share the idea that sensation is what fuels a new imagination of the world we are living in. They all animate the nonhuman - nature, metal, wood, stone, Earth - and bear witness to a common territory between us and animals, between plants and geological life.

Teresa Solar (b. 1985 / Spain) lives and works in Madrid (ES). Her work comprises varying practices that materialize in audiovisual as well as sculptural works while connecting those different languages and disciplines. She structures her projects around characters and constellations exploring the double natures of the elements. Her work has been shown at Kunstverein Munich (2017) and Matadero, Madrid (2018), amongst others.

Skulpturenpark Köln. Riehler Straße (Haupteingang). 50668 Köln

http://www.skulpturenparkkoeln.de http://www.teresolar.com

Image: Teresa Solar. Pumping Station, 2017. Resin, Porex, bronze

OSTEND. Carlos Aires “The Raft. Art is (not) Lonely” Mu.Zee

22 october 2017 – 14 april 2018

The Raft. Art is (not) Lonely’ is not only an exhibition, but also a conversation with Ostend, the City by the Sea with its own distinct history and scent. The baseline of the dramaturgy of Mu.ZEE’s exhibition, which will be presented in various locations spread across the Belgian seaside resort, is the thorough research conducted into ‘The Raft of the Medusa’ (1818) by Théodore Géricault and Jan Fabre’s utopian raft ‘Art is (not) Lonely’ (1986). Although there is an unmistakable 170-year time difference and a completely different historical origin, both works tie in with each other thanks to their visualisation of the expedition and the destination of the artist, which is a theme acting as a metaphor of the condition humaine.

Mar negro by Carlos Aires has been made with fragments of wood from old boats and frail immigrants’ vessels that have ended up in a ship graveyard in Cadiz. Constructed to resemble parquet in a herringbone pattern, although far from being a purely geometrical combination, this wooden ‘floor’ with its chromatic and textural variations brings to mind the remains of illegal vessels bearing people from Africa who have tried, successfully or otherwise, to fulfil their dream of entering European territory. An accompanying video shows images of the wood being removed from the boats and the process of making the floor. Carlos Aires has recovered material remains of a great human tragedy that is now occurring in the Mediterranean in order to transform them into an object of great formal and conceptual effect.

Carlos Aires(Ronda, Málaga 1974) currently lives in Spain, his work developped his aesthetic of ambiguity and analytical attitude to the way we perceive the reality around us. From collage to photography, video and performance, shows a provocative art, full of concern and skepticism. We dipped into a disturbing and questionable reality, where regular myths lose their meaning, the story takes new nature and gives space to the truth lies halfway. Carlos Aires liked propose games to the public, to find out how many and what might be the different ways of reading an image, a video, a performance, to interpret a situation

Mu.ZEE. Romestraat 11. B-8400 Ostend. Belgium

http://www.muzee.be  http://carlosaires.com

Image: Mar Negro. Carlos Aires 

BUENOS AIRES. “Miró: The Experience of Seeing” Museo Nacional de Bellas Artes

25 october 2017 - 25 february, 2018

This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró’s work.

The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist’s ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other —a principal feature of this exhibition.

The paintings and sculptures in the exhibition plumb the process of making art, part of Miró’s concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued. Curators: Carmen Fernández Aparicio y Belén Galán.

Museo Nacional de Bellas Artes, Av. del Libertador 1473. Buenos Aires

http://www.bellasartes.gob.ar

Imagen: Miró. Mujer, pájaro, estrella. Homenaje a Pablo Picasso, 1973. Óleo sobre lienzo. 245 x 170 cm. Museo Nacional Centro de Arte Reina Sofía

HOUSTON. Sergio Prego “Rose-colored Drift/To the Students” Blaffer Art Museum

28 october 2017- 27 january 2018

New York-based artist Sergio Prego creates unfamiliar perceptual and spatial situations in order to examine contemporary realms of experience, taking inspiration from the performative or experiential turn of the 1960s.

Sergio Prego: Rose-colored Drift/To the Students extends the artist’s recent investigation of pneumatic structures –a type of membrane construction that is stabilized by the pressure of compressed air– that references the utopian and nomadic inflatable projects of the late 1960s. Alongside the site-specific pneumatic structures, the exhibition consists of sculptures, works on paper and videos.

Sergio Prego, born in 1969 in San Sebastian, Spain, lives and work in Brooklyn, NY. He holds a BFA from the University of the Basque Country and attended Arteleku, an experimental art center in San Sebastian. From 1996 to 2002, Prego worked with Vito Acconci in Acconci Studio, an interdisciplinary architecture and landscape design team.

He has exhibited extensively in the United States and abroad including the Singapore Biennale 2008, the Moscow Biennial 2009, the Dojima River Biennale 2009 at Osaka, CA2M, the Guggenheim Museum Bilbao, MUSAC in Leon, Galería Soledad Lorenzo in Madrid, Alfonso Artiaco Gallery in Naples, Lehmann Maupin Gallery, Lombard Freid Gallery, TBA21 in Vienna, Palazzo Delle Papesse in Siena, The Museum of Contemporary Art in Denver, and MoMA PS1 in New York. (Blaffer Art Museum press-release)

Blaffer Art Museum, 4173 Elgin St, Houston, TX 77004

http://blafferartmuseum.org

Image: Sergio Prego

BARCELONA.Lita Cabellut “Retrospective” Espai Volart 2, Fundació Vila Casas

5 october 2017 – 27 may 2018

After the show Trilogy of Doubt, held in Espai Volart 2 in 2013, the Fundació Vila Casas is debuting a new gallery with this exhibition which surpasses the conventional limits of painting to locate itself in the terrain of risk, gesture, and psychological portraiture laced with a latent classicism reminiscent of Goya, Velázquez and Rembrandt.

Conceived and directed by Antoni Vila Casas and Lita Cabellut, Retrospective brings together works from recent years organised in series from between 2008 and 2017, such as Flower Installations (2016-17), Disturbance (2015), Blind Mirror(2015), Tempus & Divine (2015), Black Tulip (2014), White Silence (2014), Dried Tear (2013), After the Show (2012), Camaron(2011), Memories wrapped in gold paper (2012), Coco (2011), Frida (2011), Madness and Reason (2010), Installation (2010), State or Grace (2010), Country life (2009), Ethics (2017) and Dillusion (2008).

Beauty is the origin of everything that moves us, what is purest and most profound; but also of what is durable, since it can be hurtful, in the same way that cultivating it is painful. It is love. Like a rough kiss. And its eyes are intelligence.

Lita Cabellut(Sariñena, Spain, 1961) is an artist whose work goes beyond the limits of conventional painting. A free, determined creator with a strong, passionate character, Cabellut advocates painting that is not restricted by the norms governing the art market. For her, art must be above such things and the artist completely free, for only in that way can we ensure art for art’s sake.

Cabellut works with large-scale canvases and a personalized palette that has been carefully studied; her colours (like her work) are intense and temperamental, as her way of treating the canvas, enhancing surface materiality and voluptuousness. It should be emphasized that, even while using oil paint, many of her paintings have been done using the fresco painting technique.

Lita Cabellut is a highly prolific artist, with an abundant body of work which she has developed since she was just 15 years old, when she discovered painting at the Prado Museum, thanks to her adoptive family. In this exhibition, we present a selection of work bringing together the past 10 years of the career of this Aragon-born artist, who was raised in Barcelona and now lives in The Hague. The exhibit takes us through some of her most important pictorial series, testimony as they are of the views of one of the most significant artists in the international contemporary art scene. (Fundació Vilacasas press´release)

Espai Volart 2. C/ Ausiàs Marc, 22. 08010 Barcelona

http://www.fundaciovilacasas.comhttp://www.litacabellut.com

Image: Lita Cabellut

 

 

MEXICO. “UPFRONT” Centro Cultural de España

17 october 2017 – 18 february 2018

UPFRONT is an immersive exhibition project featuring the work of 23 top contemporary photojournalists from various Spanish-speaking countries, working in areas of conflict all over the world. 
The title of the project refers to the deadly front lines on which today’s photographic vanguard operates to quench the world’s thirst for non-stop news. It also alludes to the front row seats that we all get thanks to the brave men and women, often freelancers with no institutional support, who venture out to the most remote and dangerous zones to serve as our eyes.

The images provide a representative sample of the ubiquitous 24/7 visual feed that underpins our perception of the world. The unusual way the photos are presented also reflects the way the content captured and mediated by photojournalism is “consumed” today. UPFRONT also includes videos, a soundtrack, and an example of a photojournalist’s basic camera gear and survival kit.

Photographers: Abd, Bonet, Brabo, Calvo, Caro, Colón, Cubillos, de Vega, Félix, Gallego, Gª Vilanova, Ibarra, López, Lubaki, Martín-Chico, Martínez Casares, Maysun, Moral, Pirarenko, Fabrés, Sánchez, Valle, Ybarra, Gil Moreno. Curator: Ramiro Villapadierna.  (CCEMX press-release)

Centro Cultural de España en México Pasaje cultural Guatemala 18- Donceles 97 Colonia Centro Delegación Cuauhtémoc, 06010 México, D.F

http://www.upfront.es  http://ccemx.org

Image: Andrés Martinez Casares

PARIS. “Picasso 1932: Année Érotique” Musée Picasso

10 october 2017 – 11 february 2018

On the 15th of June 1932, Pablo Picasso makes the news: Tériade publishes an interview with the artist in the French newspaper l’Intransigeant, when the retrospective of his work was set to open at the Georges Petit gallery. As the critic introduces the artist by announcing « You will discover the expression of some of his ideas which are not only those of a painter, but also those of a man. », Picasso releases one of his most famous statements: « The art we make is a way of holding our newspaper. »

Both statements refer to the human and biographic dimension of Picasso’s work which will, indeed, become increasingly significant that year (1932). The artist, now face to face with thirty years of his own work, integrates the necessity to document his work day by day, by dating his paintings, sculptures, drawings and engravings. A procedure that leads to his capacity to keep a record of the most essential until the most modest traces of his exceptional life.

The first event dedicated to the work of an artist of the 1st of January until the 31nd of December, the « Picasso 1932 » exhibition thus reports a complete year of the life of the Spanish painter through the chronological presentation of his work and archives. The exhibition is organized in partnership with Tate Modern in London and attempts to grasp this existence which mixes, touches and attracts the big and small events and the main and secondary personalities.

It presents the essential masterpieces of the artist’s career like The Dream and is also a tribute to the opulence that the painter rich, praised and famous enjoys, together with the paradoxical strength of his work which plays with his past by inventing new and “oppressive” forms. (Musée Picasso press-release)

Musée Picasso, rue de Thorigny 75003 Paris.

http://www.museepicassoparis.fr

Image: Le Reve. Pablo Picasso 1932

KANSAS CITY. “Trough the Eyes of Picasso” The Nelson-Atkins Museum of Art

20 october 2017 – 8 april 2018

This major exhibition explores Pablo Picasso’s life-long fascination with African and Oceanic art, as well as works from the Americas, uniting his paintings and sculpture with art that fueled his own creative exploration.

In addition to paintings, sculpture, and drawings by Picasso, the exhibition will feature significant works of African and Oceanic art that transformed his artistic vision when he encountered them at the Musée d’Ethnographie du Trocadéro (now Musée du Quai Branly – Jacques Chirac in Paris) during the early part of the 20th century. For Picasso, the allure of these masks and sculptures was in the artists’ exploration of line, abstraction of the human body, and representation of metamorphosis.

Visitors also will see works Picasso collected, lived with, and kept with him through numerous studio moves, still owned by his family, and others that are in the Picasso Museum in Paris. (Nelson-Atkins press-release)

The Nelson Atkins Museum of Art. 4525 Oak Street. Kansas City, MO 64111

https://nelson-atkins.org

Image: Trough the Eyes of Picasso. The Nelson-Atkins Museum of Art

BARCELONA. Joan Ponç “Diábolo” La Pedrera

6 october2017 - 4 february 2018

Joan Ponç (Barcelona, 1928 – Sant Pau, 1984) was a visionary and mercurial insular artist who played an important part in the history of art of the post-war years in Catalonia and Spain. He set in motion the artistic renewal of the avant-garde after the Civil War, bursting onto the art scene in the 1940s and bewildering critics and poets, who immediately branded him as grotesque, tortured, diabolical, premonitory, beyond belief, magical, carnivalesque and hellish. Ponç was one of a kind.

The paintings Ponç produced delve into humankind’s darkest and most hidden corners. The unique and strange nature of his work led him towards solitude, an isolation and silence that transformed him into a recluse, visceral testimony of painting’s penetration into the mystery of life and of death as an experience.

This exhibition, curated by the art historian and critic Pilar Parcerisa, presents a comprehensive new interpretation of the life and work of the painter Joan Ponç, from his early days in the mid-1940s and the era of the Dau al Set group to his last works in the middle of the 1980s. The exhibition title, Diabolo, is a reference to Ponç’s playfulness, with the added ambivalence of the name that this Chinese juggling toy shares with the devil. (La Pedrera press-release)

CASA MILÀ "LA PEDRERA". Passeig de Gràcia, 92. 08008, Barcelona.

https://www.lapedrera.com

Image: “Nocturno”1950. Joan Ponç 

BOGOTÁ. Ignasi Aballí “Sin principio / sin final“ Museo de Arte de la Universidad de Colombia

4 october 2017 – 3 march 2018

Sin principio / sin final (without beginning or end) is an anthological exhibition of the work of the artist Ignasi Aballí (Barcelona, 1958). Curated by João Fernandes, it was held at the Museo Nacional Centro de Arte Reina Sofía from October 2015 to March 2016 and featured a few works that were shown for the first time. The show is now travelling to the Museo de Arte de la Universidad Nacional de Colombia, in Bogotá, with the support of AC/E. The new version is curated jointly by João Fernandes and the university museum’s director, María Belén Sáez de Ibarra.
Ignasi Aballí’s work constantly challenges the spectator’s attention and perception. Using strategies characteristic of conceptual art, such as text, files and documents, his projects subvert the distinctions between artistic genres like painting, literature, photography, installation, cinema and video and likewise question the system of representational conventions of artworks and the cultural or economic value of objects.  
Since starting out in the 80s, he has focused on a number of constant features and concerns: inventing and reorganising texts, images, materials and processes and contrasting presence and absence, the material and the immaterial, the visible and the invisible, transparency and opacity, and appropriation and creation. He thus relates the excess of images in today’s society with the scarcity of meanings attributed to them.
Ignasi’s work combines pieces with a powerful critical content by using everyday referents to allude to the showing of his work and the interplay of the spectator’s perception. (AC/E press-release)

Museo de Arte de la Universidad Nacional de Colombia. Carrera 45 No 26-85 – Edificio León de Greiff. Bogotá D.C. – Colombia

http://patrimoniocultural.bogota.unal.edu.co http://www.ignasiaballi.net

Image: Ignasi Aballí

ROME. Picasso “Tra Cubismo e Classicismo: 1915-1925” The Scuderie del Quirinale

22 september 2017  -21 january 2018

The Scuderie del Quirinale presents one of the most largest exhibitions ever dedicated to Picasso in Italy, a century after the artist set foot in the country.

The exhibition examines Italy's long-term impact on Picasso's work – his inspiration from ancient Roman statues and erotic frescoes in Pompeii – and his private life – he met his first wife, the Russian ballet dancer Olga Khokhlova in Rome while he designed the costumes and sets for the ballet Parade. The 100 works on display range fro 1915 to 1925, comprising Cubism to Classicism, with loans from major museums in London, Paris, New York, Berlin and Barcelona.

The show includes masterpieces such as Olga in an Armchair (1917), Léonide Massine as Harelquin (1917), Two Women Running on the Beach (1922), and Harelquin with mirror (1923). In addition to the Scuderie, Palazzo Barberini hosts an immense canvas that Picasso painted as the backdrop for Parade, the reason for his arrival in Italy in February 1917. (Scuderie del Quirinale press-release)

Scuderie del Quirinale, Via XXIV Maggio 16, Roma 

https://www.scuderiequirinale.it

Image: Pablo Picasso - Deux femmes courant sur la plage, 1922

BARCELONA. “Brossa Poetry” MACBA, Museo de Arte Contemporáneo

21 september  2017 – 25 february 2018

MACBA presents a comprehensive survey of the work of this pioneering artist, through his books, his visual investigations, and including his work in the theatre, cinema, music and artistic actions.
Joan Brossa (Barcelona, 1919-1998) was first and foremost a poet, but we believe it is necessary to see this in relation to his way of working, his poiesis. This exhibition establishes a dialogue and confronts Brossa’s work with the artists Marcel Marien, Nicanor Parra and Ian Hamilton-Finlay. Brossa was a poet, but his works stood at a crossroad of languages. Frequently collaborating with other artists, musicians, filmmakers, dancers, comedians and even magicians, his work constantly went against the grain and beyond the limits between disciplines.
Brossa developed his artistic practice in the 1940s in a social-political context marked by Franco’s dictatorship and in a cultural milieu characterised by the absence of avant-garde and innovative proposals. From the beginning, Brossa’s work was one of aesthetic renewal, based on literary and artistic research. Up until his death, his extensive production never ceased to develop new forms of expression and ways of experimenting with different media.
In 2011, the Museu d’Art Contemporani de Barcelona was made the depository of the Fonds of the Fundació Joan Brossa, which contains the legacy of the artist. The Fonds consists of manuscripts, documents, correspondence and his personal library, among other materials. It is a unique tool for understanding Brossa’s extremely interesting work.
The exhibition that MACBA is preparing approaches Brossa’s work by reappraising his influence and interrelationship with the practice of other artists. The project brings to the fore the constellations of artists around Brossa, his interrelationship with works he may have been unaware of, but which allow us to establish parallels and seek dialogues and tensions. It also aims to emphasise the performative aspects of Brossa’s poetic practice, his poiesis.
Accompanying the exhibition there will be a publication exploring these aspects, realised in collaboration with Roger Bernat, Isabel de Naverán and Maria Salgado.
To secularise this great poet is not an easy task and this is the challenge facing this project, half way between Marx and Mallarmé: to give Brossa back his simple and popular voice, the voice of the people, whether they wear a hat or not; the voice of a light bulb, a train ticket, a playing card, a set of handcuffs or confetti. People speak Brossa.  Curators: Teresa Grandas and Pedro G. Romero (MACBA press-release)

Museu d'Art Contemporani de Barcelona. Plaça dels Àngels, 1, 08001 Barcelona, España

http://macba.es   http://www.fundaciojoanbrossa.cat

Image: Poema objeto. Joan Brossa. Macba

 

MADRID. Conxita Herreo “The city in vignettes” CentroCentro Cibeles

until 1st october 2017

The series 'The city in vignettes', which every three months features a writer who uses their own particular style and graphic narrative to explore the buildings, people and stories that inhabit Madrid, currently has its spotlight on Barcelona creative Conxita Herrero. She draws, makes fanzines and writes poems and songs. She's worked for 'VICE' and 'El País Tentaciones', and was a team member on the CITI project (2015) of the Sala de Arte Joven de Madrid, where she created three murals. Last April, the publisher Apa-Apa cómics released 'Gran bola de helado' ('Big scoop of ice cream'), her first graphic novel. (CentroCentro press-release)

CentroCentro. Plaza de Cibeles, 1. 28014 Madrid

http://centrocentro.org   http://megaqu.blogspot.com.es

Image: Conxita Herrero. La Ciudad en Viñetas

BORDEAUX. Lara Almarcegui, Martín Llavaneras, Erlea Maneros Zabala, Xavier Ribas, Pep Vidal “4.543 billion. The matter of matter”CAPC musée d’art contemporain

29 june 2017 – 7 january 2018

‘4.543 billion. The matter of matter’ is an exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.
A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. ‘4.543 billion’ attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented. What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”?
This exhibition takes a situated view of the past that resists an undifferentiated narrative in which modernity in general is at fault for global ecological disarray, or humanity in an invariably abstract sense must take responsibility. Accordingly, the artists included instead often address the specific roles and purposeful effects of individuals, practices, states or corporations in an account of how mineral agents and organic processes have intertwined with and underpinned culture. Several of the more documentary projects on display trace the relationships between Modern art, the museum, and wealth created through extractive industry, combining approaches framed by Earth sciences with colonial history, sociology and political reportage. Yet other works take a more atmospheric, filmic, sculptural or graphic approach to extraction, economy, energy and global exchange, whether orbiting around sunlight, forests, synthetic materials derived from fossil fuels, or the services and substances entailed in buildings that display art

With the participation of: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd Becher and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux. (CAPC press-release)

CAPC musée d’art contemporain de Bordeaux- 7, rue Ferrère. 33000 Bordeaux

www.capc-bordeaux.fr  http://www.lttds.org

Image: Xavier Ribas “Chilean Nitrate publicity postcard, c. 1920” from A History of Detonations, 2013. Cortesía del artista y ProjecteSD, Barcelona

KÖLN. Álvaro martínez-alonso “My grandfather's vest, a wooden stick, 12 almonds from my village and other objects with uncalculable value” 100 kubik Gallery

june 23rd - august 25th

Álvaro Martínez Alonso's exhibition (*1983, Burgos) “My grandfather's vest, a wooden stick, 12 almonds from my village and other objects with uncalculable value” wants to be understood as an invitation to think about the value we give those objects that accompany us throughout our paths. It's an inventory that embraces some of the goods that the artist captures as his inheritance. It contains 127 goods that have a special significance to the artist because of their symbolism.

When a deceased does not compose a testament prior to his death, the notary has to consider who inherits his goods of a certain economic value when enforcing the inheritance: furniture, cars, shares, insurance, bank accounts, jewelry, etc.
In the best case, the remaining properties are being stored by the closest relatives. Still, it is uncommon to make an inventory determining the objects characteristics and who should receive them.
Therefore many times a broken watch that the deceased kept since his youth, the hat he brought from a vacation in Athens, the photograph of an old girlfriend, and other apparently irrelevant objects end up in the hands of a few descendants who are clueless about their value, getting rid of them or banishing them to oblivion.

Always exploring the most suitable way to tell a story or express a concept, Álvaro Martínez works in a variety of mediums of the visual arts. Based on his personal experiences, Álvaro approaches socio-political as well as emotional issues, often portraying social situations that tend to be forgotten.

GALERIE 100 KUBIK. Raum für spanische kunst. Mohren Str. 21. 50670 Köln

http://www.alvaromartinez.net  http://www.100kubik.de

Image: Álvaro Martinez Alonso. 100 Kubik galerie

LONDON. “Balenciaga: Shaping Fashion” Victoria and Albert Museum

27 may – 18 february, 2018

Known as 'The Master' of haute couture, Cristóbal Balenciaga was one of the most innovative and influential fashion designers of the last century. His exquisite craftsmanship and pioneering use of fabrics revolutionised the female silhouette, setting the tone for modern fashion.

Balenciaga: Shaping Fashion is the first UK exhibition to explore the work and legacy of the Spanish couturier, showcasing over 100 garments and hats crafted by Balenciaga, his protégés and contemporary designers working in the same innovative way today. It examines Balenciaga's work from the 1950s and 1960s – arguably the most creative period of his career – when he dressed some of the most renowned women of the age and became revered by his contemporaries, including Christian Dior and Coco Chanel.

The exhibition features examples of Balenciaga's revolutionary shapes from this period – the tunic, sack, baby doll and shift dresses – all of which remain style staples today. Other highlights include ensembles made by Balenciaga for Hollywood actress Ava Gardner, dresses and hats belonging to socialite and 1960s fashion icon Gloria Guinness, and pieces worn by one of the world's wealthiest women, Mona von Bismarck, who commissioned everything from ball-gowns to gardening shorts from the couturier.

The second part of the exhibition explores the lasting impact of Balenciaga, tracing his influence through the work of over 30 fashion designers across the last 50 years. Pieces designed by Balenciaga's former apprentices André Courrèges and Emanuel Ungaro demonstrate a signature minimalist aesthetic, recently revived by Phoebe Philo for Celine and in the strong lines of J.W. Anderson. Balenciaga's perfectionism and attention to detail are reflected in the work of Hubert de Givenchy and Erdem. His pattern cutting and explorations with volume can be seen in the work of Molly Goddard and Demna Gvasalia, while his creative use of new materials is referenced in the work of former Balenciaga creative director Nicolas Ghesquière.

The V&A has the largest collection of Balenciaga in the UK, initiated in the 1970s by the photographer Cecil Beaton, Balenciaga's longstanding friend. Balenciaga: Shaping Fashion marks the centenary of the opening of Balenciaga's first fashion house in San Sebastian, Spain, and the 80th anniversary of the opening of his famous fashion house in Paris (V&A press-release)

Victoria and Albert Museum. Cromwell Road, London SW7 2RL

https://www.vam.ac.uk

Image: Spiral silk hat, Balenciaga for Eisa, 1962, Spain. Museum no. T.146-1998. © Victoria and Albert Museum, London

WORDLESS DIALOGUES. 10. Alejandra López Zaballa / Irene Cruz

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 10. Alejandra López Zaballa / Irene Cruz

Dialogue 10. Alejandra López Zaballa

Dialogue 10. Irene Cruz

Alejandra López Zaballa (Madrid, 1974) is a professional photographer, specialised in documentary photography, portrait and visual story telling. She starts her projects with a concept, a strategy that takes her to travel to those places where she can explore deeper the subjects she wishes to communicate and express through photography.

She studied photography at the London School of Photography and at the ICP, and she feels fortunate to have great mentors including Mary Ellen Mark, Peter Turnley and Karl Grobl. with whom she developed projects in places like NYC, Oaxaca, The Philippines, Cambodia, Havana, Lisbon and many more. In 2011, Alejandra created ¨Bangkok Soul, Photography Journeys”, a photography tours business that offers visual and cultural experiences to professional photographers and travellers in Thailand. She has lived in 9 countries, visited more than 60, speaks 4 languages and her life has been a constant journey since she was fourteen. Her passion for people and other cultures is captured by her lenses.

She currently works in Mexico City where she exhibits, teaches photography and works in different visual projects. Her work has been exhibited many times in Mexico City, NYC, London, Madrid and Bangkok. It has received some international awards like the single image third prize of Lensculture Exposure Awards and Photo Árbol third prize of Blipoint in 2016. In 2015 her project "The Beginning and the End" was chosen to be presented at Visionados PhotoEspaña.  http://www.alejandra-photography.com

Irene Cruzwas born in Madrid, Spain, in 1987. She graduated in Advertising and Public Relations and Audiovisual Communication from the Complutense University of Madrid, has a Masters degree in photography school EFTI specializing in Conceptual Photography and Artistic Creation. The light is indeed a significant element of the work of Irene Cruz, leading her to explore and experiment with it in countries of northern Europe. This young artist is creating a turning point in the world of photography. His work is has a remarkable personality with a style that has already become unmistakable for everyone today. Irene Cruz has participated in over 200 exhibitions, art fairs and festivals around the world and has won numerous awards, among them the First Prize in Photography Contest Iberdrola, and Second Prize Competition Photography of the AENA Foundation in 2014. http://www.irenecruz.com

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz.- Marta Corada

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 10. Alejandra López Zaballa / Irene Cruz

quepintamosenelmundo.com

 

 

WORDLESS DIALOGUES. 09 Irene Cruz / Gisela Ráfols

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 09 Irene Cruz / Gisela Ráfols

Dialogue 09 Irene Cruz

Dialogue 08 Gisela Rafols

Irene Cruz was born in Madrid, Spain, in 1987. She graduated in Advertising and Public Relations and Audiovisual Communication from the Complutense University of Madrid, has a Masters degree in photography school EFTI specializing in Conceptual Photography and Artistic Creation. The light is indeed a significant element of the work of Irene Cruz, leading her to explore and experiment with it in countries of northern Europe. This young artist is creating a turning point in the world of photography. His work is has a remarkable personality with a style that has already become unmistakable for everyone today. Irene Cruz has participated in over 200 exhibitions, art fairs and festivals around the world and has won numerous awards, among them the First Prize in Photography Contest Iberdrola, and Second Prize Competition Photography of the AENA Foundation in 2014. http://www.irenecruz.com

Gisela Ràfols (Vilafranca del Penedès, Barcelona, 1.984) Graduate in Photography. “Centre de la Imatge i la Tecnologia Multimedia (CITM)”. Universitat Politècnica de Catalunya, Terrassa. Spain.

Grant Erasmus  University College Falmouth. England. In her series “Alter Ego” was the turning point, where the artist freed us from the black background so to step into a more real status. Natural colors and the absolute presence of female anatomy. This is a true work, where we reflect on the conflict deep in ourselves, the struggle within, the eternal fight that one can feel towards oneself, like the fight the artist has with his artwork, a love – hate that so many times gives meaning to life and meaning to the being of the artwork.It was at this point where the bird flapped her wings to fly East until she landed in Beijing, in the artist village called Songzhuang where she continued to fly, now with different experiences and sensations. http://giselarafols.com/

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

 “Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 09. Irene Cruz. 08 Gisela Ráfols

quepintamosenelmundo.com

WORDLESS DIALOGUES. 08 Gisela Ráfols / Eva Diez

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 08 Gisela Ráfols / Eva Diez

Dialogue 08 Gisela Ráfols

Dialogue 07 Eva Diez

Gisela Ràfols (Vilafranca del Penedès, Barcelona, 1.984) Graduate in Photography. “Centre de la Imatge i la Tecnologia Multimedia (CITM)”. Universitat Politècnica de Catalunya, Terrassa. Spain.

Grant Erasmus  University College Falmouth. England. In her series “Alter Ego” was the turning point, where the artist freed us from the black background so to step into a more real status. Natural colors and the absolute presence of female anatomy. This is a true work, where we reflect on the conflict deep in ourselves, the struggle within, the eternal fight that one can feel towards oneself, like the fight the artist has with his artwork, a love – hate that so many times gives meaning to life and meaning to the being of the artwork.It was at this point where the bird flapped her wings to fly East until she landed in Beijing, in the artist village called Songzhuang where she continued to fly, now with different experiences and sensations. http://giselarafols.com/

Eva Díez is an artist whose work can be described as “photopoetic” because of the clear lyrical intentionality of her photographs. In them she plays with the symbolism of light and the aesthetics of ruin to give way to a reflection on the immemorial image of the home. Her training in film and contemporary photography defines her work, all her production manifests a certain scenographic character. In her work, references to poetic reverie are frequent, taking into account the symbology of the home as a plastic metaphor of our unconscious, a stimulus for memory and imagination. http://evadiez.es

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

 “Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 08. Gisela Ráfols / Eva Diez

quepintamosenelmundo.com

WORDLESS DIALOGUES. 07 Eva Diez / Diana Coca

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 07 Eva Diez / Diana Coca

Dialogue 07 Eva Diez

Dialogue 06. Diana Coca

Eva Díez is an artist whose work can be described as “photopoetic” because of the clear lyrical intentionality of her photographs. In them she plays with the symbolism of light and the aesthetics of ruin to give way to a reflection on the immemorial image of the home. Her training in film and contemporary photography defines her work, all her production manifests a certain scenographic character. In her work, references to poetic reverie are frequent, taking into account the symbology of the home as a plastic metaphor of our unconscious, a stimulus for memory and imagination.

Diana Coca. Palma de Mallorca, 1977. Lives and works between Madrid and Beijing. Diana Coca graduated in Fine Arts, with the speciality of Photography, from the University of Brighton (2003) and in Philosophy from the Universitat de les Illes Balears (2009). In 2004 she won the photography scholarship of the MAE, Spanish Ministry of Foreign Affairs, for her artistic production in the Real Academia de España en Roma. She completed her training by participating in the following residency programmes: Aula de Danza Estrella Casero run by the Universidad de Alcalá de Henares and La Casa Encendida, Madrid (2007), International Center of Photography of New York, Matadero scholarship Madrid (2008), Programa de Residencias Artísticas para Creadores Iberoamericanos en Oaxaca (Artist Residency Programme for Ibero American Creators in Oaxaca), Mexico, by AECID, FONCA and CONCULTA (2009), and Three Shadows Photography Art Centre in Beijing (2010).
 The destruction and construction of reality or the control exercised by all the attributes that contribute to characterising the female body (make-up, high heels…) are recurrent themes in her work, dealt with from the symbiosis between the performance, video and photography. Through narrative sequences we find her semi-nude, fragmented body conceived as object and subject at the same time, as she uses herself as the territory for experimentation and subversion, with the desire of transforming the tension of what is concealed and placing emphasis on the slavery of human beings arising from the technological dependence of present-day society. http://www.dianacoca.com
As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 07 Eva Diez. Dialogue 06. Dialogue 05. Diana Coca

quepintamosenelmundo.com

WORDLESS DIALOGUES. 06 Diana Coca / Berta Jayo

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 06. Diana Coca / Berta Jayo

Dialogue 06. Diana Coca

Dialogue 05. Berta Jayo

Diana Coca. Palma de Mallorca, 1977. Lives and works between Madrid and Beijing. Diana Coca graduated in Fine Arts, with the speciality of Photography, from the University of Brighton (2003) and in Philosophy from the Universitat de les Illes Balears (2009). In 2004 she won the photography scholarship of the MAE, Spanish Ministry of Foreign Affairs, for her artistic production in the Real Academia de España en Roma. She completed her training by participating in the following residency programmes: Aula de Danza Estrella Casero run by the Universidad de Alcalá de Henares and La Casa Encendida, Madrid (2007), International Center of Photography of New York, Matadero scholarship Madrid (2008), Programa de Residencias Artísticas para Creadores Iberoamericanos en Oaxaca (Artist Residency Programme for Ibero American Creators in Oaxaca), Mexico, by AECID, FONCA and CONCULTA (2009), and Three Shadows Photography Art Centre in Beijing (2010).
 The destruction and construction of reality or the control exercised by all the attributes that contribute to characterising the female body (make-up, high heels…) are recurrent themes in her work, dealt with from the symbiosis between the performance, video and photography. Through narrative sequences we find her semi-nude, fragmented body conceived as object and subject at the same time, as she uses herself as the territory for experimentation and subversion, with the desire of transforming the tension of what is concealed and placing emphasis on the slavery of human beings arising from the technological dependence of present-day society. http://www.dianacoca.com
Berta Jayo born in Santander, Spain, in 1971, she studied B.A. Honours Degree Fine Art at the University of Bilbao, Spain and she has done her Postgraduate and MA Fine Art at Chelsea College of Art and Design in London. She has participated on many programs as ISCP (International studio and Curational Program) New York.
She is a nonconformist, critical and continuously evolving talented creator whose clearest language is conceptual art developed on a large variety of media. Her clear and concise ideas encourage reflection, which is also disturbing and provoking our intellect. Her original, power-charged projects awakening our anesthetised and banal existence to offer us their far from stereotypical visions of life.  
Her work has been exhibited in many countries and it has been shown at International Art Fairs such as ARCO Madrid, SWAB Barcelona, FRIEZE London, PULSE New York, Art BASEL Switzerland, at International Festivals as Video Screen Festival in Berlín or New Media Festival HACS Miami, at public spaces or Museums as MAM RD, MAS, The Chill Concept Museum Miami, CAC Málaga, Bronx Museum NYC, Reina Sofía, Tate Modern, Guggenheim Bilbao, MoMa, Louvre París. Other relevant exhibitions are: 'Exquisite Doll Kit' México itinerating, 'Artists from XX and XXI century', itinerating, Sala Robayera, 'Ellas' Madrid, itinerating, Void + Tokio, Japan. http://www.bertajayo.com

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 06 Diana Coca . Dialogue 05. Berta Jayo

quepintamosenelmundo.com 

WORDLESS DIALOGUES 05. Berta Jayo / Bego Antón

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 05 Berta Jayo / Bego Antón 

Dialogue 05 Berta Jayo

Diálogue 04 Bego Antón

Berta Jayoborn in Santander, Spain, in 1971, she studied B.A. Honours Degree Fine Art at the University of Bilbao, Spain and she has done her Postgraduate and MA Fine Art at Chelsea College of Art and Design in London. She has participated on many programs as ISCP (International studio and Curational Program) New York.
She is a nonconformist, critical and continuously evolving talented creator whose clearest language is conceptual art developed on a large variety of media. Her clear and concise ideas encourage reflection, which is also disturbing and provoking our intellect. Her original, power-charged projects awakening our anesthetised and banal existence to offer us their far from stereotypical visions of life.  
Her work has been exhibited in many countries and it has been shown at International Art Fairs such as ARCO Madrid, SWAB Barcelona, FRIEZE London, PULSE New York, Art BASEL Switzerland, at International Festivals as Video Screen Festival in Berlín or New Media Festival HACS Miami, at public spaces or Museums as MAM RD, MAS, The Chill Concept Museum Miami, CAC Málaga, Bronx Museum NYC, Reina Sofía, Tate Modern, Guggenheim Bilbao, MoMa, Louvre París. Other relevant exhibitions are: 'Exquisite Doll Kit' México itinerating, 'Artists from XX and XXI century', itinerating, Sala Robayera, 'Ellas' Madrid, itinerating, Void + Tokio, Japan. http://www.bertajayo.com

Bego Antonwas born in Bilbao, in 1983. She studied journalism at the University of the Basque Country and specialized in documentary photography in Barcelona. Her photographic work usually explores the contradictory relationships humans have with nature and animals. She also shows particular interest in the small groups that seem strange to a part of society.

Her work has been published in en Lens Blog del New York Time, National Geographic, Esquiere, Le Monde, CNN Photos, The British Journal of Photography, Stand Quarterly and Pretty Good Summer, among others. She has exhibited in the FotoWeek DC, Guggenheim Museum in Bilbao,in PhotoEspaña 2014 as part of P2P Contemporary Practice in Spanish Photography, Begira Photo Festival and in Post-‐Arte, part of Festival Miradas de Mujeres. She has been chosen as a participant in the Joop Swart Masterclass of World Press Photo 2014. http://begoanton.com/

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolrá.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 05 Berta Jayo. 04 Bego Antón

quepintamosenelmundo.com

WORDLESS DIALOGUES. 04 Bego Antón / Beatriz Moreno

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 04: Bego Antón / Beatriz Moreno

Dialogue 04. Bego Antón

Dialogue 03. Beatriz Moreno

Bego Anton was born in Bilbao, in 1983. She studied journalism at the University of the Basque Country and specialized in documentary photography in Barcelona. Her photographic work usually explores the contradictory relationships humans have with nature and animals. She also shows particular interest in the small groups that seem strange to a part of society.

Her work has been published in en Lens Blog del New York Time, National Geographic, Esquiere, Le Monde, CNN Photos, The British Journal of Photography, Stand Quarterly and Pretty Good Summer, among others. She has exhibited in the FotoWeek DC, Guggenheim Museum in Bilbao,in PhotoEspaña 2014 as part of P2P Contemporary Practice in Spanish Photography, Begira Photo Festival and in Post-‐Arte, part of Festival Miradas de Mujeres. She has been chosen as a participant in the Joop Swart Masterclass of World Press Photo 2014. http://begoanton.com/

Beatriz Moreno was born in 1971 in Toledo, a picturesque Spanish city steeped in artistic heritage. Interested in visual arts since an early age, she studied Graphic Design and Illustration at the Fine-Arts School of Toledo. Her artistic career in photography dates back to 1990. Her work has been shown in numerous solo and group exhibitions such us: 70 ans de l’UMAM (Fondation de l'Union Méditerranéenne pour l'Art Moderne, France); 30 Festival Photo de Mouans-Sartoux (France), Instituto Cervantes in: Chicago (EE.UU), Albuquerque (New Mexico), Rome (Italy), Naples (Italy), Palermo (Italia), Tetuan (Morocco), Rabat (Morocco), Fez (Morocco), Casablanca (Morocco), Tanger (Morocco); The Spanish Embassy in Washington DC (EE.UU); Salon de la Photo Paris 2013 (France), Festival Voies Off 2010 (Arles, France), Discoveries PhotoEspaña 2009 (Madrid), Blanca Berlin Gallery (Madrid), Contemporary Art Fair Estampa (Madrid).http://beatriz-moreno.format.com

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 04 Bego Antón / Dialogue 03 Beatriz Moreno

quepintamosenelmundo.com

 

WORDLESS DIALOGUES 03. Beatriz Moreno/ Marta Soul

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 03 Beatriz Moreno / Marta Soul

Diálogo sin Palabras 03. Beatriz Moreno

Diálogo sin Palabras 02. Marta Soul

Beatriz Moreno was born in 1971 in Toledo, a picturesque Spanish city steeped in artistic heritage. Interested in visual arts since an early age, she studied Graphic Design and Illustration at the Fine-Arts School of Toledo. Her artistic career in photography dates back to 1990. Her work has been shown in numerous solo and group exhibitions such us: 70 ans de l’UMAM (Fondation de l'Union Méditerranéenne pour l'Art Moderne, France); 30 Festival Photo de Mouans-Sartoux (France), Instituto Cervantes in: Chicago (EE.UU), Albuquerque (New Mexico), Rome (Italy), Naples (Italy), Palermo (Italia), Tetuan (Morocco), Rabat (Morocco), Fez (Morocco), Casablanca (Morocco), Tanger (Morocco); The Spanish Embassy in Washington DC (EE.UU); Salon de la Photo Paris 2013 (France), Festival Voies Off 2010 (Arles, France), Discoveries PhotoEspaña 2009 (Madrid), Blanca Berlin Gallery (Madrid), Contemporary Art Fair Estampa (Madrid).. http://beatriz-moreno.format.com

Marta SoulI was born in Madrid, were I grew up. One day I had to face a tough decision: my life profession. People asked me to decide myself, so I run a kind of draw. I made a list with several choices: nursing, fashion design, handcrafter, old Greek, writer, etc. I closed my eyes and randomly dropped my finger on the sheet and guess what I pointed at… photographer! I never had to think about it again. In turn, I started to think about social roles, emotions, physical appearance, and to re-think many life decisions of people!

In my artwork, I produce visual reflections on the interaction between cultural topics like aesthetics of the self (appearances), emotions (and their relation with values) and behaviour (patterns of interaction). Photography has allowed me to construct images raising questions about current stereotypes on issues like immigration, consumerism, or romantic love. My pictures often include characters portrayed on backgrounds with a particular social narrative. I play with the appearance of these characters (for instance, the aesthetics of a successful life) to reflect upon issues like the achievement of wills or the expression of unsatisfied desires in the consumerist society. My images are produced through a complex process but, in any case, my relationship with people is essential to the final result.Marta Soul

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides. Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Dialogue Method: As Moderator of the coloquial, today, March the 6th I will send an image to Alejandra Carles-Tolra (Nº: 01). which will mark the beginning of theWordless Dialogue.

Image: 03. Beatriz Moreno / 02 Marta Soul

quepintamosenelmundo.com

PARIS. “Picasso Primitif” Musée du Quai Branly

28 marzo - 23 julio, 2017

¿Cuál fue el vínculo de Picasso con el arte no occidental? Abordado en varias ocasiones, el tema fue, sin embargo, eludido durante mucho tiempo por el artista. Análisis de una relación construida sobre la admiración, el respeto y el temor

«¿El arte negro? Nunca oí hablar de él. » Con esta y otras provocativas respuestas, el pintor, escultor y dibujante andaluz de esforzó por negar su relación con el arte extraeuropeo. Sin embargo, como lo demuestra su colección personal, el arte de África, de Oceanía, de América y de Asia siempre lo acompañó en sus muchos talleres. Lo demuestran los documentos, cartas, objetos y fotografías reunidas en la primera parte de la exposición, trazando en un recorrido cronológico, los intereses y curiosidades del artista frente a la creación no occidental.

En una segunda parte más conceptual, Picasso Primitivo propone una comparación entre las obras del Andaluz y las de artistas no occidentales, apoyándose más en una antropología del arte que en la constatación de relaciones estéticas. La comparación resultante revela los cuestionamientos similares a los cuales debieron responder los artistas (las problemáticas de la desnudez, de la sexualidad, de las pulsiones o de la pérdida) mediante soluciones plásticas paralelas (la deformación o la desestructuración de los cuerpos, por ejemplo). En este sentido, lo primitivo no se percibe como un estado de no-desarrollo, sino como un acceso a las capas más profundas, íntimas y fundadoras de lo humano. Exposición organizada por el musée du quai Branly - Jacques Chirac, en colaboración con el Musée national Picasso-Paris.(Musée du Quai Branly press-release)

Musée du Quai Branly - Jacques Chirac. 37 Quai Branly. 75007 Paris

http://www.quaibranly.fr

Imagen: affiche exposition “Picasso Primitif” Musée du Quai Branly

WORDLESS DIALOGUES 02 Marta Soul / Alejandra Carles -Torlá

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 02: Marta Soul / Alejandra Carles - Torlá

Wordless Dialogues 02. Marta Soul

Wordless Dialogues 01. Alejandra Carles-Toldrá

Marta Soul: "I was born in Madrid, were I grew up. One day I had to face a tough decision: my life profession. People asked me to decide myself, so I run a kind of draw. I made a list with several choices: nursing, fashion design, handcrafter, old Greek, writer, etc. I closed my eyes and randomly dropped my finger on the sheet and guess what I pointed at… photographer! I never had to think about it again. In turn, I started to think about social roles, emotions, physical appearance, and to re-think many life decisions of people!

In my artwork, I produce visual reflections on the interaction between cultural topics like aesthetics of the self (appearances), emotions (and their relation with values) and behaviour (patterns of interaction). Photography has allowed me to construct images raising questions about current stereotypes on issues like immigration, consumerism, or romantic love. My pictures often include characters portrayed on backgrounds with a particular social narrative. I play with the appearance of these characters (for instance, the aesthetics of a successful life) to reflect upon issues like the achievement of wills or the expression of unsatisfied desires in the consumerist society. My images are produced through a complex process but, in any case, my relationship with people is essential to the final result. Marta Soul"

Alejandra Carles-Toldrá: Alejandra Carles-Tolra is a photographer and educator from Barcelona currently based in London. Her work has been published and exhibited internationally, most recently at Vice, The Huffington Post, Gup Magazine, World Photography Organization, The Independent, Circulation(s) Festival in Paris, and Getty Images Gallery in London. She is a 2017 Jerwood Visual Arts / Photoworks awardee. She has taught photography at The University of New Hampshire and Massachusetts College of Art and Design, among other institutions, and she currently collaborates with nonprofit organizations as an art workshop facilitator using art and education to empower vulnerable communities.

Wordless Dialogues

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides. 

Moderator for “Diálogos Sin Palabras”: Blanca Mora Sánchez.

Image: 01. Alejandra Carles-Tolrá. 02. Marta Soul

WORDLESS DIALOGUES 01 Alejandra Carles Tolrá / QPM Blanca Mora

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 01 Alejandra Carles Tolrá / QPM. Blanca Mora

Dialogue 01. Alejandra Carles Tolrá

Dialogue 00. QPM Blanca Mora

Alejandra Carles-Tolrá is a photographer and educator from Barcelona currently based in London. Her work has been published and exhibited internationally, most recently at Vice, The Huffington Post, Gup Magazine, World Photography Organization, The Independent, Circulation(s) Festival in Paris, and Getty Images Gallery in London. She is a 2017 Jerwood Visual Arts / Photoworks awardee. 

She has taught photography at The University of New Hampshire and Massachusetts College of Art and Design, among other institutions, and she currently collaborates with nonprofit organizations as an art workshop facilitator using art and education to empower vulnerable communities http://www.alejandractr.com

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 01. Alejandra Carles Tolrá / QPM Blanca Mora

quepintamosenelmundo.com

ZURICH. “What People Do For Money” Manifesta 11. European Biennial of Contemporary Art

11 june – 18 september, 2016

Manifesta is a travelling European Biennial of Contemporary Art which sets out to explore and reflect new developments in contemporary art in Europe in order to present new aspects and forms of artistic expression to a new local, national and international audience. 
Manifesta 11 will be held in the city of Zurich, under the title What People Do For Money: Some Joint Ventures in three venues: the Miros Museum für Gegenwartskunst, LUMA Westbau / POOL and the Kunsthalle Zurich. This city has a long history of artistic and intellectual liberalism: it was an incubator of revolutionary political and artistic movements and during the periods of turmoil in Europe it offered asylum to intellectuals from all over the world. Nowadays Zurich is one of the economically and technologically most advanced cities in the world. This rich and rapidly evolving city offers Manifesta 11 the chance to explore critical global issues on urban space and society, while reassessing the role that art can play in these relations.
The curator, German Christian Jankowski, has proposed five Spanish artists: Santiago Sierra, Carles Congost, Fermín Jiménez Landa, Fernando Sánchez Castillo and Karmelo Bermejo.  His project consists in working with professionals of a particular sector in Zurich. Santiago Sierra has chosen to work with military, Carles Congost with a rock star, and Fermín Jiménez Landa with a meteorologist. (AC/E press-release)

Manifesta. Löwenbräukunst. Limmatstrasse 270, 8005 Zurich

http://m11.manifesta.org/en

Imagen: Manifesta11

EDIMBURG. Olmo Blanco “Transforming The Everyday” Interview Room 11 gallery

30th october, 2015

Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)

http://www.ir11.org.uk   http://www.olmoblanco.com

Image: Olmo Blanco

SYDNEY. Libia Castro and Ólafur Ólafsson “You Imagine What You Desire” Biennale of Sydney

21 march – 9 june, 2014

The19th Biennale of Sydney: You Imagine What You Desire, under the artistic direction of Juliana Engberg celebrates in 2014 its 19th edition, is an evocation celebrating the artistic imagination as a spirited describing and exploration of the world through metaphor and poesis. You Imagine What You Desire seeks splendour and rapture in works that remain true to a greater, even sublime visuality. 
AC/E collaborates with the Biennial supporting the project presented by the Spanish artist Libia Castro in collaboration witb the artist Olafur Olafson

Solo exhibitions of Libia Castro and Ólafur Ólafsson’s work include ‘Asymmetry’, TENT, Rotterdam (2013); ‘Under Deconstruction’, National Gallery of Iceland, Reykjavik (2012); ‘Libia Castro & Ólafur Ólafsson: Tu país no existe’, Centro Andaluz de Arte Contemporáneo, Seville (2011–12) and ‘Libia Castro & Ólafur Ólafsson: Recent Works’, Künstlerhaus Bethanien, Berlin (2008). They have also participated in prestigious international group exhibitions, including 7th Liverpool Biennial (2012); 5th Nordic Biennial of Contemporary Art, Moss (2009); and Manifesta 7, Rovereto (2008). In 2011, Castro and Ólafsson represented Iceland at the 54th Venice Biennale

Image: Libia Castro and Ólafur Ólafsson, Bosbolobosboco #4, 2004, audio sculpture, Courtesy the artists. Photograph: Job Janssen and Jan Adriaans (AC/E press-release)

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