Spanish contemporary art worldwide
You can follow us on Facebook.
April 12- June 30, 2014
Pedro Castrortega´s painting and drawings has a polyhedral universe consisting of multiple images and meanings that share the same space and imagined where the symbols are part of the mind, in an animated world is perceived intersecting realities and imaginations, dreams and life experiences. Pedro Castrortega, continues to encourage still life in many ways, is multifaceted, has many faces.
Pedro Castrortega (Piedrabuena , Ciudad Real, 1956) Bachelor of Fine Arts from the Complutense University of Madrid, extended experience in New York with Fulbright Hispanic - American Committee ; and the College of Spain in the University City of Madrid. Among the awards achieved include the White and Black Award in 1984; First Prize University of Castilla - La Mancha Iberdrola ; First Honorary Award Triennial of Graphic Arts in Cairo ; First Medal of the International Exhibition of Valdepeñas ... and his work is in public and private Spanish and foreign collections, including the Reina Sofia in Madrid, BBVA Foundation, Spaarkse Verlag Stuttgart , and AENA Foundation, among others. (A.Schmidt press-release)
Adriana Schmidt Gallery, Friedrichstr 23, s de Stuttgart, Alemania
Image: Pedro Castrortega “Polyhedra”
1 march – 27 april, 2014
Acquired by the Instituto de Crédito Oficial (ICO) in 1991, Picasso’s Vollard Suite is considered by many historians to be the masterpiece of twentieth century engraving. The series was produced by Pablo Ruiz Picasso between September 1930 and March 1937 and is named after Ambroise Vollard, an art dealer and personal friend of Picasso’s.
The Vollard Suite is the result of intensively creative moments during which Picasso, as if he were writing in his personal diary, divulged his own obsessions. The pieces can be categorized under six thematic areas: Various themes, Rembrandt, The love battle, The sculptor’s study, The Minotaur and Portraits of Ambroise Vollard.
Printing of the final edition of the series started in 1939, before Vollard’s death in July that same year. Once the first print was finalized, the stamps were taken to the French art dealer’s repository. The Vollard Suite prints were showcased for the first time in 1979, at the Musée d’Art Moderne de la Ville de Paris. They eventually became part of the permanent collection at the Picasso Museum in Paris. (China National Museum press-release)
Hosted by: National Museum of China, Agencia Española de Cooperación Internacional para el Desarrollo and Fundación ICO.
NationalMuseum of China, 16 E Chang'an Ave, Dongcheng, Beijing, China
Image: Faun discovering a woman, Picasso 1936
April 24 – may 31, 2014
This will be Calatrava’s first solo exhibition with Marlborough Gallery, and will be comprised of drawings, ceramics, and sculpture. Santiago Calatrava’s work continues to shape and redefine the boundaries that have historically separated fine arts from architecture and engineering. Calatrava challenges such boundaries through the creation of a broad range of works including ceramics, drawings, paintings, sculpture, architecture and engineering projects that in total express a unified esthetic anchored in the artist’s belief that the origins of artistic invention reside in the evolutionary structure of the natural world.
His work often begins in loosely drawn sketches that become more formally styled in his sculpture, and finally in his architectural projects. Calatrava states: “The sketch is the instrument that helps me materialize the ideas at another level. And the most abstract way to do studies of morphology probably is sculpture. One draws the human body to understand the movement, the gesture. The place, the landscape, the human landscape, and topography are important for me. These will inspire or bring the essence [to a project]. Then, also the analysis of the functional program is important. You can channel all the impulses of free thinking, free feeling, shape, form, the natural [flow], and this goes from the sketches and the human body into the sculptures.” Indeed, in Calatrava’s first skyscraper, the Turning Torso in Malmö, Sweden, is based on the contortions of the human spine. Calatrava’s artwork has been recently exhibited at the Metropolitan Museum of Art in New York (2005), the Hermitage Museum in St. Petersburg (2012), and the Vatican Museum in Rome (2013). His work is part of a number of international public collections, including the Museum of Modern Art in New York. Among his many international architectural projects, his most recent is the in-progress World Trade Center Transportation Hub in New York. We are proud to announce that Calatrava will be exhibiting seven monumental sculptures along Park Avenue in New York City in 2015. (Marlborough press-release)
MARLBOROUGH GALLERY, INC.40 West 57th Street, New York, NY 10019
Image: Santiago Calatrava. Untitled, 1999. Carrara white marble
april 12 - june 7, 2014
Language, characters, types, semantic systems, words, and texts are a regular feature in contemporary art. In Karlsruhe's Städtische Galerie just ended the large exhibition Zeichen, Sprache, Bilder – Schrift in der Kunst seit den 1960er Jahren, that documented with examples by more than 70 artists how much, but also in how many different approaches artists dealt with this topic.
Writing Drawings, the title of Uriarte’s exhibition, provides already an indication for the significance of writing for his œuvre and for this particular exhibition of the German-Spanish artist. If one is looking up the relevant terms in a dictionary, one finds the term "writing" defined as: to note characters, ideographs, digits, notes or something similar with a writing utensil in a certain readable order on a pad, normally paper or to type in a personal computer. For the term to "draw" one finds: the procedure of the depiction of an artistic expression.
Considering the works exhibited in the exhibition one realizes, that Uriarte works with semiotic systems similar to a script. However, different to a script, his works do not aim for readability in the sense of creating a specific sequence of readable and understandable characters within a semantic system. He is rather aiming to do drawings that are detectable within their own constituting system in the overall picture of all signs. While the definition of the dictionary refers to the readability of the sequences of characters, Uriarte reduces his writing to registering or typing in repetitively redundant signs of the same system.(Figge von Rosen press-release)
Figge von Rosen Galerie Cologne, Aachener Straße 65, 50674 Cologne, Germany
Image: Ignacio Uriarte. Appearance / disappearance, 2014
12 April - 22 May 2014
Javier Pérez (Bilbao 1968) After studying Fine Arts at The University of the Basque Country (UPV/EHU) and at École Nationale Supérieure des Beaux-Arts de Paris (ENSBA), city where he settles between 1992-1997, Javier Pérez breaks into the international arts scene with his first individual exhibition at Galerie Chantal Crousel, Paris in 1996 and a year later with his first museum exhibition at Musée d’Art Moderne et Contemporain de Strasbourg.
His works are characterized by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential.
With his work, Javier Pérez reveals his inquiries and reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism. His works contain an intrinsic dialectic, showing how weak can be the boundary between concepts seemingly opposite such as the natural and the cultural, the inside and the outside or life and death.(MAM press-release)
Mario Mauroner Contemporary Art SALZBURG. Residenzplatz 1. A – 5020.Salzburg, Austria.
Image: Javier Pérez, Reticulae Natura, 2014
29 march – 30 april, 2014
Juan Asensio exhibits his abstract sculpture at the first time in Brazil.
Juan Asensio was born in 1959 in Cuenca (Spain), where studied and worked. His first pieces were small sculptures made from wood and clay. He exhibited in various group exhibitions. He discovered the work of Oteiza and Chillida in the Museo de Arte Abstracto de Cuenca in 1987. This same year Asensio moved to Madrid where he started to make his first pieces in Pedro Panadero’s stone and marble workshop. He began to get involved in Madrid’s artistic scene in 1990, meeting gallery directors and art critics. While he produced his own work, he also collaborated occasionally in the production of stone sculptures by other artists, such as Martin Chirino, Jorge Oteiza and Manolo Valdés. Juan Asensio has been awarded various prizes, such as First Prize in the XX Certamen de Artes Plásticas de Caja Madrid in 1996, the same year in which he had his first solo exhibition in Galería Elvira González.
His work is included in various private collections in the USA, Mexico and Europe, as well as in the collections of several Spanish banks. Juan Asensio has made monuments and sculptures for the following places: Leganés, Madrid in 1999 and 2003; Torrelavega, Santander in 2001; the Nuevo Edificio de Juzgados, Salamanca in 2004; Cuidad Banco Santander, Boadilla del Monte, Madrid in 2005; Plaza de Vizcaya, Bilbao, 2008 and Palace of Justice, Burgos in 2011. (Dan Gallery press-release)
Galería DAN, R. Estados Unidos, 1638 - 01427-002 - São Paulo – Brazil
Image: Juan Asensio
14 – 24 April, 2014
Spanish Urban artist Escif participates in the second edition of this international festival of site-specific street art in Baltimore’s Station North neighborhood.
Station North will host Open Walls Baltimore 2, an international festival of site-specific street and installation art, from March through May 2014.
Building on the immense success of the inaugural Open Walls Baltimore in 2012, OWB2 will feature an enhanced focus on relevance to the architectural and neighbourhood history of Station North. More than 15 outstanding artists from Baltimore, New York, Europe, and South America, selected by curator Gaia, will create large-scale painted murals and installations on publicly and privately owned buildings.
These sites have been selected to draw visitors across the District, to produce artistic gateways to Station North, and to challenge artists to tell the story of legacy and revitalization in this central Baltimore neighborhood, which is experiencing renewed vibrancy through the arts.
Escif’s work focuses on personal experiences and reflections, using recognizable images and simple shapes. He makes use of various languages in his work and reflects on the spaces where his paintings are inserted as an essential aspect of his work. (Spain Arts&Culture press-release)
Organized by Station North Arts & Entertainment, Inc. With the support of SPAIN arts & culture, as part of the project TRANSIT. Creative Placemaking with Europe in Baltimore.
Station North Arts & Entertainment District, Baltimore, MD
Image: © Escif. Station North Arts & Entertainment District
04 april – 17 may, 2014
The exhibition’s aim is not to retrace the history of the gallery’s last fifteen years of activity, but to offer a snapshot that reflects the spirit of the place. This is not a portrait which, for that matter, would be quite an endeavour to achieve. So whom to call on? In addition to the close collaborators who help define Aeroplastics’ aesthetic, we must also count the very many of visual artists regularly invited for grand and festive exhibitions that explore the Comédie humaine in all its aspects: the transformation and limits of corporality, sex, individual and collective violence, the excesses of consumer society, socio-cultural stereotypes, conflict, the ecology, obsessions of all sort…
Emilio López Menchero (Belgium-1960) is an spnish architecte leaving in Brussels, he plays with codes and expectations and insinuates recognisable elements from everyday popular culture into an ‘artificial’ and cultural context. He engages in his artistic practices in indistinct peripheral areas with a high social significance.
Carlos Aires (Ronda, Málaga 1974) currently lives between Spain and Belgium, 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. (Aeroplastics press-release)
AEROPLASTICS contemporary, 32 rue Blanche, 1060 Brussels, Belgium
Image Carlos Aires, Hunting II. 2011
LIMERICK. Asier Mendizábal and Martí Anson “EVA International. Ireland's Biennial 2014” LimerickCity Gallery of Art
12 April - 06 July, 2014
EVA International is Ireland’s leading contemporary art biennial and is currently in its 36th year. This year’s biennial features a 12-week programme of exhibitions and events to be held all over the city of Limerick, which this year has been designated Irish City of Culture. Spain will be represented by artists Asier Mendizabal and Martí Anson, with the support of AC/E. Curated by Egyptian art critic and curator Bassam El Baroni, “Agitationism” seeks new approaches to the place of justice in art ”, through a newly-coined word. Asier Mendizabal’s contribution is based on earlier works of his, which he re-contextualises with the idea of a palimpsest.
The reorganisation of his own references and thoughts on processes and conventions involved in creating a sculpture will be transformed into an installation accompanied by texts as just another element. Martí Anson’s project shows how the advertisements of a savings bank, later a bank, and a tram line take the viewer on an iconographic tour of his town, Mataró, over the course of half a decade, having a permanent visual presence in its landmark sites, and how they subsequently disappear. This narrative plays on time and memory, but also on the visitor’s disconcertment. . (AC/press-release)
Imagen “fizcarraldo, Martí Anson
April 11 – june, 7 2014
Noumena is a fraught term used in Philosophy, from Plato to Kant, to designate non-phenomenal objects that emerge from deepest intimacy “in a pure state.” Whereas Phenomenology starts from cognition to produce impressions, introspection captures intuitions, which may, or may not, become cognition.
Transcending documentary photography of architecture and foregrounding photographic representation’s propensity to dissolve and transmute the real, Aitor Ortiz works with space, architecture and the object as a starting point to deal with a series of visual and cognitive issues. In previous suites of work such as MODULAR, ESPACIO LATENTE or AMORFOSIS, the artist had already addressed similar concerns, in which the shift in experience between the two-dimensional and the three-dimensional produced a variation in sensorial perception and probed the boundaries of photography.
Ortiz has an unrelenting drive to tackle head-on the dilemma between representation and interpretation (perception). In doing so, he forges connections between the content of his images, the physical qualities of the supports he chooses for his works, and the position they occupy in the exhibition space. Aitor Ortiz (Bilbao 1971) is one of the most widely recognised Spanish photographers. He has had numerous solo and group exhibitions in major museums in Europe, America and Asia. His most recent solo-exhibitons include: Museo Guggenheim, Bilbao (2011); Fotografiska (Swedish Museum of Photography, Stockholm, 2012); and Sala Canal de Isabel II, Madrid (2012). In 2011, Hatje Cantz published an important monograph of his work, for which he has received critical acclaim and has won numerous awards, including the following: Ciudad de Palma Award; ABC Photography Prize; Honorary Prize at the Alexandria Biennale (Egypt); First Villa de Madrid Photography Prize. His works are in many important collections including MNCARS, Fundación La Caixa, ARTIUM, CAB, IVAM, AXXA, Museo Guggenheim Bilbao, MACUF, Foto Colectania, Fundación Telefónica, Museo Es Baluard, among many others. (Stefan Roepke press-release)
Galerie Stefan Roepke . St. Apern-Straße 17-21 • 50667 KÖLN
Image: Aitor Ortiz “Net 003”, 2013
04 april – 17 may, 2014
Doing nothing takes time, and is a work in itself. For eponymous exhibitions in Basel and Munich in 2012, Elena Bajo printed with a hand press a series of posters that read The Absence of Work, pulling impressions until ink faded and the text completely disappeared. It took twenty-five impressions to go from full ink to no ink.
Her inspirations come from different horizons. A line in John Cage’s An Anarchist Poem declares: “work is now obsolete”. The line recalls the words, embodying the philosophy of the Situationists, that Guy Debord inscribed on a wall in the Rue de Seine in Paris in 1953: “NE TRAVAILLEZ JAMAIS” – never work. Work, social and political dimensions of everyday spaces, strategies for conceptualizing resistance, the poetics of ideologies, and the relationship between temporalities and subjectivities have long been at the forefront of Bajo’s art. Together with Rirkrit Tiravanija – who also seized upon the Situationist slogan and has employed it repeatedly in his own practice – Elena Bajo calls up to ask what forms it is possible for art to take and what the relevance of art is to contemporary society. Also, art historian Rachel Haidu in her book The Absence of Work argues that all of Marcel Broodthaers's art is defined by its relationship to language. By showing us the ways in which language is instrumentalized across society—used for its efficiency despite the complexities it introduces into communication—Broodthaers shows us how we imagine language to work and points us to its hidden operations. Earlier, Marcel Duchamp introduced language as a determining factor in the visual arts. In the show, the sculpture and the framed work, both undergo duchampian principle – found objects are transformed into ready-mades. They showcase a heterogeneous status of the artwork, somewhere between sculpture and installation and/or painting. They are reminiscent of their original context and past actions.
Elena Bajo (Madrid 1975) lives and works in Los Angeles and Berlin. She has gained international recognition and has extensively exhibited in Europe and the United States. The exhibitions include Marlborough Contemporary, London (2013); D+T Project, Brussels (2013); Liste 17, Basel, (2012); Manifesta 9, Genk (2012); the Performa 11 Biennial, New York (2011); etc. (D+T Project press-release)
D+T Project Gallery, Rue Bosquetstraat 4, 1060 Brussels Belgium
Image: Elena Bajo, I'mTrying To Be Unfamiliar With What I'm Doing, concrete, pedestal. 2012
02 april - 09 may, 2014
The work of Spanish photographer Ouka Leele and his particular way of looking through the camera can be seen in Buenos Aires in an exhibition that includes part of her analogic production, unreleased material, and some of his later works
She was born in Madrid in 1957, under her real name of Bárbara Allende Gil de Biedma. She was interested in painting since childhood, although she decided to train as a photographer. She mastered the technique, and at the age of 18 various of her photographs were included in the book 'Principio', together with other promising young photographers, and published in the specialist magazines 'Zoom' and 'Nueva Lente'. In 1978 the magazine 'Star' asked her to create a colour photograph for its front cover, and as she specialised in black and white photography she decided to use a technique from the beginning of the century consisting of colouring the photograph with bright watercolours. Her greatest triumphs came during the Movida Madrileña, where her work reflected the eclectic spirit of this countercultural movement.
Organized: Museo Casa de la Fotografia de Moscu / Moskovsky Dom Fotografii, Vystavochny zal Manezh (Rusia) Maneznaya ploschad, 1. 109012 Moscú. (RUSIA).
Embajada de España (Rusia). Entidades Patrocinadoras: Instituto Cervantes (Moscú). (I.Cervantes press-release)
Image: Ouka Leele.
03 april – 17 may, 2014
The Neue Gallery, located in the city of Innsbruck, presents the exhibition curated by Karin Jaschke “Activaciones”. The exhibit shows how artists, based on the particular social and political context that is currently Spain, fighting in different ways to change the current social situation. The show features work of Spanish artists and groups, such as Fernando Sanchez Castillo, FLO 6 × 8 Nuria Guell, Adrian Melis and TAF! Action Photo Workshop.
Among the specific issues that develop during the entire sample are the effects of the crisis, Protest and mobilization to the precarious situation, exhibited by different ways, through direct interventions, conceptual approaches, research and documentation. This is a generation of artists who tries to sow dissent and disagreement in order to enable the public. (Neue Galerie press-release)
Imagen. “Pegasus Dance” Fernando Sánchez Castillo.
Neue Galerie. Rennweg 1 Großes Tor Hofburg, , AT- 6020 Innsbruck
1st april – 30th September, 2014
In 2013 and 2014, the Spain–Japan Dual Year is being held to coincide with the fourth centenary of the“Keicho Mission” which left the region of Sendai in 1613 and reached Spain a year later.
In celebration of this event and in collaboration with the architect Toyo Ito, Grin Grin Park, Island City, in Fukuoka, will host from April 1 to September 30, 2014, the proposed exhibition which I have entitled MU. This term is a reference to a blank sheet of paper, an attitude of openness without preconceived ideas nor prejudices and is a tribute to Japan and its people.
The MU exhibition comprises of eight sculptures since, from the beginning, I wanted the number eight to be present in the project for its significance in Japanese culture and its relationship with the concept of the exhibition.
Recently awarded the Pritzker Prize, the master Toyo Ito carried out an experimental project at Grin Grin Park which is comprised of a functional park surrounding a circular pond with a vantage point overlooked by a gently curved greenhouse.
The sculptures form part of the open spaces between the pool and the greenhouse and provoke a path further to the existing ones which is simultaneously in dialogue with the edifice.
The seventh of the sculptures is located at the Embassy of Spain in Tokyo. The sculpture which closes the exhibition is conceptually distinct from the other seven and is entitled “DUAL YEAR”
24 march - 18 may, 2014
Leopoldo Pomés (Barcelona, 1931) and Carlos Saura (Huesca, 1932) have traveled somewhat similar paths. Parallel to their long careers in advertising and film respectively, they both exhibited their work for the first time in the '50s: Pomés at Galerías Layetanas in Barcelona in 1955, and Saura at the Real Sociedad Fotográfica in 1952. Both were invited to work at the Barcelona Olympic Games in 1992: Saura producing the official movie, Marathon, and Pomés carrying out the image campaign of Barcelona's candidacy. Not only have they done portraits, but they have fed their curiosity in different areas, photographing the city and its people, its towns, and their families and social surroundings... They made their debut at an early age with documentaries: Pomés worked on a project about Barcelona that never saw the light of day, and Saura worked on a photographic album of Spanish towns and people. Ever since then, they haven't put the camera down. Saura making portraits of his family and his surroundings, and creating painted photographs or fotosaurios; Pomés expanding his long list of personalities from the cultural world, photographing the bullfighting world, and producing artistic and commercial photography.
This exhibition focuses on the genre of the portrait, albeit using a wide conception of it. There are portraits of unknown people, movie stars, notorious members of the literary and artistic establishments, close friends and even animals. An exhibition that reveals the intensity of Pomés's portraits, the spontaneity of Saura's images, and the intense psychological insight both of them share. (Instituto Cervantes press-release)
Entidades colaboradoras: PHotoEspaña 2012 (Madrid)
Instituto Cervantes London, 102 Eaton Square, London SW1W 9AN
Image: “Ana Torrent and Geraldine Chapin” Carlos Saura
12th april - 29th june 2014
Jaume Plensa, born in Barcelona in 1955, is one of the most influential Spanish sculptors of his generation. His work which ranks with oeuvre of such Catalonian artists as Antoni Tàpies and Joan Miró is characterized by its awe-inspiring spiritual depth and poetic expression. In the Sculpture Park Waldfrieden the artist will be presenting a body of contemporary work consisting of seated human figures formed by a metal network consisting of letters of the alphabet.
2013 marks a series of events for the renowned artist. At the end of May Plensa presented a cast iron sculpture, Rui Rui, in Venice for the exhibition, Glasstress: White Light/White Heat, a collateral event of the 55th Biennale. In June eleven sculptures were installed throughout the public spaces of Bordeaux, France for the exhibition Jaume Plensa in Bordeaux and two cast iron heads, Marianna W and Chloe, were show in the UK. In 2014 recent works by the artist will be on view in Chicago to celebrate the 10th Anniversary of Millennium Park, home of Plensa’s famed Crown Fountain. (Skulpturenpark Waldfrieden press-release))
Skulpturenpark Waldfrieden, Hirschstraße 12. 42285 Wuppertal
LONDON. Alberto Garcia-Alix “Autorretrato/Self-Portrait “ Deutsche Börse Photography Prize 2014. The Photographers Gallery
11 April - 22 June 2014
Now in its seventeenth year, the Deutsche Börse Photography Prize 2014 rewards a living photographer, of any nationality, for a specific body of work in an exhibition or publication format, which has significantly contributed to photography in Europe between 1 October 2012 and 30 September 2013.
This year’s finalists are Alberto Garcia-Alix, Jochen Lempert, Lorna Simpson and Richard Mosse.
Alberto García-Alix (b. 1956, Spain) is nominated for his publication Autorretrato/Self-Portrait, La Fabrica Editorial (2013). The book features black and white self-portraits which offer an insight into the artist’s life over nearly four decades. These include the upheavals at the end of Franco’s dictatorship in the early 1970s through newly gained liberties in the mid-1980s and on to the present day. The works reflect a life of both intimacy and excess, where photography is used to mediate experiences, fears, neuroses and inner battles. His tense and lyrical images blur – visually and metaphorically – the line between self-reflection and staged portraits. In his wider practice, García-Alix also combines photography with writing and video work. (The photographers gallery press-release)
The Photographers Gallery, 16 – 18 Ramillies Street, London W1F 7LW
15th march - 26th april 2014
This exhibition of paintings considers material as a cue for perceiving the world in an age of extreme image saturation. The emphasis on material over image is a counterpoint to the tyranny of the screen that realigns the visceral properties of matter as new potent narrative ‘actants’ for the 21st century.
The term ‘materiality’ has been banded around a lot recently, infiltrating contemporary discourse perhaps in recognition and acknowledgement of an increasingly virtual experience of the world, one in which the act of looking has itself been hijacked by the proliferation of highly co-modified imagery. In this scenario the once primary physical world becomes the shadow, other, and its simulacra experienced through the screen-world takes its place in a reversal of conventional oppositions of material-immaterial, physical-metaphysical, looking/non-looking, seeing/non-seeing.
In this spirit the show presents a discourse with the material under-world – a reversal of structural assumptions that consider material as the conduit, collaborator and container for narrative.
Artists: Angela de la Cruz, Lawrence Carroll, Onya McCausland, Simon Callery. (Fold. Gallery press-release)
The artist creates work that challenges conventional definitions of painting and sculpture. Often breaking the wooden frames of her canvases as a means of making them anew, the artist violently yet playfully transcends the imposed boundaries of her medium, asserting a three-dimensionality through objects which burst, tear and explode. De la Cruz relates to humour as an act of survival and as such considers it a way of dealing with loss. Angela de la Cruz (b.1965, La Coruña, Spain) lives and works in London. Solo exhibitions include Lisson Gallery, London (2011); Camden Arts Centre, London (2010); Culturgest, Lisbon (2006); Centro Andaluz de Arte Contemporaneo, Seville (2005); Museo de Arte Contemporanea de Vigo, Spain (2004).
FOLD Gallery | London, 15 Clerkenwell Close. London EC1R 0AA. Image: Ángela de la Cruz
5 – 30 abril, 2014
"This photographic project is made by urban routine and chance, is a chronicle of the transience of framed between the anonymity of the inhabitant population and the dynamics of their environment present. Kike Aspano, born in Toledo, Spain, embraces the tradition of street photography with his works. His interest is focused on people in the city. What traces does the daily routine of the city’s residents leave behind in the urban landscape "Kike Aspano graduated in Architecture and Urbanism. Finalist for the2013 PHOTOESPAÑA Award. (I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Kike Aspano
27 march – 16 april, 2014
The Spanish artist José Molina presents “Human Beasts” at the Royal Academy of Spain in Rome. A retrospective exhibition developed from his first collection Dying to Live (2004 ), successively adding works made for Feelings , Predators , Human Things , The Forgotten , until his latest collection of 2014 , AnimaDonna , which displays some of his work dedicated to the many facets of the feminine dimension . The artistic search for Jose Molina is based on deeper exploration of inner and hidden worlds of humans, representing masterfully through his works the connection between the visible and the invisible, of things.
José Molina was born in Madrid in July 1965. He lives now in Gravedona at Como Lake surrounded by nature. His artistic training began at the age of 11. He attended several art schools, where he has been studying drawing and painting for more than 10 years. At the age of 18 he started to work in advertising while pursuing his studies at the University of Fine Arts in Madrid. Meanwhile he studied Psycomotricity and Transitional Psychology for six years. He has been working for many years as Creative Director for big multinational companies, but he never gave up his passion for art. At the age of 35 he decided to devote himself entirely to art. (RAER press-release) Real Academia de España en Roma, Piazza San Pietro in Montorio, 3, Roma, Italia
Image: “Las Emociones Encontradas”(Calor en Otoño) José Molina
HELSINKI. Daniel García Andujar “Ecological Fallacy + Objects on Oil, HPB”. The Finnish Museum of Photography
27 March–14 May 2014
Helsinki Photography Biennial is a series of events on photo/lens-based contemporary art that opens March 27 in Helsinki. The biennial features contemporary art from Finland and beyond, and is organized every two years in the spring. HPB14 is produced by Union of Artist Photographers / Photographic Gallery Hippolyte in collaboration with The Finnish Museum of Photography.
In 2014, the biennial aims to examine causal relations regarding ecological issues.
Ecological Fallacy, The title of the biennial, Ecological Fallacy, refers to the term ecological fallacy in statistics. It is a logical error or a mistaken assumption in the interpretation of statistical data. Derived from this analogy, the biennial questions analogous errors and assumptions, which are deliberately and systematically made by the ruling powers that violate the ecological balance of the world. In this context, Basak Senova’s curatorial framework addresses fallacies of ecological knowledge and fosters collaborative connections between ecological data and photography-based archives. The biennial seeks correlated artistic approaches and perspectives as a way of producing and processing evident critical, social and cultural discourses on these fallacies. It serves as the suture that draws the accumulated data about fallacies on ecology into visual evidences and lens-based realities.
The Ecological Fallacy exhibition features 19 projects from artists around the globe.
The Ecological Fallacy exhibition at the Finnish Museum of Photography includes works from the following artists: Ali Cherri (Beirut/Paris), Daniel García Andújar (Barcelona), Hana Miletic (Zagreb/Brussels), Jawad Al Malhi (East Jerusalem), Jesper Just (New York), Mary McIntyre (Belfast), Olof Jarlbro (Helsingborg/Sofia), Raqs Media Collective (New Delhi), Serkan Taycan (Istanbul/Helsinki), Société Réaliste (Paris), and Willie Doherty (Donegal/Derry). (HPB press-release)
Helsinki Photography Biennial / Union of Artist Photographers. Yrjönkatu 8-10 (courtyard), FI – 00120. Helsinki. Finland
Image: Daniel García Andujar
28 february - 30 april, 2014
OK Lab is an exhibition series, in which artists are invited to carry out experimental work on site. With the young Austrian artist Gabriele Edlbauer and the renowned Spanish artist Fernando Sánchez Castillo, in Spring we present two generations and poles of a contemporary engagement with sculpture. Both artists are concerned with the art of the three-dimensional, moving between realism and abstraction, but arguing differently about material and function, whether as a monument or a usable object.
Fernando Sánchez Castillo “Monuments and other Coincidences”: Monuments and emotionally charged political relics are the consistent theme of the works by Fernando Sánchez Castillo. Especially the more recent history of his home country, the era of the dictator Franco, still a highly charged topic, provides him with material for ironic, provocative explorations. At the heart of the major solo exhibition in OK is the Guernica Syndrome (2012). With this work Sánchez Castillo approaches an almost forgotten
and highly charged political relic: Azor, Franco’s yacht. After Franco’s death in 1975, the state took over ownership of the ship, purchasing it at a low price to get rid of this fascist symbol. In 2011 Fernando Sánchez Castillo acquired the Azor and then had it broken down into a rusty brown, multi-part sculpture made of over 40 metal blocks. Video works, installations and a new production for the twenty-fifth anniversary of the fall of the Berlin Wall are also part of the extensive show in the OK and at the Energie AG.
Fernando Sánchez Castillo, born 1970 in Madrid /ES, lives and works there.
Solo exhibitions at Centro de Arte Contem30 april,poráneo de Málaga (2011), Centre d’Art Contemporain Geneva (2007) and at MARTa Herford (2006) and others. Group exhibitions at Palais des Beaux Arts Brussels, at MARTa Herford, in the Tate Modern in London, at the MoMA New York and at the 50th Biennale di Venezia. Fernando Sánchez Castillo has been a guest at the OK before: in 2008 for Tiefenrausch and in 2006 in the exhibition Mirador. (OK. Centrum press-release)
BY-ND 2011, UID-Nr.: ATU36918207, OÖ Kulturquartier, OK Platz 1, 4020 Linz, Austria
Image: “The Last Trip of the Azor” Fernando Sánchez Castillo.
20 march – 20 april, 2014
Xavi Carbonell's works resemble small dreams ...Understanding the painting as a space for reflection and experimentation has been one of the keys that has marked the path of Xavi Carbonell. Since his first exhibitions in the mid-nineties to his last works in New York, the artist has managed to build a plastic language itself, complex in its process and transparent in its resolution, equipped with a special glossary aimed at the purification of the picture .Extract the text "A serene complexity" of Carlos Delgado.
Xavi Carbonell was born in Alcoi, Spain in 1971. His work has been selected for the Alcoi Art Biennial, and for the Bancaja Painting award in 2006, 2008 and 2009. Carbonell has had solo shows in both Spain and the United States. Not the first time Carbonell's work is represented internationally, as has been seen in numerous shows and institutions like the Dubai Art Fair 2009, Art Fair-Event of Belgium 2008, Contemporary Art Fair in Stockholm 2005, Egiptyanmuseum of Cairo in 2006 and Museum of the Americas in Miami in 2008. However, it is the first time he open market through an New York Art Gallery. (Art Angler press-release)
Image: Untitled, 2013, Mixed media on canvas. Xavi Carbonell
26 march - 26 june. 2014
Together with the Sao Paulo, Havana and Medellin biennials and the Trienal Poli/gráfica de San Juan, the Cuenca Biennial –Bienal de Cuenca(Ecuador) – belongs to the select group of established events in Latin America that promote contemporary art.
This 12th biennial is based on an open thought, in which the works trace constellations that outline a group of themes which are independent yet closely intertwined. The chosen themes deal with issues that are central to contemporary art production and, metonymically, to society as a whole, and which can have repercussions in a context as historically and culturally stimulating as Ecuador and, in particular, Cuenca.
The choice as a title of the event of the Ecuadorean idiomatic expression Ir para volver [lit. to leave only to return] – which is widely used to describe a temporary absence (the duration of which nearly always turns out to be unforeseeable) – is linked to this preference for open discussion and for plural viewpoints. In addition to hinting at the state of constant movement that characterises the majority of the works and artists included in the exhibition, it sets out to place the 12th Cuenca Biennial in an open and indefinite context of oral communication, of dialogue under constant construction as opposed to the rigidity of an inflexible and finished discourse – that is, in the context of life itself.
AC/E is collaborating with the biennial through the mobility programme of the PICE, by supporting the participation of the Spanish artists chosen by the bienal Daniel Steegman and Nestor Basterretxea.(AC/E press-release)
BIENAL DE CUENCA: Simón Bolívar y Estévez de Toral, Cuenca. Ecuador
Image: Néstor Basterrextea
22 march – 30 april, 2014
DosJotasis ArtCenter’s third visiting artist from Spain through its partnership with Accion Cultural Espanola. DosJotas’ project encompasses the city as with his interventions and actions. During his residency in Miami, his work takes a turn where he takes on the guise of anthropologist, meeting and interviewing Miamians from all walks of life—immigrants that range from Cubans to Haitians to New Yorkers. The project will culminate in a set of “tourist” postcards that represent the “real” Miami.
DosJotas, Madrid, 1982 | Lives and works in Madrid. DosJotas graduated in Fine Arts from the Universidad Complutense de Madrid, Masters in Contemporary Art from U.E.M. DosJotas’ work functions as social criticism. He works primarily through actions and interventions within urban spaces, not necessarily public. Through his work, he appropriates and reinterprets existing elements in the urban landscape, using the city as a stage for action and artistic intervention. He explores the disappearance of public spaces through gentrification found in all large cities and forms of control in mass societies and civic passivity. His interventions have and can be found in Amsterdam, Barcelona, Berlin, Madrid, Miami, New York, Paris, San Francisco, among other cities.(ArtCenter press-release)
ArtCenter’s 810 Lobby | 810 Lincoln Road, Miami Beach
march 27 – april 26, 2014
bitforms gallery is pleased to announce Small Data, a second solo exhibition in New York with Daniel Canogar. Featuring the premiere of a new series, the exhibit includes nine video projection-mapped objects that are intimate in scale.
Based in Spain, Canogar is renowned internationally for his use of discarded electronic materials in his photography, video, sculpture and installations. Finding inspiration in the archeology of new media, he brings the dead back to life. Secrets contained beyond an object's surface are revealed, as he constructs portraits of a society and an age. Canogar is also the creator of numerous public art installations, many of them engaging the participation of local communities, such as Waves in Houston, the world’s largest arabesque LED video sculpture; Constelaciones in Madrid at MRío Park, the largest photo-mosaic in Europe; and Travesías in Brussels, a commission for the atrium of the European Union Council in 2010.
The process of excavation is central to Canogar's practice. Works from his new series Small Data are comprised of overhead projections and salvaged devices, such as crushed computers, scanners, printers, old cell phones and hard discs. The artist pulled each item from piles of discarded materials in junkyards and recycling centers–today’s veritable cemeteries for consumer electronics. The found objects are organized on shelves, as if they were fragile remnants of a bygone era. Light seemingly reanimates these abandoned technologies, as video projections are precisely aimed at each object, crafting layered and painterly abstract narratives.
Canogar's animated installations capture our complex and sometimes ambivalent relationship with consumer electronics. "Buying the latest gadget makes us feel like sophisticated citizens of the digital age. Yet these technologies break down or are rendered obsolete at a fast pace," says Canogar. Propped on shelves, the decaying technologies of Small Data are presented as contemporary still lives, insidious reminders of our own aging process and inevitable expiration date.
As a collection of objects, Small Data explores the life and death of consumer electronics-and how when we discard our devices, we are throwing out a small part of ourselves. As tools for communication with the outside world, and as repositories for so many of our memories, we acquire a very intimate relationship with the technological devices present in the artworks. Haunted by these pasts, Canogar attempts to reveal the memories, both personal and collective, that seem trapped within, mementos of a time when they had fully functional lives and served us well. (Bitforms Gallery press-release)
Bitforms Gallery, 529 west 20th Street, New York, NY 10011
Image: Daniel Canogar
20 march – 18 may, 2014
The purposes El Espacio de Arte Contemporáneo (EAC) include fostering the production of, and disseminating, works of art arising from the local or international environment. The Sara Ramo exhibition is part of EAC’s programme of activities staged in connection with Montevideo’s stint as Ibero-American Capital of Culture.
Sara Ramo (Madrid 1075) was one of the first artists to be invited by EAC, where she presented the video ‘La banda de los siete’ (Band of Seven) immediately after showing it for the first time at the 2010 San Paulo Biennial. Her visit in 2011, during which the artist saw for herself the unusual building that houses EAC – a former panopticon prison built in the nineteenth century – led to the idea of repeating the experience but for longer in order to create a site-specific work in the areas of the former Miguelete prison that have not been given a new use.
On this occasion EAC, with the collaboration of AC/E through the latter’s mobility programme, is hosting the first Sara Ramo exhibition, thereby contributing to the consolidation of Montevideo as a prominent cultural focal point in tune with the most modern and innovative art, while promoting local knowledge of a Spanish artist whose international reputation is growing. Sara Ramo lives and works between Madrid and Belo Horizonte, Brasil. (AC/E press-release)
EAC, Espacio Arte Contemporáneo, Arenal Grande 1930, Montevideo- Uruguay
Image: Sara Ramo
20 march – 08 june, 2014
Between the late eighties and early nineties, Antoni Abad (Lleida, 1956) focused on the development of mobile sculptures that, accompanied by photographic sequences, already inquired into the possibilities of the expanded and moving image. After a period as artist-in-residence at The Banff Centre for the Arts (Alberta, Canada), he began working with the videographic medium, without renouncing to the spatial and architectural concerns of his earlier work, as we can see in the piece Últimos deseos (Latest Wishes), 1995, which was presented in 1999 at the Venice Biennale curated by Harald Szeemann. In 1996, following an invitation from Roc Parés for the platform ‘MACBA online’, a project initiated by the Universitat Pompeu Fabra and MACBA, Abad made Sisyphus, a video installation that reinterprets the classic myth and that also unfolds into a new version for the web: his first foray into the Internet. In 1997 he made a further video installation, Natural Sciences, which investigated users’ reactions of empathy and repulsion.
Since then Antoni Abad has focused on digital media, making proposals as emblematic as Z (2001–3), a work that anticipates the use of social networks, where users interact with each other by downloading to their computers a virtual fly allowing for collective and simultaneous interaction. The Z project was presented at MACBA in 2002 and received the Ciutat de Barcelona 2003 award in the Multimedia category.
Based on the above-mentioned investigations, megafone.netpioneers the exploration of other possible social and communicative uses for mobile phone technologies, which were in wide use at the end of the last century. (MACBA press-release)
Centro Cultural de España en México. Pasaje cultural Guatemala 18-Donceles 97
Colonia Centro Delegación Cuauhtémoc. C.P. 06010 México, D.F
Imagen: Antoni Abad. megafone.net. Mèxic DF, Mèxic, 2004
march 07th - april 21st, 2014
The works shown in this exhibition of the internationally most relevant net artists belong to the collection of NETescopio, iniciated in 2008 and since then constantly developed by the Spanish Museum of Contemporary Art of Extremadura and Latin America – MEIAC, Badajoz. With NETescopio, the MEIAC is a pioneer in the availability of an Internet accessible art collection beyond the physical presence of the actual Museum. A selection of 120, partly no longer accessible, key works covers the panorama of net art production from the 1990s until today. This exhibition is in this sense a unique opportunity to gain an insight into the net art tendencies and their aesthetics. The main objective of the NETescopio archive, which makes also a historical classification of the collected works, is the preservation of the works, characterized by the incorporation of a large numbers of Spanish and Latin American net artists.
The curator Gustavo Romano has distinguished three strategies of artistic appropriation of the Internet with their various formats: Disassemblings:
During the web´s early years the artists started to experiment with the new medium and dealt with the possibilities of interactivity, the use of interfaces and alternative browsers. It is in the first years of web art, which can be seen in this category, that show a greater radicalism with a stress on experimentation and the deconstruction of the medium. Re/appropriations:The reuse of symbolic materials and artistic reactions to existing content play a key role in this work. In digital media information can be reproduced and manipulated, developing constant mutation. This poses in discourses to copy, original and authorship, as well as to owner and collector of net art. The artist’s role on the web is of a "redirector" of information. Intrusión: These works refer to artistic intervention in a new public space, the “Internet”, which involve commonly used sites such as Wikipedia or Google Maps, which parody or subvert private pages, in order to undermine them through artistic contexts. Stealthily infiltration of the user's computer or other computer systems is discussed here. The artist slips here into the role of spies, intruders and solitary flaneurs. Curated by Gustavo Romano. Artists: 0100101110101101.org (Eva & Franco Mattes); Ivan Abreu; Amy Alexander; Marcel·lí Antúnez; Kim Asendorf; Lucas Bambozzi; Ryan Barone; Giselle Beiguelman; Amy Berk; Luther Blissett; Natalie Bookchin; Christophe Bruno; Maite Cajaraville; Martin John Callanan; Azahara Cerezo; Paolo Cirio; Arcángel Constantini; Vuk Cosic; Andy Cox; Critical Art Ensemble; Minerva Cuevas; Young-Hae Chang; Santiago Echeverry; Vadim Epstein; Evru; Fiambrera Obrera; Gonzalo Frasca; Belén Gache; Dora García; Daniel García Andújar; Gazira Babeli; Emilio Gomáriz; Ethan Ham; Luis Hernández Galván; Robin Hewlett; Steev Hise; Ricardo Iglesias; Daniel Jacoby; Sergi Jordá; Scott Kildall; Ben Kinsley; La Société Anonyme (José Luis Brea); Joan Leandre; Les Liens Invisibles; Olia Lialina; Rogelio López Cuenca; Iván Lozano; Alessandro Ludovico; Peter Luining; Fernando Llanos; Brian Mackern; Miltos Manetas; Rafael Marchetti; Iván Marino; Antonio Mendoza; Ricardo Miranda Zúñiga; Antoni Muntadas; Mark Napier; Eduardo Navas; Santiago Ortiz; Christian Oyarzún; Paolo Pedercini (Molleindustria); Raquel Rennó; Ricardo Barreto & Paula Perissinotto; Gustavo Romano; Benjamin Rosenbaum; Mario Santamaría; Santo_File (David Casacuberta & Marco Bellinzoni); Mark Shepard; Alexei Shulgin; Mark Skwarek; Darren Solomon; Stanza; Nathaniel Stern; Igor Stromajer; Taller d'Intangibles (Jaume Ferrer & David Gómez); Philipp W. Teister; The Electronic Disturbance Theater; The Yes Men; Thomson & Craighead; Eugenio Tisselli; Ubermorgen; Sander Veenhof; Elo Vega; Angie Waller.(Edith Russ Site press-release)
Edith Russ Site for Media Art. Katharinenstraße 23. D-26121 Oldenburg
Image: Giselle Beiguelman, //**Code_UP, 2004 © Giselle Beiguelman
19 march - 03 may 2014
Since his first exhibition in 1982, works by Manuel Vilariño have been constantly on display in leading galleries and museums, and can be seen in collections such as the Museo Reina Sofía in Madrid, the Fine Arts Museum of Boston, the Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz, ARTIUM in Vitoria and the Coca-Cola Collection.
In 2007 the Ministry of Culture gave him the National Photography Award. That same year he took part in the show Paraíso fragmentado, curated by Alberto Ruiz de Samaniego, in the Spanish Pavilion at the Venice Biennale.
His most important exhibitions include his 2002 show at the Centro Galego de Arte Contemporánea de Santiago de Compostela, Manuel Vilariño. Fío e sombra, and Mar de afuera, at the Círculo de Bellas Artes, Madrid, in 2012. In 2008, the Spanish Agency for International Development Cooperation (AECID) presented a travelling exhibition of his work, curated by Fernando Castro Flórez, which visited the Spanish Cultural Centre in Asunción (Paraguay), the Balmes Museum in Montevideo (Uruguay), the Museum of Modern Art in Sao Paulo (Brazil) and the MAC Niteroi in Rio de Janeiro (Brazil).
Manuel Vilariño is regarded as “a master of still life, which he imbues with great poetic intensity”. The overview presented at Carlos Carvalho Contemporary Art explores his unique vision of animals, the feathers of birds, the scales of reptiles, still lifes, landscapes, mountains, ocean waves and the insidious mists that blur the horizon, visions which connect to a poetic melancholy and the shadowy presence of death. His black-and-white images of birds and skulls, and his still lifes in colour, play in a unique way with the question of local colour and flesh tones. (MAC press-release)
Carlos Carvalho Contemporary Art, R. Joly Braga Santos, Lote F – R/c 1600-123 Lisboa Portugal
Image: Manuel Vilariño, Mitologías
NEW YORK. “VAIVEN”. Six visual journeys back and forth between Spain and the U.S. Instituto Cervantes
March 25 – April 19, 2014
An exhibition featuring six photographers from Spain and the U.S. who interpret the realities of both countries from multiple perspectives, creating a visual round trip.
The dichotomy of belonging to two places and the constant play between the influence of cultural background versus the setting, remains the core of this exhibition. Memories, popular culture, identity, the every day life, nature and urban spaces function as starting points to analyze the motivations and expectations that lie behind each photographic series.
The diverse backgrounds of all the artists meet on the common grounds of their intersecting perspectives of both countries. Born in Madrid and raised in Maryland, Ana Hayes-Pérez, explores her personal connection with Spain through souvenirs and family memories. Spanish photographer Raúl Urbina observes Chicago by foregoing its iconic side to focus on the city’s driving forces, from its people to its infrastructures. Hailing from Canada and born to Spanish parents, Chicago based photographer Xavier Nuez uses dark alleys and ruins of the city to turn his pictures into monuments that give dignity to rejected urban spaces. Javier Corso reinterprets the military imagery of Spain through the strong visual references present in the popular culture of the U.S. Tarragona-born photographer Monica Lek uses her photographs of New York to reflect the human reality of the city through portraits of her neighbors. New York-based photographer Carla Tramullas analyzes the process of remembrance with shots snapped on her trips across the US with her grandfather’s Leica. (Spain Arts & Culture press – release)
Curated and organized by SPAIN arts & culture. Supported by The Ministry of Education, Culture and Sports of Spain, and SPAINred.
Image: Carla Tramullas.
Instituto Cervantes, 211 East 49th Street, New York, NY 10017
KÖLN. Samuel Salcedo “Time / Sculpture”. Moisés Yagües “It is dangerous to venture too far / Drawings, Paintings,Graphic” 100 Kubik Gallery
21 march – 17 may, 2014
Samuel Salcedo (Barcelona 1975) takes us with his sculptures to a world of strong contrasts and powerful instincts in conflict. His figures are isolated in an empty room full of cruelty but also irony. Their expressions of feelings are repulsive and at the same time friendly with absurd ideas but also with known characters. His latest works revolve around the most absurd social behavior of human beings and treats them with humor and irony. Salcedo manipulates the stereotypes from the mass media that camouflage our true identity representing men behind masks and dressed up as other persons. A circus society that Salcedo exaggerates representing men of hard gestures and child behavior. Though guys who lose their credibility and recall the influence of popular culture and advertising.
Image; Death of a Salesman, Samuel Salcedo, 2011
Moisés Yagües (Murcia 1972) tells little stories through his images and graphic works, situations of his life or his inner world that develop through his drawings in a naive world and curiously recreational containing its own language of symbols. For example the motive of the head serves as a platform to “narrate” images as a true starting point and source for ideas for the stories. The smooth painted faces show everyday topics, but also social or political topics in a fresh, new way and at the same time ironic. This irony is not funny at any time, but serves as a critical stimulus. Before the eyes of the viewer open small worlds full of ideas, kind to the use of color and also wanting to be taken seriously. (100 Kubik press-release)
100 kubik - Raum für spanische Kunst. Mohren Str. 21. 50670 Köln
Image; "Estar en Tí", Moisés Yagües
25 march – 18 may, 2014
The exhibition, curated by Carmen de la Guerra and Javier Díez, becomes an anthology of the history of Spanish photography of the last sixty years that generates innovative links among the works of different artists. When viewing the exhibition as a whole, we can observe the development of individual artists, which is consistent with the transformation of Spanish society of the fifties to the present day; in a documentary sense, this can be observed in every photography exhibition. Featuring the works of Gabriel Cualladó, Cristina García Rodero, Humberto Rivas, Joan Fontcuberta, Alberto García-Alix, Chema Madoz, Toni Catany, Joan Colom, Carlos Pérez Siquier, Ramón Masats, Ouka Leele, Pablo Pérez-Mínguez, Manuel Vilariño, Bleda y Rosa.Organized by the Ministry of Education, Culture and Sports of Spain, and Artendencias. Supported and coordinated by the Embassy of Spain and the Spain-USA Foundation.
Image credit: La Gata, 2001, Alberto García-Alix.Before arriving in Buenos Aires, the exhibition has toured through Madrid, Lisbon, Tokyo, New York, Washington and Ljubljana. (MNBA press-release)
Museo Nacional de Bellas Artes, Av. Del Libertador 1473 | C.A.B.A. | Argentina
Imagen: La Gata,2001. Carlos García Alix
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)
March 22 - June 29, 2014
Bernardi Roig (Palma, 1965), presentes for the first time in Portugal, totally white sculptures, life-size and realistic with strong connotations associating the symbolic elements such as fluorescent lamps. “What does light smell of?” asks Bernardí Roig. And that idea pounds over and over in his brain, torturing him. We can conceal our unease because we know that light only smells of the thoughts that sight can trap and that darkness can lie about, but it doesn’t smell of anything. Or so we think….
Bernardi Roig lives and works in Palma de Mallorca, Spain. He has received numerous honors and awards including the XXXVII Princess Grace Contemporary Art Foundation Award, Monaco (2003); the Official XXI Alexandria Biennial Award, Egypt (2002); the Pilar Juncosa and Sotheby’s Special Award, Pilar and Joan Miró Majorca Foundation (1997) and the XXI International Biennial of Graphic Arts Official Award, Ljubljana, Slovenia (1995), among others.
Roig’s work can be found in numerous museum and institution collections including the Fundación Miro de Palma de Mallorca, the CCCB Barcelona, the Musee de Beaux Arts de Bruxelles BOZAR, La Tecla Sala Barcelona, the Zhu Qizham Museum de Shanghai, The Alburquerque Museum of Art in New Mexico, La Fundacion Telefonica Madrid, and Palazzo Isimbardi Milán, among many others. ( Centro Arte Contemporáneo Graça de Morais press-release)
Centro de Arte Contemporânea Graça Morais. Rua Abílio Beça, 105. Bragança
Image: Bernardi Roig. Centro Arte Contemporáneo Graça de Morais
March 13-April 19, 2014
"According to Hippocrates, there were four bodily fluids that established the humors: phlegm, blood, yellow bile and black bile. Depending on your distribution, prevailed in man a certain mood. Thus, the disease called melancholy attributed to blackening of bile. This dimming, caused a depressed, listless behavior and manifest a feeling of sadness. "This explains the Spanish artist Antonio Montalvo (Granada, 1982), the title of his exhibition Bilis Negra (black bile) at AFA Gallery, where he presents 15 of his last works of oil on canvas.
ANTONIO MONTALVO is a graduate of Fine Art from Universidad de Granada. He has taken part in some group shows such as -Certamen Andaluz de Artes Plásticas 2006, Premios Injuve para la Creación Jóven 2007, Circulo de Bellas Artes de Madrid, Generación 2008. Premios y Becas de Arte Caja Madrid…- and his work can be found in Spanish collections such as Fundación Rodríguez-Acosta, Fundación CajaSur, Instituto Andaluz de la Juventud, Museo Gustavo de Maeztu, Facultad de Bellas Artes de Granada or Fundación Coca Cola. (AFA press-release)
Galería AFA: Pasaje Phillips, 116. Santiago Centro
Image: Ibid. Antonio Montalvo
11 march 2014 - 20 april 2014
For some years now the investigations of José María Sicilia (1954), one of the most original artists on the Spanish scene, have involved deciphering the language of the things that interest him and for this purpose he works with sound recordings with which he then creates a visual projection of this language.
Using techniques that offer the possibility of translating sounds, obtaining a visual representation of them that allows him to capture and identify their variations and diversity, the artist converts these phenomena into the purpose of his work. Exploring this line of research, he has produced the Fukushima-Winter Flowers Project, which shows the results of converting different sounds and images of the tsunami that occurred in Japan in March 2011 into two and three dimensions. He thus devises a new approach to the tragic events in order to show the reality of Fukushima.
The title of the exhibition is inspired by Tamiki Hara’s literary work ‘Natsu no Hana’ (Summer Flowers). Hara was a survivor of Hiroshima. The death of his wife Sadae Hara and the Hiroshima bomb were the backbone of his work.
Sicilia is interested in the sounds of birds and the tsunami, the noise of Fukushima, and his interpretation of them takes different sources as a starting point using specific parameters: readings of sound data recorded in the ocean during the tsunami, recordings made at the time such as warning messages issued in some of the affected areas or birdsong, and the voices of people recorded in videos of the tsunami posted on YouTube, etc.
The artist likewise brings to the exhibition works that are the result of workshops he has held with children from Japanese schools located near the areas affected by the tsunami. In these sessions the artist, accompanied by a team of psychotherapists and teachers, works with the children, allowing them full freedom to express their experiences or memories of that day artistically.
Basically the exhibition explores sound, pain, creation – everything that is unforeseen, accidental. To quote the artist himself:
‘An accident is what happens, what occurs unexpectedly in the system of our lives, the unforeseen, surprise… Yet everything was already there.
The accident is revealed to us every day, concealed until it comes to light. The accident is closely linked to time, to the instant, to life. All substance can be the stuff accidents are made of. Time devours everything. We are the image of an image, an echo. An instant is birdsong. Chance appears to us increasingly and fear begins to be the passion of life.’ Curator: José María Sicilia
(AC Española pres-release)
Organized by Acción Cultural Española (AC/E) In collaboration with Embassy of Spain in Japan Prefectural Museum of Art, Fukushima
Embajada de España, 1-3-29 Roppongi. Minato-ku. Tokyo
Organiza: Acción Cultural Española (AC/E).
Image: José María Sicilia, El instante, 2013. Cortesía del artista y la galería Meessen de Clercq, Bruselas
15 february – 15 may, 2014
This exhibition is part of the project " Doble Dirección", which begins in February with a first delivery: a selection of works from the collection of the Centre d' Art la Panera will be exhibited in the halls of FRAC Corse, in the city of Corte . The works submitted belong to the following artists : La Ribot , Eulalia Valldosera , Javier Peñafiel , Antoni Abad, Txomin Badiola , Juan Pablo Ballester, Javier Codesal , Casilda Sanchez, Bestué / Vives, Lazkoz Abigail , Daniel Canogar , Francesc Ruiz , Esther Partegàs , Jordi Bernado , Alicia Framis , Izaskun Chinchilla and Azua / Moline .
The second part of the project, which takes place from 18 June to 5 October this year , will show a selection of works from the collection of FRAC Corse, which will pick one of the fundamental features that has defined this French public collection, as linking contemporary art with the world, with its basic elements, such as land , air and water, the sky, the sea, the islands ... , and offer a personal view on the Mediterranean. The artists featured are: Claudio Parmiggiani, Giovanni Anselmo, I. F. P., Marthe Wery, Jana Sterbak, Marcel Dinahet, Bill Culbert, Ignasi Aballí, Jean-Luc Moulène, Jean-Marc Bustamante, Rodney Graham, Hugues Reip, Michelangelo Pistoletto, Marylène Negro, Wilfredo Prieto, Martine Aballéa, Etienne Bossut, Ange Leccia, Dominique Degli Esposti, Adrien Porcu y Agnès Accorsi. (la Panera press-release)
Fonds Régional d'Art Contemporain de la Corse. FRAC Corse. La Citadelle. 20 250 Corte
Centre d’art la Panera
Image: FRAC. Corse
16 march - 17 August 1, 2014
The Station Museum of Contemporary Art wishes to announce the major exhibition Collective Reaction,featuring the six solo exhibitions of Democracia, Adel Abidin, Hito Steyerl, Mohammed Al-Shammarey, Prince Varughese Thomas, and Maura Sheehan.
The proliferation of images and the devices that record them has fundamentally shifted the method in which information is interpreted and disseminated. What once was a costly and specialized skill has now become a tool for the masses. The propagation of imagery has been simultaneously displaced and appropriated by both traditional and independent media outlets. Through cropping, manipulation, and contextual placement, images take on new meanings that subvert or recuperate.
Madrid-based collective Democracia presents “Welfare State: Smash the ghetto”
The “Welfare State” project has its provenance in El Salobral, one of Europe’s largest shanty towns located on the southern outskirts of Madrid. In March 2007, the Madrid City Council and the Regional Government decided the town should be demolished and its inhabitants rehoused.
“Smashing the ghetto” is a four-channel video installation transmitting the demolition of these slum properties as if it were a sports event. The public watches the process from its seats on the “terraces” and urges on the excavators hooligan style. The project turns the destruction of the neighbourhood into a show for the members of civil society. Unconcerned by considerations like the disappearance of a specific way of life, civil society celebrates the end of the ghetto as if it were a media spectacle.
The aesthetics of “ultra” supporters, the supposed personalisation of consumption by means of customization (tuning or tattoos…) and hip hop or heavy metal music are used here as cultural references for a society that gets a kick out of the spectacle of destruction. (Station MCA press-release)
Station Museum of Contemporary Art.1502 Alabama St.Houston, TX 77004
Image: Welfare State 2008. Democracia.
march 13 – may 10, 2014
“In a world in which social and ethical considerations seem to be losing their force, Álava presents us with situations that linger in our minds as ethical conundrums.”
-Jonathan Goodman, 2010
Álava’s projects in the form of dialogues, verbal descriptions, rumors or random encounters, explore notions of trust and intimacy, and use language as a medium to investigate the interconnections that exist between public, private, educational and interpretative aspects of art. Her work explores the capacity that certain materials have to create a maximum by reversing a minimum. “I am intrigued by how we react to the kinds of situations where we are faced with something that looks like it is about to fall. Do we just let it go and rebuild a new structure, or do we try to balance what is mostly gone?”
Alava’s interactive installation Tell Me 2004-2014, made out of thousands of handwritten pieces of paper pinned to the wall and sensitive to the slightest air current, contains thousands of fragmented conversations maintained for the last decade between Álava and the public in the privacy of NYC art museums, where Álava has worked for twelve years as a lecturer/museum educator, leading more than two thousand gallery talks, and inviting friends to think of different ways to interact inside these communal spaces. “I am an artist intrigued by the way the general public interacts and communicates inside museums. To me, museums are ideal ecosystems and stages where differences can be discussed through dialogue, making it possible to engage with the multiple thoughts that arise from these differences and increase our knowledge via interconnected fields.” (FonteraD, 2010)
Gema Álava (b. Madrid, Spain 1973) is a multidisciplinary artist based in New York City since 2001. She has had twenty solo exhibitions (NYC, Madrid, London, San Francisco). She has exhibited at the Metropolitan Museum of Art, Queens Museum of Art, Bronx Museum of Art, Solomon R. Guggenheim Museum, Rana Museum in Norway and MANIFESTA 8. The Smithsonian Institution nominated her artistic project “Verbal Interaction in Museums” for a 2011 SARF Fellowship. In 2012 she was appointed Cultural Adviser to the World Council of Peoples for the United Nations.(AC.Institute press-release)
AC Institute, 547 W. 27th St, 2nd Floor, #210. New York, NY 10001
Image: Gema Alava
04 march – 30 april, 2014
During September 2013 Marcel Pedregosa (Barcelona 1978) spent three weeks as an artist in residence at the Halsnøy monastery on an island in Norway. In this period of time he developed a new photographic body of work based on portraying the natural heritage of the island.After the making of the images he did a first selection of twenty to edit and create a new series under the title Broader. Used to photograph people in big metropolis at rush hours, Halsnøy unfolded a complete different environment of work for Marcel
Pedragosa’s urban background. Far from, traffic, noise and stress, these photographs reflect a place beyond a state of mind. Nature, harmony and equilibrium are some of the aspects poetically depicted in Marcel’s work produced into the broader Norwegian
landscape. (Fondation Biermans-Lapôtre press-release)
Fondation Biermans-Lapôtre: 9A, Boulevard Jourdan 75014 – Paris
Image: Broader. Marcel Pedregosa 2013
26 february – 18 april, 2014
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. While we wait for the exhibition to reach Spain, we offer you a preview of 16 works. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators. The first stop will be at the exhibition hall of the Spanish Embassy in Berlin.
The exhibition #the_color_of_optimism features 67 works by artists Ricardo Cavolo, Littleisdrawing, Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen, María Simavilla.
This show aims to promote a generation of young artists whose works can be regularly seen in national and international publications and who have the support that the internet provides to make their work public. (I.Cervantes press-release)
Instituto Cervantes Francfort. Staufenstr. 1, 60323 Frankfurt
Image. Sonia Pulido “Hop hop”
TUCSON. Emilio Gil "Mapas que no lo son/Imaginary Cartographies: The Collages of Emilio Gil" The University of Arizona Libraries
24 february – 1 august, 2014
Emilio Gil, Artistic Director of Tau Diseño one of one of Spain’s pioneering and most distinguished graphic design firms present the American opening of his collection of collages, “Mapas que no lo son/Imaginary Cartographies.” “Mapas” opens up a new direction in the career of a distinguished design professional. It challenges the relationships between art and design in a way that fuses the disciplines. The results are exciting new cultural creations based on a fascinating compilation of colors, techniques, textures and artistic conceptions many of which use elements of cartography in their construction.
Emilio Gil founded Tau Diseño in 1980. Since then his firm has produced work for a number of important private and public sector clients including UNICEF, El País Aguilar, Alfaguara,and Santillana publishing groups, Aldeasa, SGAE, Indra, Banco NatWest, Gesinar, Logista Osborne, Tabacalera, The City of Madrid, The Spanish Ministry of Culture and Ministry of Foreign Affairs, the International Monetary Fund (IMF) the World Bank Group and the Reina Sofía Museum and centennial celebrations of Felipe II y Carlos V, Goya 96 among them.
Gil’s work has appeared in a number studies and anthologies of design work and important national and international exhibitions.
His work has garnered numerous Spanish awards for design as well of international honors from the New York Type Directors Club, and the Donside Prize in Great Britain. (Arizona libraries press – release)
University of Arizona Main Library. 1510 E. University Blvd. Tucson, AZ 85721-0055. United States
Image: Emilio Gil
05 February - 20 April 2014
Pablo Ruíz Picasso, born in Málaga in 1881, in a house facing the Merced Square in the heart of a city that already had 2500 years of history, comes with the memories of a house full of sisters and aunts, with doves fluttering around the square where he played as a small child, and the smell of paint in the walls.
The selection, curated by Mario Virgilio Montañez Arroyo, offering us examples of the stylistic transitions of an artist who has made his mark on visual formats ever since the last century, is a reflection of his world; his constant and never-ending search. Engravings from the Picasso Foundation, Birthplace Museum’s Collection are exhibited to create a full panorama of the models, techniques, and styles of the artist between 1923 and 1969, half a century of changing creation during which he combines and switches between Classicism, Cubism, and Surrealism.
Traditional themes are questioned in six sections, which reflect and bear witness to Picasso’s incessant search, his defence of the freedom and independence of the artist, which made him the 20th century’s greatest artist. Engravings and ceramics, extending from realistic depictions of certain subjects to their Cubist and Surrealist interpretations, are accompanied by his personal elements of Picasso’s belongings when he was a child.
In collaboration with Fundación Picasso and Ayuntamiento de Málaga. (Pera Museum press-release)
PeraMuseum. Meşrutiyet Caddesi No.65. 34443 Tepebaşı - Beyoğlu – İstanbul
27 february - 25.may, 2014
It is for the first time that the series of works of the so-called “black paintings”, “Soñé que revelabas” (“I dreamed that you appeared”), by Spanish painter Juan Uslé (Documenta IX and others) is presented in a German museum. Since 1997, Uslé has been creating this series of paintings which currently comprises 50 works and which takes a central position in his oeuvre. In his works belonging to “Soñé que revelabas”, which are mainly painted at night.
The combination of a subjective and poetic painting aura as well as the conceptual introspection of the medium which defines all of the artist’s works make Uslé’s oeuvre one of the greatest of our time. This is all the more pertinent as Uslé has been living and working in New York and Spain for a long time and the combination of a catholic-baroque picture emphasis and intellectual detachment connect the European and American painting tradition.
After its presentation in Bonn, the exhibition will be shown at the Centro Galego de Arte Contemporánea (CGAC) in Santiago de Compostela, Spain. (Kunstmuseum Bonn press-releae)
Kunstmuseum Bonn. Friedrich-Ebert-Allee 2, 51331 Bonn
Image: Soñe que revelabas, Ural (2009). Juan Uslé
18 february – 18 april, 2014
The Instituto Cervantes presents an exposition of paintings by José Luis Resino titled “Memory Landscapes” or “Paisajes de la Memoria”
José Luis Resino describes the paintings in his exposition “Memory Landscapes” as follows:
In a world where we are exposed to a constant amount of images at an ever increasing speed, these images will eventually end up taking possession of reality and make it impossible for us to gain access to the truth of matters. That is why it has been searched, through these paintings, for silence, stillness and calmness as symbols of truth. When it comes to choosing a project, it is the style of painting that sets its own standards in an uninhibited manner. It tries to reach the memory of all those places where our eyesight travels to and gazes at. Empty spaces, whose sole owner is the light that enters a stream through its hallways. These are works that bear witness to those interiors: doors which are embedded in uninhabited houses and give them significance. Architectural structures that are assembled in conjunction with water and seem to have grown out of water itself. What I am trying to do, is to invite those who observe my work to reflect upon that which moves me, allowing them to draw their own conclusions from an exhibit that aspires no more than to transmit sensitivity. José Luís Resino (Instituto Cervantes press-release)
Image: José Luís Resino
6 february– 11 may, 2014
The rapid technical development of the film medium is an inspiration for the Spanish artist Daniel Canogar. His installations make new use of outdated technologies: celluloid 35 mm film, VHS tapes and analogue television screens. The piece Sikka Magnum, consists of over two hundred DVDs. Films are projected onto their reflective surfaces and mirrored across the room as a mosaic.
The works of Daniel Canogar comments on man’s relationship to the technological development, and on the changes in memory and identity caused by constant upgrades. He imagines that the dated media he uses represents these lost memories and identities. Quadratura refers to the Renaissance technique to create three-dimensional effects on plane surfaces. Daniel Canogar (born 1964) works with photography, video, sculptures and installations.(Fundación Telefónica press-release)
Espacio Fundación Telefónica. Av. Arequipa 1155, Lima
Image: Filcker 2012 Daniel Canogar
14 February - 11 May 2014
The exhibition presents to the Japanese public a number of works which have been chosen from among the more than one thousand six hundred that make up the MUSAC Collection’s holdings and are grouped together under the theme of Lo real maravilloso. Taking its title from a well-known preface to a novel by Alejo Carpentier, the exhibition deals with the problems of today’s world through works that bring together elements of realism and fantasy as tools for developing specific political and social discourses that are inherent in contemporary society.
Using magical realism as a backdrop, it brings together a selection of works displaying a visual language that is common to Spain, Latin America and Japan. The featured works are by artists of these nationalities who use the imaginary of fantasy and, at the same time, play with the perception and treatment of current problems such as identity, communication, the environment and urban transformation in order to devise an approach to a global vision of today’s society with its economic problems and political challenges. By exploring the everyday realm, these representations span several layers of history and culture with the hope of generating knowledge of our reality.
This selection is an effort to explore and reflect on the notions of the marvellous, the supernatural, fantasy, fiction, parody, play and radical imagination as important ingredients of artistic, social and political discourse. While play appears to have pervaded late twentieth-century artistic strategies, imagination, fantasy and fiction have provided meeting places and a framework for thought and action for the urgent political struggles of the present.(AC Española press-release)
Organised by Acción Cultural Española, AC/E, Museo de Arte Contemporáneo de Castilla y León, MUSAC
In collaboration with: Museum of Contemporary Art, MOT, Embassy of Spain in Japan.
Museumof ContemporaryArt, MOT. 4-1-1 Miyoshi, Koto-ku, Tokyo 135-0022 Japan
february 13th - april 19th, 2014
Rómulo Celdrán makes sculptures and drawings of objects from the artist’s everyday life on an exaggerated, larger than life scale. The works in this exhibition, encompass two series, Zoom and Macro.
Working with common and mundane subjects, Rómulo Celdrán observes famed artist Claes Oldenburg, an unavoidable reference, who was first inspired to make large-scale sculptures of objects as projects for imaginary outdoor monuments, eventually conceptualized. Oldenburg’s works are interested in the vision of contemporary icons, simplifying the details in his subjects, making his works whimsical and playfully recognizable. Celdrán’s works differs from those of Claes Oldenburg and contemporaries such as Tom Friedman, in execution. Each work is a meticulous and obsessive process, working with new, often unexpected materials and techniques to best realize each sculpture, adding an element of surprise and wonder to the objects. The highly exacting and impeccable nature of his works obfuscates that all works are handmade.
Rómulo Celdrán’s works have been acquired and are included in esteemed public and private collections such as the Artphilein Foundation, Liechtenstein; The city of Murcia, Spain; Beth Rudin DeWoody Collection, USA; The National Library of Spain, Spain; Biedermann Museum, Germany; Museum of Contemporary Art Vasco, Spain; Genty Latimer Collection, United Kingdom; Contemporary Spanish Engraving Museum of Marbella, Spain; and University of Murcia, Spain. Born in 1973, the Spanish aritst lives and works in Madrid (Hasted Kraeutler Gallery press-release)
Image: Rómulo Celdrán, Zoom XXXIII, 2013
February 13 - May 25, 2014
This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró’s work.
The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist’s ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other —a principal feature of this exhibition.
The paintings and sculptures in the exhibition plumb the process of making art, part of Miró’s concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued.
This exhibition is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía (Spain Arts & Culture press-release)
Seattle Art Museum, SAM Simonyi Special Exhibition Galleries, 1300 1st Avenue, Seattle, WA 98101
Image. Joan Miró,Woman, Bird and Star (Homage to Picasso)
18 January - 27 April 2014
Celebrated as one of the greatest modern Spanish artists, Joan Miró (1893–1983) created more than ten thousand artworks in a variety of styles across many media, including oils, prints, sculptures and mixed media. In a career spanning almost a century, Miró's vision and energy were vividly reflected in a very personal visual language inspired by the forms and colors he observed in nature. All of his artworks present aspects of a cosmic panorama, synthesized into a personal system of codes representing a microcosm of the artist's interior world.
Through some 86 artworks from Fundació Joan Miró, Barcelona and the Miró family collection, the exhibition reveals Miró's mature style of the 60s and 70s, when women, birds and stars became the major motifs of his artistic expression. (NTMOFA press-release)
National Taiwan Museum of Fine Arts. 2,sec.1, Wu Chuan W.Rd.Taichung.403 TAIWAN.
Image. Joan Miró Foundation
5 december 2013 - 26 april 2014
The Margulies Collection at the Warehouse in Miami and the Fundació Foto Colectania in Barcelona, Spain, have joined together in a long-term collaboration with the aim to present a wide range of vintage and contemporary photography projects. A series of traveling exhibitions culled from the photography and video collection of Martin Z. Margulies have been exhibited at various venues throughout Spain and Europe.We are pleased to announce that the exchange includes an exhibition of works by Chema Madoz on loan from Foto Colectania to be presented at the Margulies Collection at the Warehouse this exhibition season.
The work of Madoz presents black and white photographs of objects that combine the ordinary with illusory perceptions of reality. The images generate clever imagination games, paradoxes and metaphors which lead him to create his own world, often impregnated with fine irony. Madoz questions reality and invites the viewer to discover hidden poetry in the most common objects by altering their context and their functions.(Margulies Foundation press –release)
Margulies Foundation Warehouse. 591 NW 27th street. Miami. Fl 33127
Image: Chema Madoz, Untitled, 1999, Courtesy Foto Colectania Foundation
8 May - 21 July 2013
A leading figure of contemporary art, Manolo Valdés will be at Pera Museum between 8 May and 21 July 2013 with a selection of works that extend from the 1980s to the present. Following the dissolution of Equipo Crónica, the pioneering group of Pop art in Spain, which he cofounded, Valdés continued his career solo as of 1981. His works derive their strength from the masterpieces of the past, bear historic clues, colors, and textures, and make strong references to art history, carrying traces that extend from Velázquez to Zurbarán, and from Matisse to Picasso and Lichtenstein. Stripping a painting from its original context and reinterpreting it through pop art, the artist primarily focuses on figures, objects, and series.
Pera Museum, Meşrutiyet Caddesi No.65. 34443 Tepebaşı - Beyoğlu - İstanbul
Image. Manolo Valdés/marlborough gallery
BEIJING. “From Picasso to Barceló Spanish Sculpture of the 20th Century” National Art Museum of China
2013.04.21 - 2013.06.30
This exhibition shows the development of Spanish sculpture throughout the twentieth century from the aesthetic breakaway of the first avant-garde trends to the present day, but it also takes a look at the links between drawing and sculpture, tracing the path followed from the emergence of an idea to its conversion into a three-dimensional object. The chosen works are examples of the reformulation of sculpture based on avant-garde ideas that marked a shift away from traditional principles and procedures centred on three-dimensionality to a modern art in which works can lose their volume, their solidity, their mass. Sculpture also espoused the ideas of abstract painting, giving rise to a huge testing ground; over time and with the most recent techniques, this experimentation embraced fields such as installations and videos, enriching the finite form of the sculpture. Artists: Dalí, Oteiza, Picasso, Tápies, Juan Gris, Gaudí, Barceló, Miró. Juan Muñoz, Susana Solano, Leiro, Chirino, Chillida, Plensa, Julio González, Manolo Hugué. Curator: Fundación ICO.
Organized: Fundación ICO, Acción Cultural Española (AC/E) y la Embajada de España en Pekín.
Image. Picasso.Fundación ICO