Get Adobe Flash player

Publicidad

Spanish contemporary art worldwide

You can follow us on Facebook.

 

NEW YORK. SPAINFRESH FEST “New Spanish Photography/ Visions Beyond Borders “ King Juan Carlos I Center

2 - 30 may, 2014

A collective photo exhibition introducing 10 Spanish artists that portrait their vision of the international landscape.

Artists: Juan Zamora, Bego Antón, Ignacio Evangelista, Pablo Lerma and Juan Patiño.

Curators: Javier Moreno, Abraham Rivera, Natalia Lobato and Ignacio Tejedor. (Spain fresh press-release)

Organized:  Spain Fresh DOZE Magazine

King Juan Carlos I of Spain Center, 53 Washington Square South. New York, NY 10012

http://www.spainfreshspace.com   http://www.nyu.edu

Image: “Portal E-F” After Schengen serie,  Ignacio Evangelista

AMSTERDAM. “WeMadeThis.es” Kochxbos Gallery

19 april - 03 may 2014

For some time now Spanish cultural tradition has been disproportionately biased towards the visual arts. For example, the importance of Velázquez, Goya and Picasso, the influential trio of painters, does not strike a balance with the ground-breaking literary modernity of Cervantes. In Spain even good projects in non-visual media are known chiefly by their emblematic figures, such as Don Quixote or Don Juan.
Indeed, visual defines Spanish art in all its forms, both past and present. In the new digital environment everything is images, everything is visual. The emergence of new media is providing a fertile ground for the creators who work in this emerging visual tradition. Young, brilliant, joyful and bold, the work of these artists is both commercial and deeply personal. Their worlds are virtual and tactile; it is the world we live in today. Who nowadays would dare say that what they do is not pure art?
Now, thanks to the joint work of SPAIN Arts & Culture, AC/E and Héctor Ayuso, it is possible to learn in detail about the new generation of Spanish visual creators. The result is a scene characterised by creativity and talent that is shown here for the first time.
The project WeMadeThis.Es Tour stems from the firm intention to launch the book with the same title and also to show the most recent work of the foremost artists on Spain’s creative scene.For this purpose a selection of works in printed and audio-visual format is planned, and two works created specially for each of the venues, always by different artists, will be displayed. The travelling exhibition will also feature the launch of the book WemadeThis.Es, as well as a lecture given by one of the participating artists and a workshop held by the same artist. (AC/E press-release)

Kochxbos Gallery, Eerste Anjeliersdwarsstraat 36. 1015 NR Amsterdam

Organised by Acción Cultural Española (AC/E)

http://www.kochxbos.nl

LISBON. Jaime Belda “Nueva York. Cara B”. Sandra Sasera “The Unknown” Instituto Cervantes

10 april – 30 june, 2014

"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"

The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. The images are captured in an international destination, in this 3rd edition, the city of New York. This time, the theme proposed was "Ausias March in New York” whose purpose was to promote indigenous cultural values ​​on a tumultuous cultural moment.The jury: Francesc Vera, Roman de la Calle and Tomás Llorens.

El proyetoThe Unknown”de Sandra Sasera Cano (Valencia, 1981), creates a perception game that invites the viewer to dream. The artist isolates experiences of others to develop an incomplete story, whose interpretation depends on the feelings and moods of those who contemplate its images.(I. Cervantes press-release)

Instituto Cervantes. Rua de Sta. Marta, 43 - R/C. 1169-119 Lisboa

http://www.jaimebelda.com    http://lisboa.cervantes.es

Image: Jaime Belda

BRASILIA. Angatu & Pez " The Power of Smile" Instituto Cervantes

april 24 - may 23, 2014
Exhibition of ten photographs of El Pez (Spanish and graffiti artist), portraying some of the major works of street art and graffiti. They will also be exposed ten paintings done with acrylic and spraypaint by Rafael Hiran, providing visitors the opportunity to observe and compare the works, noting that the smile is an universal language and can be expressed through the urban art and graffiti. This exhibition shows to the public the relationship between characters of both artists; through El Pez graffiti we known Spain contemporary, plural, full of ideas, shapes and colors which is a reference for other countries. In Hiran Rafael painting, whether abstract or figurative, is present Angatu always smiling; the relationship between the works of these two artists is given by the smile showing through art, the universal language. Curator: Samira Rabello. (I.Cervantes press-release)

Instituto Cervantes, Seps 707/907 - Lote D - ASA SUL. 70390-078 Brasilia. (BRASIL)

http://brasilia.cervantes.es   http://www.el-pez.com

Image: Angatu&Pez

BERLIN. Jordi Prat “Terrestrial Days” 3 Punts Galerie

22 march – 26 april, 2014

The exhibition Terrestrial Days is formed by a series of works in which the artist has created imaginary and evocative atmospheres. For this body of work the artist has taken as a starting point objects and landscapes that are familiar giving them new diverse meanings through colours, perspectives and different alienations of the content.The set is "a series of postcards of the Earth where it seems that the entire mankind has gone off for coffee" says curator Maria Montseny.

The artist relocates unknown objects, decontextualizes landscapes and uses stock images adding them irregularities and anomalies, altering colours... Jordi Prat (Barcelona 1974)’s work is characterized by a remarkable creative freedom that interrogates the viewer. The titles of the works do not describe. They are a complementary factor that which surprises with subtle hints. (3 Punts press – release)

3 Punts Galerie, Auguststraße 50b I D - 10119 Berlin

Image: Límit. Jordi Prat, 2013

http://berlin.3punts.com

WASHINGTON. Santiago Sierra y Jorge Galindo ”Los Encargados” Hirshhorn Museum

February 14 - May 18, 2014
The opening credits for the popular TV series Homeland include a montage of presidential clips, among them a close-up of President Barack Obama. At first he is shown upside down, speaking the words, “We must—” The image is quickly righted and he continues, “and we will—remain vigilant at home and abroad.” The show, while fictional, poses real questions about the powers and politics of  leadership, both seen and unseen.

Noted for artworks that question the structure and impact of authority, Santiago Sierra (Spanish, b. Madrid, 1966) staged a performance that similarly invokes images of political leaders. In August 2012 he organized a motorcade of seven black Mercedes-Benz sedans topped with upended monumental portraits of King Juan Carlos I and the six prime ministers of the Spanish democracy by painter Jorge Galindo (Spanish, b. Madrid, 1965; lives and works in London). Bystanders, taken by surprise, posted cellphone documentation, and months later the artists’ multicamera black-and-white edit created a viral sensation.

Los Encargados [Those in Charge], 2013, shows the procession making its way along the Gran Vía of Madrid while accompanied by a soaring soundtrack. The song, “Warszawianka,” used as an anthem by Polish workers in 1905, has been adopted by populist movements worldwide. Heard frequently in Spain during their Civil War (1936–39), it is also recognizable as the score for footage of the October Revolution in the opening credits of the 1997 movie The Jackal.

In the artists’ hands, “found” audio and fabricated visual elements combine to resonate beyond specific national associations, asking viewers everywhere to give thought to those in charge. (Hirshhorn Museum press-release)

HirshhornMuseum and Sculpture Garden, Independence Avenue at Seventh Street SW. Washington.

http://www.hirshhorn.si.edu   http://www.santiago-sierra.com  http://www.jorgegalindo.es

Image: Los Encargados, Santiago Sierra y Jorge Galindo

LONDON. Eduardo Chillida “Graphic Works” Adam Gallery

1 -25 april, 2014

A collection of more than forty graphic works by Eduardo Chillida dating from the late sixties to the late nineties are shown in this exhibition.

Chillida’s graphic work, like his sculpture, shows a preoccupation with form, space and framing. Absence is therefore as important as presence. The balance of dualities in his work such as black-white, heaviness-lightness and emptiness-fullness give Chillida’s work a universal importance.

Eduardo Chillida (1924-2002) is a major figure in twentieth century art. During his lifetime he exhibited widely all around the world. His work is now held in the permanent collections of many major museums such as Tate Gallery, London, the Metropolitan Museum, New York and the Art Institute of Chicago. (Adam Gallery press-release)

Adam Gallery Ltd, 67 Mortimer Street, London W1W 7SE, United Kingdom

http://www.adamgallery.com

Image: Abigune II, Eduardo Chillida

TAIPEI. MADATAC Festival “VIDEOsPAIN” Hong-gah Museum

12 april – 11 mayo, 2014

Hong-gah Museum is pleased to present VIDEOsPAIN – selection from MADATAC(Contemporary Festival of New MediaArts and Advanced Audiovisual Technologies), aims to take the pulse on what is new in the international ever-changing environment and on each edition put forward an attention-grabbing and inspirational subject.

This special selection for Hong-gah MUSEUM presents a caustic, peculiar, critical and enticing view to video art projects produced by Spanish audio visual artists, video art works that had participated or either have been awarded at MADATAC Festival, where oneiric and verity visions. On the other hand, the video pieces open as well the Pandora’s box of cybernetic culture, that enables radical new processes to storm the audiovisual creation, with the ambition to conquer and subdue the screen with ground breaking pixels and a re-assimilation of the relationship between art, matter and technology.

In some way, this collaboration between MADATAC and Hong-gah Museum is an opportunity to establish a dialogue between both Spanish and Taiwanese cultures and societies. Spain and Taiwan: a peninsula and a island who wish to circumvent the distance that separates them by the seas, by connecting their “Qi” life energy, an active principle forming part of any living thing. The video art installation you will attend, allude to this flow of transformation from the real to the virtual and vice versa, a way of catching the past so that the present has the complex variety of an Orchid, a polyhedral, mutant and exotic flower, valued and cultivated by the Taiwanese, as well as by the Spaniards, whose imperceptible metamorphosis to the human perception is comparable to the selected works for this exhibition, in which nothing ever remains invariable, everything changes and varies, to reset, readjust and renew the awareness and imagination of the spectator-observer. Because what is video art if not the art of seeing…

Artists: Albert Merino – Pablo Fernández Pujol – Miguel Ceballos – Alberto Díaz López – David Rodríguez Gimeno – Berio Molina y María Roja – Elena Gaztelumendi – Luis Bezeta – Marina Nuñez – Eugenio Ampudia – Sandra Álvaro – Ana Rodríguez León – Iury Lech – Belén Patón Fernandez Pacheco (Hong-gah Museum press-releas)

Hong-gahMuseum (11F, No166, Da-ye Road, Beitou District, Taipei 112, Taiwan)

Image: Courtesy of the artists and Hong-gah Museum.

www.hong-gah.org.twhttp://madatac.es/en

WASHINTON. Luis Vidal: “Encounters” District Architecture Center

April 10 – May 03, 2014

Spanish architecture firm luis vidal + architects (LVA) will bring its innovative architectural exhibition to the AIA Washington Chapter during the Architecture Week 2014.

Encounters represents an architectural installation created to discover, explore, and display the work of Spanish practice luis vidal + architects (LVA) —a celebration of their vision and main projects over the last ten years, including the soon-to-be-inaugurated Terminal 2 at London’s Heathrow Airport, scheduled to open in June 2014.

The exhibition was conceived to create a meditational space in which one may experience the architectural queries and needs of the 21st Century through the critical eye of unconventional architect, Luis Vidal. This is not an architectural exhibition as you have ever seen before.  A “vertical garden” planted by hand: the installation (6,000 “flowers”, 80 projects, 18 cities) will take the viewer through a personal journey along the conceptual map of Luis Vidal and his collaborators.

About Luis Vidal

Luis Vidal (b. Madrid 1968) studied architecture at the University of Greenwich (London, UK) where he specialized mainly in airports and transport infrastructures and graduated with honors in 1994. In 1995, he was elected the youngest member of the Royal Institute of British Architects (RIBA).

Luis Vidal was project director of the new Terminal T4 for Madrid Barajas Airport, and co-author and director of the new Warsaw International Airport. He has also worked on an additional 24 airport projects. Vidal is the concept and lead architect of the new Terminal 2 at London Heathrow Airport. (SpainArts&Culture press-release)

DistrictArchitecture Center, 421 7th Street Northwest, Washington, DC 20004

http://aiadac.com/sigal-gallery/encounters   http://www.luisvidal.com

Image: Luís Vidal + arquitectos (LVA)

STUTTGART. Pedro Castrortega " Polyhedra " Adriana Schmidt Gallery

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

http://www.castrortega.com

Image: Pedro Castrortega “Polyhedra”

BEIJING. Picasso “Suite Vollard” National Museum China

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

http://www.chnmuseum.cn

NEW YORK. Santiago Calatrava “Solo Show” Marlborough Gallery

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

http://www.marlboroughgallery.com

Image: Santiago Calatrava. Untitled, 1999. Carrara white marble

KÖLN. Ignacio Uriarte “Writing Drawings” Figge von Rosen Galerie

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

Ignacio Uriarte      http://www.figgevonrosen.com

SALZBURG. Javier Pérez “Reticulae Natura” Mario Mauroner Contemporary Art

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

http://www.galerie-mam.com    http://javierperez.es

SAO PAULO. Juan Asensio “Infinite Geometry” Galería DAN

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

http://www.dangaleria.com.br

Image: Juan Asensio

BALTIMORE. Escif “ Open Walls 2”

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

http://www.streetagainst.com

BRUSSELS. Carlos Aires y Emilio López Menchero “Full House” AEROPLASTICS contemporary

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

http://fullhouse.aeroplastics.net  www.carlosaires.com   http://www.emiliolopez-menchero.be

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)

Limerick City Gallery of Art, CarnegieBuilding. Pery Square. Limerick City
www.limerickcitygallery.ie    http://www.martianson.net

Imagen “fizcarraldo, Martí Anson

KÖLN. Aitor Ortiz "Noumena" Stefan Roepke Gallery

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

http://www.galerie-roepke.de   http://www.aitor-ortiz.com

BRUSSELS. Elena Bajo “The Absence of Work” D+T Project Gallery

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

http://www.dt-project.com   www.elenabajo.com

Image: Elena Bajo, I'mTrying To Be Unfamiliar With What I'm Doing, concrete, pedestal. 2012

MOSCOW. Ouka Leele “La utopía transgresora” Moscow X Fhotography Biennial

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)

 http://moscu.cervantes.es

Image: Ouka Leele.

INNSBRUCK. ‘Activaciones’ Neue Gallerie

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

http://kuenstlerschaft.at

FUKUOKA. Arturo Berned “MU” Grin Grin Park, Island City

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”

http://www.berned.com

MU - ARTURO BERNED

LONDON. Saura and Pomés “Portraits” Instituto Cervantes

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

http://londres.cervantes.es

WUPPERTAL. Jaume Plensa “Sculptures” Sculpture park Waldfrieden

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

http://skulpturenpark-waldfrieden.de   http://jaumeplensa.com

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

http://thephotographersgallery.org.uk   http://www.albertogarciaalix.com

LONDON. Ángela de la Cruz “Enantiodromia” FOLD Gallery

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

http://www.foldgallery.com  Angela de la Cruz

BORDEAUX. Kike Aspano " Geometrías en equilibrio " Instituto Cervantes

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)

http://www.kikecasphoto.com   http://burdeos.cervantes.es

Image: Kike Aspano

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.

The curatorial framework of HPB14 has been developed by Istanbul-based curator and designer Basak Senova, Finnish Mustarinda Association, and Branko Franceschi (Zagreb).

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

www.hpb.fi      http://www.danielandujar.org

Image: Daniel García Andujar

LINZ. Fernando Sánchez Castillo “Monuments and other Coincidences” OK. Centrum

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)

http://www.ok-centrum.at

BY-ND 2011, UID-Nr.: ATU36918207, OÖ Kulturquartier, OK Platz 1, 4020 Linz, Austria

Image: “The Last Trip of the Azor” Fernando Sánchez Castillo.

CUENCA.“Leaving to Return” 12th Bienal de Cuenca

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

http://blog.bienaldecuenca.org

Image: Néstor Basterrextea

MIAMI. DosJotas “Greetings from Miami” ArtCenter South Florida

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

http://www.artcentersf.org   http://dosjotas.blogspot.com.es

Image: DosJotas

NEW YORK. Daniel Canogar “Small Data” Bitforms Gallery

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

http://www.bitforms.com   www.danielcanogar.com

Image: Daniel Canogar

MONTEVIDEO. Sara Ramo “Punto Ciego” EAC, Espacio de Arte Contemporaneo

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

www.fortesvilaca.com.br/artistas/sara-ramo   http://www.eac.gub.uy

Image: Sara Ramo

MEXICO. Antoni Abad “Megafone” Centro Cultural de España

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

http://ccemx.org

Imagen: Antoni Abad. megafone.net. Mèxic DF, Mèxic, 2004

OLDENBURG. “Look into the Net, NET.ARTography ” Edith Russ Site for Media Art

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

http://www.edith-russ-haus.de

Image: Giselle Beiguelman, //**Code_UP, 2004 © Giselle Beiguelman

LISBON. Manuel Vilariño “Mitologías” Carlos Carvalho Contemporary Art

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

http://carloscarvalho-ac.com

Image: Manuel Vilariño, Mitologías

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

http://www.100kubik.de   http://www.samuelsalcedo.com   http://www.moisesyagues.com

Image; "Estar en Tí", Moisés Yagües

BUENOS AIRES. “The Spanish National Photography Prize” Museo Nacional de Bellas Artes

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

http://mnba.gob.ar

Imagen: La Gata,2001. Carlos García Alix

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)

BRAGANZA. Bernardi Roig "Blindness Essay" Center for Contemporary Art Graça Morais

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

http://centroartegracamorais.cm-braganca.pt

https://www.facebook.com/BernardiRoig

Image: Bernardi Roig. Centro Arte Contemporáneo Graça de Morais

 

CORTE.Corse. Centre d' Art La Panera Collection "Doble Dirección" FRAC

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  

http://www.corse.fr/Fonds-regional-d-art-contemporain-corse_a481.html

Image: FRAC. Corse

HOUSTON. Democracia “ Collective Reaction” Station Museum of Contemporary Art

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

http://stationmuseum.com    http://www.democracia.com.es

 

Image: Welfare State 2008. Democracia.

NEW YORK. Gema Alava “Tell Me and Silences” AC Institute

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

http://artcurrents.org    http://www.gemaalava.com

Image: Gema Alava

PARIS. Marcel Pedragosa “Broader” Fondation Biermans-Lapôtre

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

http://www.ciup.fr/fondation-biermans-lapotre   http://www.marcelpedragosa.com

Image: Broader. Marcel Pedregosa 2013

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

http://giving.library.arizona.edu     http://taudesign.com

Image: Emilio Gil

BONN. Juan Uslé “I dreamed that you appeared” Kunstmuseum Bonn

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

http://www.kunstmuseum-bonn.de

Image: Soñe que revelabas, Ural (2009). Juan Uslé

LIMA. Daniel Canogar “Quadratura” Fundación Telefónica

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

http://espacio.fundaciontelefonica.com.pe     http://www.danielcanogar.com

Image: Filcker 2012 Daniel Canogar

TOKIO. “The Marvelous Real”. The MUSAC Collection at the MOT. Museum of Contemporary Art

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

http://www.mot-art-museum.jp/eng

Image. MUSAC

SEATTLE. Joan Miró “The Experience of Seeing” Seattle Art Museum

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

http://www.seattleartmuseum.org

Image. Joan Miró,Woman, Bird and Star (Homage to Picasso)

TAICHUNG. Joan Miró “Women, Birds, Stars” National Taiwan Museum of Fine Arts

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.

http://www.ntmofa.gov.tw

Image. Joan Miró Foundation

MIAMI. Chema Madoz “Solo Exhibition” Martin Z Margulies Foundation Warehouse

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

http://www.margulieswarehouse.com

Image: Chema Madoz, Untitled, 1999, Courtesy Foto Colectania Foundation

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.

National Art Museum of China 1 Wusi Dajie, East District Beijing, China, 100010

http://www.namoc.org/en/

Image. Picasso.Fundación ICO

Subcategories