Spanish contemporary art worldwide
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14 may – 7 august 2016
The Swiss Chapters examine the work of the Spanish artist Eduardo Arroyo (born in Madrid in 1937, lives and works in Madrid and Paris) and his affinity to Switzerland. Whether as an artist, author or set designer, Arroyo is a storyteller. As a key figure of the movement entitled Figuration narrative he draws upon the large stock of world history, literature or boxing and combines them with personal motifs – for instance, the characters of Wilhelm Tell or the chimney sweep, both impressions from his Swiss journeys. Due to the enigmatic narrative elements, his detailed works demand an almost investigative approach from the viewer. The exhibition shows works from different life stages of the artist, from lithographs, paintings and drawings up to sculptures. In addition, Swiss friends and artists valued by Arroyo are also invited to participate in the exhibition: Alberto Giacometti, Thomas Huber, Meret Oppenheim, Peter Stämpfli, Hugo Suter, Gérard Thalmann, Jean Tinguely, and Félix Vallotton (Kunstmuseum press-release)
Image: Eduardo Arroyo, El martirio de San Sebastián, 1995, Courtesy the artist, © 2016, ProLitteris, Zürich
30 april – 7 august 2016
The degree of individual and collective, spiritual, ecological, and economic exhaustion and burnout we are experiencing today has led to a unique sort of 21st century melancholy.
For Sigmund Freud, the "deep and painful malaise" of melancholy is characterized by a "withdrawal of interest in the external world" and "loss of the capacity to love." During the Romantic period, the pensive wistfulness and exuberant idealism of the melancholic were still seen as a divine madness common in people doing creative work. The artworks on display at the exhibition and the symposium/performance "A Government of Times" invite us to pause for a moment, reorient ourselves, and reflect on new perspectives, raising questions about political fantasy and a different form of acceleration - an experimental, navigational process where we can discover a universe of possibilities.
Multi-disciplinary spanish artist Álvaro Martínez Alonso (1983, Burgos) presents inphotography and video works which deals with the economic crisis and the problems "On Suspension" The financial crisis that currently lives Spain has caused problems not only of employment but, more importantly, personal deficiencies and existential problems that affect the lives of hundreds of families everyday. With an endless imagination and a praxis always simple but effective, the projects covered by Alvaro Martinez Alonso are a compendium of everything that happens on the streets, that is impossible to separate from the ideals, aspirations, needs and hopes of individuals. And although you cannot know who influences whom, in his work, social activism becomes culture and art, the same way that the ethical spirit translates to aesthetic.
Artists: Gregory Barsamian, Stefan Brüggemann, Anetta Mona Chisa & Lucia Tkacova, CHTO, Jeannette Ehlers, Famed, Rumiko Hagiwara , David Maisel, Álvaro Martínez Alonso, Guido van der Werve. (Halle 14 press-release)
HALLE 14 . Zentrum für zeitgenössische Kunst Leipziger Baumwollspinnerei. Spinnereistr. 7. 04179 Leipzig
Image: Suspendidos. Álvaro Martínez Alonso
05 – 25 may, 2016
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists, Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba, have been selected for the show. (I. Cervantes press-release)
Instituto Cervantes de Casablanca. 31, Rue d'Alger. 20070 Casablanca
Beatriz Moreno. Hécate. Serie Habitantes, 2009
until 17 may, 2016
A journey through the artistic lives and works of two histories most important cultural icons.
Visitors will discover the evolution of styles, techniques, and the influences that drove the changes including the confluence of the two artists over their five decade friendship.
Comprising of over 267 pieces of artwork from the renowned artists, the exhibition commences with a section titled Creators of Myth and continues on to investigate the works of Picasso and Miró in chronological order with sections titled; Inventors of New Languages, Jugglers of Form, Poets of Color and Alchemists of Art.
The exhibition title evokes the key points to understand the perspectives, which involve the personalities, experiences, suggestions and mysteries of two of the most extraordinary artists of the twentieth century. The Dubai narrative path crosses figures and themes, which characterized the graphic experience of Pablo Picasso and Joan Mirò, linked with a fil rouge which intertwined their lives. The exhibition is not just a journey that tells a dialectic relationship between history and contemporaneity, but also a dialogue between the signs of tradition lived and interpreted by the artists, and the energies, which ignited their creativity. Curator: Sergio Gaddi. (Burj Khalifa Annex press-release)
Burj Khalifa Annex. Downtown Dubai Burj Khalifa. 1 Mohammed Bin Rashid Boulevard. Dubai, UAE
Image: Picasso, “Passion and Poetry” Burj Khalifa Annex
NIORT. Núria Mora "Objects in the mirror are closer than they appear" Le Pilori Espaces d´Arts Visuels
4 may – 4 june, 2016
Nuria Mora uses the public space as a medium in a constructive, non-invasive manner. Her artwork both indoor and on the street is inspired in the urban surrounding and the community that inhabits it. She works with materials that range from paper, wood and glass, to multimedia. Though she inquires in different creative fields, her constant is to redeem the human component, the mistake. In every one of her projects, she seeks to capture her own experiences and impressions of the place where she finds herself. Her artwork has been exhibited in galleries and museums worldwide, such as the Tate Modern in London, the Joan Miró and Pilar Foundations in Barcelona and Mallorca, and the Museum of Contemporary Art of Johannesburg. Nuria is also part of “Equipo Plástico” collective with artists SixeArt, Eltono & Nano4814 (Winterlong press-release)
Le Pilori. Place du Pilori, 79000 Niort, France
Image: Nuria Mora. Winterlong galerie
03 – 27 may, 2016
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service, allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed. "After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, between animate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace. (I. Cervantes press-release)
Instituto Cervantes. Fischertwiete 1 Chilehaus Eingang B. 20095 Hamburg (ALEMANIA)
Image: After Schengen, Ignacio Evangelista
6 may - 3 june, 2016
A minimalistic aesthetic has always fascinated artists. But it is in the 60s when a movement, Minimalism, was developed as a reaction to the Abstract Expressionism in vogue in those years. Around the same time, the term Arte Povera was coined by the art critic Germano Celant, literally meaning “poor art”, because of its use of everyday or “poor” materials. It also started as a reaction to abstract painting. However the production process is very different in both movements. Minimalism favours industrial manufacturing while Arte Povera assembles daily objects, both following a rigorous intellectual process and aiming for a basic, and perhaps spiritual, presentation of ideas.
Contemporary Minimalism is a fusion of many movements. Nowadays artists feel free from the corset of manifestos from the last century and pick and choose as they wish. A selection of six artists demonstrates that Minimalism can also be presented as art in movement, or kinetically, in the contribution of Gavin Turk; as photojournalism of an island destroyed by bombs during the Second War World; as Surrealism with basic colouring. Or just as an artwork where the terms Minimalism and Arte Povera can be interchanged.
Belenguer, the curator and one of the exhibiting artists, says: “The 60s produced some of the most innovative movements in Art History and I find Minimalism and Arte Povera rather unique. Based in two different cities in two different continents, a strong dialogue between both took place. I would like to present this show as a starting point of future projects with works by Serra, Judd, Flavin, Pistoletto, Andre, Penone, Merz, Kounellis, etc, shown alongside contemporary artists such as the ones introduced in this exhibition. A dialogue in the making.” List of artists: Gavin Turk, Ayelet Amrani Navon, Vanya Balogh, Lorenzo Belenguer, Cedric Christie and Eva Raboso. (Le Dame press-release)
Le Dame Art Gallery at Meliá White House. 1 Albany ST, Regent’s Park, London NW13UP
Image: Lorenzo Belenguer
18 april - 17 july, 2016
“Ràfols-Casamada presents,” wrote the historian and critic J.F. Yvars, “in sharp profile the Romantic chimera we still refer to as the complete artist.” Merging Catalan classical tradition with his own sensibility and producing art that is spontaneous and expresses the subconscious, Ràfols-Casamada (Barcelona, 1923-2009) is a key figure in the history of Catalan art who has bequeathed us a recognition of painterly painting; the material of painting as an artistic object in itself. Pintura (Painting) brings together, alongside passages from his personal journal, around 40 works in which the artist discourses with reality via the silences of form and colour. (Museu Can Framis press-release)
Museu Can Framis, C/ Roc Boronat, 116-126. 08018 Barcelona
Image: Museu Can Framis
23 april - 28 may, 2016
Dario Urzay worksshows that art should operate in an open world, not limited by exclusion. A world of continuous change and symbiosis, where the personal poetic and observation is fed back to induce new forms of knowledge and communication.
His works are complex Hybridations. Displayed in a format stylistically abstract , build up an imaginary territory, invented from metaphors, in which there is not will to correspond with an external truth. He uses its own language, developed and matured for three decades, which is not designed nor as a representational medium neither as an inner expression, but merely as an adaptive tool to the environment of his own time.
The artist's project includes any effective way to generate new new world configurations through the experience of art. But not in isolation, or in a self-referential way, but connected to the total of human knowledge. Geography, Biology, chemistry, computer programming and iconography applied, may be their source of work. His contemporary paintings offer a good example of this.
In Urzay´s world any human stage is capable of artistic intervention, because nothing should escape to the analysis of beauty or its reverse. His obsessive investigation of technical procedures from traditional pigments and binders to the digital manipulation of audiovisual recordings and public interaction with specific scenarios show a continuing concern where nothing is concluded, nothing is definitive. (Pilar Serra press-release)
Eastmen Gallery. Zuivelmarkt, 50. 3500 Hasselt. Belgica.
Image: Darío Urzay “Construyendo en las ruinas” Nocturno 2014. Galería Pilar Serra
21 april–21 may 2016
“I think that no matter what, the painter has to have a sense of the physicality of the world.” – Esteban Vicente
ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father served in the Civil Guard, a police force in the Castile region, and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.
Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt.
The late paintings of Esteban Vicente, exhibited at the gallery, represent the continued influence of his native Spain through his time spent in his Bridgehampton, New York home, purchased in 1964, studying the light and colors of his flower garden. Vicente’s critical role in the evolution and discourse of Abstract Expressionism is evident in the progression of his works. The paintings selected for this exhibition are significant examples of his use of broad bands of color to illustrate perceived landscapes and light. His use of color is attributed to the attention he paid to all of the physical senses – not just his sight. Vaguely defined forms frame his canvases, while hazy veils of blue, deep oranges, powerful greens and subtle yellows introduce a sense of depth and place. This grouping is a confirmation of Vicente’s pursuit of abstraction, his desire to revisit and rework forms until his last days.
Vicente spent a good portion of his career teaching. He was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, NY; and the University of California, Berkeley, CA, among other institutions.
In addition, he received numerous awards, some of them being the most prestigious given to an artist in the United States. His works can be found in important collections and museums such as the Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; and the Solomon R. Guggenheim Museum, New York, NY, among others.
At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.
Vicente died at the age of 97 in 2001 in Bridgehampton, New York, 10 days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90’s at his home in Bridgehampton. (Ameringer | McEnery | Yohe press-release)
Ameringer | McEnery | Yohe . 525 W 22nd Street New York, NY 10011
Image: . Esteban Vicente. Tact, 1995
28 april – 17 july, 2016
The exhibition on Cristóbal Balenciaga at the Museo de Arte Moderno de México is the first of its kind to be held in Latin America on the brilliant Spanish designer, one of the greatest innovators in international haute couture.
The show examines the social and artistic context of fashion design as part of the identity of the twentieth century and its aesthetic milestones. It features dresses, headwear, photographs, sketches with fabric samples and documents from the Museo Cristóbal Balenciaga in Getaria, which establish a dialogue with masterpieces from the collections of the Museo de Arte Moderno. Javier González de Durana, curator of the show, has devised an academic programme of lectures and sessions in connection with the exhibition. (AC/E press-release)
Museo de Arte Moderno Paseo de la Reforma y Ghandhi s/n Bosque de Chapultepec. Ciudad de México.
Imagen: Beta2. Milenium
until 29 may 2016
“Sand, Paper, Scissors” is a play on the name of the child’s game “Rock, Paper, Scissors” that pits these various materials and objects against one another. These three materials (objects) can currently be found in Museum Wiesbaden’s project room, where they serve as the starting point of the three works on display there: Sand is the original material for the works in glass – Untitled (Vitral) / Ohne Titel (Kirchenfenster) 2015/16 and Blue Chain / Blaue Kette 2016. Paper forms the material basis of Lama no Sapato / Schlamm auf dem Schuh 2014/15, while scissors, in turn, were used to bring the material into its rather unpaper-like form. Belén Uriel transforms industrial, machine or handcrafted objects and traces of machine work into other materials, stripping the original objects of their meaning. What remains are familiar objects whose meaning now lies in their form, or, sometimes new forms created with familiar patterns from everyday life. In Lama no Sapato, molds of tire tracks in mud create patterns put into circular forms. Positioned in a row on the exhibit floor, the tire tracks take on a sculptural quality in their new form. Untitled (Vitral) was created especially for the show at Museum Wiesbaden. The work’s formal language derives from shards of glass held together and re-formed into a pane using tape. Affixed to the massive windows of Theodor Fischer’s museum structure, Uriel’s glass objects, her “church windows” of broken glass, examine the aesthetic value of the re-formed fragments. Belén Uriel, (*1974 in Madrid) live and works in Lisbon and London. She studied at the Complutense University in Madrid and Chelsea College in London. (C/E press-release)
Museum Wiesbaden. Hessisches Landesmuseum für Kunst und Natur. Dr. Alexander Klar Friedrich-Ebert-Allee 2, 65185 Wiesbaden
Image: Teresa Santos/Pedro Tropa
16 april - 15 august 2016
The Exhibition Photosbooks: Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.
For a long time the aesthetic consideration of photography has been limited to individual images that are able to work in a similar way to paintings or etchings, a blueprint developed by historians and museum curators alike to assemble a canon of ‘masterpieces’ for studios or exhibitions. Yet this model is not the only one, and many photographers cannot synthesise their work in a single image, devising it instead in a series. Both models give rise to two coherent histories of photography: one comprised of photos to hang on walls, with a limited number of copies and on sale at art galleries; the other in book form, possibly with a reissue, available in bookstores. By and large, photographers prefer the last option: “pictures on walls and photos in books” (Cartier-Bresson).
A photobook is a publication made up of photographs ordered as a set of images, with plots and complex meanings, and the medium used by some of the most pre-eminent photographers to produce their greatest work; a tried-and-tested model to present, communicate and read photos. Photobooks are becoming more widely recognised as the best medium for presenting series of photographs.
As far as Spain is concerned, the history of photobooks is determined by the avatars of its own national history, for instance the Civil War and the transition to democracy, the focus of some of the finest work produced. In addition to propaganda, changes to the image and social role of peasants and, above all, women, are also prominent issues that are explored. The relationship between literature and photography is another characteristic of Spanish photobooks, which also include works in closer proximity to the international history of the format, such as publications on urban matters.
The study of photobooks is leading to a reinterpretation of the history of photography in diverse countries, as well as in Spain. Along with well-known photographers (the likes of José Ortiz Echagüe, Alfonso, Francesc Català-Roca, Ramón Masats, Xavier Miserachs, Francisco Ontañón o Colita), the exhibition features a considerable number of practically unknown frontline artists who in their day actually published first-rate photography collections, as is the case with photographers like Antonio Cánovas, the collective work of Misiones Pedagógicas, José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa.
Curated by Horacio Fernández, the exhibition Photobooks: Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photo books. The exhibition is concluded with the publication of a catalogue raisonné, jointly published by the Museo Reina Sofía, AC/E and RM (AC/E press-release)
Museo Amparo. 2 Sur 708, Centro Histórico, Puebla, Puebla. CP 72000
Image: Fotos & libros. España 1905-1977
3 march – 2 may, 2016
To “venture beyond” is to take a risk for something more. It can be an attempt to physically breach a space, or a desire to form a new way of thinking about the world; it contains the promise of the possible. “Thinking means venturing beyond” Ernst Bloch, 1959
Graffiti not only compels its practitioners to transcend architectural as much as aesthetic boundaries, legal as much as visual limitations, but also incites them to form new ways of thinking and acting in the world, venturing beyond the well-worn systems of society. This exhibition presents new artworks that address this – the fundamentally utopian nature of graffiti
The works presented here examine concepts such as community and adventure, the passions and emotions graffiti engenders and the visual boundaries it exceeds. Each explores the way it breaks new ground and forges new possibilities. The way it challenges social, legal and aesthetic norms and the ways in which it strives to create a utopia not as a future ideal, but a practice set within the everyday realm of the street. (Somerset House press-release)
Somerset House. Terrace Rooms, South Wing. Somerset House. Strand. London. WC2
16 april – 21 may, 2016
Ten years have gone by since Charlotte Fogh Gallery started. On this occasion, the gallery present a group exhibition by 21 international artists. A ten-year anniversary is an excellent opportunity to create an exhibition that looks back at the decade and offers a review.
The exhibition Itch under the Skin highlights a selection of the many talented artists who have exhibited their work at this gallery through the years. The artists featured at this celebratory show have been chosen because they are representative of the gallery’s overall profile. Some artists have been featured regularly, some visit more rarely, and some have only been part of a few exhibitions. Regardless of how frequently they visit, however, they have all helped shape and define the gallery’s identity and direction. They form the gallery’s DNA
Artists: Katja Bjørn, Søren Behncke, HuskMitNavn, Ragnar Persson (SE), Rose Eken, Eske Kath, Anders Bonnesen, Guy Yanai (IRL), Andreas Schulenburg, Hesselholdt & Mejlvang, Tina Maria Nielsen, Christina Malbek, Michael Swaney (CAN), Kaspar Bonnén, Jesper Dalgaard, Sixe Paredes /Sixeart (ES), Julie Stavad, Ida Kvetny, Anke Feuchtenberger (DE), Lars Nørgård, Julie Nord. (Charlotte Fogh Gallery press-release)
Charlotte Fogh Gallery. Mejlgade 18 B. 8000 Aarhus C.Denmark
Image: Sixe Paredes
until may 22, 2016
Featuring the work of filmmakers Andreas Bunte (Berlin), Denis Côté (Montreal), and Daniel Eisenberg (Chicago), In Time (The Rhythm of the Workshop) turns a lens on manufacturing and the ways that material, bodies, and value are shaped by industry. All three films scrutinize the act of making, and position viewers to consider the labor of manufacturing as carefully as they would other skilled forms of production. Spare and elegant, these films also harness their form, a time-based medium, to capture the tempo of the workday, process as durational performance, and objects of labor as measures of time.
Introducing the films and keeping time in the background is The Speed of Markets, an installation by collaborators Varvara & Mar (Tallinn and Barcelona, respectively), consisting of seven metronomes set to follow and translate into rhythm the real-time trade volume of the stock markets. The Speed of Markets sets the labor depicted in the films against the ticking of the metronomes (which frequently creates a chaotic tempo) and grounds the market’s abstraction of tangible goods and services back in the material.
The complex interdependencies between humans and tools, tools and objects, and objects and humans build a shared, ambient melody that emerges across the films’ soundtracks and the metronomic rhythms. Meant as a poetic opportunity for reflection, In Time is also a meditation on the choreography of fabrication, the dignity of labor, and the unexpected ways material becomes immaterial.
Mar Carnet Sola (Spain) and Varvara Guljajeva (Estonia) have worked as an artistic tandem since 2009. Integral parts of their creativity are research, innovation and exploration of the boundaries of technology. Their work has been presented in numerous international exhibitions and festivals. Mar Carnet Sola has graduated in art and design from ESDI in Barcelona and in computer game development from the University of Central Lancashire in Great Britain. He is currently finalising his Master’s Degree in art and design at the Linz University (Austria). Varvara Guljajeva received her Master’s Degree in digital media from the ISNM, University of Lübeck, Germany, and is currently working on her doctoral degree at the Estonian Academy of Arts in Talin
In Time (The Rhythm of the Workshop) is organized by MAD’s William and Mildred Lasdon Chief Curator Shannon R. Stratton and Curatorial Assistant and Project Manager Sophia Merkin. (MAD press-release)
The museum of arts and design. Jerome and Simona Chazen Building / 2 Columbus Circle / New York, NY 1001
Image: Metrónomo. Varvara&Mar
18 march - 5 june, 2016
In his practice, Oriol Vilanova investigates the characteristics of men and cultures. This investigation is also key in an extensive collection of postcards he has been collecting for years on flea markets and that he regularly uses as a starting point of his works. Chance, repetition and exaggeration often return in his minimal installations, performances and texts.
In M Vilanova focuses on the act of exhibiting. He explores how museums show artifacts in images on postcards or through exhibition devices such as showcases and plinths. What stories do they tell? And does this also create at the same time a certain distance towards an audience?
Oriol Vilanova was born in 1980 in Manresa/Barcelona, he lives and works in Brussels.
Oriol Vilanova has recently presented several solo exhibitions, amongst others at the Fondation Joan Miró, Barcelona and at Nottingham Contemporary in 2013 ; at Palais de Tokyo, Paris and at the galerie Parra & Romero in Madrid in 2012 ; at Musac de León in 2011. He has also took part in several group exhibitions : FILMS-CORRIDOR, presentation of a set of films proposed by the CEC for artgenève 2014, at Jeu de Paume and the Maison Populaire in Paris and at the Kunsthalle de Mulhouse in 2013 ; at Frac Champagne-Ardenne, Reims in 2012 ; at Frac Nord-Pas-de-Calais and at the Fotomuseum Winterthur in 201. (Museum Leuven press-release)
Museum Leuven. Leopold Vanderkelenstraat 28, 3000 Leuven
Image: Oriol Vilanova, Anything, everything
19 march – 23 may, 2016
Fernando Zóbel, pioneer in Philippine modern art, began with the basic line when he developed his visual language. This exhibition gathers selected drawings and prints from the collections of the Ayala Museum and Ayala Corporation that illustrate how these works on paper are steps toward, or are variations or permutations of Zobel’s larger works on canvas.
Fernando Zóbel de Ayala was born in Manila (Philippines) in 1924, the son of a Spanish businessman. He studied Medicine in the Philippines before graduating in philosophy from the University of Harvard (United States of America). From 1951 to 1960 he was Professor of Fine Arts of the Athenaeum in Manila. He travelled in the USA and Europe and in Spain, in 1955, he began a friendship with a number of abstract painters. In 1966 he founded, together with Gustavo Torner and Gerardo Rueda, the Museum of Spanish Abstract Art in the Hanging Houses of Cuenca (Casas Colgadas de Cuenca) financed with his own money. In December 1980 he donated the collection to Fundación Juan March. The works he held overseas are now in the British Museum in London, the Brooklyn Museum in New York, the Fogg Museum at Harvard and the National Museum of the Philippines in Manila. Fernando Zóbel died in Rome on 2 June 1984. (Ayala Museum press-release)
Ayala Museum. Makati Avenue corner De La Rosa Street, Greenbelt Park,
Makati City 1224
Image: Fernando Zóbel. CARROZA. 1953. Serigraph. Ayala Museum Collection
17 march - 20 may 2016
This vibrant exhibition will showcase the work of the 10 winners of the RBS Bursary Awards 2015 who represent the best and brightest emerging contemporary sculptors. Artists: Kyveli Anastasiadi • Rosana Antoli • Tsuyoshi Anzai • Ting Tong Chang • Alex Duncan • Sebastian Kite • Nu Li • Helen Pailing • Tim Sandys • Liz West.
Rosana Antoli’s practice combines performance, moving image and drawing. Antoli specialises predominantly in fictionalised narratives in relation to different materials, and is currently experimenting with choreography and dance to realise her works. Antoli’s focus is on the intersection of art, politics and everyday life. Through this she hopes to reveal the hidden choreographic commands that structure the everyday, in order to resist the imposition of behaviours, acts and motions. The utopian character is central to her practice, and consequently the failure and absurdity of the actions involved. (RBS press-release)
Royal British Society of Sculptors. 108 Old Brompton Road, SW7 3RA
Image: “Endless dance” Rosana Antoli
16 april – 21 may, 2016
PEER celebrates the arrival of spring with a beautifully renovated gallery and an inaugural exhibition by Angela de la Cruz.
Angela de la Cruz’s presentation will feature her massive 10 x 12 metre painting Larger than Life , originally made for the Ballroom of the Royal Festival Hall in 1998. The PEER version was remade in 2004 and has toured widely abroad before being repatriated and squeezed into PEER’s more modest 5 x 7 metre gallery space. De la Cruz is widely acclaimed for her poignant and sometimes tragicomic works, situated somewhere between painting and sculpture. Her works test and challenge the objectness and authority of painting’s status by tearing, crushing and breaking canvases and stretchers.
Angela de la Cruz was born in La Coruña in Galicia, northwest Spain in 1965 and lives and works in London. She studied philosophy at the University of Santiago de Compostela (1987) before moving to London, where she obtained a BA in Fine Art from Goldsmiths College (1994) and an MA in Sculpture and Critical Theory from the Slade (1996). Solo exhibitions include Fundación Luis Seoane (2015), Camden Arts Centre, London (2010), Centro Andaluz de Arte Contemporáneo, Sevilla, Spain (2005) and Museo de Arte Contemporanea de Vigo, Annex Space MARCO, Spain (2004). She was nominated for the Turner Prize in 2010. She is represented in London by Lisson Gallery. (PEER press-release)
PEER. 97-99 Hoxton Street, London N1 6QL
Image: Angela de la Cruz, Larger Than Life (Knackered), 2004-2015. Installation at Galerie Thomas Schulte, Berlin, 2015. Courtesy Angela de la Cruz and Galerie Thomas Schulte.
29 april - 27 may 2016
Alain Urrutia, Maria Tinaut, Inma Femenia, Fernando Martin, Godoy, Maria Leon, Ubay Murillo, Anna Talens, Alex Marco, Ruben Guerrero
In western European culture Black has powerful and contradictory associations, often purposefully at play at once. Black is the colour of mourning and loss and recollection, and yet it is also the colour of restraint, censoriousness and ascetic withdrawal from the world. Black is both a remembrance band and a censor’s bar.
Late in life Francisco Goya painted what are known as his Pinturas Negras. These works reflect on the fate of humanity in a dark light of war. The paintings depict poverty, illness, madness and night creatures originally rendered directly on the walls of his house for his own eyes. The (academic) title of the group is both physically and thematically descriptive. War was a kind of night.
Recent development of the absolute black pigment, Vantblack and its commercial appropriation by a British artist reiterates structures of commodity and ownership in the art production and reminds us what is unseen. Black is a veil. Unable to see, we want nothing more than to see what is happening. Unseen we can do as we please. Black is the colour of new technology and its clinical[im]permanence, a glossy black screen. Black signifies the activities of night. Black is also deeply spatial and we use imaginative soundings to plumb its limit. Black is the universe and the holes in its fabric.
Bête Noire reflects on some conceptual options and opportunities around the creative use of colour black (and de-saturation) in the context of contemporary art practices. Curated By SCAN Spanish Contemporary Art Network. Co-organised by La Plaza e.V-Berlin. (SCAN press-release)
MUSART BERLIN. Danckelmannstr.1 14059 Berlin
Image: Rubén Guerrero S.T(02)´2012. SCAN.
19 april - 6 may 2016
The Things We Leave Behind is a brand new exhibition of photography by Susana Sanromán. Mostly captured on the Leica S-System between 2013 and 2016, this poignant yet fascinating series of images aims to highlight the impact of waste, resulting from the continuous production of goods in our societies. It also looks at the effects of phasing out certain activities and industries that are no longer sustainable, as a result of the economic constraints on the system.
Excessive consumerism has had a serious impact on our environment. The amount of debris is ever growing, while managing it is becoming increasingly expensive.
Susana’s photographs portray real scenarios, where the accumulation of waste has occurred naturally; due to a need for disposal, recycling, or as a result of various industries’ gradual abandonment of activities that are no longer viable.
Making use of a merely figurative and anonymous signifier, Susana uses the 'mummy' to imply that 'human' presence and society are the catalytic changing forces in the landscape we observe.
In each image, the material used in the 'mummification' relates to the background. The human figure merges into its surroundings, until a complete metamorphosis has taken place.
The mummy, as an aspect of human remains, like the landscape depicted, evokes concepts such as death, waste, neglect, degradation and ultimate transformation
Susana Sanromán, born 1976 in La Coruña, Spain, Susana lives and works in London. Since completing her B.A. (Hon) in photography at the London College of Communication (University of the Arts London) her art work has been selected and shown in several Art Fairs over the years; Venice Biennale 2015, ArtCop21, NordArt 2016 & 2015, Art takes Miami 2015 & 2014, Exposure 2015 (Louvree Museum), Mar de Mares 2015, Spain Now 2015, 2014 & 2013, Futurising 2009 and Caja Madrid Generación 2008. She has also been part of several artist residences in India, UK, Italy, Greece and Spain. (Leica press-release)
Leica Store City; Top floor Gallery Space. 18 The Royal Exchange,London EC3V 3LP
Image: Susana Sanromán. The Things We Leave Behind
april 1 - may 22, 2016
International Center of Photography-Bard is pleased to present Spanish visual artist Ivana Larrosa at the group exhibition ¨ALL AT ONCE¨ at Rita K. Hillman Education Gallery in New York City. This is the second time Larrosa exhibits at International Center of Photography after her solo show last February ¨I am not your mother¨. In at ¨ALL AT ONCE¨ Larrosa refines her way of seeing in collaboration with nine artists from seven countries as a methodology for finding connection and community. ¨ALL AT ONCE¨ features the work by Matthew Cohen, Ivana Larrosa, Minny Lee, Allyson Lupovich, Groana Melendez, Bia Monteiro, Martha Naranjo Sandoval, Matthew Papa, Verónica Puche and Katrina Lillian Sorrentino.
Ivana Larrosa’s work investigates the impact of her permanent double vision due to a car accident on her experience of space in two video installations. She combines photographs and a photo based sculpture from her series I am not your mother with her video performance ¨Gravity¨, where her body contours in a brown leather couch from a disoriented aerial perspective and ¨Untitled¨, where Larrosa explores her confinement inside an oppressive trash bag. Her video performances move from trauma to the idea of an event as a cathartic and conceptual self-ethnographic landscape. In ¨Perceptual Landscape Landscape¨, she rolls down a hill, losing orientation with each dizzying turn, scanning the space with different colors. She spins because “it is like acting on the impulse to fly, it lets me forget that I am in a real space, it makes me feel free like an ascendant spiral from reality to the imaginary”, Larrosa says. Ivana Larrosa’s work tests the limitations of body, space and vision while celebrating with an inventive wildness that invites the viewer to spin with her.
Ivana Larrosa is a visual artist from Spain living in New York. She holds a BA in Media Studies and Mass Communication from University of Navarra and is currently pursuing a Master of Fine Arts at International Center of Photography-Bard College in New York City. Larrosa has received grants from Lluís Carulla Foundation (2010), Passanant Foto (2013) and Museum of Tortosa (2014), and numerous international awards, including photographic awards Ramon Aloy, Winner, 2013, and Camera Club of New York, Annual Juried Competition, Honorable Mention, 2015. Her work has been shown at many venues including International center of Photography (New York), Umbrella Arts Gallery (New York), The Center for Fine Art Photography (Fort Collins), Castell Gallery (Asheville), Espacio Aglutinador (Havana), Project Space Kleiner Salon (Berlin), Spanish National Museum of Sculpture (Valladolid) and Galeria Sicart (Barcelona).
Rita K. Hillman Education Gallery. 1114 Avenue of the Americas, New York, NY
Image: I Am Not Your Mother. Ivana Larrosa
12 april – 27 may, 2016
Albert Ràfols Casamada (Barcelona, 1923-2009) is one of the central figures of Spanish lyrical abstraction. Son of the painter Albert Ràfols, he starts drawing at a young age. He comes into contact with the developments of Noucentisme, the Catalan art revival movement, and with the first avant-gardes, especially with the work of Pablo Picasso, Georges Braque and Joan Miró through various publications and trains himself in poetry, beginning with the poets from the Generación del 27.
In 1948 he abandons his architectural studies to devote himself entirely to painting. However, a structured conception of reality will be permanently present in all his work from when he begins with abstraction having overcome a first schematic figurative stage. In 1950 he moves to Paris, the city which will become, as for so many other Spanish artists, an invaluable source of knowledge and stimuli. Likewise, he would continue to expand his interest in poetry when in contact with the French production of authors such as Paul Éluard, René Char, Louis Aragon and André Breton. His return to Barcelona would suppose the purification of his abstraction to which he completely dedicates himself to from 1958 as a result of immersion in the study of landscape.
American Abstract Expressionism is one of the biggest influences present in his work from when he visits an exhibition in Madrid that brings him into contact with the work of Mark Rothko, Barnett Newman and Jackson Pollock, traditions that add to the culture already acquired from Ràfols- Casamada of classical landscape. For this artist, landscape is an expression of his idea of the world; it is a direct experiential register through four basic elements: colour, stain, structure and rhythm. The colours used by the Catalan artist and their successful capture of the atmosphere, often full of reverberating light, determine his own painting style. (I. Cervantes press-release)
Instituto Cervantes de Paris, 7 rue Quentin Bauchart. 75008 Paris
Image. Rafols Casamada. Signé d´Air. Instituto Cervantes
23 april – 24 july, 2016
The ambiguity and uncertainty are concepts that arise from observing his works, pieces of aesthetic beauty, colorful and polished, always perfectly calculated, that works as a lure to the viewer. Jorge Perianes metaphorically indicates the pretensions of his work: “Its inner gear is very similar to the carnivorous plants or flowers. They are structures that bring you closer to a story that is perhaps cruder or more cruel than it seems”. Thus, Perianes seeks people to get closer to the works and to be caught by them, even though at the end they do not understand the message. Thus, Perianes expect people getting closer to the works and getting caught by them, even though at the end they do not understand the message. Using subtle mechanisms of attraction-repulsion-deception, with a distinctly scenographic, which he normally conceives ex profeso for the place where the piece will be exposed.
Jorge Perianes (Orense, 1974), lives and works between Madrid and Vigo. He completed his degree and doctoral studies at the Faculty of Fine Arts of Pontevedra. He resided in Berlin and London during 2008, thanks to the VIII Unión Fenosa Artistic Creation Abroad scholarship.
Worth mentioning are his installation Categorías in Abierto X Obras, in Matadero Madrid last year, a poetic exercise that longitudinally divided this singular space, and his installation at the Cidade da Cultura in Santiago de Compostela. Other solo exhibitions include: Diálogos, Museo Provincial Lugo, 2011; Los animales se equivocan; MACUF, La Coruña, 2009, among others. (Max Estrella press-release)
Centro de Arte Contemporânea Graça Morais. Rua Abílio Beça, 105. 5300 – 011 Bragança. Portugal
Image: Sin título. Jorge Perianes. Instalación MARCO, Vigo, 2008
april 8th - may 9th, 2016
Live from Burbank! The Premier Exhibition Benefiting the Animal History Museum
Wolf curator of the Animal History Museum notes that these artists are “all working primarily in animal genres dedicated to the promotion and protection of animals from exotic to domestic. One thing the two sculptors, nine painters and a photographer all have in common is their enthusiasm and passion for animals. There will be a lot of large work exhibited with a lot of five and six foot pieces… and a lot of color. This is a contemporary show by local L.A.-based artists, and that flavor is distinct, with lively vibrancy and realism to pop and conceptual styles.” This event is free and open to the public. A portion of the proceeds from all art sales benefits the museum.
Alicia Rius is a Spanish photographer born in a small town in Catalonia on the North East portion of Spain. As a teenager, Alicia was influenced by her father and aunt, both avid photographers. She would often find herself watching her father develop film in his darkroom and along the way became influenced by the beautiful images she saw created. Being a creative person, Alicia was also drawn to the world of advertising while growing up and decided to major in that during college.
However the photo bug never left Alicia and she began to explore both analog and digital photography while studying in Barcelona. In her free time, and while working in advertising, she continued her interest in learning more about photography until deciding to make her childhood passion a realization.
In just three short years, Alicia developed into an award winning photographer. Her innate natural abilities and eye for beauty found its muse with the camera. In 2011 she was awarded “Young Photographer of 2011” in Spain for her work “Abandoned Places”, a collection of photographs of derelict places found around Europe. The run-down, left behind relics of days gone became a palette of ideas, colors, visions. As she explained; “My aim was to rescue these forgotten buildings and structures from the dust and show their beauty and sublime magnificence; a beauty as fragile as the silence that surrounds them.”
Since 2009, Alicia’s body of work has been in exhibit in more than 45 galleries around Europe and the United States, and has been published in more than a hundred blogs and online magazines all over the world. Her work has been seen in local and national TV in Spain and France, and her work has been featured in various publications, magazines and photography books. (Animal History Museum press-release)
Animal History Museum . 201 E. Magnolia Blvd., Suite 296, Burbank, CA 91502
Image: Alicia Rius “sphynx-cats”
until 10 september.2016
In its most essential meaning, looking is defined as the act of setting the gaze on some object, person or space. Yet when we speak of looking in the context of art, we have to go further than that. If we consider the creation of the work of art as a way of relating to the world, as a link between what is real, imaginary and symbolic, and as a fact taking on meaning in the act of communication, looking also implies understanding, comprehending and feeling.
In this exhibition the Fundació Suñol presents a selection of work from its own collection, with the goal of once again addressing the importance of the gaze in art. While it is evident that the spectator gazes upon the work of art, it is less clear that the artwork is looking at us as well. By means of a multitude of languages and a great variety of signs and codes, artists communicate experiences, thoughts and emotions in creations that reveal subjectivity, providing a reciprocal gaze that turns into a three-sided active dialogue: the work of art condensing the artist’s gaze; the spectator enquiring about the work from his or her own individuality; and the immensity of the world, understood as an unfathomable vessel where art constitutes an effort to put it all in order.
This exhibition features work by Luis Gordillo, Man Ray, Zush, Richard Avedon, Luis Frangella, Carlos Pazos, Jaume Plensa, José Luis Alexanco, Ramon Guillen-Balmes, María José Lacadena, Christo, Jordi Colomer, Claudio Bravo, Ferran Freixa, Ignasi Aballí, Antoni Tàpies, Juan Genovés, José María Sicilia, Alberto García-Alix, Joan Rom, Jaume Xifra, Robert Llimós, Idroj Sanicne, Sergi Aguilar, Federico Guzmán, Manuel Millares, Pello Irazu, Max Bill and Miquel Mont. The work is grouped into various sections, corresponding to seven different subject areas: gazing; reading; covering up; value; walking/resting; holes; and the colour red. The heterogeneous nature of the subjects chosen demonstrates the variety of recurring concepts in art, each in its own way drawing the attention of artists so as to be interpreted through the form of new languages, multiplying their possibilities. For this reason the works in each section dialogue amongst themselves while inviting us to participate in an open, multidirectional conversation that has not be previously scripted, even while awaiting our reply. (Fundación Suñol press-release)
Fundación Suñol. Passeig de Gràcia 98. 08008 Barcelona
Image: Joan Rom, Sin título (pies atados), 1992. Fotografía Fundación Suñol.
21 april - 4 june 2016
The RYDER is pleased to present a solo exhibition by Jaime Pitarch. In the widest sense, Pitarch’s work addresses humanity’s inability to identify with the structures we ourselves have created. The sense of loss or inadequacy we feel when faced with these structures (whether we call them culture, setting, society, ..) moves humanity to interpret the world, and ourselves, constantly and intuitively in order to try to insert ourselves into it. Through the use of elements fabricated by man, inhabited by man, or elements that have helped man to construct an idea of himself and of what the world is, Jaime Pitarch addresses in this exhibition notions of time, value and productivity. In its formal integrity, each of the works included in this show deal with the artist’s interest in the concept of unity, always working with the elements that form the object and recomposing them in various and inventive ways.
In his work Qui Custodiet Ipsos Custodes the artist progressively paints the exterior of a can with the paint contained in its interior. This process, which takes around four years to complete, unveils the object in a new form through a repeated act of considerable futility. The substance of the work is also entirely visible, it’s life cycle as a usable object being presented rather than applied. The repetition of a seemingly futile act is also present in Pitarch’s A place for hope, a piece in which the artist removes the green thread of a woollen sheet usually used to transport artworks and presents the resulting ball of string nestled within a crease of the blanket that remains. Here, the focus of the viewer is drawn to the materials that make up the process of art as an economic industry.
Jaime Pitarch (b.1963) lives and works in Barcelona (Spain). Graduated from Chelsea College of Art in 1993 he then gained an MA in Fine Art from the Royal College of Art in 1995. Recent solo exhibitions include Galeria àngels barcelona, Galeria Fúcares, Madrid and Spencer Brownstone Gallery, New York. His work has been selected for group shows in places such as Cristina Guerra, Portugal; MASS MoCA; Manifesta 7; Fondation Maeght, Saint Paul, France; Musée d’Art Contemporain, Lyon; Carré d’Art Contemporain, Nimes or MACBA, Barcelona, amongst others. His work can be found in public and private collections such as the MACBA, La Caixa, Artium, Bergé collection, among others. (The Ryder press-release)
The RYDER. 19a Herald Street. London E2 6JT
Image: Jaime Pitarch, Momentum #15, 2007
NEW YORK. Santiago Calatrava, David Rodriguez Caballero and Manolo Valdés “Large Sculptures” Marlborough Gallery
april 07 - May 07, 2016
The Directors of Marlborough Gallery are pleased to announce a group exhibition entitled Large Sculptures with works by Magdalena Abakanowicz, Alice Aycock, Fernando Botero, Santiago Calatrava, Red Grooms, Robert Lazzarini, Clement Meadmore, Michele Oka Doner, Tom Otterness, Beverly Pepper, Arnaldo Pomodoro, George Rickey, David Rodríguez Caballero, Kenneth Snelson, Manolo Valdés and Ursula von Rydingsvard. The exhibition will open on April 7th and remain on view through May 7t h, 2016.
The 16 artists included in this exhibition have each produced critically acclaimed bodies of work that are internationally recognized through their placement in important public and private art collections. The collective artists’ oeuvre spans the breadth of 20th and 21st Century sculpture, breaking aesthetic ground and defining new categories of sculptural experience and expression. The exhibited works, though diverse in character, exemplify the individual artists’ shared commitment to physicality and to the object as sculptural medium. In particular, these artists have exerted significant international influence on sculpture through their monumental works, permanently sited in cities around the world from New York to Tokyo and London to Qatar.
Among the new works on view will be Dama (2016), a 10 plus foot-tall aluminum sculpture composed by Manolo Valdés. The exhibition will also include Santiago Calatrava’s S-3 (2015) a complex tension compression sculpture which was recently exhibited on Park Avenue. (Marlborough Gallery press-release)
Marlborough Gallery. 40 West 57th Street. New York, NY 10019
Image. Santiago Calatrava. S3. Marlborough Gallery
14 april - 17 june, 2016
Encarna Monteagudo (b.1960, Fuentealbilla, Albacete.Spain) The University of Valencia awarded Encarna Monteagudo a doctorate in fine arts in 1991 after she had finished her education as scupltor by forming part of artist’s studios such as Enrique Mestre's, Angel Bados', Juan Hidalgo's and Antoni Muntadas'. She had her first individual exhibition in 1981 and since then has presented her work in different art galleries and spaces throughout Europe.
Her sculptures and two-dimensional works reaffirm her influences by geometry and constructivism and her interest in the analysis of space. She uses materials she considers to be „noble“ and intrinsicly emotionally loaded, whereas she parts with those potentially confusing with their appearance.
Since 2009 she works with a selfcreated symbolism, in which the colors most used by her, like gold, silver, copper, black and white are given an unusual validity. It’s this kind of new order that helps her go beyond abstraction and inside emotional ranges of meaning. (100 Kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21. 50670 Köln
Image: Encarna Monteagudo
MIAMI. Pepe Gimeno “Writing without words...A poetic adventure that transcends words to tell a story” Centro Cultural de España
14 april – 29 july, 2016
Hushed Writing is a book that cannot be read in the conventional way: only a graphic interpretation is possible. This act of deliberately separating form from content has transformed the graphic structure of the book into its narrative.
The project is made entirely from materials found on the beach. Using them, Pepe Gimeno has created evocative approximations of different forms of writing, ancient hieroglyphics, binary alphabets and a number of other motifs, managing to convert fragments of stone, sticks, plastic bottle tops, parts of toys, shells, cigarette butts and broken glass into messages replete with expressiveness and enormous poetic force.
The exhibition of the book can be approached in two different ways: firstly, by a sequential and orderly reading of the collection of powerful images portrayed in the book, and secondly, by a direct and detailed observation of the objects that make up these surprising and original pieces of work.
Pepe Gimeno (b. Valencia 1951) is a Spanish graphic designer and typographer with an extensive professional career. From his studio in Valencia he has developed a large number of projects across the whole range of graphic design. He has won numerous international awards, amongst them the Certificate of Excellence in Type Design from the TDC in 2001 for his font FFPepe. He has worked for the Office of the President of the Government of Spain, Las Cortes Valencianas (the Valencian Regional Government), the Roca Company and the United Nations Food and Agriculture Organization (FAO).
In addition to his professional activities, since 2002 he has been developing and expanding upon his creative expression with new formal projects based on waste materials; a fascinating personal venture which, in terms of concept and form, is positioned between experimental graphics and works of art. (TDC press-release)
CCE MIAMI.1490 Biscayne Boulevard Miami,
Imagen: Pepe Gimeno. The Type Directors Club
Instituto Cervantes de Chicago. 31 W. Ohio,Chicago, IL 60654
Image: Pepe Gimeno. The Type Directors Club
23 april – 31 july, 2016
Cristina Iglesias was born in San Sebastián in November 1956. She studied Chemical Sciences in her home town (1976-1978) and then after a brief period in Barcelona practising ceramics and drawing, she studied Sculpture at the Chelsea School of Art in London, UK (1980-1982). Was granted a Fullbright scholarship to study at Pratt Institute, 1988 In 1995 she was appointed Professor of Sculpture at the Akademie der Bildenden Künste in Munich (Germany) and in 1999 she won Spain's National Visual Arts Prize. In 2012 she won the Grosse Kunstpreis Berlin . She has represented Spain twice at the Venice Biennale, at the 42nd edition in 1986 and at the 45th edition in 1993; at the Biennale of Sydney in 1990; at the Taipei Biennial in 2003; at the SITE Santa Fe Biennial in 2006 and at the Triennale of Folkstone in 2011. She also represented her country at the world fairs held in Seville in 1992 and Hanover in 2000, and at the 1995 Carnegie International, Museum of Art Carnegie Institute in Pittsburgh.(Musée de Grenoble press-release)
Musée de Grenoble. 5, place Lavalette, 38000 Grenoble. France
Image: Sans titre (Passage II). Cristina Iglesias, 2002. Musée de Grenoble
4 april - 28 june, 2016
Internationally-renowned artist Antoni Muntadas will bring two Janiculum neighbors together on Tuesday 7 June 2011, when the American Academy in Rome and the Real Academia de España en Roma will unite to present two Muntadas events as well as a new project by Italian artist Giulio Squillacciotti
Muntadas’ provocative installation About Academia investigates the complicated, often contradictory relationship between the production of knowledge and economic power. Projected on three large hanging screens in the space of the gallery, the video installation simultaneously juxtaposes scrolling textual quotations drawing from Muntadas’ research for the work, excerpts from interviews by Muntadas with significant figures in contemporary academia, and footage of various universities to emphasize their architectural characteristics. Together these components form a disassembled and spatialized documentary, encouraging viewers to move amongst the screens. (RAER press-release)
Real Academia de España en Roma, Piazza San Pietro in Montorio, 3, Roma, Italia
Image: Antoni Muntadas, About Academia (production image), 2001. Courtesy of Irina Rozovsky
31 march – 28 may, 2016
This spring, if in Paris, you will be able to discover one of the leading contemporary artists in Spain, the surrealist painter and sculptor Pedro CASTRORTEGA. Born in 1956, living in Madrid, Pedro CASTRORTEGA is acknowledged for his original and creative paintings "landscape + portrait + still life + nude" that condense in one all 4 pictorial types. This creates overlapping, unique and memorable perceptions in the spectator's intimacy.
The relations between man and nature, with which the painter nourishes a continuous connection, are the guideline of his poetic fables.
Marc CHAGALL, Joan MIRO, Max ERNST... the dreamlike "Noah's Ark" of Pedro CASTRORTEGA is an explosion of life that drills our references and leaves us stunned.
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. (5 Contemporary Art Gallery press-release)
5 Contemporary Art Gallery. 48 rue du Roi de Sicile, 75004 Paris
Image: Pedro Castrortega
6th april - 18th september, 2016
Picasso. German Records has clearly opened up an important new avenue in Germany, too, as it examines from different angles the links, affiliations and divergences between Pablo Picasso and a select group of German artists who are now considered Modern classics, and who radically changed the direction of art history. Recently, the influential German newspaper Frankfurter Allgemeine Zeitung published a highly favourable review of the exhibition, mentioning particularly the “impressive number of works, paintings, engravings and sculptures on display, myriad documents, and emphasis on European Modern Artists”, as well as the fact that “German works have not in any way been sacrificed in favour of the cult genius, Picasso. Quite the opposite, they are presented as equals”. At the German institution’s request, MPM will publish a German edition of the profusely illustrated accompanying book, with contributions from renowned experts on the multiple connections between Pablo Picasso and German art and thought of the time. (Museo Picasso Málaga press-release)
Kunsthalle Würth Lange Straße 35 74523 Schwäbisch Hall. Alemania
Image: Pablo Picasso: Venus und Amor, 1968
07 april – 07 june, 2016
Cristina García Rodero “Open-Mouthed“. This comprises a theme in retrospective of her works right from the first of her photographic endeavors through the end of the seventies till today. The exhibition studies the diversities in the behaviours that are expressed through the mouth. (efe press-release)
Instituto Cervantes. Na Rybnícku 536/6. 120 00 Praga (REPÚBLICA CHECA)
Image: Con la boca abierta. Cristina García Rodero.
14 april - 17 june, 2016
Lluís Cera (b. Barcelona 1967) studied at the University of Fine Arts in Barcelona, obtaining his degree in 1993. Since 1995 he had many exhibitions around the world achieving several awards and recognitions. Cera works with great precision and sensitivity entering with his sculptures in a creative universe. With great technical mastery he mixes material like marble, granite, iron, bronze, wood or resins adjusting every millimeter of the joints. He completely dominates properties such as hardness, structure, texture and color. Sometimes and depending on the choosen material, he uses whole texts or text fragments of in different languages, carved or applied to the surface of his work. Since the beginning of the career of Lluis Cera, the harmonious union of his sculptures to the literature has been a priority. (100 kubik press-release)
100 kubik - Raum für spanische Kunst. Mohren Str. 21. 50670 Köln
Image: Trama, 2013. Lluis Cera
8 april - 27 may 2016
rosenfeld porcini is proud to present ‘Lifting the Veil’ a themed exhibition including works by Claudia Fontes, Argentina; Silvia Hatzl, Germany; Bongsu Park, Korea; Rossana Zaera, Spain; Marianna Gioka, Greece; Firelei Baez, Dominican Republic; Alice Cattaneo, Italy; Luisa Rabbia, Italy; Teodora Axente, Romania; Arushee Suri, India; and Miyuki Tsugami, Japan. The exhibition intends to look beyond the artists’ narratives to examine the formal and poetic interpretations they adopt in their chosen artistic languages. ‘Lifting the Veil’ is rosenfeld porcini’s sixth themed exhibition, following ‘Around Drawing’ last year.
There has been a visible increase in recent years of all-female contemporary art exhibitions notably The Rubell Family Collection’s ‘No Man’s Land’ (Miami) and Saatchi Gallery’s ‘Champagne Life’ (London). This attention is primarily a reaction to the perceived gender imbalance in society and more specifically in the art world. However, rosenfeld porcini’s decision to bring together these eleven international women artists has another intention. ‘Lifting the Veil’ is not aiming to make a statement about what it is to be a female artist in our contemporary society, but rather looks at a selected group of artists from very different cultures and backgrounds in order to examine if there is a common sensibility that links their practices, even though their narrative concerns vary greatly. (Rosenfeld Porcini press-release)
Rosenfeld Porcini Gallery. 37 Rathbone Street, London W1T 1NZ
Image: Rossana Zaera. The time bride. 2015
WASHINGTON. “The Color of Optimism, Spanish Illustrators” Former Residence of the Ambassadors of Spain
april 21– june 26, 2016
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators.
The exhibition #the_color_of_optimism features 67 works by artists Ricardo Cavolo, Littleisdrawing, Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen, María Simavilla.
This show aims to promote a generation of young artists whose works can be regularly seen in national and international publications and who have the support that the internet provides to make their work public. (AECID press-release)
Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington
Image. Sonia Pulido “Hop hop”
07 april – 21 may, 2016
Death’s Husband is an illustrated short story set in medieval times set in the horror of the Black Death. The original story was written in Spanish by J. M. Pumarega and has been translated into English, Irish, Catalan, Galician and Basque. The languages are displayed in a layout echoing the Rosetta stone, highlighting the importance of linguistic diversity. The Illuminated Manuscripts were a source of inspiration.
Symbolic hand-printed linocut illustrations in monochrome reflect the dark narrative of the chilling story which won a Mention in the Metrovías Short Horror Story competition (Buenos Aires, 2005).
Cristina del Moral Aladro: Visual Artist, BA (Visual Communications) Dublin School of Creative Arts, College of Arts and Tourism, Dublin Institute of Technology. She has also been awarded a certificate in Fine Arts by the National College of Art and Design/CEAD (2010). . (I.Cervantes press-release)
We have prepared a video for you to see the creative process in images: youtube.com/watch?v=l9_rQaIqkDY.
Instituto Cervantes - Sala de Exposiciones. Lincoln House, Lincoln Place. 2 Dublin(IRLANDA)
Image: Cristina del Moral Aladro “Death’s Husband”
01 april – 29 may, 2016
An immersive multimedia installation which tackles themes of trauma, displacement, personal narratives and landscape. The work is an intimate account of the personal experience of travelling through an unfamiliar landscape reminiscent of the experience of refugees.
Through the use of video, photography, light and sound, Altered Landscapes aims to engage the viewer in a journey. It asks the viewer to navigate the different elements in the gallery space so as to be absorbed in the experiences and journeys of the refugees, in order to open up contemplation and discussion about the current situation in Europe, a place that that has become filled with militarised border control.
For this exhibition delGado travelled to Greece, Macedonia and Calais to film, photograph and record the journeys taken by refugees. delGado has not filmed these ‘invisible’ people, who proliferate our media, but the places they have passed through. There are traces of their existence, fragmented experiences, fleeting moments and marks left on the land as they pass through to find safety.
Inspired by the text The Metamorphosis by Czech writer Franz Kafka, the project centres on a personal diary from a narrator, a European subject, who is describing how his human identity is gradually being transformed into something else, as a response to the suffering he is viewing.
These reflections are provoked by the events and debates of the last few years around the refugee crisis and are contextualised in a landscape which is strongly embedded in our collective imaginary, Greece with its Acropolis, the ancient citadel of Athens, and the birthplace of the democratic values and culture.
Juan delGado works across a range of media including installation and photography and has produced an extensive body of work that explores themes of trauma, landscape, disability, dislocation and gender. delGado has exhibited widely including at ARCO’05, Madrid, End of the World Biennial, Argentina, and the 2014 Mardin Biennial, Turkey. He was selected in 1997 for the John Kobal Photographic Portraiture Awards, for the 2012 BBC Big Screens programme, in 2013 he was shortlisted for the Jerwood Open Forest exhibition, and in 2014 he was awarded a major project commission by Unlimited that premièred at the Southbank Centre, London. His work has been supported by many prestigious organisations including the British Council, the Wellcome Trust, Arts Council England, Spanish Ministry of Culture, and ArtSchool Palestine. (Watermans press-release)
Watermans Art Centre. 40 High St, Brentford, Middlesex TW8
Image: “Altered Landscapes” Juan delGado
MIAMI. “From doodles to pixels. Over a hundred years of Spanish Animation” Centro Cultural de España
14 march – 3 may, 2016
The works selected by curator Carolina López and include films by directors such as Segundo de Chomón, Josep Escobar, Francisco Macián, José Luis Moro, Jordi Amorós, Tomàs Bases, Raúl García, Juan Pablo Etcheverry, Isabel Herguera, Javier Mariscal, Anna Solanas, Marc Riba, Alberto Vázquez, Pedro Rivero, Izibene Oñederra, Nicolai Troshinsky and Rocío Álvarez, among many more. The project has involved the collaboration of Filmoteca de Catalunya, Filmoteca Española and Movierecord, as well as a number of companies and organisations.
Some of the least known and most fascinating films in this cycle are: Garbancito de la Mancha (Arturo Moreno, 1945), the first feature-length animated film made in colour in Europe; black-and-white advertisements from the 30s by Catalan cartoonists such as Serra i Massana and Ferran; La Edad de Piedra (Gabriel Blanco, 1965), with cartoons by Chumy Chúmez; the commercials of the Moro and Estela studios; and a short film made by Frederic Amat for the occasion. (AC/E press-release)
Centro Cultural Español. 1490 Biscayne Boulevard Miami
Image: Minotauromaquia: Pablo en el Laberinto. Juan Pablo Etcheverry, 2004
until – 12 june, 2016
‘Digital Revolution’ is an exhibition about art, design, film, music and videogames.
This exhibition will show the work ‘Wishing Wall’, created by the artistic duo formed by Varvara Guljajeva from Estonia and Mar Carnet, Spain. This piece, which combines different media (digital, audio and interactive technology), will try to collect the whispering voices of visitors and transform them into digital butterflies. Guljajeva describes this transformation as ‘the metamorphosis of a wish’.
Mar Carnet is a computer gamer engineer, designer and media artist. Born in Mollet del Valles (Barcelona) in 1981, he is interested in elements such as software developing, game modes, digital expression, data display or new media art.(Zorlu Center press-release)
Zorlu Center, Levazım Mah. Koru Sok. No:2/PSM/70 Zincirlikuyu, Beşiktaş / İstanbul
Image: Andrew Meredith
26 march – 17 july, 2016
Stored in concrete-clad tunnels deep within the earth, radioactive matter is being buried that will continue to have the potential to create catastrophic disaster deep into the future, into a period of time we can barely perceive of, yet alone imagine. Troubling over signs, objects and markers that endure from the past, the group exhibition ‘Riddle of the Burial Grounds’ stares unblinkingly into this future, and to a landscape littered with industrial ruin, excavated caverns and objects and messages that will outlast us: a future counted in the devastating, radioactive reality of half-lives.
‘Riddle of the Burial Grounds’ is generously supported by Culture Ireland, and is a partnership bound by ideas, forged between Extra City Kunsthal, Antwerp, and Project Arts Centre, Dublin. While ‘Riddle of the Burial Grounds’ thinks far into the future, ‘Allegory of the Cave Painting’ (2014-15), curated by Mihnea Mircan, looked 40,000 years into the past, and evolved into an exhibition called ‘A breathcrystal’ which was presented at Project Arts Centre in 2015.
The exhibition at Extra City Kunsthal features many artworks newly commissioned by Giblin for steirischer herbst festival, Graz, artworks featured in Project Arts Centre, and some artists who have joined the exhibition for the first time, including Lucy Skaer, Emmanuel Van der Auwera and Ruth E. Lyons.
Artists: Lara Almarcegui, Stéphane Béna Hanly, Rossella Biscotti, Simon Boudvin, Mariana Castillo Deball, Dorothy Cross, Regina de Miguel, Mikala Dwyer, Harun Farocki, Geoffrey Farmer, Peter Galison & Robb Moss, Tracy Hanna, Mikhail Karikis, Sam Keogh, Ruth E. Lyons, Nicholas Mangan, Jean-Luc Moulène, Lucy Skaer, Lonnie van Brummelen & Siebren de Haan, Emmanuel Van der Auwera. (Extra City Kunsthal press-release)
Extra City Kunsthal. Eikelstraat 25. BE 2600 Antwerpen–Berchem
Image: Lara Almarcegui, Buried House, Dallas 2013, film still
TOURCOING. Blanca Casas Brullet and Pablo Valbuena “Drôles de trames !” Le Fresnoy - Studio national des arts contemporains
march 4th - may 8th, 2016
The exhibition Drôles de trames ! presents the linking (or mismatching), which we so value between traditional artistic media and the latest technologies. In this context the word “trame” (web, network) also evokes the notion of filling in textile making, an industry which was of such historical importance to the identity of the Nord Pas de Calais - Picardie región.
Artists: Ryoichi Kurokawa, Sol LeWitt, Thomas Bayrle, Blanca Casas Brullet, Sidival Fila, Dan Flavin, Sheila Hicks, Jean-Michel Meurice, François Morellet, François Rouan, Pablo Valbuena (Le Fresnoy press-release)
Image: “Evenements” Blanca Casas Brullet
18 march – 25 june, 2016
At Carriageworks, the Embassy of Disappearance brings together works by artists exploring themes of absence and memory, including disappearing languages, histories, currencies and landscapes.
Engaging in a research-driven practice that spans installation, sound, film, performance and sculpture, Aura Satz often investigates the history and use of twentieth-century inventions and the way technological advances have informed cultural shifts in communication and perception of proximity and distance. Fascinated by the sculptural, ergonomic and visceral qualities of now obsolete technologies, Satz considers the connections between objects and the body; examining the manner in which many devices were modelled on human anatomy, acting almost as prosthetic extensions of the individual. Aura Satz .
Aura Satz (b. 1974, Barcelona, Spain. Lives and works in London) gained her practice / theory PhD in Fine Art Media at the Slade School of Fine Art, London in 2002. Her practice encompasses film, sound, performance and sculpture and she has performed, exhibited and screened nationally and internationally, including FACT, Liverpool; Site Gallery, Sheffield; Galleria Civica di Arte Contemporanea di Trento, Italy; De La Warr Pavilion, Bexhill-on-Sea; the Zentrum Paul Klee, Switzerland; Färgfabriken, Stockholm; Tatton Park Biennial, Cheshire; AV festival, Newcastle; Arnolfini, Bristol; Ikon, Birmingham; BFI Southbank, Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, ICA, Jerwood Space, Tate Britain, Tate Modern, Beaconsfield Gallery, Artprojx Space, and the Wellcome Collection, London. (Biennale of Sydney press-release)
Carriageworks, 245 Wilson St, Eveleigh NSW 2015.
Image: Aura Satz, Between The Bullet and The Hole, 2015 (video still), HD film, 10 mins. Courtesy the artist. Co-commissioned by Dallas Contemporary, Texas and the 20th Biennale of Sydney. Funded by Arts Council England. Photograph: Aura Satz
15 march - 17 july, 2016
Although it is clearly retrospective, the exhibition “Toni Catany: Back and Forth” offers to reveal quite a different Catany from the one we know and the memory we normally have of his work.
Often labelled “classical”, “traditional”, “neopictorialist” and even “nostalgic”, Catany’s work sometimes matches these epithets a great deal and sometimes very little. It is work that is sometimes bold, linked to its times and full of surprises: modern work.
The life and work of Toni Catany (Llucmajor, Majorca, 1942 – Barcelona, 2013) could perhaps be defined as an incessant succession of toing and froing between Llucmajor and Barcelona between the Mediterranean and the rest of the world, between interior and exterior, between projects and memories, between the photographic techniques of the past and modern technologies.
It all becomes a matter of comings and goings, toing and froing, inside and out, here and there. These incessant and inextricably linked movements feed off one another mutually in passionate research: glorifying beauty and harmony, picking out the art in everyday things, creating lines, building bridges, finding similarities, some of them scarcely believable. And finding oneself; in other words, showing oneself. Through his photographs, Toni Catany has never spoken of anything other than himself. This is the cohesion and coherence between thousands of images covering half a century. . (La Pedrera press-release)
Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona
Image: Toni Catany. Bodegón, núm. 121/2012
26 march - 12 june 2016
reGeneration3 brings together 50 artists with 25 different nationalities, representing some 40 art institutions. Their work is distinguished by their multidisciplinarity, ranging from printing and photographic series, artists’ books, multimedia installations, videos, projections, films and performances, to on-site installations. FORMAT presents the first UK showing of this exhibition, curated by Musée de l’Elysée, Switzerland.
reGeneration is an innovative international project devoted to the emerging photographic scene launched in 2005 by the Musée de l’Elysée, Switzerland. Although many similar projects have seen the day since then, the Musee de l’Elysee decided to embark on a third edition on the occasion of its 30th anniversary, one that would focus on the multifaceted nature of photography.
Almost one hundred art academies worldwide responded to their call for applications and submitted up to five portfolios of the best work of their recently graduated students, including spanish artistsIrene Muñoz Martín, Ángelica Dass y Emilio Pemjean.After a careful review of the 400 applications submitted, three major themes were identified as being representative of the emerging art scene: the variety of approaches for dealing with documentary subjects; the question of memory; and the wealth of aesthetic photographic expressions inspired by the history of the medium and, more broadly, the history of art. Artists: Magdalena Baranya (CH), Emile Barret (FR), Mohit Bhatia (IN), Giacomo Bianchetti (CH), Rachel Boillot (US), Jan Brykczyński (PL), Delphine Burtin (CH/FR), Juno Calypso (UK), Rachel Cox (US), Angélica Dass (BR/ES), Emilie De Battista (CH), Michael Etzensperger (CH), Veronika Geiger (DK), Anna Gutová et Gabriel Fragner (CZ), Artur Gutowski (PL), Elizabeth Hewson (UK), Karl Isakson (SE), Jung A Kim (KR), Jonna Kina (FI), Karel Koplimets (EE), Marek Kucharski et Diana Lelonek (PL), Ola Lanko (UA), Jae Hoon Lee (KR), Michael Liani (IL), Silin Liu (CN), Emily Macinnes (UK), Robert Mainka (PL), Irene Muñoz Martin (ES), Loan Nguyen (CH/FR), Nobukho Nqaba (ZA), Martyna Pawlak (FR/PL), Emilio Pemjean (ES/CL), Constance et Philippine Proux (FR), Laurence Rasti (CH), Simon Rimaz (CH), Jacinthe Robillard (CA), Paul Samuels (ZA), Ulrike Schmitz (DE), Juuke Schoorl (NL), Corinne Silva (UK), Sara Skorgan Teigen (NO), Gaia Squarci (IT), Harit Srikhao (TH), Benjamin Swanson (UK), Jennifer Thoreson (US), Sinan Tuncay (TR), Matt Waples (CA), Piotr Zbierski (PL), Tereza Zelenkova (CZ), Li Zhi (CN). (Format fest. Press-release)
FORMAT Festival, QUAD, Market Place, Cathedral Quarter, Derby DE1 3AS
Image: Emilio Pemjean. Palimpsesto V
24 march - 07 may 2016
A Certain Urge (Towards Turmoil) exists along a fault-line of shaky utopian dreams. Rising from anxieties caused by the perpetual possibility of societal disaster, the show reflects on a past and present connected through turmoil. These artists employ poeticized tactics of disruption to draw out hypocrisies within dominant sociopolitical systems, and undermine the tight grip of political dogma. Active agents in their local communities, while contributing to essential international discourse, the artists are in dialogue with each other as they present previous work alongside work created for the exhibition. Through sculpture, installation, performance and intervention, A Certain Urge (Towards Turmoil) evokes a space to imagine versions of the world yet unattained.
Artists: Chloë Bass and George Scheer, Cynthia Gutiérrez, Nuria Güell, Avelino Sala, Joaquín Segura, and Manuela Viera-Gallo. Curated by: Blanca de la Torre (AC/E press-release)
EFA Project Space. 323 W. 39th St, 2nd Floor. New York, NY 10018
Image: “A Certain Urge (Towards Turmoil)” EFA Project Space
19 march - 29 may, 2016
The Spanish artist Santiago Sierra participates in the group exhibition Afterwork, curated by Inti Guerrero, with his artwork The Trap.
Afterwork is a major group exhibition exploring issues of class, race, labor and migration in Hong Kong and the surrounding region. It is part of Para Site’s ongoing Hong Kong’s Migrant Domestic Workers Project, a long-term initiative aimed at engaging the domestic worker community through collaboratively organised public programmes and commissioned artist research. As an exhibition, it is nevertheless an autonomous proposition, including the often ambivalent and polychromatic aspects of the social and cultural mosaic of Hong Kong, Philippines, Indonesia and beyond. Domestic workers represent one of the most visible components of Hong Kong's society and their legal and symbolic status are matters of constant negotiation, reflecting the shifting position of Hong Kong citizenship. The group’s invisibility in the various narratives of what constitutes the Hong Kong society is countered by the hypervisible weekly occupation of Hong Kong’s public spaces for the Sunday picnic gathering of the community. It was the social spaces and cultural structures constituted around this regular gathering that facilitated the beginnings of our project. At Para Site, we strongly believe in art's potential as a tool for re-imagining the meaning of community in Hong Kong, between the different groups and communities that inhabit it. Afterwork looks at Hong Kong’s largest minority group, and tells their stories—crucial narratives that need to be told alongside the growing affluence of Hong Kong in the past decades, and on the backdrop of the different historical waves of labour migration in Hong Kong and the world. It is not, however, meant to patronizingly give a voice to or be the vindicator of the struggles of migrant workers. The show takes into consideration the representation of migrant domestic workers from various perspectives to provide critical reflection on the persisting issues of discrimination, stereotypes, legal status, but also domesticity, rest, and privacy. The very notion of representation is also placed into question throughout the show. Afterwork includes the work of artists of different practices, contexts, and generations dealing with the issues, aesthetics, and histories of migrant labor. Several artists venture into the personal implications of the presence of domestic workers in households, the public sphere, and the artists' lives. Other artists create abstract landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes. (AC/E press-release)
Para Site. 22/F, Wing Wah Industrial Building. 677 King’s Road. Quarry Bay. Hong Kong
Image: The Trap. Santiago Sierra
25 march – 11 september, 2016
The oeuvre of Joan Miró, one of the most celebrated figures in the history of modern art, is closely linked to Surrealism and reveals the considerable influence that artists and poets belonging to the movement had on his work in the 1920s and 1930s. Indeed, they aroused in Miró the need to meld painting and poetry. Thus his art moved towards a simplification of reality, reminiscent of primitive art, on the basis of which he constructed an innovative language of symbols that would give him a new perception of material culture.
‘Joan Miró. La forza della materia’ (Joan Miró: The Force of Matter) focuses on this last aspect, showing through a wide selection of works executed between 1931 and 1981, the importance the artist always gave to the material, not only as a useful means of learning new techniques, but especially as an end in itself. Miró experimented with unconventional media and innovative procedures, breaking the rules so as to arrive at the very origins of art.
Over 100 works are displayed chronologically to reconstruct the artist’s trajectory. The majority are from the Fundació Joan Miró collection in Barcelona and from that of the artist’s family. (MUDEC press-release)
MUDEC. Museo delle Culture. via Tortona 56, CAP 20144 Milano
Image:”Perro pequeño”. Fundación Joan Miró
23 march – 4 september, 2016
Starting with plaster as a construction material of the Casino Luxembourg exhibition halls, Spanish artist Lara Almarcegui probes the underground geological layers of the Casino to find her mineral counterpart - gypsum - to develop its potential. In parallel, she explores the extent to which the architectural envelope covers and harbours the gypsum. A play of relations develops between the underground presence and the mineral ownership, between the architecture of the building and its material reality, as well as between the edifice and its urban context. curator: Kevin Muhlen
Lara Almarcegui was born in 1972 in Zaragoza, Spain. She currently lives and works in Rotterdam, Netherlands. The works that Lara Almarcegui has been developing over the course of nearly twenty years question the frontier between urban decay and urban renewal, and try to make visible what tends to remain unnoticed. While focusing on abandoned spaces and structures that are undergoing a process of transformation, Almarcegui also investigates the different connections that can be established between architecture and urban planning. She inquires into the current state of peripheral areas -their development, use, and decay- and manages to set up a discourse about the different elements that constitute the physical reality of an ever-evolving urban landscape. (Casino Luxembourg press-release)
Casino Luxembourg. 41, rue Notre-Dame, L-2240 Luxembourg
Image: Casino Luxembourg. Lara Almarcegui
march 22 – 28 august, 2016
The Bibliothèque nationale de France and the Musée national Picasso-Paris organize a joint event dedicated to Miquel Barceló. Numerous pieces, never-presented before, allow visitors to discover the Majorcan artist’s universe. Paintings and ceramics are presented at the Musée national Picasso-Paris while the engraved works are put on display at the BnF.
Miquel Barceló’s engraved works that stand as a major part of the artist’s production are rarely presented. The artist, painter, sculptor and ceramist, has also been trying his hand at printing techniques since the beginning of his career. Rich and deeply original, his printed works gather nearly 250 copper and wood engravings, lithographs, screen prints and stampings. Although a self-sufficient part of the artist’s production, these pieces remain an integral part of his protean work because of their fundamentally experimental dimension.
The BnF naturally decided to present this little-known part of his work in parallel with drawings, sculptures, ceramics and paintings. Visitors are invited to follow a thematic path built around a selection of 60 recent or very old prints accounting for the coherence and singularity of his artistic approach.
A monumental fresco made of soil and daylight was created in situ across the full height of the windows of the Julien Cain alley that the artist covered with a fine coat of clay before scraping the dried material. An outstanding introduction to the exhibition, this 190 metre-length over 6-metre high fresco immerses visitors in Barceló’s bewitching universe. (BNF press-release)
Bibliothèque Nationale de France. Site François-Mitterrand. 75706 Paris François-Mitterrand / Gallery 1
Image: 'Le Grand Verre de terre' (2015), Miquel Barceló.© Adagp, Paris 2016. ph. A. Torres, 2015
march 22 – 28 august, 2016
Miquel Barceló. Born in 1957 in Majorca, he will be the first contemporary artist invited to present a monographic exhibition at the Hôtel Salé since its reopening in 2014. The exhibition, titled “Sol y sombra,” will display an ensemble of paintings, sculptures, ceramics, and works on paper from the 1990s to today. The exhibit will center around the artist’s diverse domains of creation and highlight the affinities of his work with the attitudes, the motifs, and the creative processes of Pablo Picasso.
At the same time, the Bibliothèque nationale de France will present an exhibition focused on the engravings of Barceló. Conceived as a partnership, these two exhibitions will give the public the opportunity to discover, and rediscover, the rich and protean work of this well-known artist of the contemporary scene. (Musée Picasso press-release)
Musée Picasso Paris. 5 rue de Thorigny. 75003 Paris
Image : Miquel Barceló. Mur de briques © Xavier Forcioli, 2016 © ADAGP, Paris, 2016
8 march – 28 august, 2016
Picasso Sculpture is a sweeping survey of Pablo Picasso’s innovative and influential work in three dimensions.
Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status for Picasso. He approached the medium with the freedom of a self-taught artist, ready to break all the rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished the sculptures' company and enjoyed re-creating them in a variety of materials and situations. Picasso kept the majority in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his work. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which until now was the first and only exhibition on this continent to display a large number of the artist’s sculptures.
Picasso Sculpture focuses on the artist’s lifelong work with sculpture, with a particular focus on his use of materials and processes. The exhibition, which features more than 100 sculptures, complemented by selected works on paper and photographs, aims to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention. The exhibition is organized in chapters corresponding to the distinct periods during which Picasso devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. Organized by The Museum of Modern Art in collaboration with the Musée national Picasso – Paris. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art; with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso – Paris. (Picasso Museum press-release)
Musée Picasso Paris, 5 rue de Thorigny. 75003 Paris
Imagen: Pablo Picasso. La Femme au jardín. Paris, printemps 1929. Photo :© RMN-Grand Palais / Adrien Didierjean / Mathieu Rabeau
26 february - 12 june, 2016
Joan Miró (1893–1983) once famously declared that he wanted to assassinate painting. Today he is recognized as one of the greatest artists of the 20th century. With a focused solo exhibition, the SCHIRN presents a previously little-discussed aspect of the Catalan artist’s work: Miró's preference for large-scale formats and his fascination with the wall. From early on, the wall was the starting point for his painting – the wall as an object to be depicted, and which at the same time would determine the physical and tactile quality of his painting. Miró distanced himself from the simple reproduction of reality and equated the picture plane with the wall. By using different colored grounds, coarse burlap, Masonite (hardboard), sandpaper and tarpaper, he created unique visual worlds of monumental dimensions and outstanding materiality. The exhibition covers over half a century of Miró’s oeuvre, beginning with his emblematic painting "The Farm" (1921/22), and continuing with his iconic dream paintings of the 1920s, his key work "Painting (The Magic of Color)" from 1930, his works and frieze formats painted on unconventional grounds in the 1940s and 1950s, to the brilliant late works such as the monumental triptych "Blue I–III" (1961) and the extraordinary "Paintings I–III" (1973). With this exhibition, which includes around 50 works of art from prominent museums worldwide, such as the National Gallery of Art, Washington DC, the Solomon R. Guggenheim Museum, New York, the Museo Reina Sofía Madrid and the Centre Pompidou, Paris as well as important private collections, the SCHIRN opens up an entirely new approach to Miró's art. An exhibition in cooperation with Kunsthaus Zurich. (Schirn Kunsthallen press-release)
Schirn Kunsthallen. Römerberg, 60311 Frankfurt am Main, Germany
Image: Joan Miró. Painting, 1953. Oil on canvas, 194.9 x 377.8 cm. Solomon R. Guggenheim Museum, New York
23 february - 5 june 2016
Painter, sculptor, printmaker and theoretician Antoni Tàpies (1923−2012) was born in Barcelona and is today one of the most famous Catalan artists since the Second World War. The exhibition, which is being prepared in collaboration with the Fundació Antoni Tàpies in Barcelona, will provide the Slovenian public with a clear presentation of the artist's graphic oeuvre produced between 1959−1987. It will be complemented by art objects from the late 1980s.
On the occasion of the graphic art retrospective exhibition by Spanish artist Antoni Tàpies, MGLC launches a workshop for art lovers. Participants will go on a weekly journey through Tàpies' ideas and techniques, making use of symbols from their daily lives and simple graphic and printing resources.
The workshop will be based on using the carborundum technique, widely used by Tápies in his printed work.
As an innovation, we will simplify some processes using new materials and make different interventions in the prints, searching for more direct and immediate creation processes. Participants will select objects from their everyday life, and will analyze their possible symbolic meanings, or their capacity for suggesting ideas, emotions and concepts. We will try out Tàpies' best solutions to express his inner vision of reality and his "fetish" motifs, while learning more about this essential European artist of the 20th and 21st century, who influenced Slovenian art and took part in the Biennial of Graphic Arts of Ljubljana several times, receiving the Grand Prix in 1967.
Damiàn Vega Velasco is a Spanish artist. He holds a degree in Printmaking Techniques (Art School of Oviedo). He has been living and working also in Slovenia during the past year. His most recent project is inspired by the urban landscape of Ljubljana. Lately, he has been working almost exclusively with graphic art, investigating the generative potential of traditional printing techniques in combination with new technologies. (mglc press-release)
International Centre Of Graphic Arts. Grad Tivoli, Pod turnom 3. SI-1000 Ljubljana
Image: Tapiés workshop. Damián Vega
27 february – 31 august, 2016.
“De Salvador a Dalí” is a cohesive exhibition of Dalinianartwork, exhibited worldwide and seen by over 10 million people. Curator of the collection and President of the Stratton Foundation, Mr Benjamin Levi; an avid collector and expert of Dalí, has assembled the Collection over the past forty years, selecting each artwork in order to bring various aspects of Dalí’s lifework to the public eye.
Artworks on display include the most important and largest grouping of bronze sculptures, such as the ‘Space Elephant’ and the ‘Persistence of Memory’. Ten original Tarot collages, created by Dali during the 1960’s, Dalí inspired furniture, and the Mae West’s Lips sofa remind us that Salvador Dalí was a multi-facetted artist who explored a wide range of themes and materials. (expodalí press-release)
Gare des Guillemins. Place de Guillemins 2 . 4000 LIEGE
Image: "Mae West",Salvador Dalí
HONG KONG. María García Ibañez and Javier León Pérez “Anamnesis: the reasoned doubt” Puerta Roja Gallery
until 12 may 2016
Anamnesis (from the Greek word ἀνάμνησις) means ‘recollection’, ‘reminiscence’, ‘remembrance’. Anamnesis is the idea that humans possess knowledge from past incarnations and that learning consists of rediscovering that knowledge within us. The term was coined by Plato in the context of “knowledge as a remembrance” or “dialogue of the soul with itself.”
Pilar Cano Romero, curator of the exhibition notes on the artists’ collaboration: “We are privileged spectators of one of those rare phenomena where two parallel universes converge momentarily. Through drawing, María and Javier dissect, comprehend and then recompose reality into a complex tissue created with fragments of their own mental processes. Departing from the most basic geometric shapes, the artists create an infinite, cosmic web, where the smallest unit of expression is repeated.
Departing from the artists’ individual and more intimate works, in this collaborative project, drawing is saved for sketches and preliminary studies, making way to a construction of human scale proportions. This expansion in scale makes the work literarily habitable. We can observe a nod to the Bauhaus movement as the starting point for modern design, where the materials, together with careful execution techniques, are treated as an artisanal practice which gives unique character to the works.
We talk about the artists’ process not as a purposeful creative act or purely as an anticipator of the resulting work, but as an act of Anamnesis, the discovery of a memory that had always been there.”
In addition to brand new individual works by each artist, the exhibition will introduce a unique joint edition series specially made for Puerta Roja. The artists and curator will intervene Puerta Roja’s gallery to create an immersive environment where visitors will be plunged into their own journey of discovery. (Puerta Roja press-release)
Puerta Roja Gallery. shop 3, 1/F soho 189 art lane. 189 queens road west. sheung wan, hong kong
Image:”Cradle” María García Ibañez.
9 february - 23 april 2016
Chillida: Rhythm-Time-Silence will go on public display at Ordovas in London from 9 February to 23 April 2016, following its recent showing to inaugurate the gallery’s presence in the U.S., where it was the first exhibition dedicated to the work of Eduardo Chillida (1924-2002) to have been staged in New York in twenty-six years. A central figure in European Post-war sculpture, Chillida produced an extraordinary body of work over a five decade-long career, and established himself amongst Spain’s most distinctive and internationally acclaimed artists. This is the third Ordovas exhibition devoted to Eduardo Chillida, and the monumental works to be shown in the gallery at 25 Savile Row reflect the intimate and universal themes that characterised his vision. (Ordovas press-release)
Ordovas Gallery, 25 Savile Row. London W1S
Image: Chillida: Rhythm-Time-Silence installation view, Photography by Maris Hutchinson
6 february - 16 may 2016
The window motif can be found throughout Picasso’s entire body of work. Windows represented much more than simple everyday objects. Picasso. Window to the World examines for the first time this central motif. A window addresses the issue of visualization, and for Picasso it symbolized painting itself. It invokes the studio as a place of creation where the painter can bring home the world. It opens up the space and communicates between the interior and exterior. The window symbolizes human relationships as well as transcends the boundary between painting and sculpture. It represents the artist and acts as a substitute for the selfportrait.
As the exhibition shows for the first time, Picasso used the window motif even in his early work to mark the interface between the artist and his world. By concealing a window with a curtain or blocking it with a canvas, he placed it on equal footing with painting. In his late work Picasso continued to explore the window motif, which always contained the artist’s reflection of himself.
During periods of artistic reorientation, he repeatedly returned to the subject of windows and used them to examine fundamental artistic questions. These occurred during transitions to a new phase in his work such as his fresh start following Cubism, and in the interaction with his sculptures, or in his ongoing dialog with Henri Matisse. He created series of window motifs that he presented in exhibitions immediately upon their completion. Picasso’s window paintings contain his painted theory of images.(Bucerius Kunst Forum press-release)
The exhibition is sponsored by ExxonMobil, Bankhaus Lampe, Lampe Asset Management GmbH and Claus und Annegret Budelmann.
Bucerius Kunst Forum gGmbH. Rathausmarkt 2, D-20095 Hamburg
Photo: Robert Doisneau: Die Lebenslinie, 1952, Tate, London, Atelier Robert Doisneau, Montrouge, © Robert Doisneau / Rapho
7 february – 8 may, 2016
La Práctica is a programme run by Beta-Local, a not-for-profit organisation that supports and promotes aesthetic practice and thought. It is a research and production programme aimed at artists and other cultural agents and lasting between three and nine months. It is designed specifically to establish new conditions, relationships and approaches for production in the art circuits. The working method consists of a critical and practical atelier in Puerto Rico based on the current scene in the tropics and the Caribbean. It has a flexible structure whereby each person brings to the table his or her practice and projects, which are discussed, criticised and developed through an open process. The programme requires active participation and the participants share processes, texts and ideas with the group.
Spanish artist Julia Morandeira is taking part in this programme with the support of AC/E, with a curatorial research project on artistic and cultural practices that reflect, explore or illustrate the figure of the cannibal and cannibalism. (AC/E press-release)
Beta-Local . La esquina. Calle Luna 208 esquina San Justo. Viejo San Juan. San Juan, Puerto Rico 00901
Image: La Práctica. Beta-local
11 february - 22 may, 2016
Les Abattoirs, Toulouse, presents a selection of around sixty works by Antoni Tàpies from the collection of the Fundació Antoni Tàpies
The exhibition, produced in collaboration with our institution, will be the most important to be shown in a French museum since the artist’s death in 2012. By exchanging their collections, the two museums can offer their public a unique opportunity to enjoy artists of different nationalities who were committed to experimentation and the redefinition of painting in the post-war period and the 1950s. Their rapid international projection was unprecedented in modern art. The implication of art critics and gallerists such as Tapié and Stadler, who supported artists like Tàpies, Fontana, Burri, Coetzee and the Gutai group, among others, is proof of a network of aesthetic and intellectual affinities that also gave rise to important collections.
Rather than follow a chronological order, this exhibition is structured in seven itineraries inspired by an oeuvre: the ‘Natural History Series’, from 1951, is followed by ‘Complementary’, ‘Combinations’, ‘Obverse’, ‘Presentation’ and ‘Quotidian’, plus ‘Speak, Speak’, the title of the exhibition as well as one of the more relevant works in the selection. The Toulouse public will be able to appreciate the power of experimentation in the work of the Catalan artist throughout his career and his commitment to contemporaneity, for which he was afforded a prominent place among modern artists.
Les Abattoirs will focus on Tàpies’ contemporaneity with a special installation of some of his sculptures, distributed on a structure conceived in 2012 by the French artist Guillem Leblon. This exhibition, together with that at the Fundació Antoni Tàpies, marks a historic moment of collaboration between institutions whose heritage is particularly relevant for understanding post-war Europe. (Fundación Tápies press-release)
Les Abattoirs de Toulouse, 76 allées Charles-de-Fitte. 31300 Toulouse.
Image: “Parla Parla” Fundación Antoni Tápies
29 january - 15 may, 2016
An interplay of paradoxes relating to the age we live in through invisible, imaginary and virtual presences is revealed in the exhibition El futuro no es de nadie todavía (The Future Belongs to No One Yet) by the Spanish artist Eugenio Ampudia.
The show presents a selection of works through which the artist and the curator Blanca de la Torre set out to reveal all the invisible layers of everyday life by inviting the spectator to experience the work as a trigger of thought and the structures and system we inhabit.
It takes visitors around a number of pieces, some already iconic, others hitherto unseen, on a journey tinged with irony that speaks of the need to see beyond, to open other possible doors inside our everyday situation.
Eugenio Ampudia (b. Valladolid. Spain 1958) is currently one of the most renowned Spanish artists. His work, produced from a critical approach, explores artistic processes, the artist as promoter of ideas, the political role of creators, the meaning of the artwork, strategies that enable it to be put in place, its production, promotion and consumption mechanisms and the efficiency of the spaces allocated to art, as well as the analysis and experience of the viewer who gazes at and interprets them. (AC/E press-release)
Museo de Arte Carrillo Gil. Av. Revolucion 1608, esquina Altavista, Col. San Ángel, México D.F.
Image: Eugenio Ampudia.
24 january – 15 may, 2016
One of the world’s foremost living sculptors, Spanish artist Jaume Plensa (b. 1955) has created large-scale artworks related to the human figure for public places around the globe. This exhibition, the artist’s largest to date in the United States, features numerous indoor as well as outdoor installations, engaging viewers even before they enter the Museum. Interested not only in the visual arts but also in literature, psychology, biology, language, and history, Jaume Plensa creates sculptures and installations that unify individuals through connections of spirituality, the body, and collective memory. He uses a wide range of materials—including steel, cast iron, resin, light, sound, and more—to lend physical weight and volume to multiple components of the human condition and soul. This exhibition was organized by Cheekwood Botanical Garden and Museum of Art. (Tampa Museum press-release)
Tampa Museum of Art. 120 W. Gasparilla Plaza, Tampa, FL
Image: Jaume Plensa, Paula, 2013
january 23 – may 30, 2016
A multifaceted, multi-disciplinary exhibition that explores the complexity of snow and ice through the lens of artists, featuring the collaborative artistic duo of Walter Martin and Paloma Muñoz.
32°: The Art of Winter features winter inspired works of art in an array of mediums, from the late-nineteenth century to present day. Artworks ranging from Claude Monet’s Grainstacks, to contemporary photography, sound pieces, digital art, games and ephemeral sculptures will be located both inside the gallery space and on the Museum grounds.
This multifaceted, interactive exhibition provides visitors with the opportunity to explore and experience the complexities of snow and ice. The exhibit embraces the dialogue between fine art, decorative art, and digital art, challenging visitors to rethink their perceptions of the seemingly simple matters.
Curator Carolyn Bauer actively sought out international and contemporary artists while digging deep into the rich collections of Shelburne Museum to explore the themes of aesthetics, ephemerality, nostalgia, and climate change. (Shelburne Museum press-release)
Shelburne Museum, 6000 Shelburne Rd, Shelburne, Vermont 05482. USA
Image: Walter Martin and Paloma Muñoz Traveler 46 at Night, 2003, snowglobe
23 january - 12 june 2016
This immersive and enriching multi-media exhibition will tell the story of the unlikely alliance between two of the most renowned artists of the twentieth century: brilliantly eccentric Catalan Surrealist Salvador Dalí and American entertainment innovator Walt Disney.
Presented through a multimedia wonderland of original paintings, story sketches, conceptual artwork, objects, correspondences, archival film, photographs, and audio – this comprehensive exhibition showcases two vastly different icons who were drawn to each other through their unique personalities, their collaboration on the animated short Destino – which, regrettably to both Disney and Dalí was never completed during their lifetimes – and their enduring friendship.
Born three years and half a world apart, both Disney and Dalí bore boyhood imaginations grounded in their upbringing in the 1900s, encouraging their lives, careers, and legacies to be paralleled on a profound level. A deeper look into the lives and artistic prominence of the Surrealist and the dreamer—highlighted by hand-written letters and alongside filmed dramatizations and audio re-creations—will show just how alike these two innovators were in blurring the lines between reality and dreams.
“Disney and Dalí heralds a new era in art exhibitions,” said Dalí Museum Executive Director, Hank Hine. “Visitors can expect a multi-sensory environment of moving image, soundscapes, and the transformative aura of exquisite individual paintings. Disney and Dalí broke new ground as artists—the Walt Disney Family Museum and The Dalí will deliver a brave new world of experience.”
Disney and Dalí: Architects of the Imagination is co-organized by The Walt Disney Family Museum and The Dalí Museum, with the collaboration of the Gala-Salvador Dalí Foundation in Figueres, Catalonia (Spain), and The Walt Disney Studios. The exhibition is guest-curated by filmmaker Ted Nicolaou. (Dalí Museum press-release)
Dalí Museum. One Dali Blvd, St. Petersburg, FL 33701, USA
Image: Salvador Dalí, Study for Sentimental Colloquy (1946). © Salvador Dalí. Fundació Gala-Salvador Dalí
26 november – 30 december, 2015
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service,allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed.
"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, betweeimate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Sciences Po Bordeaux press-release)
Hall de Sciences Po Bordeaux. Université Bordeaux
Image: After Schengen, Ignacio Evangelista
14 november 2015 - 17 january 2016
Jakarta Biennale 2015 aims to promote a continuous reading of the development of the idea of the city, which is viewed as a complex and dynamic area that reacts to both local and global changes. The Biennale amplifies the observation of sociocultural phenomena within the scope of a specific time and space. Furthermore, in the artistic context, the Biennale plays a very prominent role in challenging the latest trends in relation to the development of cultural, social and political matters both in Indonesia and internationally.
The theme of the 16th edition of Jakarta Biennale, curated by Charles Esche, is ‘Maju Kena, Mundur Kena: Learning in The Present’. This year’s event features a broad-ranging programme that includes a general exhibition, projects in public spaces, night events, exhibitions of young artists, workshops and other educational activities and symposia, as well as the publication of a catalogue. The aim is to explore the significant cultural influences found in the present of Indonesia and how they shape the image of today’s world. For this purpose it is divided into three core exhibition sections: ‘Indonesia in the 80s’, ‘The contemporary international in Jakarta’ and ‘Young Indonesian artists now’. The curators will weave three subject strands across these three exhibition elements: ‘Learning’, ‘Water’ and ‘History today’, which will cross over the abovementioned sections to allow visitors to discover them from the viewpoints of different generations.
The Spanish artist Juan Pérez Agirregoikoa has been invited by Jakarta Biennale Foundation to take part in the Biennale, with the support of AC/E. (AC/E press-release)
Jakarta Biennale. Jl. Amil Raya No. 7 A Pejaten Barat,. Pasar Minggu Jakarta Selatan. Indonesia
Image: Jakarta Biennale 2015
30th october, 2015
Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)
Image: Olmo Blanco
6th october, 2015 – 13th february, 2016
From 6th October to 13th February of 2016, the Foto Colectania Foundation demonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from its own collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance, if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "
The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of this exhibition are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself. Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.
The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection. Presented in several towns around Barcelona thanks to a program of traveling exhibitions organized by the Diputació de Barcelona, "Face to Face" culminates with this presentation in the main city after being revised and enlarged for the occasion.
Participant photographers: Helena Almeida, Manel Armengol, Atín Aya, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fundació Foto Colectania press-release)
Fundació Foto Colectania. Julián Romea 6, D2. 08006 Barcelona
Image: Humberto Rivas, María, 1979
1 – 30 october, 2015
Closed Paradise explores themes of nature and extinction. The exhibition’s title refers to a banishment from a paradisiacal state, both metaphorical and literal, that mirrors our current environmental situation. This cross-cultural and multidisciplinary exhibition focuses on the legacy of earth’s natural resources and states of erosion and extinction due to human activity. Closed Paradise features works by Javier Viver, Jose Val del Omar and Lili Chin.
Viver will create a Rainbow site specific installation of melting colored wax on the window panes and use objects molded from casts of plant species and an herbarium to compose The Eurasia Archive of Extinct Plants. In this way he drafts a reflection about the paradoxical co-existence of the ephemeral and the eternal, memory and the imagination.
Chin uses drawing, installation and Super 8 film in a meditative process to investigate states of growth and decay in wild and pastoral terrains . For this exhibition she will include a social sculpture – a garden of donated plant cuttings collected in an open call. Her work expresses concern with vanishing landscapes, preservation, memory and the sublime.
Val del Omar’s work includes a selection of films composed by Javier Viver for Val del Omar’s PLAT laboratory installed in the Reina Sofia National Museum, Madrid. These films reference The Alhambra, the Moorish palace in the South of Spain, a place he called the closed paradise. It was the hidden place Val del Omar often visited, and filmed as the lost paradise.
Viver is based in Madrid and Shanghai, while American artist Chin lives and works in New York City. The two met at the Swatch Art Peace Hotel Residency in Shanghai and discovered they both shared a mutual admiration for the work of José Val del Omar. Through this project, these artists create a cross-cultural reflection on culture, exploitation, memory and preservation.
With the support of the General Consulate of Spain in New York..(The Clemente press-release)
The Clemente. 107 Suffolk Street. New York, NY 10002
Image: Closed Garden. José Val del Omar
2 april – 29 may, 2015
"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. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda
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)