Spanish contemporary art worldwide
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19 october 2016 – 31 january 2017
The portraits of Pierre Gonnord celebrate the strength of the human condition that invite you to feel connected to it through the image of the faces of Asturian miners. (I.Cervantes press-release)
Instituto Cervantes. 326-330 Deansgate, Campfield Avenue Arcade. M3 4FN. Mánchester Lancashire. U.K
Image: Pierre Gonnord
20 october – 12 november, 2016
The new body of work features the provocative artist’s signature use of hyperrealist sculpture, installation, and conceptualism to illustrate the inequitable effects of blind, ubiquitous capitalism through satire and metaphor. “Sons Of Capital” develops a discourse about the distribution of power in society today, where only a few decide for many people who must accept a state of submission. The artist’s work becomes a cry for change, recalling Plato’s cave, to push through and overcome the fear or preconceived notions of security espoused by selfish authoritarians who claim to have others best interests in mind. Merino calls out and focuses on those few who lead, or have led, the world, from a socially acceptable and, even, legitimate stance.
Such a system germinates and feeds leaders who are elected only for their own benefit. It is a (self) delusion to think that we can be part of decision-making with our ballots. The real truth is that those decisions have been already made and our votes are just an act to satisfy the masses. Tackling these themes of politics, religion, and socioeconomic standards, with the aim of satirically questioning their validity, Merino presents Pandora’s Ballot Box, a methacrylate ballot box containing ballot papers and the head of Adolf Hitler. Known for his Hyperrealist sculptures – including dictators, politicians, artists, and other institutionalized figureheads – Pandora’s Ballot Box is among the artist’s most poignant and controversial works to date. It should not be forgotten that Hitler used democracy – using a strategy comparable to a coup d’état – to rise to power. As such, Pandora’s Ballot Box is a nod to the growing rise of extremism in Europe and the United States through representative elections. The resonance of this work is further accentuated when viewed with Damaged Goods, a life-size sculpture of Donald Trump’s head, complete with his signature hairstyle, detailed to every strand.
Merino posits that together politicians change, as the world evolves, but the majority of the social class struggles is still the same. “The best slave is the one who thinks he is free.” This quote by Johann Wolfgang von Goethe reiterates Merino’s idea in the artwork Face Wash. Mixing elements of objet trouvé and sardonic conceptualism, the artist loads commemorative plates featuring American presidents into an industrial washing machine. Merino speaks of power, capitalism and, of course, of submissive automatons, exploring the decades-long proliferative collusion between Big Business and Big Government. Replete with political imagery and motifs, Merino presents a contemporary cautionary tale rooted in the denial of individual freedoms and democratic right under the guise of “managing society” by a new and more opaque fascism. Moreover, Face Wash addresses the interchangeability of politicians. Like the plates that bear their portraits, these leaders are mere ornamentation; puppets for a larger apparatus in which both they and average citizens get wrapped up. Merino presents a contemporary cautionary tale rooted in the denial of individual freedoms and democratic right under the guise of “managing society” by a new and more opaque fascism. There is a cycle of washing away the same sociopolitical issues that burden our society, just to repeat and further these mistakes.
Eugenio Merino (b. 1975, Madrid, Spain). Eugenio Merino graduated from the Complutense University of Madrid. He has had numerous solo and group exhibitions including MOCA Taipei and the B.P.S.22 in Belgium. In October 2015, Merino made his US museum debut in the Station Museum of Contemporary Art’s, Corpocracy. The exhibition also featured works by Ron English. He has participated in a variety of art fairs, including The Armory Show, FIAC (Paris), ARCO (Madrid), Zona MACO, Volta, Art Miami, and Art 16 London. Eugenio Merino currently lives and works in Madrid, Spain. (UNIX press release)
UNIX Gallery. 532 West 24th Street. New York
Image: Eugenio Merino. Face Wash 2016
15 october – 12 november, 2016
And then we perceive the thrill. It is there, we carry it within. Longing, that irrepressible emotion that makes us unbeatable against nothingness; the engine that always roars into the future. And like all brute forces, it hurts. The skin it’s slowly ripped appart, one inch at a time. Meanwhile, the conflict between desire and reality continues, battle after battle. In our body the wound is beating stronger: the desire to have wings, the desire to fly, keeps us alive.
Longing , the source of energy that gives us breath even in the darkest winters. The impulse is born in the bowels and occupies our thinking. And the time comes. Jump from the nest. Surrounded by contradictions and without any certainty that heaven will be ours, we inflate the lungs with those delirious emotions to become, finally, invincible beings.
And we are. Even without meeting the person we had imagined we would become.( Weisser Elefant press-release)
Galerie Weisser Elefant. Auguststraße 21. 10117 Berlin
Image: Laura F. Izuzquiza
until november 18, 2016
Born in 1964 in Galicia, Lugo, in the Northwest part of Spain, Antonio Murado often describes his process as an exchange with his canvases. Highly skilled, he handles paint and color with experienced dexterity, blending and layering not only shade and light, but also emphasizing materiality. His output has ranged from abstract to the representational.
For these new works, Murado was highly influenced by the techniques and visual elements from 17th century Baroque Spanish painting, and the era surrounding this time of power, imperialism, exploration, and conquest. His intention is to recontextualize these elements within contemporary painting. Alongside these chosen themes, he decided to take the most essential characteristics of his medium, reducing them to the minimum: canvas, stretcher, and oil paint. In this context, color and imagery are imbued with a strong sense of space and shape. For instance, In Mare (2015), one of two diptychs, he juxtaposes an exterior with an interior: on the left, a deep red which he describes as reminiscent of the velvet inside castles and chambers, the locations where political decisions and calls to action would be made; on the right, an oceanscape, the symbol of navigation, exploration, and discovery. The other diptych, Stanza (2015) focuses more directly on materiality, referencing the red Medieval cloths of the time by the addition of swaths of linen, and highlighting the seams. (Mana press-release)
Mana Contemporary. 2233 S Throop. Chicago, IL, 60608
Imagen: Antonio Murado
NEW YORK. The thirteenth Spanish Biennial of Architecture and Urbanism (XIII BEAU) “Alternatives” Arthur A. Houghton Jr. Gallery
27 october – 3 december, 2016
The thirteenth Spanish Biennial of Architecture and Urbanism (XIII BEAU) will be exhibited for the first time in the United States in Cooper Union’s Arthur A. Houghton Jr. Gallery. The exhibition, entitled Alternativas / Alternatives, features 22 jury selected projects completed between January 1, 2013 through December 31, 2015 by contemporary Spanish architects. The installation, which also includes an additional 20 shortlisted works, features large-scale image displays and audiovisual commentary about the winning projects, as well as drawing reproductions and architectural models.
Many of the works presented, under the categories of Heritage, Planning and Innovation, employ sustainable practices and rely on local materials. The projects – which vary from small-scale works, such as residential homes, to mid-size interventions, such as schools and public parks – showcase the ability of Spain’s architects to formulate innovative solutions with both a limited budget and modest resources.
The XIII BEAU’s selection showcases a breadth of talent from across Spain, not just its biggest cities. It also highlights some of the country’s practices on the rise. In addition to projects by studios such as Arquitectura-G and H Arquitectes, much of the work included in Alternativas / Alternatives represents Spain’s up-and-coming architects and studios such as Abalo Alonso Arquitectos, Victor López Cotelo, Olalquiaga Arquitectos and more. A complete list can be foundhere. Recently the Spanish Pavilion at the 2016 Venice Biennale won the Golden Lion Prize, the highest honor given at the Biennale. Seventy percent of that award-winning exhibition will be on view as part of Alternativas / Alternatives. Presented in association with Archtober, Architecture and Design Month New York City, October 2016. ”. (BEAU press-release)
Arthur A. Houghton Jr. Gallery, 7 East 7th Street, New York.
Image: BEAU XIII
13 october 2016 - 5 february 2017
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. (MAUG press-release)
Museo de las Artes Universidad de Guadalajara, Juárez 975, C.P. 44100Guadalajara, Mexico
15 october – 6 november, 2016
Enrique Baeza creates word portraits; a new way to portray people. Words can describe a person as accurately as a painting or a picture, even more so. Enrique believes in the power of words and believes that every person harbours an inner and beautiful idea, which can emerge through words. Through a sophisticated method of sessions based on active listening, Baeza works with the biography of the subject and free association techniques, playing with the unexpected and with several images intimately linked to the person. The result is a sentence that represents the person. A non-transferable idea that rules his/her world. A sort of unique, personal statement that reflects the inner potential and has a meaning in that particular instant.
Enrique Baeza (Barcelona, 1972) experiments with the boundaries of personal and mass communication. And he does so in a context in which the language, itself limited, has become a useless tool. He uses resources of propaganda, poetry, street art and television to deliver messages, both in the public and private space, wielding a challenge. He is interested in vindicating a new kind of language to serve as an alternative to poor communication codes, mutilated, ideologically led and obsolete. So, he creates slogans which use paradox to deploy their own meaning, messages that flaunt their own condition of unfinished objects inducing the receptor to probe multiple interpretations and to construct meanings from different ontological categories, ranging from the most mundane to the more abstract. His project has already covered more than 40 cities in five continents. (Fu Art press-release)
FU art Gallery. 8373 NE 2nd Ave / Little Haiti Miami, FL 33138
Image: Enrique Baeza
19 - 28 october 2016
Rufina Santana artist degree in Fine Arts from the University of Barcelona. She resides and carries out her work as an artist from the Canary Islands (Spain) to the international territory, a fact that influences the development of her work. Throughout her prolific career she has participated in many artistic and literary courses and experiences, as well as workshops of artists as Lucio Muñoz and Rafael Canogar. In 1990 she makes an interesting performance entitled “Alphabet for an Island”, which is the start of her reflection on the nature of the original garden. Later, she develops her idea in the collective project “Hesperides: The interior garden (2001)” and individual exhibitions “Archaeology of the Garden” and “Cartographies of the Garden” exhibited in art centers of Lanzarote, Fuerteventura, Gran Canaria, Tenerife, Senegal, France and Japan, which poses a further step in this meditation, creating a geography of lost paradises in memory through a group of paintings and sculptural pieces dominated by the symbolic elements.
Following this way of Art and Nature, she creates “Garden of both sides” a project that celebrates the life and art with Dr. Maasaki Hatsumi, Japanese artist who has received top honors as “Living Treasure” to be guardian the tradition of their culture.
Another important idea in her work is the myth and Greco-Latin tradition, once again placing his speech from the insular experience, a place of special importance in the connections between Europe and the rest of the world. The island, as a microcosm ideal paradise, is a place surrounded by an uncertain sea, which brings about new cultures and traditions that enrich both on the island who awaits the traveler as it arrives.
In the realization of this idea, she generates two other projects, “Oceanics Blues” and “Cartographies of Water”. In this case, Santana deploys her expertise and her reflection on the myths related to water, with large format works dominated by the blue as the mural “Oceanic Blue” (2007) located in the Hotel Balneario Blancafort in Barcelona or “The Hero’s journey” performed for the exhibition” Cartographies of Water ” which takes place at the Frost Art Museum in Miami in 2015.
She works specifically Canaries landscape in the “Canarias, Intimate Landscape” (2010-2011), a project sponsored by the Canary Islands Government in developing a series of paintings on different landscapes of the islands through significant use of color and a technique that converges figurative and abstract style. (CCEMiami press-release)
CCEMiami 1490 Biscayne Boulevard Miami
Imagen: Rufina Santana
17 october – 17 december, 2016
Os adeuses. Photographs by Alberto Martí is an exhibition that recreates images of a relatively recent historical fact: The Galician exodus to America between 1957 and 1963 from the ports of A Coruña and Vigo and subsequent return to Galicia
Alberto Martí Villardefrancos (A Coruña, 1922) is considered a "portrait of human stories". Each of his photographs has emotion, feeling, freshness and naturalness. This selection by the exhibition curator, José Caruncho, allows us to see images in many cases never before revealed, moments to remember and reconstruction of the past who were actors or spectators of emigration of those years, a phenomenon that represented a full lighting and shadowing process but it was one of the fundamental aspects of Galician contemporary history because it affected all facets of their social economic and political life.
The title "Os adeuses" (Goodbyes) perfectly symbolizes the world of the feelings that accompanied persons, crates, bales and bags, recording them forever in the collective memory. With over 70 years dedicated to photography -50 of them worked as a reporter for La Voz de Galicia, Alberto Martí has received numerous national and internacionals awards at speeds as Madrid, Barcelona and Buenos Aires, and part of his work is published a monograph published by the City of a Coruña. (I.Cervantes press-release)
Instituto Cervantes - Sala de exposiciones. Avda. Sete de Setembro, 2792. 40130-100 Salvador Bahia (BRASIL)
Image: Alberto Martí
24 september – 11 december, 2016
Impossible things don’t know they are impossible. – W. Disney
Surprise is an exhibition in which the power of imagination is central. In astonishing ways, the Netwerk building is transformed into an adventurous art circuit with much to see and do.
Thanks to its theme, Surprise is particularly attractive for young visitors of Netwerk, although the exhibition caters just as much to an adult audience. So one may expect much more than a typical group exhibition. Experience an adventure both physical and psychological.
Logic will get you from A to B. Imagination will take you everywhere. – A. Einstein
The Black Box of Netwerk: The Netwerk Archive forms the basis. There is new or existing work by Lida Abdul, Roel Backaert, Vincen Beeckman, buren, Jana Cordenier, Marc Ghijsels, Binelde Hyrcan, Lola Lasurt, Ivo Provoost & Simona Denicolai, Grethell Rasúa, Dimitri Vangrunderbeek, Floris Vanhoof and interactions by Rik Moens.
Lola Lasurt (Barcelona 1983) “My work comes from graphical material that testify a period of time that correspond at that of my previous generation, thus a temporal space that I have never occupied. I work with displaced time aspects, those which make us appeal to the past at present when it becomes difficult to embrace. I work with the time just before I was born and with the paradoxes of an epoch that was to suppose lots of changes. It is about having a concrete and stable case to study. I vindicate personal historical time working from my own family's albums where referents operate as narrative structures. I also work with concrete editions that were instructions dictated by hegemonic culture. I work with the last layer of things which deal with appearances in two different ways; it can be even through a phenomenon of recognition or, on the contrary, through a phenomenon of strangeness unable to approach the rare in familiar terms. Taken all together, it marks a return to the past that establishes a dialogue between our current beliefs as a collective which are still in a state of confusion posing questions about what it is that makes up now our identity”
Artists: Netwerk Archief / Lida Abdul / Roel Backaert / Vincen Beeckman / buren / Jana Cordenier / Marc Ghijsels / Binelde Hyrcan / Lola Lasurt / Ivo Provoost & Simona Denicolai / Grethell Rasúa / Dimitri Vangrunderbeek / Floris Vanhoof(Netwerk press-release)
Netwerk / center for contemporary art. Houtkaai 15. 9300 Aalst. Belgium
Image: Lola Lasurt
september 9 - november 5, 2016
Christopher Grimes Gallery is pleased to announce a solo exhibition of works by Antonio Ballester Moreno. This will be his first solo exhibition with the gallery and will feature a series of new paintings and paper collages. Ballester Moreno is guided by instinct and uses the raw material of jute and acrylic paint within a palette of primary colors and foundational geometric shapes. The paintings refer to patterns and colors found in nature: yellow for light; blue to water; and the mixing of the two creates green, the color of vegetation; circles are cycles of the moon and sun; triangles are trees and mountains. All of these shapes are created through careful hand-eye coordination, resulting in subtle variances and a spontaneous quality of line. The title of the exhibition is reinforced through the repetition inherent in the making of each painting, which can be comprised of up to thirty layers of paint.
Through his application of simplistic yet determined shapes and colors, Ballester Moreno has developed a personal vocabulary upon which he builds a world of subtle variances and symbolic compositions. And while ultimately rooted in abstraction, his work evokes the history of pattern and decoration, craft, tapestry design, and African, Islamic and Ottoman influences.
Ballester Moreno (b. 1977) lives and works in Madrid, Spain, and is considered one of the key figures on the young Spanish art scene. His work is included in the monograph Vitamin P2 published by Phaidon (2012) and is in the collections of Centro de Arte Dos de Mayo (CA2M), Móstoles, Spain and Museo de Arte Contemporáneo de Castilla y León (MUSAC), León, Spain, among others. (Christopher Grimes Gallery press-release)
Christopher Grimes Gallery. 916 Colorado Avenue. Santa Monica, CA 90401 USA
Image: Antonio Ballester Moreno, one day after another, installation view, Christopher Grimes Gallery, Santa Monica, 2016
1 – 30 october, 2016
“My work is based around the animal world and its relationship with man and his borders, marked by the countries’ geographical limitations, highways, cities, and industrial centers that are true walls for animal migrations. In particular, for the monarch butterfly on its long trip across North America and the development of different forms of life and the natural balance.
There are maps of bison, real victims of human progress. The polar bear at a North Pole that is thawing as a metaphor of climate change and the consequences of a space marked by humans and the over exploitation of the planet. On the other hand, there are also pianola scores with musical slits in the paper pointing to the songs of birds, symbol of the relationship of nature with the artifices that coexist within it.” Luis Moro
"...An intrinsic task exists to creative work, that of discovering a world through observation, this takes us to the question of finding a parallel with the gatherer of images, he that finds in the world palpable species that use and transform as a way of artifice. A custom that is perhaps linked with this intimate form of understanding through a symbolic collectivity that escapes the curiosity box to make itself portable through the scrapbook of exploration and notes where the most significant finds in the cosmos are reproduced.
Luis Moro, in a task inherited from other travelers from the Old World, arrives in Mexico to explore the biodiversity, paraphrasing from other scrapbooks created in Oaxaca, but at the same time distinctly different from them. Moro looks for pure representation, away from myth and that regions’ traditions, creating his own fables starting from the overlapping of images in a kind of collage.
This way of transcribing nature, given its inverse proportions, from small to large and vice versa, allows us to peek into a fantastical world that coexists on the epidermis of the earth through the loose leaf pages of a bestiary that does not illustrate descriptions but creates them through its own surprising visual narrations…” Rafael Pérez y Pérez. Assistant Director, SHCP Art Museum, Mexico City.(Redbud press-release)
REDBUD Gallery. 303 East 11th Street. Houston, Texas
Image: Luis Moro
22 october – 4 december, 2016
"Design always presents itself as serving the human," state Beatriz Colomina and Mark Wigley, "but its real ambition is to redesign the human." Their curatorial statement for the 3rd Istanbul Design Biennial, which will open later this year and is themed around the title Are We Human? The Design of the Species: 2 Seconds, 2 Days, 2 Years, 200 Years, 200,000 Years, brims with reflective and often prescient statements such as this. All that will be encompassed by this Biennial, they say, will revolve around one pressing provocation: that design itself needs to be redesigned. If one thing is certain, this Biennial will not come off as a 'trade show'. Wigley (New Zealand) and Colomina (Spain)—both Professors of Architecture at US institutions (Columbia and Princeton, respectively), theorists, writers, and critics—have exerted a profound influence on architectural discourse and pedagogy over the course of their careers. This Biennial, on the other hand, serves as their first formal foray into the world of 'design' – a field which few architects actively engage with. AC/E supports the participation of the Spanish curators Beatriz Colomina, Chus Martínez and Iván López Munuera, and the designers Andrés Jaque Architects, Urtzi Grau, Christina Goberna, Juan Herreros and Daniel Fernández Pascual & Alon Schwabe. (AC/E press-release)
İstanbul Foundation for Culture and Arts. Sadi Konuralp Caddesi, No: 5. Nejat Eczacıbaşı Binası. Şişhane 34433 İstanbul
Image: 3rd Istanbul Design Biennial
16 october 2016 – 19 march 2017
Through the works of over 50 international artists in a showing that will span the entire exhibition area of the museum - over 3000 square metres - the exhibition will be set up as a kind of exercise of distance which will incite us to take a look at our present from a great distance.
Along the way the audience will experience the feeling of being projected thousands of light years away to view our current world as if it were a fossil, geological eras from the present time, resulting in a feeling of being suspended in a limbo between a now distant past and a still distant future.
Throughout the exhibition, many expressions and artistic languages will be interconnected: music, theatre, cinema, architecture and dance represented not just as side events but as integral moments of the show, helping to build an immersive and captivating narrative.
The exhibition 'The End of the World' will be accompanied by a catalogue published in two languages, Italian and English, as well as a series of conferences and debates which will develop the various themes explored in the exhibition including scientific, philosophical and literary aspects, from more recent theories of physics to the prehistoric, and from science fiction to ecology and sustainability. Curated by director Fabio Cavallucci
Artists: Adel Abdessemed, Jananne Al-Ani, Darren Almond, Giovanna Amoroso & Istvan Zimmermann, Aristide Antonas, Riccardo Arena, Kader Attia, Francis Bacon, Babi Badalov, Fayçal Baghriche, Francesco Bertelè, Rossella Biscotti, Björk, Umberto Boccioni, Kerstin Brätsch, Cai Guo-Qiang, Julian Charrière & Julius von Bismark, Ali Cherri, Analivia Cordeiro, Isabelle Cornaro, Vincenzo Maria Coronelli, Hanne Darboven, Pippo Delbono, Marcel Duchamp, Marlene Dumas, Jimmie Durham, Olafur Eliasson, Federico Fellini, Didier Fiuza Faustino, Lucio Fontana, Carlos Garaicoa, Adalberto Giazotto, Arash Hanaei, Camille Henrot, Thomas Hirschhorn, Joakim, Polina Kanis,Tadeusz Kantor, Tigran Khachatryan, Robert Kusmirowski, Andrey Kuzkin, Volodymyr Kuznetsov, Suzanne Lacy, Ahmed Mater, Boris Mikhailov, NASA, Henrique Oliveira, Lydia Ourahmane, Pëtr Pavlensky, Gianni Pettena, Agnieszka Polska, Pablo Picasso, Pussy Riot / Taisiya Krugovykh, Qiu Zhijie, Józef Robakowski, Batoul S’Himi, Fari Shams, Santiago Sierra, Hiroshi Sugimoto, Unknown-lower paleolithic period, Unknown-upper paleolithic period, Luis Urculo, Emmanuel Van der Auwera, Ekaterina Vasilyeva & Anna Zubkova, Andy Warhol, Ingrid Wildi Merino, Andrzej Wróblewski, Alik Yakubovich, David Zink Yi.(Centro Pecci press-release)
Centro Pecci Prato. Viale della Repubblica, 277, 59100 Prato PO, Italia
Image: Luis Urculo
21 Septembes Galleryr – 05 November 2016
In his second solo show at Underdogs, Okuda continues to present his personal vision of society and the world we live in, exploring and highlighting some of its contradictions. Inspired by Mesopotamian, Roman, and Renaissance art, the artist speaks to us of the struggle between human beings and their own becoming through the habitual geometric structures, multicoloured patterns, and organic forms that characterise his visual language. “New Coliseum” is a metaphor about society's competitive nature and the daily struggle people face in the modern world. (Underdogs Gallery press-release)
Underdogs Gallery. Rua Fernando Palha, Armazém 56. 1950–132, Lisbon • Portugal
22 october 2016 – 9 april 2017
With a career spanning five decades, Antoni Miralda (Terrassa, Spain, 1942) has turned something as universal as food into a creative universe. Having moved to Paris in 1962, Miralda pioneered a type of artistic practice that centred on the collective rituals that celebrate the ceremonial act of eating by using colour and its symbolism. The critic Pierre Restany valued his individual work, as well as his collaborations with artists such as Daniel Spoerri, Joan Rabascall, Dorothée Selz and Jaume Xifra. In 1972 Miralda moved to New York where he initiated a series of participative projects based on the fusion of cultures and their popular manifestations. As Umberto Eco wrote in 1985: ‘Miralda wanders the world recreating the old ritual of celebration.’
Miralda has developed a method based on participation and on the ritual and ceremony related to gastronomy. Employing a non-conformist language, baroque and full of humour, that celebrates the senses and brings art close to life; he undertakes an ethnological exploration of human behaviour in his work.
The exhibition MIRALDA MADEINUSA brings together all the projects of the artist linked to the United States. Curated by Vicent Todolí and produced by MACBA, the exhibition will run from 21 October 2016 to April 2017 in Barcelona. In close collaboration with the artist and his archive, it will document for the first time and in a comprehensive manner the fourteen projects made by Miralda in the United States from the mid-seventies to the late nineties. The most significant installations will be reconstructed showing sculptures, drawings, photographs, visual recordings, sketches and other material. This will highlight the complexity of his projects and the collective nature of the artist’s methodology
Among the most representative works are Breadline (1977), a monumental line of bread presented at the Contemporary Arts Museum, Houston; Wheat & Steak (1981), a food parade along the streets of Kansas City, an exhibition at the Nelson-Atkins Museum and a special event at the Board of Trade of this city; El Internacional Tapas Bar & Restaurant (1984–86), a social and artistic experiment made with the restauranteur Montse Guillén in New York’s TriBeCa; and Honeymoon Project (1986–92), a symbolic wedding between the Statue of Liberty in New York and the Columbus Monument in Barcelona, performed in several locations. The exhibition will also include the large installation belonging to the MACBA Collection, Santa Comida (Holy Food), 1984–89, based on the legacy of Afro-Caribbean culture in America today. Curator: Vicent Todolí. (Macba press-release)
MACBA. Museo d´art contemporani de Barcelona. Plaça dels Àngels, 1, 08001, Barcelona, España
Image:Antoni Miralda. MACBA
25 october – 5 november, 2016
Canterbury Festival, Kent’s International Arts Festival presents an installation by the international exhibited artist Bernardí Roig.
Roig’s work Sleepless light exercises includes a life-size sculpture leaning against a wall covered in 200 fluorescent tubes. The figure, made from polyester resin, represents a man engaged in an ambiguous action that excludes the spectator. The total whiteness of his body and the powerful light coming from the lamps creates a dramatic contrast with the surrounding Gothic space, including the stained glass windows covering the room’s walls. Roig’s work explores themes like human isolation, loneliness, the limits of knowledge or the body’s deterioration. The artist has created a tense relationship between figure and background, between rational comprehension and spiritual understanding, between artificial light and divine clarity.
Curated by Emma Brasó, Cultural Programme Curator at University for the Creative Arts with the support of Fondo Arte AS. (Canterbury Festival press release)
Cathedral Chapter House, Cathedral Precincts. Canterbury. U.K
Image: Bernardi Roig
october 1st, 2016 - february 5th, 2017
The exhibition, curated by Montse Aguer i Teixidor, the director of the Centre Estudis Dalinians at the Fundación Gala-Salvador Dalí, presents the Spanish master’s grand oeuvre, through a selection of major works that shows the extent to which Dalí was inspired by the tradition of the great masters from the time of Raphael and Michelangelo. More than 150 works have been loaned by the Museo Fundación Gala-Salvador Dalí di Figueres, the Dali Museum of St. Petersburg in Florida (the two most important institutions for work by Dali), and the Vatican Museums for the exhibition.
The exhibition points up the importance of Italy, of the Renaissance, and of Michelangelo in particular, in the work of Salvador Dalí. Among the various sections of the show is a selection of extraordinary little-known works, including four untitled works on show for the first time: Moses after the tomb of Julius II by Michelangelo; Christ after the Palestrina Pietà attributed to Michelangelo; Giuliano de' Medici after the portrait of Giuliano de' Medici by Michelangelo and the Crouching Boy after Michelangelo, which were among his last creations in the eighties. These works, which are presented for the first time as a stylistic and thematic corpus, allow us to analyse Dali’s techniques and ideas at that time, and to demonstrate how his preoccupations continued to find expression in his art. Examination in more depth of the later stages of the artist’s career, about which little is known, offers insights into the most distinctive aspects of Dali’s thinking, mediated by an expressivity in pursuit of immortality. (BLU press-release)
Image: Moses after the tomb of Julius II
08 october 2016 – 14 may 2017
Taking up the entire lower level of the museum, her exhibition will be organised around the ideas of capitalism and globalisation at the beginning of the 19th century, including the video installation Philosophical Capitalism (2014-2016). This major work takes the form of ten projections of interviews carried out by Cristina Lucas, in which she asks her interviewees about the philosophical ideas that relate to their various professional fields. For example, what does the concept of Beauty represent to a cosmetic surgeon, or that of Space to an estate agent, or that of Truth to a public notary? By inserting these philosophical questions into a journalistic interview, the artist skilfully grasps the relationships that exist between a concept and an economic activity, as well as the way in which the capitalist system, using companies as intermediaries, colonises the objects of our thoughts and thus influences the way in which we apprehend the world.
Wishing to anchor her work in a local context, the artist decided to pursue this project – which was originally conceived in 2014 for the Matadero arts centre (Madrid) – in Luxembourg, carrying out five new interviews here with an architect, a journalist, a lawyer, a watchmaker and a politician.
In addition to this important video installation, the public will be able to encounter new works specially conceived for the exhibition at Mudam. As a way of bringing to light the consequences of capitalism for our vision of the world, Cristina Lucas will present an environment that questions our perception of time, and an installation about the tendency of the capitalist system to transform everything, right down to the set of chemical elements known so far, into merchandise governed by the law of supply and demand. (Mudam Luxembourg press-release)
Mudam Luxembourg. Musée d’Art Moderne Grand-Duc Jean. 3, Park Dräi Eechelen. L-1499 Luxembourg-Kirchberghttp://www.mudam.lu
Image: Cristina Lucas, Philosophical Capitalism, 2014 © Photo : Cristina Lucas
8 october – 8 november, 2016
Arebyte gallery is pleased to present Virtual Choreography by Rosana Antoli, an interactive online platform working as an open database of movements.
Rosana Antoli’s practice juxtaposes drawing, performance and moving image to reveal the hidden choreographic commands that structure the everyday, in order to resist the imposition of behaviours, acts and motions.
Virtual Choreography is an interactive online platform working as an open database of movements, a ‘world gesture map’ that allows the audience to visualise and upload several recorded motions created by themselves. The Hackney Wick area will work as Antoli’s starting point for a project that will have continuation in different cities and countries around the world.
For her residency at arebyte gallery, Antoli will research the common gestures and behaviours of specific zones of Hackney Wick by asking different sectors of the community for their involvement. This will culminate in a virtual participatory platform and an exhibition where anyone can lead a new movement to be added in this symphony of gestures. A total of ten people from ten differing communities in the area will be chosen for their behavioural characteristics based on observing their normative social and private behaviours. For ten days the participants will record themselves simultaneously completing one instructed gesture which will then be uploaded to the website and form part of the exhibition.
The work references the One Minute Sculptures of Erwin Wurm and is transformed into what Antoli’ refers to as One Minute Social Choreography. Through dissemination of the recorded videos, a network is created gestures are highlighted and accentuated; and through their willingness to endure and take instructions; their social power or status becomes obsolete. Here, the term choreography is democratised as everyone who performs becomes a dancer. There is also an notion of exchange within the work - exchange between the camera and the performer, exchange between the artist and the collaborators, and the literal exchange of movements in the city. Through this exchange, Antoli aims to map the archaeology of the area and provoke new ways of thinking surrounding the perception of dance and identity.
Rosana Antoli is a London-based. Her artistic practice is focused in the intersection of art, choreography and everyday life.The utopian character is central to her practice, and consequently the failure of the actions involved.
Antoli studied MA Sculpture and Performance at the Royal College of Art and graduated in 2015. She has exhibited in galleries and museums worldwide including Centro de Arte Contemporaneo Wilfredo Lam (La Havana, Cuba. 2016), CCEMx (DF, Mexico. 2016), Joan Miro Foundation Museum (Barcelona, Spain. 2016), CCEN (Managua, Nicaragua. 2016), Josee Bienvenu Gallery (New York, USA. 2016), LagerHaus62 (Zurich, Switzerland. 2015), Herbert Read Gallery - UCA (Canterbury, UK. 2015), ABC Museum (Madrid, Spain. 2015), The Ryder Projects Gallery (London, UK. 2015) and Pieroggi Gallery (New York, USA. 2015).
Awards and scholarships include Generaciones 2017 (Spain. 2016), 4th International Emerging Artist Award launch event (Dubai, UAE. 2015), Royal British Society of Sculptors Award (UK. 2015), BBVA National Video Art Prize (Spain. 2015), Gasworks International Fellowship ( London -Colombia. 2015), Olivier von Schulthess Collection Residency (Switzerland. 2015). (Arebyte press-release)
Arebyte gallery, 49 White Post Lane, London, E9
Image: Rosana Antoli. Endless Dance. Performance/Video/Sculpture. London. 2015
9 october 2016 – 29 january 2017
Modern Spanish Art from the Asociación Colección Arte Contemporáneo presents the most comprehensive survey of Spanish modern art to be shown in the United States in 50 years. The exhibition, which features more than 90 works of art dated from 1915-1960 by approximately 50 artists, is drawn predominantly from the Asociación Colección Arte Contemporáneo (ACAC),one of the most significant repositories of Spanish modern art in the world, with select masterpieces from the renowned collection of the Meadows Museum. The collaboration and exhibition mark the first time many of these works will travel to the U.S., and the first opportunity for American audiences to experience the exceptional breadth and depth of the ACAC’s modern art collection.
The ACAC, which was formed in 1987 by a group of private companies in Spain, offers the only complete visual narrative of the development and evolution of Spanish art, from the beginnings of modern art to the present, through the work of many of the most important artists of the time. Leveraging the exceptional scope of the ACAC, the exhibition explores five distinct trajectories taken by Spanish artists of this period. Among the artists featured are Eduardo Chillida, Óscar Domínguez, Pablo Gargallo, Julio González, Antoni Tàpies, Joaquín Torres-García, Josep de Togores, and Jorge Oteiza, who were little appreciated in their time but today have found international acclaim; Rafael Barradas, Leandre Cristòfol, Ángel Ferrant, Alberto Sánchez, and José Guerrero, who influenced the practice of their contemporaries in the U.S. and Spain alike; and artists, who—though critical to the history of modern art—remain lesser-known, including Alfonso Olivares and Martín Chirino. Works by these artists, and many more, are further augmented with masterpieces by some of the most famed Spanish modern artists, drawn from the collection of the Meadows Museum, including Salvador Dalí, Juan Gris, Joan Miró, and Pablo Picasso.
This exhibition has been organized by the Meadows Museum and the Asociación Colección Arte Contemporáneo in collaboration with Acción Cultural Española. BBVA/Compass is the main Supporting Corporate Sponsor, with the special collaboration of Técnicas Reunidas, S.A.; Fundación Aon España; Fundación ACS; and Gas Natural Fenosa. A generous gift from The Meadows Foundation has made this exhibition possible. (Meadows Museum press-release)
Meadows Museum. 5900 Bishop Blvd. Dallas, TX 75205
Image: Oscar Dominguez. Birds 1947. (ACAC)
7 october – 16 december, 2016
This work-in-progress defines itself as museological research and sheds light on the everyday reality and more remarkable moments in the life of a work of art. Since July of 2016, the Gemäldegalerie Berlin presents a major exhibition on the Spanish Siglo de Oro. For the show, the ensemble of saints in Road to Calvary left Spain for the first time, accompanied by a camera. The artist’s images depict several phases in the life of the sculpture: from the museum in Valladolid, through the Easter processions and journey to Germany, to a museum visitor observing the work in Berlin – offering a rare look behind the scenes. What appreciation do the statues experience when their life as a work of art and religious object in continuous liturgical use is made visible through photography and video, unusual media for Baroque sculptures? Collado’s images, presented in the Instituto Cervantes to accompany the major exhibition at the Gemäldegalerie, expand our view of the work of art and its world, giving expression to today’s perception and use of a centuries-old object. (EMOP-Berlín press-release)
Instituto Cervantes. Rosenstr. 18-19. 10178 Berlín (ALEMANIA)
Image: Carlos Collado
6 october 2016 – 5 february, 2017
The exhibition will contain paintings, sculptures, drawings and prints from all periods of the artist’s long career. It is being curated by Elizabeth Cowling, Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.
When still only in his early teens, Picasso made self-portraits and portraits of members of his family that reveal a precocious gift for suggesting character and mood as well as catching a likeness. Caricature, which enjoyed great popularity in the late nineteenth century, served as an outlet for his satirical humour and also encouraged bold experiments with distortion, exaggeration and symbolism – a trend reinforced by his discovery of El Greco and anti-naturalistic avant-garde styles, and his growing inclination to work from memory, sometimes aided by photographs, rather than the posing model. By the time he settled in Paris in 1904 Picasso had produced a large body of portraits of remarkable conceptual and emotional variety. Because he almost invariably depicted people in his intimate circle, he was free from the usual obligations and constraints of the artist working to commission and did not hesitate to exploit the full range of his innovative styles and techniques. But even when at his most transgressive and expressionistic, he continued to make exquisite drawings from life in a classic, naturalistic style. Dramatic shifts in mode and style are indeed a recurrent feature of his prolific portraiture of the women in his life..
For all his restless originality, Picasso remained in constant, searching dialogue with the art of the past, habitually using traditional formats and poses (bust, half-length, full-face, three-quarter view, and so on), and embedding subtle allusions to old-master portraits that had some bearing on his vision of his subject’s physical type, personality and relationship to him. In later life, Picasso thought of favourite predecessors as intimate friends-cum-collaborators; he did not scruple to caricature them or to indulge in fantasies about their sex lives that mirrored his own obsession with the interplay between eroticism and creativity. His late suites of ‘variations’ after Velázquez’s Las Meninas and Rembrandt’s The Prodigal Son – also represented in our exhibition – allowed him to probe imaginatively supreme masterpieces that involved self-portraiture, and to ruminate on the complex psychological relationship of artist and sitter, his purposes as a portraitist, and the viability of portraiture within the supposedly hostile environment of contemporary art. (NPG press-release)
National Portrait Gallery. St.Martin´s Place. London WC2
Image: Portrait of Olga Picasso. Picasso 1923
13 september – 20 november, 2016
With a large volume of works by the Spanish artist belonging to Musée National Picasso-Paris, this powerful exhibition organized by Instituto Tomie Ohtake shows items that bear a very special relationship of Picasso with his work, since they were selected and held by him throughout his life. These works that have thus stood by his side are now part of the collection of the French museum, whose Picassian collection is one of the most important in the world, mostly after two successive donations made by the painter’s heirs in 1979 and 1990. Only two of the works presented at the exhibition originally came from Dora Maar’s collection, later acquired by the museum.
‘Picasso: savant hand, savage eye’, curated by Emilia Philippot, who is also curator of Musée National Picasso-Paris, is made up of 153 pieces, the vast majority of which unprecedented in Brazil, and follow a chronological and thematic journey around sets that mark the main stages of the artist, from his early educational years to the last years of production. The exhibition unveils 116 works by the Spanish master - 34 paintings, 42 drawings, 20 sculptures and 20 prints - as well as a series of 22 frames by André Villers, made in partnership with Picasso. The exhibition ends up with 12 photographs authored by Dora Maar, three by Pirre Manciet, and films on the works and their ‘making-of’. “We chose to take advantage of the specific character of the collection to sketch a portrait of the artist that questions his relationship with creation, in-between production and design, implementation and thought, hand and eye,” says Philippot. (Caixa Cultural press-release)
Caixa Cultural. Av. Almirante Barroso, 25 - Centro . Rio de Janeiro
Image: Picasso "Joueurs de ballon sur la plage", 1928
22 september – 22 october, 2016
One stitch for each wish is a solo exhibition by contemporary Spanish artist Eva Armisén whose paintings, drawings, and etchings have the capacity to transform each day into a unique occasion.
Eva Armisén brings something that goes almost beyond definition: an affirmation of life that vetoes any form of aggression.
Her work is essentially narrative and speaks of the small moments in daily life. She paints stories and characters, accompanied by a word or a message: walking, reading, ideas, falling in love; at times she goes a step further and adds ‘for you’ or ‘a special day.’ She transforms ordinary acts into the realm of the extraordinary, making us believe that each and every one of us has something to celebrate and enjoy.
Armisén (b. Zaragoza 1969) has exhibited her work in galleries and art fairs in Europe, America and Asia. Her artworks have been used in publicity campaigns by Coca-Cola, Skinfood, TMT, and O’2nd. Her art has been a part of TV series and Hollywood movies such as Modern Family, I hear your voice, Parenthood, and House. (Shanghai daily - press-release)
Wheelock Square . 1717 Nanjing West Road, Jing'an District, Shanghai, 200040
Image: Eva Armisén “de viaje”
september 15 - october 29, 2016
This group exhibition will highlight modern and contemporary artists who utilize paper as a site of rigorous formal and conceptual inquiry through direct manipulation and engagement with its materiality.
Ignacio Uriarte (1972) was born and grew up in Krefeld in Germany. He studied business administration in Madrid and Mannheim, then worked for various corporations in Germany, Spain and Mexico. There, he graduated in audio-visual arts from the Centro de Artes Audiovisuales in Guadalajara, Mexico. He left the corporate world ten years ago and dedicated himself fully to art, calling his work “office art”, and moved to somewhat more artist-friendly Berlin in 2007. Uriarte draws inspiration from 'the little creative moments' within office routines. The two-channel video Blue Ribbon takes as its starting point the simplest of all office doodles: filling out squares on graph paper. Whether monumentalising the 'cascade' function in Windows by spacing sheets of paper over a wall, or drawing shapes with two different shades of black marker pen, Uriarte uses administrative tools to restore creative agency to the office worker.
The exhibition includes work by Noriko Ambe,Hans Bischoffshausen, Enrico Castellani, Célia Euvaldo,Fernanda Gomes, Oskar Holweck, Vlatka Horvat, Sol LeWitt, Marco Maggi, Anna Maria Maiolino, Gordon Matta-Clark, Eleanore Mikus, Joshua Neustein, Arthur Luiz Piza, Fred Sandback,Mira Schendel, Günther Uecker, and Ignacio Uriarte, among others. (David Zwirner press-release)
David Zwirner Gallery. 519, 525 & 533 West 19th Street. New York, NY 10011
Image: Ignacio Uriarte
30 september, 2016 – 28 january, 2017
The exhibition covers a six-decade period in Joan Mirós's career - from 1924 to 1981. It focuses in particular on the transformation of pictorial languages that the Catalan artist first developed in the mid-1920s. The exhibition considers his artistic metamorphoses across the mediums of drawing, painting, collage and work in tapestry.
Miró’s visual thinking and the ways in which he negotiates between optical and tactile modes of sensation is examined in detail, as are the artist’s working processes.
The exhibition comprises around 80 works by Joan Miró from the collection of 85 works, most of which have never previously been seen by the general public, including six of his paintings on masonite produced in 1936 and six "sobreteixims" (tapestries) of 1973. The exhibition is accompanied by a fully-illustrated catalogue with a lead essay by the curator.
Suzanne Cotter, Director of Serralves Museum, stated about the exhibition: "We are delighted to be able to contribute to a greater awareness and appreciation of the work of Joan Miró through what will be an authoritative and unique presentation of this singular collection”. The exhibition ‘Joan Miró: Materiality and Metamorphosis’ is organised by the Serralves Museum of Contemporary Art and is curated by Robert Lubar Messeri, with architectural design by Álvaro Siza Vieira. (Casa de Serralves press-release)
Casa de Serralves, Rua de Serralves 1052, Porto
Image: Casa de Serralves. Joan Miró “Materiality and Metamorphosis”
16 september – 28 october, 2016
The work of Spanish artist Gorka Mohamed is of a both humorous and disturbing nature. Offering a concrete allusion to the pictorial language of cartoons, his protagonists often bend the boundaries between reality and fiction, between a yearning for infinity and the set rules of their everyday lives. With great sensitivity towards the shifts within modern day society, Gorka analyses sharply, while introducing a refined imagery that thrives on a unique use of colour, character and form. His current exhibition at Peter von Kant ‘Raise ravens and they will pluck out your eyes’ introduces his latest body of work while revealing a distinct take on the current state of cultural reality.
Gorka Mohamed (b. Santander, 1978) lives and works in London. He graduated in 2003 from Escuela Massana de Barcelona and obtained his MFA in Fine Art from Goldsmiths College in 2008. Recent and upcoming exhibitions include Choi & Lager, Cologne (2016); ‘ Raise ravens and they will pluck out your eyes’, Peter Von Kant, London (2016); ‘Termite Painting & The Sick Feet’, Galeria Juan Silio, Santander, Spain (2015); ‘100 Painters of Tomorrow’, One Art Space Gallery, New York (2014; Exeter Contemporary Open, Exeter, UK (2014); ‘Enlaces + Seis Contextos’, Museo Patio Herreriano, Valladolid, Spain (2012); ‘Riendo hacia Atrás’, Galería Distrito4, Madrid (2011); ‘Wonderpia’, Seoul Museum of Contemporary Art, Nanjo Studio Gallery, Seoul, Korea, (2011). (Peter von Kant press-release)
Peter von Kant. 25 Tanners Hill. London SE8 4PJ
Image: Doña Passiflora del Tinder. Gorka Mohamed
22 september – 4 november, 2016
David Rodríguez Caballero’s career has been an exploration of light and material, relentlessly immersed in abstraction. He has been fearless to the limitless possibilities of creating with non traditional resources, but using light like a classical master. His reliefs continue to acquire new dimensions through a vocabulary of surface, folds, color, and shades. Geometry and composition are fundamental to works that seem minimalistic at a distance, but that upon looking closely unveil the richness of their materials. His work results from the combination of a rational discipline and an organic sensitivity that
inspire a rich multisensory experience. His is a world of reflections and transparencies, physically and intellectually speaking, in a constant melodic flow. Francine Birbragher. (Meyer Zafra press-release)
Espace Meyer Zafra. 4 rue Malher. 75004 Paris
Imagen: David Rodriguez Caballero. Espace Meyer Zafra
27 september – 18 december, 2016
The event "Spanish artists at KUNSTHALLE São Paulo 2016" is a project in which Spanish artists David Bestué and Fran Meana are invited to take part of KUNSTHALLE São Paulo Art Residency program during the year of 2016. The program provides each artist with the possibility of spending a period of 6 weeks in São Paulo, while developing a new research, that will be displayed in the Vitrine space. The presentation will have an opening event, together with the exhibition of KUNSTHALLE São Paulo’s main program.
Along the residency period, artists have studio visits organized with local curators and other artists, in order to have more personal meetings. The residency program includes also weekly meetings with director Marina Coelho, who advises them on the research, and also introduce the artists to the city and the local art scene.
For the period of 6 weeks, the residency program offers to one artist at a time a private studio comprised of working space, bedroom, bathroom, small kitchen and laundry. KUNSTHALLE São Paulo offers support in the search and transport of needed materials, working tools, printer/scanner and Wi-Fi Internet. The studio is well located in the city and is served by several transportation options. (AC/E press-release)KUNSTHALLE São Paulo. Rua Apinajés, 1547. Sumaré – 01258-001. São Paulo – SP – Brazilhttp://kunsthallesaopaulo.com/wordpress2/ http://www.davidbestue.net http://franmeana.com
Image: David Bestué
19 september - 22 october, 2016
This group exhibition will juxtapose artistic and journalistic approaches discussing the notion of the border. The exhibition also explores issues related to
the recent migration crisis in Europe.
Ignacio Evangelista presents "After Schengen", the 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.
Artists: Ignacio Evangelista, David Molina Gadea, Dario Mitidieri, Matej Povše, Chat Travieso, Terri Warpinski, Matic Zorman y Le Brothers. (Art Gallery College press-release)
Art Gallery College. Staten Island 2800 Victory Blvd. Staten Island NY 10314
Image: After Schengen, Ignacio Evangelista
22 september – 22 november, 2016
Proceeding from her doctoral thesis on the history of the camera obscura, Montserrat de Pablo presents in this exhibition the results of a research project that she carried out at the Max Planck Institute for the History of Science (MPIWG) in Berlin from 2013 to 2016.
The show offers an overview of the development of the camera obscura (pin-hole camera), from the earliest examples up to the invention of photography. Also on view is a selection of photographs and drawings, indoor and outdoor views, variations on a theme as well as photographic portraits of MPIWG staff that Montserrat de Pablo took with a camera obscura prototype designed for the Institute by Berlin-based artist Carsten Wirth.
Montserrat de Pablo works in Madrid, Cuenca and Berlin. After her fine arts studies at the Complutense University in Madrid, she did her doctoral work at the University of Castilla-La Mancha, where she is currently a photography. (MPIWG press-release)
Embassy of Spain. Lichtensteinallee 1. 10787 Berlin
Image: “Retrato de grupo” Montserrat de Pablo
15 september – 12 november, 2016
In his first solo exhibition at F2 Galería, Rubén Guerrero presents his latest work: a series of large-size paintings in which he continues to look into the limits and conventions of painting.
Guerrero takes the work Untitled (2ndIdée de Peinture M.B.) as his starting point: a diptych whose title, The Idea of Painting, provides us with certain clues as to his interest in painting as a subject for critical thinking. Such critical thinking unfolds in a process that, because it is interrupted or open ended, lays bare its very logic and works much like children’s construction toys, like origami or even colour-by-number drawings.
The above evocation is also meant to be a way of rethinking the basics of painting: surface, colour and texture. For this, the artist creates simple geometrical compositions using small pseudo-architectural or totemic objects. Each work is the result of a complex analysis of the resulting image as the objects are systematically forced to adapt to a two-dimensional plane, thus acquiring an extreme frontality that is something like a trompe l'oeil. This inability to differentiate between the figure and the background confers a clear hermetic feel to the painted surface. Oscillating between the sculptural and the pictorial, the pieces seem halfway between the original object and the resulting picture, halfway between thought and process using painting as a constructive, material and mental principle.
Guerrero is matter-of-fact about the paradoxical matter of figurative abstraction or abstract figuration, and it seems he is trying to direct our attention in two opposite but tangent directions within each work; on the one hand, he relies on the image and the principles of illusion painting, and on the other, on the speculative and experimental whim of the abstract as if both directions converge into a sort of synthesis of the recognisable and familiar with the extraordinary, thus placing the viewer in the narrow space (or the loop) between the painting and the image. (F2 press-release)
Galería F2. Doctor Fourquet 28. 28012 Madrid.
Image: Rubén Guerrero
14 september – 12 december, 2016
Salvador Dalí produced an array of appealing, stimulating images in an elaborate and surrealistic style that characterized 20th-century Spanish art. This exhibit is composed of nearly 200 works from three major Dalí collections - the Gala - Salvador Dalí Foundation, the Reina Sofia National Art Centre in Spain, and the Salvador Dalí Museum in the United States of America. Trace the multifaceted career of Dalí with paintings, graphics, objets d'art, jewelry, films and works in other media from his early days to his closing years. (NAC press-release)
Kokuritsu Shin-Bijutsukan.The National Art Center, Tokyo. 7-22-2 Roppongi Minato-ku Tokyo 106-8558 Japan
Image: Salvador Dalí. Venus de Milo con cajones, 1936
27 september 2016 - 22 january 2017
Jorge Oteiza (Orio, Guipúzcoa, 1908 - San Sebastian, 2003) is certainly one of the sculpture leaders of the second half of the twentieth century, with a clear vocation for experimentation and theoretical reflection.
The exhibition shows a journey through all stages of the sculptural work of Oteiza, from the archaic forms of the first pieces to the latest series; and, also, wants to discover various facets of his career, ranging from poetry or architecture to the education or cultural agitation. (La Pedrera press-release)
Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona
Image: “desocupación no cúbica del espacio” Jorge Oteiza
september 16 - november 12, 2016
Prometeo gallery is proud to present The Trough, a solo exhibition by Spanish artist Santiago Sierra. The exhibition is the second and last part of a project begun in July 2015 at Centrale Fies in Dro (TN) in the context of the Drodesera Festival.
On the occasion of the festival, the first part of the work featured a laevogyrate swastika placed at a forty-five degree angle on a black & white tiled surface surrounded by four average-height walls separating off the space but allowing the public to get up close to the lives in captivity of a group of ordinary mice. The swastika acted as a recipient containing soymilk, a trough the rodents went to for food. Moulded in this way, the swastika – this time dextrorotatory - was later moved by the artist to the Karni Mata temple in Deshnoke in Rajastan, devoted to a Hindu woman worshipped as the incarnation of the goddess Durga – 'the invincible', 'the inaccessible' – where mice are venerated.
Each element of The Trough goes beyond representation to open a dialogue with history in an interweaving of symbols that have acquired different meanings over the various eras and cultures. From the initial symbolism of the swastika that from the Palaeolithic to the modern age stood for good fortune and that in contemporary history saw its symbolic meaning inverted negatively, to the black and white chessboard pavement of the Karni Mata temple rebuilt in Dro, from the mice to the milk and its white colour, to the marble pedestal that becomes the supporting base to the sculpture initially used as a trough.
The Trough is a circular exhibition through which the artist invites the public to go beyond stereotypes and simplifications. The exhibition is accompanied by a critical text by Fernando Baena. (Prometeo gallery press-release)
Prometeogallery. Via Ventura, 3 Milan 20134
Image: Santiago Sierra, The Trough, 2015-2016. Italy-India
8 september 2016 – 1 february 2017
The Mexico City Museum of Modern Art's new show devoted to painter Remedios Varo aims to explore the "deep waters" of her sensibility by presenting some of the Spanish surrealist's less widely known works.
The exhibition eschews the typical focus of Varo shows on surrealism or literature in favor of what philosopher Miguel de Unamuno called "intrahistory," curator Marisol Argüelles told EFE. In this view, "the subhistorical data are similar to the sea's deep, calm waters, while historical data such as great events are the waves and the surf," she said.
Varo (1908-1963) fled her adopted home of Paris during World War II and spent the rest of her life in Mexico. The show includes all 39 works in the museum's collection by the artist, which were donated in 2002 by her husband, Walter Gruen, and Anna Alexandria Varsoviano.
Included in the exhibition are writings from Varo and people who knew her that shed light on the motivations behind some of the works.Such is the case with "Musica del bosque" (1963), the only drawing that did not progress to an oil painting, where visitors may learn that the man depicted represents Gruen standing in a forest in his native Austria.
Photographer Eva Sulzer's comments reveal that "El gato helecho" (1957) was inspired by a dream of hers that she shared with Varo. The exhibit includes "Autorretrato" (1951), the artist's only selfportrait, "though there are those who say that all of Varo's characters are herself," Argüelles said. (MAM press-release)
MAM. Museo Arte Moderno. Paseo de la Reforma y Gandhi S/N. Bosque de Chapultepec. Ciudad de Mexico
Image: Roulotte. 1955 Remedios Varo
22 september – 12 november, 2016
The ‘Veterans’ series was inaugurated 5 years ago in Berlin with the “Veteran of the Iraq war facing the wall”, a criticism of the armed conflict unleashed by the West during our century and of the imperialism of the United States in its bid to recapture its global hegemony through violence.
Since then, to date, this piece has been to the USA, the UK, Australia, Colombia, the Ukraine, Switzerland, Spain, Mexico and Israel. With each visit, the simple structure with its vast visual impact is recreated, adapting to the local context, yet at the same time referencing the long list of armed conflicts taking place all over the world.
Santiago Sierra (b. Madrid, 1966) lives and works between Madrid and Mexico City. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11 (Helga de Alvear press-release)
GALERÍA HELGA DE ALVEAR. Doctor Fourquet 12. 28012 Madrid
Image: Galería Helga de Alvear
29 september – 22 october, 2016
Carolina Ceca (Spain, 1979) is a Tokyo-based visual artist, historian of contemporary art and PhD candidate at the University of Salamanca. Since living in Yokohama and Tokyo in 2005 and 2006, respectively, she has pursued the development of her personal style in Japan, Spain, Morocco and Italy. The emotions evoked by residing in these different places have most evidently found their way into her artwork as the combining of Japanese aesthetics with the Western approach to drawing. At the heart of Carolina's latest pieces is a sensitive analysis of the human condition, expressed through a confessional method; that is, by rooting herself in individual experience, she strives to visually communicate universal concepts. . (I. Cervantes press-release)
Instituto Cervantes. Cervantes Bldg. 2-9 Rokubancho. 102-0085 Chiyoda-ku Tokio (JAPÓN)
Image: Carolina Ceca. “ashes”
10 september - 11 december, 2016
Sao Paulo Biennial, established by the Sao Paulo Biennial Foundation, is one of the most important international institutions in the promotion of contemporary art and is hailed as one of the leading contemporary art events. It showcases the output of both Brazilian and foreign artists.
The 32nd edition of Sao Paulo Biennial will take place from 10 September to 11 December 2016 at the Ciccillo Matarazzo pavilion and will be curated by Jochen Volz, head of programmes at the Serpentine Galleries in London, with the assistance of Lars Bang Larsen, Julia Rebouças, Gabi Ngcobo and Sofia Olascoaga. This team of curators have chosen as the theme of this year’s biennial ‘live uncertainty’ to explore different ways of living with the unknown through ecology, the cosmology of beginnings and ends, extinction, collective knowledge, evolutionary myths and vital practices. The works of art featured in this edition, more than objects or expressions in time and space, must represent a vision of the world that can offer everyone tools and strategies for living with uncertainty.
The biennial features 90 artists and groups, among them the Spaniard Xabier Salaberría, who has the support of Acción Cultural Española. Salaberría’s sculptural practice is based on both research and the experimental spirit and is fully in tune with the theme of the event. He has produced a new work specifically for the biennial – an installation that is both an artwork and an element that both hinders and guides visitors on their way around. (AC/E pess-release)
Parque Ibirapuera, Portão 3, Pavilhão Ciccillo Matarazzo – São Paulo-SP – Brasil
Image: 32ª edición de la Bienal de São Paulo
27 september– 15 november, 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. Cika Ljubina, 19. 11000 Beograd. (SERBIA)
Image: Cristina García Rodero
22 september, 2016 - 26 february, 2017
The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, will present a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.
Curated by the Museo’s Deputy Director of Art, João Fernandes, the show will centre on the problem of form as both the particular way of understanding artistic creation and a process that assimilates its own transgression. To Badiola, the art form is always a “bad form” which, at the same time as it creates a vision, denies recognition. The artist works against culture, dismantling conditions of visibility and invisibility. The museum device, conceived from a curatorial process which has involved seven other close artists, gives shape to a kind of text-exhibition that enables at once simultaneity and a certain linearity, developing dialogue relations and references that cross through different works. Furthermore, a chronological reading becomes complex by dint of structural meta-comments and leaps in time that put forward possible developments or invoke forgotten origins.
After graduating from the Faculty of Fine Arts, Bilbao, Txomin Badiola worked at the same school as a professor between 1982 and 1988. He has put together a catalogue raisonné of Jorge Oteiza’s work and curated his exhibitions at the Caja de Pensiones Foundation in Madrid and Barcelona, and the Museo de Bellas Artes, in Bilbao, in 1988, as well as the show Oteiza. Mito y Modernida (Oteiza. Myth and Modernity), curated alongside Margit Rowell, for the Guggenhein Museum in Bilbao and New York in 2004 and 2005, and for the Museo Reina Sofía in 2005.
Awarded the Gure Artea Prize in 1986 and the ICARO Prize for outstanding young artist in 1987, his work has been the subject of solo and collective exhibitions, most notably PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 ejercicios 40 días 8 horas al día at León’s MUSAC in 2010; La Forme Qui Pense at the Museé d'Art Moderne de Saint-Étienne, France, in 2007, and Malas Formas 1990-2002 at MACBA, Barcelona, and the Museo de Bellas Artes, Bilbao, in 2002. (MNCARS press-release)
Palacio de Velázquez. Parque del Retiro. Madrid
30 september – 29 october, 2016
A selection of works by the Spanish-born artist following his recent solo exhibition at San Gottardo in Corte, Museo del Duomo di Milano, Italy.
The exhibition consists of eleven never-before-shown works of the Religare project, dealing with a topic that is particularly up to date, in a time when religion is sometimes used as an excuse to use violence against others. An inhuman drama that has nothing to do with true spirituality.
In these works, Jorge R. Pombo places himself at the center of the symbols of the great monotheistic religions of our time which, although different, coexist harmoniously in the exhibition, emphasizing the complementary nature of religious feeling experienced in its various forms.
Jerusalem, Roma. Città del Vaticano, Makkah Al Mukarramah is the starting artwork of the exhibition Religare, a triptyque that introduces the visitor to an innovative and a creative reinterpretation of these three cities, passing through Milan on the way to an ideal city. The artist focuses his attention on the true meaning of the relationship between the religions and between religion and man: in these forms, this relationship is very strong. According to Pombo, there is nothing that cannot be united if God is the point of reference, the unifying factor.
Although the various works in the exhibition have come into being at different times, the current relevance of Religare is greater than ever. . (I.Cervantes press-release)
Instituto Cervantes, 211 East 49th Street, NY 10017
Image: Jorge Pombo “Codice Rosso. Arazzo”
16 september – 21 october 2016
Born in Segovia, Spain, in 1961, Alberto Reguera now divides his time between Paris and Madrid. His work originates in his admiration for the French lyrical abstract artists; in his evocation of the Romantic landscape painters; and in the spectacular vistas of his native Castile. Reguera's abstract landscapes represent fragmented elements of nature that he constitutes via a discrete series of shapes and colours. Tones and textures multiply as he experiments with the colour blue's position in space. Depending upon the play of light, greater nuances and ranges appear.
Reguera’s overall intention is poetic—in his use of painting materials, in the luminous layered textures and in his affirmation of the physical act of painting. He stresses a sense of visual depth and offers a three-dimensional view that transforms the two-dimensional medium into sculptural pieces. Several of the ‘painted objects’ are installed on the ground, so as to form an installation of paintings. Within this construct of blue, each painting is an integral aspect of a larger and more complex work. Multiform volumes offer various views, and the work extends across a flowing space seeking equilibrium with the material. (Serena Norton press-release)
SERENA MORTON, 343 Ladbroke Grove, London, W10 6HA
Image: “Celestials Reflections” Alberto Reguera, 2016
6 september - 6 de november, 2016
Rogelio López Cuenca, Nerja 1959, focuses his artistic practice on the analysis of mass media, the construction of identities and cultural criticism. He develops this work by means of publications, courses, exhibitions, interventions in public urban spaces, on TV or on the Internet (www.malagana.com), resorting to his own processes not only of visual arts but also of literature and social sciences. (Madrid.org press-release)
C/ Alcalá, 31. 28014 Madrid
Image: Rogelio López Cuenca “Do not cross art scene” 1991-2006. Colección Museo Nacional – Centro de Arte Reina Sofía (Madrid)
GWANGJU. Dora García, Fernando Gacía Dory "¿What is the essence of art in this age?” 11th Gwangju Biennale
2 september – 6 november, 2016
The Gwangju Biennale is organized by the Gwangju Biennale Foundation every two years. As the most prominent art festival in Asia, the Gwangju Biennale has been bringing distinguished exhibits and public discussions that reflect the Asian identity for the past 20 years. The 11th biennale poses a profound question: “"What is the essence of art in this age?”" It is to place art at the core in order to recover our confidence in art and its power. This year’'s exhibit will maximize community participation and bring art inside our society. The Gwangju Biennale has been partnering with art galleries around the world that are named a "biennale fellow". Through this, Gwangju will be a place to witness the lively, global cultural scene. AC/E is supporting in this year's edition "LAMENT OF THE NEWT" by Fernando Garcia Dory and "NOKDU BOOKSTORE FOR THE LIVING AND THE DEAD" by Dora Garcia. The project Of García Dory connects forms and the political genealogy of the little theater movement from 40 years ago, with current socio-ecological struggles and a critical questioning of prevalent urban development models and the existing political support structures for it. It aims as well to reconnect Gwangju city with its ecosystemic flows and environmental questions, and in summary, to collectively propose the future projection of different existing tendencies, and to exercise foreseeing in order to act. NOKDU… will be a meeting place in the middle of the Gwangju Biennale exhibition, a meeting place that adopts the form of a mythic bookstore, the NOKDU bookstore, which played a fundamental role in the events of the May 18 revolution in Gwangju. This bookstore form I give to the meeting place I want to construct is not a historical reconstruction of the original NOKDU bookstore, but a construction of how I imagine this bookstore to be, following my readings, my own emotional and cultural background, and the testimony of different people; a construction happening in a sort of anachronic moment that puts together the past (1980) the present, and the future of an event that catalysed the history of Korea.(AC/E press-release)
Gwangju Biennale Exhibition Hall, Asia Culture Center, Uijae Art Museum, Mudeung Museum of Contemporary Art,
Image: LAMENT OF THE NEWT. Fernando García Dory
20 august – 13 november, 2016
On April 13 2015, a black flag was raised at latitude 90° North – better known as the North Pole. On December 14 2015, an identical flag was planted on the South Pole. The two monochrome flags, signifying the universal symbol of the Anarchist movement, have been raised on behalf of the people of the world as a counter-claim - a symbol of defiance - against the compulsion of nation states to seize land. The black flags remain in situ as a potent symbol of liberation, resistance and discontent.
Historically, the North and the South Pole and the remote surrounding areas have been the object of countless expeditions. Presumed as endeavours on behalf of humanity, more often these expeditions have instead been driven by attempts at colonisation, conquests for land, bestowing glory on the participating nations. Throughout the centuries, numerous countries have laid claim to these territories.
Andreas Brøgger, Head of Nikolaj Kunsthal, says: ”We are proud to house the world premiere of the exhibition Black Flag. Sierra’s project is at one and the same time quite simple and symbolic, but also very specific and incredibly complex. It is no easy task for an artist to plant two flags on the Poles. The exhibition is relevant to Denmark as one of the nations to have laid claim on the seabed of the Arctic Ocean – an area 20 times the size of Denmark with a geopolitical and potentially economic significance.”
Santiago Sierra’s works often function as commentaries on the social and political conditions of modern society. He received international recognition for a series of controversial exhibitions in which he hired unemployed people, prostitutes, political prisoners and immigrants to perform meaningless work for minimal wages as a critique of the personal and economic exploitation of the most vulnerable in society by the capitalist system.
Santiago Sierra (b. Madrid, 1966) lives and works between Madrid and Mexico City. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11.
Black Flag will have its world premiere at Nikolaj Kunsthal on August 20th 2016.
Black Flag is a collaboration between Santiago Sierra Studio and a/political with special thanks to Lutz Henke.
a/political is a nonprofit organisation, collaborating with artists who work within a socio-political framework. a/political, initiate, produce and tour large-scale projects world-wide. With offices based in London, a/political opened The Foundry in 2014 as an experimental art space, hosting ambitious projects outside the controls of the contemporary art market. Artists are invited to produce large-scale work in the neighbouring factories. In addition, a/political acquires artworks for permanent installation at The Foundry to compliment the collection currently located in London. (Nikolaj Kunsthal press-release)
Copenhagen Contemporary Art Centre. Nikolaj Plads 10. 1067 Copenhagen K
Image: Black Flag. Santiago Sierra
until 1st may 2017
Now in its sixth year, the critically acclaimed Sculpture in the City returns to the Square Mile with contemporary works from internationally renowned artists.
Sixteen artworks in 19 locations ranging considerably in scale - from a seven-metre high cast iron head, to a series of delicate and playful lead paper chains - are thoughtfully placed between iconic architectural landmarks such as the Gherkin and the Cheesegrater. Wander the City's public spaces and stumble upon world-class public art, on an urban canvas recognised across the globe.
“Laura” (2013) is part of Jaume Plensa's on-going series of portraits. Each sculpture is drawn from a particular model of a young girl, whose image is then elaborated into a more universal symbol for dreaming and aspiring. Part of the technical process involves photography. The essence of the photograph – a moment caught in time – belies the architectural volume of the final form.
'Laura' hovers between childhood and nascent womanhood, personifying an individual future and being symbolic of the future of humanity. Each sculpture has a spirit that communicates to us across cultures and identities. When the viewer first sees Laura, her silhouette stands out against its surrounding, but when the viewer moves closer Laura appears to shift her orientation. The play on form and perception and a slippage between volume and image are part of Plensa's great contributions to postmodern sculpture
This year, discover exciting works by: Anthony Caro, Benedetto Pietromarchi, Enrico David, Gavin Turk, Giuseppe Penone, Huma Bhabha, Jaume Plensa, Jürgen artenheimer, Lizi Sánchez, Mat Collishaw, Michael Lyons, Recycle Group, Sarah Lucas, Shan Hur, Ugo Rondinone, William Kentridge & Gerhard Marx. (Sculpture in the City press-release)
Sculpture in the City. St. Mary Axe Gherkin
Image: Copyright the artist; Courtesy Galerie Lelong; Photograph by Nick Turpin
LEHMBRUCK. Daniel Canogar “From Rodin to de Bruyckere. The Surface as a Carrier of Meaning in Sculpture” Lehmbruck Museum
2 july - 23 october, 2016
The surface of an object may be alluring or repellent, nondescript or exciting. It is our first impression. It invites us to contemplate, grasp and interpret. This exhibition shows how the surface and its meaning in sculpture have changed over time, presenting eminent examples from the 20th century with key works by pioneers of modernity such as Medardo Rosso, Auguste Rodin, Wilhelm Lehmbruck, Constantin Brâncuși, Max Bill, Mary Vieira, in order to shift the subject into the focus of our age: where does the surface of an artwork lead? What does it tell us about the process of creation, by the hand of the artist, and of her intentions? What ideas does the outer shell of a work of art inspire and what hides beneath the surface.
Featuring works by artists from countries such as the US, Great Britain, Spain, Belgium and Finland, the exhibition shows how surfaces determine our behaviour in the world of things. They activate our visual memories and tactile senses. It is surfaces that address our imagination and st: ore of experiences, arouse emotions and trigger a process of meaning generation.
With works by Auguste Rodin, Medardo Rosso, Wilhelm Lehmbruck, Constantin Brâncuși, Max Bill, Mary Vieira, Janet Cardiff/Georges Bures Miller, Daniel Canogar, Dorothee Golz, Rebecca Horn, Carsten Nicolai, Julian Opie, Georg Baselitz, Jeppe Hein, Elina Autio, Stella Hamberg, Evan Roth, Michael v. Kaler, Heike Weber, Berlinde de Bruyckere and others (Lehmbruck museum press-release)
Lehmbruck Museum. Friedrich-Wilhelm-Straße 40. 47051 Duisburg. Germany
Image: Waves. Daniel Canogar
4 august – 6 november, 2016
Molinos’ large body of work often deals with hunger as a man-made object. “Buy the rumor, sell the news” is the motto of the stock market, the engine that moves intangible, future markets. These intangible markets monetize harvests not yet planted, and anticipate the reaping by buying and selling future crops based on interpretations of mathematical models. This kind of commerce is termed “high frequency”, because they can conduct a larger number of transactions as what they sell is contracts rather than physical grain. The demand of these grains is considered inelastic as they are essential, and this quality has turned them into important products. They are always easily disposable on the market, and can always find a buyer who will pay regardless of cost. Since the 2008 crisis, the investment in food markets has grown exponentially. After the collapse of the real estate market, grain is the new financial instrument, resulting in the highest volatility of food prices to date, with prices skyrocketing at an unprecedented speed.
Asunción Molinos Gordo is an artist focused on the contemporary struggles of peasant life. Molinos’ work concentrates on the socio-cultural implications of food and agriculture. She employs photography, video, installation and other media to explore the rural sphere and apply a transnational approach to the issues of the peasantry. Her practice is centred around the social and cultural changes that are taking place in rural areas, always looking at what is being left behind in the rush of progress. She currently lives and works between Oman and her hometown of 80 inhabitants, Guzmán in Spain. Her work has been shown in Spain, the UK and Egypt at venues including La Casa Encendida, Museo Patio Herreriano, CAB, La Fábrica, The Townhouse Gallery and ARNOLFINI Art Centre, and her piece WAM (World Agriculture Museum) won the Sharjah Biennial Prize in 2015. She is currently studying Social and Cultural Anthropology through the National University (UNED). In 2006, Molinos received an MA in Contemporary Art Theory and Practice from the Universidad Complutense de Madrid, where she had previously completed a BFA in 2003. (Empireremains press-release)
The Empire Remains Shop. 91–93 Baker Street. London W1U 6QQ
Image: Asunción Molinos, Hunger, A Man-Made Object – Speculation, 2016
24 june – 30 october, 2016
Unleserlich (aka Speaking in Code, according to Laura González Cabrera’s work)
All interesting and / or relevant knowledge is kept secret, at least for a short period of time, for the simple reason that knowledge is, indeed, power. Yet when this knowledge is established as a “totalitarian power” it becomes its own enemy. Art created by women has lived for centuries under this “totalitarianism”, always fighting against it - though more in a dissident way than in a belligerent one.
That is, in fact, the example of the artist Laura González Cabrera (Las Palmas de Gran Canaria, Spain, 1976), and whose work has been focused, for more than a decade now, around the investigation of the different uses of coded and encrypted systems that eventually evolve, in the material creating process, into a sort of “textual abstract painting” where text, words, writing and colour join into an aesthetic combined experience.
Heir of the very first experiments of the Bauhaus, Situationism and post-conceptual paintings; Laura GC penetrates the pictorial essence from verbal scripts, providing writing thus with a new sense: the chromatic one, where its arithmetic-mathematical system reminds us of the origins of the most rudimentary binary calculation in computing, and its rhythmical and gridded spaces evoke our childhood memories, or the relevance of touch, the brushstroke, its physicality, its manufacture, its eroticism. An eroticism that strips its text turning it into visual poetry. A poetry which the artist develops by means of wall painting, painting on canvas, drawing or watercolor... all of these expanded or otherwise, as a shrunk focal point that emerges as an enigma.
Unleserlich is her first solo exhibition in Berlin, after having exhibited and produced several wall paintings in Las Palmas de Gran Canaria, Santa Cruz de Tenerife, A Coruña, Murcia, Madrid (Spain), Naples, Turin Milan (Italy), Dakar (Senegal) or Beijing (China). (Nova Invaliden press-release)
Nova Invaliden Galerie. Schönleinstr. 25. 10967 Berlin
Image: Laura González. Fünf, Acrilic on linen
7 july - 13 november, 2016.
Miró & CoBrA. The Joy of Experiment is the first exhibition to explore the relationship between Joan Miró (1893-1983) and CoBrA (1948-1951). A chance encounter in 1946 between Asger Jorn, a Dane, and Dutch artist Constant Nieuwenhuys laid the foundations for CoBrA, an international group of post-war artists. The two met at an exhibition of work by Miró in the Galerie Pierre Loeb, in Paris, and established Miró as a recurrent element in the movement’s history.
What links Joan Miró and the Cobra artists is their playful, experimental approach to art. Experimentation with materials, shapes and processes was a source of knowledge and innovation for both the Spanish master and the Cobra artists of the post-war generation. By bringing the work of Miró and CoBrA together, this exhibition gives insight into a shared sense of playfulness and poetic attitude which are at the heart of the work of both.
Katja Weitering, artistic director:“Miró & CoBrA is the long-awaited exhibition of one of the best-loved and exceptional 20th-century artists. This show is emphatically not a classic retrospective. By establishing a link with the Cobra movement and the museum’s own collection, Miró & CoBrA sheds new light on the Spanish master.”
In his late period, Miró’s artistic development saw a liberation from form, gesture and material which showed a striking correspondence with the work and artistic perceptions of various CoBrA members. This work is less familiar to general audiences – and on show now in the Netherlands for the very first time. This exhibition illuminates a wide range of experimental techniques which include, besides painting, works on paper, ceramics, sculpture, assemblages, visual poetry and artists’ journals.
This summer Miró’s sculptures will be exhibited in the gardens of the Rijksmuseum in Amsterdam. There has been no extensive Miró retrospective in the Netherlands for nearly 60 years, since the Stedelijk Museum’s exhibition in 1956. Now, in 2015, the Cobra Museum has succeeded in collating a substantial Miró exhibition which includes works from the Netherlands and abroad, thanks in part to assistance from many international partners. For example, New York’s Guggenheim Museum has generously provided Paysage (1927), while the Scottish National Gallery of Modern Art has sent the major work Figures and Bird (1934-1936) and the Museo Reina Sofia in Madrid has provided five works from the period from 1945-1950.
The exhibition includes more than 80 works by Joan Miró and 60 works by various Cobra artists including Karel Appel, Asger Jorn, Constant and Pierre Alechinsky. A central part of the exhibition is the reconstruction of Miró’s Mallorca studio, consisting of more than 40 original objects and shown for the first time on such a large scale. This part of the exhibition has been made possible thanks to a collaboration with the Fundació Pilar i Joan Miró a Mallorca. (Danubiana press-release)
DANUBIANA GALLERY. VODNÉ DIELO SLOVENSKO, 851 10 . BRATISLAVA-ČUNOVO . SLOVAKIA
Image: Le Gant Blanc 1925 Fundació Joan Miró Barcelona
9 july – 1 november, 2016
True friendship is a rare and special gift – but how do creative people, competitors on the market, manage their friendships, exchange ideas, share their lives? The exhibition “Friends + Design” investigates this theme.
The Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) is inviting 7 friends / internationally acclaimed designers to work together on different commissions in 3 groups. From that, new works will be created for the Museum of Decorative Arts at Pillnitz Palace in Dresden, ranging between installations, products and happenings.
AC/E supports the participation of the Spanish product designer Tomás Alonso, who with the German Mathias Hahn has been commissioned to create a gift for each other, based on the question “What would a design look like if it was conceived to be a gift for your friend?” The commission is not limited to objects, as a gift could be anything, even time. The only limitation is that it needs to be recognizeable within the exhibition.
This setting brings together two up-and-coming designers who both live in London and have been working for well-reputed companies as well as independent artistic projects. They share an approach to design, which can be considered as elegant, slender, yet poetic. (AC/E press-release)
Staatliche Kunstsammlungen. Residenzschloss (Royal Palace) / Small Palace Courtyard . Taschenberg 2 . 01067 Dresden
Imagen: friends+design SKD
7 june – 22 july, 2016
Josée Bienvenu presents Postcards to AZ, a solo exhibition by Barcelona born, Brooklyn based artist Martí Cormand. This new series of 7 x 5 inch oil paintings and graphite drawings exist as symbolic excavations and distant iterations of lost masterworks during the Nazi regime, challenging not only the notion of remembrance but also the materiality of history.
Arranged in a museological display, qualities of transparency, density, light, shadow, and extreme precision are applied to either bring the works to a point of self-consciousness, or to articulate the oblivion of the subjects. Cormand’s work attests to the coalescence of time, or rather, of an intangible past that can only be grasped in the present through intuition. According to the artist, our present reaffirms the concept of an "eternal return," the idea that our existence is cyclical in nature instead of linear. These images also become a byproduct of entangled temporality in cyberspace, where Cormand often derives his source material.
Born in Barcelona in 1970, Martí Cormand lives and works in Brooklyn. Selected exhibitions include: Martí Cormand, Galería Cayón, Madrid (2014); "Formalizing Their Concept” Galería Casado Santapau, Madrid, (2014); Formalizing their concept, Josée Bienvenu Gallery, NY (2013); Algo de esto, Jugada a 3 bandas (Ja3b), Galeria etHall, Barcelona (2013); False Documents and Other Illustrations, Portland Museum of Art, Portland, Maine (2010 - 2011); Arranz-Bravo Foundation, Hospitalet de Llobregat, Barcelona (2010); Galerie Lelong, New York(2010); Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007); Villa Arson, Nice (2006). (Josée Bienvenu press-release)
Josée Bienvenu Gallery. 529 W20th St 2nd floor. New York
Image: Martí Cormand, Postcards to AZ, 2016, installation view
17 june – 10 november, 2016
The upcoming exhibition marks a rare opportunity for visitors to experience the spectacular work of Plensa in The Toledo Museum of Art. This is the first time the artist’s work has been seen in such depth since his 2010 exhibition at the Nasher Sculpture Center in Dallas.
Plensa’s work in the United States include Crown Fountain in Chicago’s Millennium Park , and Echo, formerly on view in Madison Square Park in New York, now permanently sited at Olympic Sculpture Park at the Seattle Museum of Art. The recipient of many awards and accolades, Jaume Plensa was most recently awarded the 2012 prestigious National Visual Arts Award of Spain, the 2013 Velasquez Prize awarded by the Spanish Cultural Ministry, and Spain’s 2013 National Graphic Arts Prize. Nine large-scale outdoor sculptures, indoor installations and sculptures, and a selection of works on paper comprise this comprehensive exhibition, which will span the historic estate’s grounds, gardens and museum galleries for a uniquely engaging visitor experience. As a part of the exhibition, Jaume Plensa will create new works including a double sculpture entitled Soul of Words, which will be sited on the prominent color garden lawn. A monumental cast iron head, Laura with Bun, a 23 foot high cast iron portrait will grace the entrance of the grounds.
Plensa’s body of work is primarily inspired by the complexities of the human condition. He is known for the exploration of the tension between the interior and exterior life. The artist uses a variety of materials—from cast iron to steel and bronze to alabaster and synthetic resin—choosing the material which will best communicate his idea for the image. Plensa’s portraits are a radical reinterpretation of what is usually considered the domain of a more classical art.
Plensa is also involved with the transmission of language and culture. He often uses excerpts of texts from authors and poets whose writings are meaningful to him. The characters from many world alphabets are the physical elements that form a sculpture, making language as central to his work as human forms themselves. In this body of work, Plensa blurs the line of language, culture, belief system and physicality. The result is what is often described as work with a luminous beauty and grace, a sense of harmony, and supreme calm. (Toledo Museum press-release)
The Toledo Museum of Art. 2445 Monroe Street. Toledo OH
Image: Jaume Plensa, Paula, 2013
12 may – 13 december, 2016
Cofradías are religious Mayan brotherhoods, shaped in Mesoamerica at the end of the 15th century as a reaction to the Spanish invasion. Incarnating the Latin American syncretism, they combine today the Catholic codes, initially adopt under force, with their indigenous beliefs. As priests, guides, shamans, thecofrades, literally „members of the brotherhood“, are elected depending on their faith and moral respectability. In a total dedication to their mandate, they give advice, lead celebrations, mediate and preside over the cultural and religious live of their community. The Maya Cofradías inherited from the ancient Roman brotherhoods and the guilds of the Middle Ages from the Occident as well as the Orient, the protection by a saint or an avatar, the conduct of ritual celebrations and processions as well as a „freely accepted“ hierarchy of functions.
The Maya civilisation, once a major pre-Columbian empire, handed down to their modern descendants what constitute today the principal fundaments of their „relation to the world“. Behind the theater of divers influences, the Cofradíasare today one of the last „indigenous cultural bastions“. Their cult, symbology and numbering, calendars and perception of time, languages and glyphs, artisan craftwork and techniques have survived the upheavals of the last centuries.The cofrades should today be understood as “guardians of the Mayan fire“. (Tumuult press-release)
Tumuult galerie. Heinrich-Roller-Straße 8. 10405 Berlin
Image: Tomás, Cofrade Chichicastenango, Guatemala. Foto © Santiago Albert, 2014
24 may – 31 december, 2016
Room One, a creative space in the heart of historic Clerkenwell, has announced the exhibition of work by award-winning Spanish artist Oscar Tusquets Blanca. An internationally-renowned architect, designer, writer and painter, whose successful career has spanned many decades and disciplines, Tusquets is exemplary as a ‘Total Artist’.
Born in Barcelona in 1941, Tusquets graduated as an architect from Escuela Tècnica Superior de Arquitectura de Barcelona in 1965, and went on to design a number of notable buildings including several exhibition halls in the Musées des Arts Décoratifs at the Louvre, Paris, and most recently, the Toledo metro station in Naples.
A celebrated furniture designer and recipient of the Spanish National Design Award, perhaps the most recognizable of Tusquets’ designs is Dalilips, the iconic sofa that he co-designed in 1975 with his master and friend Salvador Dali, for the Mae West salon at Teatre-Museo de Figueras. A founding member of prestigious design company BD Barcelona, which today holds the exclusive rights to manufacture Dali’s furniture designs, Tusquets’ own designs are held in the collections of high-profile public institutions including MoMA in New York and the Georges Pompidou Centre in Paris. (Room One press-release)
Room One Gallery. 12-14 Berry Street. London EC1V 0AU
Image: Room One Gallery. Oscar Tusquets Blanca
28 may - 27 november, 2016
The 15th Venice International Architecture Biennale will take place from 28 May to 27 November 2016. Based on the theme "Reporting from the Front". it is directed by Chilean architect Alejandro Aravena, winner of the Pritzker Prize in 2016. It is a call for reflection on mistakes made in order to share solutions that could help other countries anticipate and avoid similar outcomes (statement by Alejandro Aravena on the theme of the Biennale).
During the past period of economic growth in Spain construction became the main driving force behind the economy. Today we find the built presence and unfinished remains of the largest constructional undertaking in history, which left behind an awkward layout and large partially built and unconsolidated volumes.
With the exhibition ‘Unfinished’ the curators of the Spanish pavilion, Iñaqui Carnicero and Carlos Quintáns take a look at unfinished architecture in order to discover virtues that can be turned into design strategies. ‘Unfinished’ sets out to explore creative speculations on converting a past condition into a positive contemporary action.
In order to show the largest possible number of architectural designs related to this theme, the Spanish Pavilion for the 2016 Venice Biennale initially launched a call for selecting the built works to be shown under one of the following categories.
INFILL without façade. ELEVATIONS without land. CONSOLIDATE without autonomy. PATTERNS without deadlines. STRUCTURES without cladding. DEMOLITIONS without material. GENERIC without program. ADAPTABLE without permanences. REAPROPRIATION without new spaces. RAW MATERIAL without finishing LOW COST without money. COLLABORATIVE without authorship. SUBVERSIVE without regulations (AC/E press-release)
Bienal de Venecia Arquitectura. Ca’ Giustinian, San Marco 1364/A. 30124 Venezia
Imagen: Pabellón de España. Bienal de Arquitectura. Venecia 2016
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
until 29 october 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.
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
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
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
16 february - 13 march, 2015
Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.
In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.
Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.
Image: Embajada de España en Tokio.