Spanish contemporary art worldwide
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1 – 28 february 2017
Artur Aguilar is a contemporary artist born in Barcelona and currently working between London and Barcelona. He studied in the Fine Arts Faculty of Barcelona and has won the First Drawing Award granted by the Spanish General Management of Culture and Arts. The Government of Catalonia awarded him a Plastic Arts scholarship. Since 1980 his work has been shown in different museums and galleries of Spain and in other European countries. His pictorial practice is based on the application of geometric and mathematical rules. His work is formally reductionist because he returns to geometry in two-dimensionality. He uses pure shapes and offers rationality through series of elements that are placed in the space, but the colour brings us closer to the warmth of the sensibility. In the Spaces series he invents interior perspectives increasing the geometric space towards a virtual dimension. (The last supper press-release)
The Last Supper Gallery . 42 Webb’s Road, SW11 6SF, Londo
Image: Espirals. Artur Aguilar
9 february – 10 may 2017
Dinner at The Dorchester is the third and final act of an opera project by DEMOCRACIA, called ORDER, which consists of three actions carried out in different spaces (both public and private). ADN Gallery welcomes this latest act in the fifth exhibition of the collective in its exhibition space.
DEMOCRACIA. Work team formed in Madrid (Spain) by Pablo España and Iván López. The decision to work as a group springs from the intention of engaging in an artistic practice centred on discussion and the clash of ideas and forms of action. The fact of working in a group in itself establishes an interest in intervening in the social sphere, by means of ideas of commitment to the real. The projects reflect a concern with the progressive setting of scenes of social life; visible, in the increasing importance of the image, and also in the gradual incorporation of the simulacrum in the different realms of daily life, such as politics, technology, and culture.
Also Democracia works in publishing (they are directors of Nolens Volens magazine) and curatorial projects (No Futuro, Madrid Abierto 2008, Creador de Dueños, Useful Art). They were founders and part of El Perro group (1989-2006). (adn press-release)
adn galería. C. Enric Granados, 49. 08008 Barcelona
QUÉBEC. Pilar Albarracín “The Art of Joy. Manif d'art 8 The Québec City” Musée National des beaux-arts
18 february – 14 may, 2017
Alexia Fabre, the Director and Chief Curator of MAC VAL (Musée d’art contemporain du Val de Marne in France), has been chosen to pilot the 8th edition of the biennial, which will be held in the winter of 2017.
The Art of Joy, in tune with current international trends, is this edition's theme. The title of a work by Goliarda Sapienza, The Art of Joy is a coming-of-age novel whose heroine makes happiness and self-discovery her sole mission in life. This highly charged and open-ended theme will allow the event to explore the notion of joy not in pure illustrations of the concept, but rather in the expression of its multiple facets. Through existing or new works, it will pursue and ponder this search for a specific relationship with the world, past and present, and everything underpinning it. What will result is a tension between joy and its opposite, between its radiant side and its reverse, darker side.
Between the ultimate gathering of 17 international, canadian and Québec artists at the MNBAQ for the 8th Québec City we can found the spanish artist Pilar Albarracín. Born in Seville, Spain. Lives and works in both Madrid and Seville, Spain.
Pilar Albarracín trained at the University of Seville. Her work has been presented in numerous solo exhibitions the world over, in particular in Spain, France, Argentina, the United States and Japan. She has also participated in several group exhibitions and international artistic events, including the Venice Biennale (2005), the Biennale d’art et de culture de São Tomé et Principe (2008) and the Busan Biennale (2014). Her works are found in private and public collections, including those of the Musée d’art moderne de la Ville de Paris in France, and the Castile-León Museum of Contemporary Art and the Málaga Centre of Contemporary Art in Spain. ( MNBAQ press-release)
Musée National des beaux-arts. National Battlefields Park Québec City QC Canada
Image: Pilar Albarracín. Sevilla febrero 2017
february 17 — march 12, 2017
“Mirror, Mirror” presents the work of New York-based artists Nicholas Steindorf and Raúl Valverde featuring simulated realities, intangible form, and the reflective nature of abstraction.
Day & Night Projects presents an exhibition in their Atlanta gallery, curated by Mountain, featuring Raúl Valverde.The Spanish artist has created a 3D “virtual sculpture” that exists solely as a computer-generated simulation, but draws from source images of the physical gallery space of Day & Night Projects.
Raúl Valverde (b. 1980, Madrid, Spain) lives and works in New York. Recent exhibitions include solo exhibitions at 300 Morgan, NY, and Ogami Press, Madrid; and a residency at the International Studio & Curatorial Program. He has an MFA from School of Visual Arts; an MA from Central Saint Martins College of Art and Design, University of the Arts, London; and a BFA from Universidad Complutense de Madrid.
Day & Night Projects , 585 Wells St. SW. Atlanta, GA 30318
Image: Raul Valverde. Two spheres installed at Day & Night projects
23 january - 11 june, 2017
Jordi Alcaraz (Calella, Barcelona 1963) is a creator at the intersection between visual poetry and conceptual projection, whose work consists of a metaphorical approach to the object. Alcaraz experiments with fragile materials imbued with a certain lyricism – water, glass, mirrors and books – to create bonds of tension between them, while constructing a discourse associated with volume, language and time. His output, which transcends limits between disciplines, is a paean to the unfinished work and art as fiction.
The trajectory of Alcaráz’s recognition has been particularly impressive in recent years. His works have been the subject of numerous solo and group exhibitions in Belgium, Germany, Italy, Canada, Switzerland, and Spain in galleries and museums, and featured in international art fairs throughout the U.S. and Europe. Currently, his work is included in Nuage at the Musée Reattu de Arles, France. (Can Framis press-release)
Museu Can Framis. Carrer de Roc Boronat, 116-126, 08018 Barcelona
Image: Jordi Alcaraz
17 – 20 february 2017
During the dark days of winter, it's easy to forget to smile, but this installation will change that. The artwork is composed of two parts: the interaction station, which uses face detection to recognize a smile, and a dynamic smiley face light. When the viewer smiles at the interaction station, it lights up the giant smiley face – reminding everyone that something as little as a smile can light up a whole neighbourhood.
Mar Canet Sola (Spain) and Varvara Guljajeva (Estonia) have worked as an artistic tandem since 2009. Integral parts of their creativity are research, innovation and exploration of the boundaries of technology. Their work has been presented in numerous international exhibitions and festivals. Mar Carnet Sola has graduated in art and design from ESDI in Barcelona and in computer game development from the University of Central Lancashire in Great Britain. He is currently finalising his Master’s Degree in art and design at the Linz University (Austria). Varvara Guljajeva received her Master’s Degree in digital media from the ISNM, University of Lübeck, Germany (Glow press-release)
The Bow South Block, Public Plaza. 636 Centre Street S Calgary
Image: Smail. Varvara & Mar
16 February - 12 March 2017
“There is not parallel universes. There is only one, and unique universe... but multiply folded
I have a sceptical point of view on everything. And a sense about culture and humour that make me feel very close to Dada Art. I am little interested in meaning. My personal quest is to reach to another way of conscience through the visual experience. I want o to move the inner chemistry of the viewer.
This series is quite special. If differs a bit from my current work. In most of my work, there are not straight lines because of my hand drawing and painting, my work is non-geometrical at all. This series, despite is still made all by hand, it is very geometric. There is a predominance of straight lines. And also a break of the bi-dimensionality and a break of the quadrature of the paper. These pieces are not simply a composition with the limits of the field of paper. They are, in a certain way, a sort of sculptural works” David Delgado
David Delgado is a spanish artist. Living in Thailand since two years.
Holding a diploma in Graphic and Product Design, with other studies of Photography, Engraving and Illustration. Freelancer in diverse activities, like window-dressing, creating of sets for theatre and advertising, creating commercial signs, teaching arts, and organisation and cooperation of art and cultural events. Always combining with his personal main job; painting. And also researching in other Art forms like installation, sculpture and most recently video-art.
With exhibitions in cities including Barcelona (Spain) Neuchâtel (Switzerland) Los Angeles (US) and Bangkok. Since arriving in Thailand, Delgado has participated in some exhibitions:"Autopilot" with Henry Tan and partners at BACC January 2015 "Open studio Tentacles" Solo show as a result of my residency at Tentacles Gallery. May 2015 "Untitled" grand opening at Tars gallery. November 2015 "Heavy metal" group experimental exhibition. Tars Gallery. February 2016 "The ultimate first experience" HS LAB. Group exhibition. Mihara, Hiroshima, Japan. November 2016
JAM 41 Soi Rong Nam Kang (Charoen Rat Soi 1), Sathorn - Surasak BTS (52Hz Bangkok press-release)
Image: S/T David Delgado
10 february – 12 march 2017
UPFRONT is an immersive exhibition project featuring the work of 23 top contemporary photojournalists from various Spanish-speaking countries, working in areas of conflict all over the world.
The title of the project refers to the deadly front lines on which today’s photographic vanguard operates to quench the world’s thirst for non-stop news. It also alludes to the front row seats that we all get thanks to the brave men and women, often freelancers with no institutional support, who venture out to the most remote and dangerous zones to serve as our eyes.
The images provide a representative sample of the ubiquitous 24/7 visual feed that underpins our perception of the world. The unusual way the photos are presented also reflects the way the content captured and mediated by photojournalism is “consumed” today. UPFRONT also includes videos, a soundtrack, and an example of a photojournalist’s basic camera gear and survival kit.
Photographers: Abd, Bonet, Brabo, Calvo, Caro, Colón, Cubillos, de Vega, Félix, Gallego, Gª Vilanova, Ibarra, López, Lubaki, Martín-Chico, Martínez Casares, Maysun, Moral, Pirarenko, Fabrés, Sánchez, Valle, Ybarra, Gil Moreno. Curator: Ramiro Villapadierna. (RAER press-release)
Real Academia de España en Roma. Piazza San Pietro in Montorio, 3. 00153 Roma, Italia
Image: Raúl Gallego Abellán. AP Photo. Egipto 2011
february 21 — march 06, 2017
Nature possesses contextual dimensions, offers a multi-sensory experience and presents itself as a seamless unity. In 2016, Spanish adventurers and Raisa Leao decided to truly experience it, leaving their expectations and thousands of human artifacts behind in order to appreciate nature and its beauty around Washington, D.C.
The exhibition is the result of these adventures. It invites you to immerse yourself in nature and observe it with full sympathy as being. The photos, however, are only half of the experience; the true exhibition is nature itself, which is out there to be discovered and appreciated.
Born in Valencia, Spain, Mon Zamora graduated in Architecture and discovered his interest in photography during a trip to Patagonia, Chile in 2010. The following year while in New York City, his photography evolved encompassing aspects of urban art, focusing on people, patterns, and art works. Zamora worked for the IDBs Sustainable Cities Program from 2012 to 2016. As an urbanist and photographer he has traveled across Latin America and the Caribbean to document the great urban challenges that emerging cities face.
In 2015, he met Raisa Leao and they began traveling to explore nature, where he rediscovered his passion for landscape photography. By mixing all of his previous influences, Zamora creates a unique outdoor photography style. He particularly enjoys photographing the Appalachian Mountains west of Washington DC, including the Shenandoah Mountains, where he and Raisa hike, climb, and take backpacking trips. The book, 20 weekend trips near Washington D.C., will be launched at the exhibition. (Idbstaff press-release)
IDB Staff Association Art Gallery, 1300 New York Avenue NW (13th St entrance), Washington, DC 20577
Image: Mon Zamora
3 february – 30 april 2017
“Mythologies” is the second part of a retrospective of the work of Spanish photographer Isabel Muñoz.
Born in Barcelona in 1951, Isabel Munoz is an internationally renowned photographer whose work is focused on the sensuality of the human form. As a small child, she wanted to become invisible in order to observe without being seen, and so from a young age she decided to become a photographer. Her work is widely admired and has won numerous prizes and distinctions, including the 2016 Spanish National Photography Prize, awarded by the Spanish Ministry of Culture. Isabel Munoz’s photographs appear in many important public collections, including the Maison Européenne de la Photographie (Paris) and the New Museum of Contemporary Art (New York).
Following her shows about dance and bodies in movement, Isabel Muñoz presents us with her examination on the subjects of the origins and transformations of the founding of Man.
On the frontier of anthropology, she captured the skin grain in the very ancestral marbles of baroque Rome, where a drape, a fragment of a wing, sends us back to our founding myths. She confronts civilizations photographing different ethnic groups in Africa, their body paintings as landscapes or trees of life forever drawn onto their skin. She confronts the idea of death, fundamental in our evolution, capturing the sensuality of the ballet of bullfight:
“A picture is not over until you’ve shared it with someone.” I.M. (CT press-release)
CT Gallery. 112, rue Saint-François. 74120 Megève. France
Image: Isabel Muñoz. Série Etíopia, 2002
4 february - 25 march, 2017
“My most recent installations have been built with electronic material found in dust-bins, dumps and recycling warehouses: telephone cable, computer cable and electrical cable of multiple colours, thousands of light bulls, meters of videotape, old slot machines, DVDs, etc. These installations explore the short life of technologies that we reject and their relationship with its mortality.
These installations also seek to revive the inanimate. Light animations projected appear to release the energy stored in the electronic material, awakening memories of his past.
Through my work I try to give live to these materials that have died, to show their secrets, revive the collective memory that they contain to construct a portrait of a society and an era.(Max Estrella press-release)
Galería Max Estrella Santo Tomé 6, patio.. 28004 MADRID
Image:ECHO. Daniel Canogar
9 – 26 february 2017
Exile Room is exclusively staffed by women who have worked in every aspect of the film industry, from festivals to production. Yet, although film technology is changing at lightning speed, one thing remains the same: the industry is dominated by men. This year, Exile Room is organizing a series of screenings and workshops to encourage young women to try their hand at filmmaking and we want as many female voices to join the discussion as possible. Experimental documentary filmmaker and professor Natalia Marin is 1/3 of the film collective "Los Hijos", who live and work in Madrid. Her work combines observational documentary, avant garde and video art. Natalia Marin will teach a masterclass on Experimental Documentary and Self Expression, focusing on women's issues, as she takes a closer look at the equality of the sexes within the filmmaking landscape. The masterclass will be combined with a full "Los Hijos" retrospective prior to her arrival. Screenings: February 9, 2017 "Los Hijos Retrospective" 2009. El sol en el sol del membrillo (14') 2010. Ya viene, aguanta, riégueme, mátame (8') 2010. Los materiales (70') 2011. Circo (70') 2012. Tarde de verano (6') 2012. Evacuación (2') 2013. Enero, 2012 (o la Apoteosis de Isabel, La Católica) (18') 2014. Árboles (63') 2015. Karaoke, España (6') (AC/E press-release)
Exile Room. Athinas 12, Athina 105 51, Greece
Image: Natalia Marin. Exile Room
11 february – 17 march 2017
Activating Artifacts: About Academia is a new exhibition project by Antoni Muntadas. Its aim is to facilitate an interdisciplinary dialogue about higher education: its many limitations as well as new possibilities.
The exhibition presents an opportunity to critically engage with the structure and function of the global university system. It does so by exploring topics of privatisation, corporatisation, gentrification and globalisation, as well as the complex relationship between the production of knowledge and the economic interests it generates. Although Activating Artifacts: About Academia was initiated and produced in a US context, it can simultaneously be "activated" as a tool to engage the issues from within a variety of geocultural educational frameworks in which these processes resonate.
The exhibition completes Muntadas’s About Academia project with the commission of its second instalment. Whereas About Academia I (2011), produced by and presented at the Carpenter Center for the Visual Arts at Harvard University, addresses the above issues from the perspective of professors and faculty-affiliated scholars, About Academia II (2017) further elaborates on these themes exclusively from the viewpoint of students. Consisting of two elaborate three-channel video-installations made up from scrolling texts, video interviews, and shots of campus architecture, as well as an intricate architectural installation, the exhibition provokes an open space for the critical examination of academic education (De Appel press-release)
De Appel Arts Centre. Rozenstraat 59, Amsterdam
Image: Antoni Muntadas
5 february – 28 may 2017
The exhibition "Sunday" will transform the Fundació Antoni Tàpies into a museum of all the periods and geographical locations that tourists have shared through a format as modest as the postcard.
In this project for the Fundació Antoni Tàpies, Oriol Vilanova deploys a conjunctural system that will bring to light the almost totality of a miscellaneous collection. Whilst the artist has proposed a series of motives that he has discerned in more or less operative sections the undiscerning purchases of every Sunday. On this occasion, he submits the accumulated mass of postal letters to a lack of distinction that threatens to undo the more than one hundred categories he had given himself to arrange this fascinating set of images.(Fundació Antoni Tàpies press-release)
Fundació Antoni Tàpies . Aragó 255 . 08007 Barcelona
Image: Oriol Vilanova
3rd – 26th february 2017
StolenSpace is proud to present ‘Lost Olympus’ the new solo show by OKUDA.
In ‘Lost Olympus’ OKUDA offers us a representation of the mythological idols and characters from ancient Greece as contemporary icons through his geometric structures, multi-coloured patterns and dreamlike scenes as part of his continuous reflection of our contradictions, longings, intuitions and beliefs.
OKUDA’s work reflects a surreal world of geometric colour and pattern. Exploring existentialist contradictions, the meaning of life and the false freedoms of capitalism, his work has been classified as a kind of pop surrealism.
A certain existential restlessness and a deep curiosity for the history of the different cultures that he finds in his way have led him to admire the form chosen in each of them to represent their gods, legends and myths as a repertoire of images and complementary concepts.
Deities created to appease the dissatisfactions of society and the uncertainties of our existence that are projected from an infinite universe in which nature is our only certainty.
Working in with spray paint, embroidery and sculpture, his work depicts deconstructed animals and bodies. Easily recognisable by his use of shape and colour, his work creates its own iconographic language. (StolenSpace press-release)
STOLENSPACE GALLERY. 17 Osborn Street London . E1 6TD. United Kingdom
Image: The Mysterious Knight of God’s Garden
03 february - 16 april 2017
Once again, La Casa Encendida is pleased to present an exhibition featuring the winners of Generaciones, a competition for artists under age thirty-five that evolves each year to showcase the latest projects on the young contemporary scene.
This year, a jury consisting of Tolo Cañellas, independent curator, Maribel López, Commercial Manager and Head of Curated Programmes at ARCOMadrid, and Laurence Sillars, Chief Curator at BALTIC (United Kingdom), reviewed the proposals submitted by 600 candidates and selected ten projects to receive a cash prize of 10,000 euros each. Today Generaciones has become a landmark initiative in the Spanish art community, and more than 15,000 artists have participated in the competition over the last sixteen years.
The ten winning artists and projects are as follows: Rosana Antolí (Alcoy, Alicante, 1981), F= P.e / 1; Fito Conesa (Cartagena, Murcia, 1980), Non Unísono; David Crespo (León, 1984), El Juego de la Hiena; June Crespo (Pamplona, 1982), S/H Fuerzas Felices; Diego Delas (Aranda de Duero, Burgos, 1983), 20000 toneladas de mármol; Carlos Fernández-Pello (Madrid, 1985), Marco de referencia. O tres modelos para apreciar el discurso como forma; Marian Garrido (Avilés, Asturias, 1984), Souvenirs of Future Nostalgia; Blanca Gracia (Madrid, 1989), Acmé en dos variaciones; Rubén Grilo (Lugo, 1981), Noone, Allness, and Lorenzo Sandoval (Madrid, 1980), Shadowwriting (Talbot/Babbage). The show, curated by Ignacio Cabrero, offers a panoramic overview of the youngest Spanish art scene. . (La Casa Encendida press-release)
La Casa Encendida Ronda de Valencia, 2. 28012 Madrid
Image: Blanca Gracia. Acmé en dos variaciones, 2017. Fotograma del vídeo
february 3rd - april 7th 2017
The expressive artworks of painter Gerard Fernández (*1977, Barcelona), who will expose in 100 kubik gallery for the first time, enter a dialogue with Carlos Albert’s sculptures. The luminosity of the colours, the clear composition and a conciliatory play of lines turn each painting into a spectacular experience.(100 kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21.50670 Köln
Image: Gerard Fernández. Balance and other obsessions 059
ANTWERP “Braakland: Photography & Resistance. A New Generation of Spanish Photographers ” Fotomuseum FOMU
17 february - 04 june 2017
Braakland is an open festival on photography organized by FOMU that prioritizes the dialogue between artists and the public. This spring, Braakland hosts an exhibition to introduce the contemporary Spanish photography scene. Despite the lack of financial means, this new generation of Spanish photographers proves to be remarkably innovative in finding ways to breathe life into their ideas and projects, with the book as a favored means of distribution.Seven photographers form the heart of this experimental exhibition, presenting recent or ongoing series. From the metaphorical images of Ricardo Cases, the political manifestos of Julián Barón up to the Baroque-like tableau’s by Jesús Monterde all provide a committed and personal view of the Spanish society with all its malfunctions. Curators: Nicolás Combarro & Fannie Escoulen. Artists: Julián Barón, Ricardo Cases, Jon Cazenave, David Hornillos, Jesús Monterde, Óscar Monzón, Antonio Xoubanova. (FOMU press-release)
FOMU - Fotomuseum provincie Antwerpen. Waalsekaai 47. 2000 Antwerpen
Image:Karma © Óscar Monzón
BARCELONA. Momu & No Es “Plural Being. I am the Others, the Others are Me” Espai 13. Fundació Joan Miró
20 january – 5 march 2017
Plural Being. I am the Others, the Others are Me reflects the constant search for calm in a hectic society. Through a theme park scenario, the exhibition attempts to answer a series of questions about the times we live in, the things we yearn for, and the rewards we expect in return for our day-to-day efforts.
Momu & No Es present a new installation that recreates a phantomscape through a series of sculptural elements, mantric sounds, suspended images and performative elements that plunge visitors into a space of sublimation and estrangement. A reflection on personal space and on the body as testing ground that questions the human condition in a hyperconnected era. Curator: Jordi Antas (Fundació Miró press-release)
Fundació Joan Miró Parc de Montjuïc. 08038 Barcelona
Image: Fundació Joan Miró
january 28. - march 05. 2017
The photographs in "Behind the waterfall" were taken on the south coast of Iceland during the summers of 2013 and 2014. As one of the areas of the country with the highest concentration of tourist attractions, this region has a large number of hotels and guesthouses operating almost exclusively during the summer months and attracting a large number of foreign and local seasonal workers. This project presents the particular universe of this perennial community during those months of frenzied activity and situational fellowship, where the temporary becomes permanent, unfolding an open narrative around the illusion of place and the impermanence of population.
David Barreiro (A Estrada, Pontevedra, 1982) is a Spanish photographer living in Iceland. He studied photography at EFTI school (Madrid), including its Master degree, as well as workshops with Xavier Ribas and Juan Valbuena. His work has appeared in various online magazines such as Positive-magazine, Top Photography Films, Aintbad magazine and F-stop magazine. He has been a finalist for the 2013 Open Call - PHOTOGRAPHY Festival Internazionale di Roma, winner of the Open Call (Projections) 2014 – Encontros da Imagem and selected for the exhibition “Edita: sequencia / sentido” curated by Miguel Perez von Hafe for CGAC in 2015. He was one of the founders of the Photobook club Vigo and Photobook club Reykjavik. In October 2015 he has published the book “Behind the waterfall” with the Spanish publisher Dispara Books. He is a member of Samband íslenskra Myndlistarmanna (SÍM), Félag íslenskra samtímaljósmyndara and the Iceland film photography association. His work is an approach to contemporary issues implicitly related to his own biography. (Ramskram gallery press-release)
Ramskram gallery. Niálsgata 49. 101 Reykjavik
Image: David Barreiro “Detrás de la cascada"
16 february – 18 march 2017
Timothy Taylor is honoured to present an exhibition of works by celebrated Catalan artist Antoni Tàpies (1923–2012) that have never been shown outside of Spain before. Emerging in the period between 2004 until the artist’s death, these late works, often monumental in size, reveal the artist at his most vigorous.
As early as 1955, Antoni Tàpies declared: “If forms are not capable of wounding, irritating or inducing society to meditate, to make it realise how backward it is, if they are not a revulsive, then they are not authentic works of art.” This position is evident in the works he produced throughout his long and prolific career, not least of all the explicitly confrontational, ambiguous works produced after 2000.
Tàpies believed that an artist’s responsibility was to interpret the contemporary situation. Now more than ever, these late works seem to demand a reflection on the human condition. In bringing us directly back to the body, in confrontational works that suggest violence, sex, bodily excrement – the abject – Tàpies undermines the ease of disassociation our screen-based culture has produced.
Tàpies was of the generation defined by Maurice Merleau-Ponty’s assertion that instead of understanding our bodies as something we have, we rather are our bodies. For Tàpies, the body was a site of representation since the 1950s, and a way of exposing what we refuse to see and confront, but that is essential to understanding our own conscience.
Antoni Tàpies was one of Spain’s most accomplished and prolific artists. He extended Spain's early avant-garde lineage (Pablo Picasso, Joan Miró, Salvador Dalí) to become a leading figure in the country's art world in the second half of the twentieth century. His work is included in numerous public and private collections internationally including Tate Galleries, UK; The Museum of Modern Art, New York; Galleria Nazionale d’Arte Moderna, Rome; Le Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; and the Museum of Contemporary Art, Los Angeles. Tàpies represented Spain in the 45th Venice Biennale in 1993 and was awarded the Golden Lion. He remained an influential presence in Spain for over sixty years, until his death in 2012. (Timothy Taylor press-release)
Timothy Taylor. 15 Carlos Place, Mayfair, London W1K 2EX, UK
Image: Antoni Tápies. “Revulsion and Desire” Timothy Taylor Gallery
19 january - 5 may, 2017
The Gallery@1GAP is pleased to present Rob Stephenson, Susan Hamburger, Kathryn Lynch, and Isidro Blasco in an exhibition about the contemporary Brooklyn landscape. In keeping with 19th Century art critic John Ruskin’s concept of “truth to nature”, the following artists are a heterogeneous group not inclined to romanticize Brooklyn, but rather present the city’s landscape as a place where visual harmony comes together only every so often. Ruskin emphasized the connection between art, society, and nature, in particular he championed painting directly from life rather than developing works in an invented studio setting, seeking art that seemed to be free of any rules of composition. Some of his writings predate the green movement by valuing land preservation and architectural harmony. He believed that architecture should be left to age, free of restoration, so as to display its inevitable changing form, an aesthetic he based on a kind of material truth.
Isidro Blasco’s (b. Madrid. Spain, 1962 ) photo constructions present landscapes as small, wall based photo maquettes supported by light but complex wooden armatures. His pieces read as precious, almost sentimental memories of a moment in time and space, perhaps the kind most passers-by would dismiss. Blasco’s images are pieced together through soft, asymmetrical seams, creating a somewhat precarious or vulnerable architecture. The collaged photographs range from street life to specific subway lines, presenting an ephemeral moment in time. The work is playful and in that sense very accessible, yet it gets at the truth of the urban topography.(The Gallery@1GAP press-release)
The Gallery@1GAP, Richard Meier On Prospect Park One Grand Army Plaza, Brooklyn
Image: Isidro Blasco
3 february - 23 april 2017
These books were alive; they spoke to me! is an exhibition of printed matter and performance works by Barcelona based artist Dora García. Her first institutional solo show in the UK, this exhibition will also coincide with the 20th annual Leeds International Contemporary Artists’ Book Fair taking place at The Tetley in March 2017.
García’s show will provide a retrospective look at her career-long production of book editions, book sculptures, and other printed matter, and the ongoing connection within her practice to the broader tropes of popular literature, theatre and film. For These books were alive; they spoke to me!, García will stage a new iteration of several ongoing performance works stemming from texts written by the artist, by others following the protocols given by the artist, or utilising and responding to iconic literary texts such as James Joyce’s Finnegans Wake.
‘These books were alive; they spoke to me,’ is a quote from François Truffaut’s 1966 dystopic cult film Fahrenheit 451 (based on Ray Bradbury’s novel of the same name). This literary reference opens up a framework for the exhibition and expanded programme, which features books about performance, and performances about books.( The Tetley press-release)
The Tetley, Hunslet Road, Leeds, LS10 U.K
Image: The Tetley
february 3rd - april 7th 2017
In 2017 100 kubik is going to present recent artworks of the sculptor Carlos Albert (*1978, Madrid) again. His sculptures made of corten-steel or forged iron show dynamic compositions containing linear as well as space embracing rhythms. This time there will also be exposed large-format artworks, which originally have been created for outdoor spaces
Emanating from the pure Spanish tradition Carlos Albert shows us with his youth and energy that he has preserved himself the ambition to dominate the material, to bend the iron, to fight with the fire and to create sculptures full of life and sentiment with his own finger mark.
His art works are like drawings in space, embracing the blankness and expressing a feeling of freedom. (100 kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21.50670 Köln
Image: Carlos Albert
february 2 – march 11, 2017
Galerie Lelong is pleased to announce Silence, a solo exhibition of work by Jaume Plensa. The exhibition presents Plensa’s installation and monumental sculpture in a new configuration, where the source material for the work appears alongside the finished sculptures. For the first time, Plensa incorporates reclaimed wood beams as a framework and major component of his work.
Continuing his exploration of contemporary portraiture, most notably with Chicago’s Crown Fountain and most recently with Looking Into My Dreams, Awilda at the Perez Art Museum Miami, Jaume Plensa created an ensemble of seven heads made of timber salvaged from an old building. The heads, modelled after individual young women from Asia, Europe, and Latin America, are treated with an unevenly burnt patina, which draws influence from both Eastern and Western iconography.
The exhibition fully speaks to Plensa’s sensitivity to medium and how his use of new materials evolved to inform his life-long search for a universal depiction of a reflective inner world. In placing the sculptures in proximity to architectural remains, Plensa forges a connection between spirit and matter, the historic and the contemporary, underlining his ongoing pursuit to understand the beauty in everyday life.
Plensa also addresses how silence, as a visual and auditory negative space, is an ever-shrinking commodity of today’s world: “One of my obsessions is silence, silence as a key need. And in a very noisy world, silence should be produced, must be ‘made,’ because it does not exist; an inner silence so that people return to be with themselves.” The importance of creating silence in everyday life is manifested in the works presented in the smaller gallery: a series of eight bronze heads that embody the proverbial principle “hear no evil, see no evil, speak no evil”
Jaume Plensa is one of the most respected and renowned sculptors working today. In addition to a long career of exhibition in traditional museums and galleries, he is a respected innovator and pioneer for his projects engaging with public space, which can now be found in over fourteen countries around the world. Plensa’s celebrated sculptures can be seen in Albright Knox Art Gallery, New York; Pérez Art Museum Miami, Florida; Millennium Park, Illinois; Olympic Sculpture Park, Washington; Toledo Museum of Art, Ohio; Burj Khalifa, United Arab Emirates; BBC Broadcasting Tower, London and St. Helens, England; Mori Art Museum, Tokyo and Ogijima, Japan; Shanghai IFC Mall, China; Bastion Saint-Jaume, France; amongst many other sites worldwide.. (Lelong press-release)
Galerie Lelong. 528 West 26th Street. New York, NY 10001 528 West 26th Street
24 january – 1 april, 2017
Although for the most part abstract, the works of the autodidact Manolo Gómez visualise his attitude towards life and his milieu in a singular way. At times, says the artist, they show what it means to be a gitano. By means of contemporary resources, such as waveforms, abstract expression and dynamically flung paint, they seek to expressthe ancient emotions of the culture of theSpanish gitanos – for example, the inexplicablestate of duende that connects audience and artistin flamenco.
With good reason, Gómez’s works have been compared with the quejío, the specialised song form of cante fl amenco, which is reminiscent of a shriek. Although it is a product of a traditional culture, the concept of duende, with its emphasis on the active integration of the audience into the artwork, approaches the postmodern concept of the reader/receiver as author. In contrast to contemporaries who work figuratively, and who often illustrate flamenco performances in a decorative fashion, and hence run the risk of offering only a pale imitation of this serious culture, Gómez takes his own purified path, one that initially encountered misunderstanding, but which establishes an original form of access to abstraction, one that goes beyond classical modernism.
With his work Gómez succeeds in liberating flamenco from seemingly familiar forms of appearance. He endows this independent and serious culture with a convincing, lucid form, and renewed flamenco in the context of contemporary art. (Galerie Kaidikhas press-release)
GALERIE KAIDIKHAS GmbH & Co. KG. Aufbau Haus at Moritzplatz. Prinzenstr. 84 I. Aufgang 2. 10969 Berlin
Image: Manolo Gómez Romero. Cachebache
14 january - 24 february 2017
This work in which the main simbols of the world disappear reflects a fascinating absence that make us think about the importance of the creation and its vital influence on ours society.
Simultaneus worldwide exhibition in/Mostra in contemporanea in: CAM Contemporary Art Museum. Casoria, Naples ITALY. Casas del Águila y La Parra. Santillana del Mar. Cantabria SPAIN . EFTI Centro Internacional de Fotografía y Cine. Madrid SPAIN. Arts Connection Foundation. Miami USA. Alonso Vidal Gallery. Barcelona SPAIN
Berta Jayo born in Santander, Spain, in 1971, she studied B.A. Honours Degree Fine Art at the University of Bilbao, Spain and she has done her Postgraduate and MA Fine Art at Chelsea College of Art and Design in London. She has participated on many programs as ISCP (International studio and Curational Program) New York.
She is a nonconformist, critical and continuously evolving talented creator whose clearest language is conceptual art developed on a large variety of media. Her clear and concise ideas encourage reflection, which is also disturbing and provoking our intellect. Her original, power-charged projects awakening our anesthetised and banal existence to offer us their far from stereotypical visions of life. (CAM press-release)
Cam - Casoria Contemporary Art Museum. Via Calore, 17, 80026 Casoria NA, Italia
Image: Taj Majal. Berta Jayo
31 january – 7 april, 2017
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 november of 2016, the Kunsthalle München 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 Munich, 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 Kunsthalle München, expand our view of the work of art and its world, giving expression to today’s perception and use of a centuries-old object. (Instituto Cervantespress-release)
Instituto Cervantes. Alfons-Goppel-Strasse 7. D-80539 Múnich Baviera (ALEMANIA)
Image: Carlos Collado
20 january – 24 february, 2017
Above the ground consists of works of different nature but with a common aspect which is the minimum elevation from the ground line. They are the result of the artist´s physical and existential attitude, close to weightlessness, that allows body and mind to reach a state of lightness. The exhibition lacks complex conceptual pretensions and focuses on a playful game of meditative processes and intuitive encounters between the artist and the material.
The artworks have been realized through 5 ways of basic and primitive manipulation: tension, repetition, accumulation, folding and balance. The main materials used in the exhibition are the Japanese thread urushi, copper, paper, feathers and other found objects. All of them have been chosen for their physical properties, for their weight, lightness or resistance, besides their poetic potential. Furthermore, the presence of colour and a certain metallic gloss stands out, giving the works a melancholic beauty.
Above the ground demonstrate the strength that lays behind the pleasant process of dialogue with the materials, inviting the viewer to contemplate this physical and spiritual levitation. (Rodríguez Gallery press-release)
Rodríguez Gallery . ul.Wodna 13/4. 61-782 Poznań, Poland
Image: Anna Talens
25 january – 28 march, 2017
“Nuez’s keen eye and succulent colors infuse his insects with a fragile shimmering beauty that deflects much of the horror” Hour magazine
When I look at bugs magnified through my photographic lens, they become larger than life icons – sometimes appearing as a heroic figure in an epic drama, or a superstar adored by millions; a tragic victim in a cruel world, or a powerful evil villain.I love glorifying the least among us. As someone with periodic bouts of social anxiety, I find myself fantasizing that I am the opposite. And so my little bugs embrace this duality, where at once they are lowly, irrelevant creatures, and at the same time, compelling figures in the alternate universe I’ve created for them. And I enjoy seeing them adopting simple poses, or actions, as though they are playing to the camera. I want to glamorize them, and give them an ambiguous but exciting allure.
I prefer using the most mundane and readily available bugs; those found dead and dusty in basements, on windowsills, and sidewalks. Some of my bugs end up in a gritty burial ground, while others are given a rather more glamorous send-off, with all the pomp and glitter of Hollywood. I try to see their faces and look into their eyes. Perhaps their expressions contain echoes of untold epic tales. Or, perhaps, in the end, each of them is simply a dead bug, as the cycle of life completes another turn. To create the images in this theatrical series, I begin with a concept, making sketches and fleshing out the character I want to create. I start building sets that can range in size from a few square inches to a few square feet. Then I search for the perfect bug to play my assigned role. Once the “star” is discovered, I position it in a pose using paper tweezers. The lighting set-ups can be complex – I use cards and flags to create tiny shafts of light. When the bug is ready for their close-up, the final image is shot.
Xavier Nuez’ s photographs have been featured in solo and group exhibitions in museums and galleries internationally, including the Illinois State Museum in Chicago, IL; the Marin Museum of Contemporary Art in California; th: Attleboro Art Museum in Massachusetts; and the San Diego Art Institute. His work is in numerous public, corporate and private collections, including those of the Illinois State Museum; the University of Richmond Museum in Virginia; the University of Michigan; the Norfolk Southern Collection; the Vicente Fox Center Library and Museum in Guanajuato, Mexico; Mr. Danny DeVito; and Ms. Angela Lansbury. Xavier’s family is from Spain; he was born in Montreal and lives in Chicago. (I: Cervantes press-release)
Instituto Cervantes. 31 W. Ohio. 60654 Chicago Illinois
Image: Xavier Nuez. Asha: jewel of the Nile
20 january – 14 may 2017
The Blueproject Foundation presents “Room for Forbidden Books”, the new solo show by Alicia Framis in Il Salotto from January 20th to May 14th 2017. The main space of the Foundation, completely renovated for the occasion, hosts this installation that belongs to Banc Sabadell’s collection and that is unseen in Spain.
Room for Forbidden Books is part of the “Forbidden Rooms” series, a recent series of rooms – rooms of yell and oblivion, rooms for protesting or developing dissident ideas, where the Catalan artist Alicia Framis keeps questioning the social and human environment, through the alienation devices and other coercion media. Framis proposes a room for forbidden books, a library of books which have been censored or whose authors have suffered, or continue suffering, from difficulties with the judicial or politic power. In the most serious cases, they would have to face prison, torture or death.
This room for forbidden books becomes a study and reflection place where everyone can evaluate the damage of censorship that these books once suffered from, being nowadays considered as masterpieces and part of the world’s cultural heritage. It is obvious how censorship superposed through time and indifferently on works with the most different contents, from Voltaire’s Candide to Giordano Bruno’s writings, and from Nabokov’s Lolita to Simone de Beauvoir’s The Second Sex.
Room for Forbidden Books creates an opportunity for people to reflect on the situations and contexts in which the nearly 200 books on display were banned at different points in history. Despite being censored, nowadays these books are widely read and appreciated, many of them considered classics. Becoming aware of this, another layer is added to the work: the relationships established among the readers. What happens between the people sitting in this space, reading these books, is what is most important. You are invited to enter these rooms, to confront what is forbidden, what is secret, what is possible.
The room is just an excuse to start a dialogue. Room for Forbidden Books has been shown at Picasso Museum, France, Annet Gelink Gallery, Amsterdam and has been selected to show at Art Basel – Parcours, 2015.
Alicia Framis (Barcelona, Spain, 1967) lives and works in Amsterdam. Alicia Framis is a multi-disciplinary artist whose work blends architecture, design, fashion and performance. Her work is project based and focuses on different aspects of human existence within contemporary urban society. Born in Barcelona, Framis studied in the Fine Arts School, Barcelona University and in École de Beaux Arts, Paris. She also completed a master in the Institut d’Hautes Etudes, Paris; and another one in the Rijksakademie Van Beelde Kunstende, Amsterdam. She has become known around the world for her performances and actions, such as Loneliness in the City (1999-2000), The Secret Strike Films (2003-2006); an installation accessible to women only, Minibar, at the 2nd Berlin Biennial in 2001; and Anti_dog (2002-2003), realized to represent Holland in the Dutch pavilion at the 50th Venice Biennial in 2003. Recent solo shows include Reading Together at Annet Gelink Gallery, Amsterdam (2014) and Framis in Progress at MMK Arnhem; Galerie I'm TaxisPalais, Innsbruck (2013); Museum of Contemporary Art in Leon; and Centre Contemporary Art Brugge (2014). (Blueproject press-release)
Blueproject Foundation Carrer Princesa 57 - 08003 Barcelona
Image: " Room for Forbidden Books” Alicia Framis
19 january – 17 march, 2017
"Nature, childhood, art history… those are the main references in my work... but ethical-political nuances also play into it.
My imagination is populated by living and dissected animals, landscapes and children, and is currently being enriched with some portraits of my influences from art history and literature. With great reverence and joy, I have painted Grosz, Beckmann, Otto Dix, Thomas Mann and some other people as a love letter to art, but also full of sorrow for the great flaw in the society of that time: non-resistance. Bergman in "The Serpent's Egg" and Haneke's in "The White Ribbon" illustrate very well how close hell is to paradise. Bergman shows how society in Berlin of the 20s began to darken to an eternal winter. Haneke takes us back a further generation and analyzes the society that brought forth the incomprehensible. This society of "good thinking" in the 19th Century gives me a number sweet motifs full of idyllic images, landscapes, poems about love and hate, an Arcadian orgy. For inspiration, I have taken books on poetry and love from the 19th century and "polluted" or "enriched" them: a beautiful package for "noble" content. The same happens to the frames, which are the cradle or the loudspeaker of dirty and blessed painting. The overstraining of paradise and the metaphor of untouched, fresh-fallen snow – that infinite and antiquated white – lend this exhibition its title."
Santiago Ydañez was born in Jaén, 1969. Lives and works in Berlín and Granada (Spain). Graduated in Painting from the School of Arts of Universidad of Granada, Ydañez is one of the most internationally recognized spanish artists of his generation. Santiago Ydañez was awarded the Premio de Pintura ABC in 2002, Premio de Pintura Generación 2002 - Caja Madrid, Beca del Colegio de España in París - Ministerio de Cultura in 2001 and the Beca de la Fundación Marcelino Botín in 1998. Ydañez work is represented in several Institutional Art collections such as: Fundación Botín (Santander), Museo Nacional Centro de Arte Reina Sofía (Madrid), Museo Sofía Imber Caracas, Venezuela. . (Mario Mauroner press–realese)
Mario Mauroner Gallery. Weihburggasse 26. 1010 Viena. Austria
Image: Santiago Ydañez 2016. Acrylic on canvas mounted in antique casket
19 january - 17 march 2017
Sixe Paredes is the master of his own plastic universe, nourished by several disciplines. The spanish artist entered the art world by graffiti writing that he began in the late 80s. In the mid-90s, he experimented painting on canvas and sculpture until 1998, when he feels the need tohave his own workshop. Therefore, he consideres himself as a fine artist.
Over the years, the art of Sixe Paredes evolved to become what it is today : a colorful abstraction which seems very simple, but which is in reality very complex, consistingof often symbolic geometric shapes. The figurative elements also have their place in this pictorial world, by being finely hidden to create a whole. Sixe Paredes’ main sources of inspirations come from his experiences in the urban landscape, melancholy he feels in cities, his concerns about problems arising from the evolution of our societies, of our consciences. In the last few years, it is particularly the Andean and Mesoamerican cultures that intrigued him with their colors flowing, their wisdom and mysticism. A new plastic world is born in Sixe’s studio from this transoceanic interconnection : a multicolored and psychedelic abstraction. This is the pictorial language of Sixe Paredes, playing with shapes and symbolic elements, in order to invent a way to communicate with our ancestors. (QPM press-release)
Alice Gallery. 4 rue du pays de Liège. 1000 Brussels Belgium
Image: Sixe Paredes
NEW DELHI. David Escalona and Chantal Maillard "Where do Birds Die Dónde mueren los pájaros II" Instituto Cervantes
30 january – 20 february 2017
Where do Birds Die is a project that has come out of the dialogue kept between David Escalona and Chantal Maillard over time; a meeting with plenty of small events where the bounds between both artists and their respective creative supports do not separate. Who started? What belongs to each one? Until when? It is not about illustrating a poem, or interpreting a plastic work with words, but breaking away from the usual boundaries and promoting a sphere, either physical or mental, crossed by multiplicities, confluences, echoes or resonances, which leads to reflection. It is important to demonstrate the coexistence of different artistic disciplines throughout history and that, however, they are usually taken separately, in isolated sections. The works included in this project are just residual traces of a meeting favoured through metaphor; traces that are the witness creators offer to the viewer to accomplish their needs, expectations or desires; so they can find an answer or raise new questions.
On the other hand, with the concern of lending or amplifying the voice of the silenced ones, of all those forgotten victims on the sidelines of history, yet unavoidable. They may have left the latent pathos on the faults of History, accidents already warned by thinkers such as Aby Warburg or Nietzsche, seismographs that would end up going crazy. Chantal and David have been knocked over by that trans-historical pathos to make new reinterpretations, to show an iota of that unrepresentable spectral reality that is part of our everyday lives, a wound that is common; a wound that is the same for all of us, fruit of tensions and conflicts, of excessive human violence. What injury is not a war wound and that not come from the whole society was written by Bousquet, the poet-soldier, who wrote it from bed where he spent his life after being hit by a bullet on the battlefield during the First World War.
Where do Birds Die is a strange place, it is the no man’s land where, through poetry, drawing, sculpture and the premises, Chantal Maillard and David Escalona invite to reflect, from the compassion, about the History of Mankind: the history of a perpetual crime.
David Escalona (Málaga, 1981), a graduate in Fine Arts. He is working to get his PhD in UGR at the moment. He has been given many awards, scholarships and support, and he has got solo and collective shows in commercial spaces and prestigious institutions. Its exhibitions and projects have been collected prominently in relevant media.
Chantal Maillard (Brussels, 1951), is a doctor in Philosophy, specialist in Indian Philosophy and Religion from the Banaras Hindu University (Varanasi). Until 2000 she was teaching at the Faculty of Philosophy at the University of Malaga, where she promoted the study of Philosophy and Comparative Aesthetics. Since 1998 she has worked as a critic on the Cultural Supplements of ABC and El País newspapers. She has written several poem books, essays and diaries. In 2004 she was awarded the National Poetry Prize for her book Matar a Platón and in 2008 the National Critics Prize and the Andalusia Critics Prize for Hilos. Her diaries are the choice for writing on multiple registers that turns one's own consciousness into subject of reflection. (Isabel Hurley gallery press-release)
Instituto Cervantes. Hanuman Road, 48. Connaught Place 110001 New Delhi
Image: “Cuando mueren los pájaros” David Escalona
january 19 - march 11, 2017
"Though at first glance my work might look simply like an especially fresh take on the familiar genders of abstract expressionist landscape and still-life, closer examination reveals the language I use to examine memory and personal narratives. The proximity or distance of an object or gestural mark, the clarity or murkiness of detail, can be seen as analogous to the tricks that memory plays on us all, with its gaps and inconsistencies. The way I have chosen to build the compositions is a tool for retrieval, forging connections between disparate memories and making meaning of them through their visual realignment on the canvas. Each composition tells a new story, and the viewer is invited to do the same, filling in missing information by imagining what objects or shapes might be, and what their relationship to one another is. In this way, the paintings act as vehicles for the viewer’s own memory recall and story telling.
I create a fertile ground for experimentation trying to recuperate meaning, imbuing the formal gestures with personal significance to build intuitive links to my own work and other narratives, weaving the stories of my life together with those of others and of the wider world of our own time. Pepa Prieto"
Pepa Prieto is a Spanish born artist currently living and working in New York. She has studied Fine Arts at the University Complutense, Central Saint Martins, and Esscola Massana. Her art is exhibited around the world and her works, ‘A place to get lost’ and ‘The colour of where you are not’, are soon to be shown at The Walter Marciel Gallery and The Slowtrack Gallery respectively. On top of all that she was a professional snowboarder between 1989 and 2005. Pepa was a Spanish half-pipe and slope style champion for several years, part of the Spanish Olympic team and has been ranked 16th in Europe. (QPM press-release)
Xippas Gallery. Rue des Sablons 6 & Rue des Bains 61, 1205, Geneva, Switzerland
Image: "Purple Day", 2016. Acrylic on Canvas.Pepa Prieto
17 january- 15 march 2017
José Manuel Ballester (Madrid, born in 1960), painter and potographer, degree in Fine Arts in 1984 from the Universidad Complutense of Madrid, Spanish Photography Award 2010.
He began his artistic career with paintings focusing on the techniques of the Italian and Flemish Schools of the 15th and 18th centuries. Starting in 1990 he began to combine painting and photography. Among his numerous expositions we would like to point out “Lugares de Paso” (Valencia 2003), “Setting Out (New York 2003) or “Habitación 523” (Museo Nacional Centro de Arte Reina Dofia, Madrid 2005). Together with other artists he participated in numerous exhibitions such as ARCO, ART CHICAGO, ART FORUM GERMANY and PARISPHOTO and cities such as Dallas, Miami, Sao Paolo, Dubai, Peking, Shanghai, Toronto, and many others.
In 1999 he was awarded the Spanish Etching Award. In 2006 he received the Goya Award for Painting of Villa de Madrid and later in 2008 he was awarded the Photography Award of the Comunidad de Madrid. Lately, he received the Spanish Photography Award 2010 on 10 November of the past year from the Ministry for Culture. The jury voted for him by the majority because of his personal history, his very peculiar interpretation of architectural space and light and his outstanding renovation of photographic techniques. His artworks are part of the collections of MNCARS, Marugame Museum for Contemporary Spanish Art in Japan, IVAM Valencia, Art Museum Miami and Cisneros Fontanals Art Foundation Miami, Central Academy of Fine Arts of Peking, Patio Herreriano, 21 Century Museum of Kentucky, Würth Museum, Telefónica Foundation, Banco Espiritú Santo and Coca Cola Foundation among others. (Galería Pilar Serra press-release)
Galería Pilar Serra. c/ Santa Engracia, 6 Bajo Centro. 28010-Madrid
Image: Nocturno en el estudio. José Manuel Ballester
01 january - 30 june 2017
For her project at Les Laboratoires d’Aubervilliers, Paloma Polo is committed to an investigation into the history of political struggles shaping the Parisian Northern periphery. Aubervilliers sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Far from engaging in a nostalgic detour, she pursues personal narrations and social configurations in light of the present reality of Aubervilliers, the city of France that hosts the highest percentage of migrants.
Aubervilliers, Saint Denis and the Parisian Banlieue Rouge at large sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Hundreds of them lived a ghostly existence, many with counterfeited identifications and some completely clandestine, as they strived in the shadows for the organisation of a movement in Spain to democratically assail a brutally repressive and violent system. The Spanish “economic” migrants of the so-called “Petite Espagne” of Saint Denis and Aubervilliers were also progressively organized.
This underground movement, orchestrated from the periphery of Paris by the Spanish Communist Party, barely left material traces but, most importantly, is scarcely traceable in a national history that has been written by way of a systematic erasure of the exploits that paved the way for what, unfortunately, shifted to a delusive “democratic aperture” in the aftermath of the dictatorship.
Polo is plunging into a dormant memory that has primarily survived through oral transmission and has been sustained by militants that have almost entirely passed away. It is not arbitrary that there is no comprehensive critical recollection, compilation or repository of this decisive historical dimension. Only very few autobiographies attest to these episodes.
Paloma Polo’s proposition is to devise and stage a narrative, a script, pertaining to the emergence of matter for thought in the people, in humane forms of socialization that are on the fringe, bearing the disdain of past recollections, but nonetheless shrouding our being in the world nowadays. The investigative stage, which will encompass a myriad of materials, ideas and conversations, is to constitute the core and the basis for her subsequent artistic gestures and outputs.
Together with her research partner, the art historian and theorist Oscar Fernandez, Polo will conduct archival research, an investigation into personal collections and materials and, most importantly, an interlocution with a series of individuals that are to become central to this project. These interlocutions occur by way of affinities that forge personal relations.
This activity will consolidate in a ”Research Centre” that will centralise, compile, order, coordinate and digitalise the scarce and scatter information on the subject (personal files and archives, histories and photographs, interviews and conversations, books, documents from different archives and other images, films, footage or projects that have been developed, etc). Polo will create a particular and distinct display and method to make these narrations intelligible and available for public consultation and for it to acquire broad visibility and outreach. She will work in partnership with other political, cultural, educational and research institutions. This “Research Centre” (tentative title) will have long-term progress and continuity and will ultimately hosted and regularly updated in a website specifically created for it. An itinerant platform of such “Research Centre” will be created to facilitate its presentation during the two solo exhibitions Polo will have in 2018 : at Centro de Arte Dos de Mayo- CA2M and at the Contemporary art museum – MARCO in Vigo, and other subsequent presentations. (AC/E press-release)
Les Laboratoires d'Aubervilliers . 41, rue Lécuyer. 93300 Aubervilliers
Image “Unrest” Paloma Polo
until 5 march 2017
With a large volume of works by the Spanish artist belonging to Musée National Picasso-Paris, this powerful exhibition organized by Centro Cultural Palacio de la Moneda 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. (CC Palacio de la Moneda press-release)
Centro Cultural Palacio de la Moneda. Av Libertador Bernardo O'Higgins, Santiago, Región Metroplitana. Santiago de Chile
Image: Picasso "Joueurs de ballon sur la plage", 1928
january 7 – february 25, 2017
Laurence Miller Gallery is pleased to present THE BIG APPLE: From Tycoons to Raccoons, featuring over 60 photographs by more than 30 photographers made between 1902 and 2016, celebrating the diversity and energy of New York City. The show title embraces both the earliest and the most recent works in the show: a rare 1903 portrait of the tycoon J.P. Morgan by Edward Steichen, in contrast to a charming view of a family of raccoons in Central Park by Hilary Swift, taken this December.
Much like Manhattan itself, the show will be organized by neighborhood and geography. Central Park is a central theme, and along with Swift’s raccoons will be twins by Garry Winogrand, dancing polar bears by Sylvia Plachy, a drowning scene by Dave Heath, and a brooding woman holding a child by Diane Arbus.
Manhattan as an island is another theme, dominated by three nine-foot panoramas by Kenneth Snelson, featuring the Brooklyn Bridge, the World Trade Center, and the FDR Drive. They will be surrounded by early 20th century views of ferries and ships by Alfred Stieglitz and Wendell MacRae, and recent color abstractions of the Gowanus Canal by Steven Hirsch.
The Empire State Building looms large, a platform for half a dozen bird’s-eye views, including Berenice Abbott’s classic New York at Night and Luca Campigotto’s View Looking North, both capturing the density and the radiance of the city at night. In an unusual treatment, Miguel Angel Garcia’s southern view reveals our unique skyline punctuated with water towers.
Midtown is anchored by another Kenneth Snelson panorama of Times Square, in stark contrast to the tender intimacies portrayed by Betsy Karel. Many other neighborhoods are covered by photographers such as Robert Frank, Louis Faurer,Weegee, Helen Levitt, Jefferson Hayman, Neal Slavin, Lisette Model and others.
Linda Troeller is represented by several colorful interiors on view from her recent monograph Living in the Chelea hotel. (Laurence Miller Gallery press-release)
LAURENCE MILLER GALLERY . 20 West 57th Street. New York, NY 10019
Image: Miguel Ángel García
27 january - 12 march 2017
This exhibition aims to present a broad and diverse series of approaches that deal with ‘how’ art can transform reality, rather than ‘what’ art can deliver to specific audiences. The exhibition explores how artists can expand the nature of the visual arts from being purely representational to becoming more participatory, where the work of art becomes not an object but an action that affects reality. This project explores the ways in which bureaucratic practices affect small farmers and have an impact on their everyday activity.
For some time now, filling in the many administrative forms required by various different public bodies has become an integral part of a farmer’s chores, as necessary as ploughing, sowing and harvesting. “Contestador” (Answering Machine) is inspired by forms of dialogue commonly employed by officialdom to communicate with agriculturalists. Very often when a small farmer needs information, his only way of contacting the organisation in question is via an automated phone service in which he has to follow instructions and choose from the available options given, which generally limit the farmer to responding “yes” “no” or “next”. But what would happen if it were the other way around and it was the farmer who ran the phone service and the public bodies, consultants, insurance companies, banks and the agrochemical and machinery suppliers who had to contact him? This is where “Contestador” comes in: an audio piece operated using a phone number, as if it were a real answering service. Here, a fictitious grape and crop grower called Baudelino Merino uses an automated phone service to answer calls made by a purported public servant, insurance broker, seeds salesperson …and it is he who decides the menu of options and the waiting times.
Through a series of disparate menus and options, we are led through the maze of painstaking “paperwork” that he and his family are forced to deal with. One can ring “Contestador” from any location simply by calling the number below. Calls are toll free from any landline in Spain. It works like an ordinary answering service; you just have to listen to the automated voice and push the buttons of the options you are interested in. This piece is indebted to Spanish domestic drama, popular comedy and vaudeville, with this last-named genre understood literally from the original French “voix de ville” as “voice of the people”. This “voice of the people” will give us a better insight into how modern agricultural policies have brought about a sea-change in the economic and cultural role of the ordinary farmer. Asunción Molinos will further develop her work through a residency conducting research specific to Glasgow and the Scottish context. By meeting and interviewing regional small-scale farmers, farmers’ unions, consumers’ platforms, and others, she will attempt to understand how current bureaucratic practices affect small farmers and mediate their relationships to the soil. The final outcomes of this research will be incorporated into the above-mentioned “Contestador” piece that will be displayed as part of the Forms of Action exhibition in January 2017. (AC/E press-release)
Image: “Contestador” Asunción Molinos
january 11- february 21, 2017
Van Doren Waxter is pleased to present Go Figure, a group exhibition that explores the intersection of select historical and contemporary artists through the vernacular of figurative painting. Spanning a period of over 70 years (1944-2016), this cross-generational survey considers the timeless tradition of figuration as a through line connecting past to present. The included artists employ varying media and pictorial strategies to produce imagistic effects often blurring the lines of representation to create dramatic scenes of unreality.
The contemporary practice of Jeronimo Elespe’s (b. 1975, lives in Madrid) is a focused meditation on the artist’s life at home and in the studio. Regarded for his paintings on aluminum, Elespe’s work merges fantasy with memory in dreamlike renderings of interior scenes and representative portraits of family and friends, the inclusion of which suggests an autobiographical narrative.
Go Figure will include painting, sculpture, works on paper and assemblage from James Brooks, Joseph Cornell, Richard Diebenkorn, Philip Guston, Ed Paschke, Hedda Sterne as well as contemporary artists Kristin Baker, Michael Berryhill, Jerónimo Elespe, Volker Huller, and Sarah Peters. (Van Doren Waxter press-release)
Van Doren Waxter Gallery 23 E. 73rd Street New York, NY 10021, USA
Image: “Hésperides” Jerónimo Elespe 2016
17 january – 17 february 2017
"Contemporarte" comes to Lyon to give you the possibility to admire the most recent photography created in Andalusia: contemporary images with different aesthetics to allow you to value the visual wealth in young creators’ works. Contemporarte is an artistic creation competition organised by the University of Huelva (Spain) jointly with the other public universities in Andalusia, in a common frame called Proyecto Atalaya.
The programme, financed by the Andalusian government, seeks to promote the work of universities on promoting culture, artists and arts programmes on-line, and it works as an observatory of the arts in Andalusia.Born in 2009, the initiative Comtemporarte awards contemporary photography works by authors within the Andalusian university community, who do not receive a standard award, instead they fix a price for their work and judges decide whether the piece deserves to be acquire or not. This way, artists introduce themselves to the standard procedures in the Arts market, and learn to value their own work attending to real world criteria. (I. Cervantes press-release)
Université Jean Moulin Lyon 3 - Manufacture des Tabacs (Lyon) - BU-salle d'actualités. 16, Rue Rollet. 69008 Lyon (FRANCIA)
Image: Reconstrucción II. Mª José Macías Barmejo. Universidad de Málaga
28 january – 21 may 2017
Santiago Ramón y Cajal, considered the father of modern neuroscience, was also an exceptional artist. He drew the brain in a way that provided a clarity exceeding that achieved by photographs. Combining scientific and artistic skills to produce drawings with extraordinary scientific and aesthetic qualities, his theory that the brain is composed of individual cells rather than a tangled single web is the basis of neuroscience today. This traveling exhibition of Cajal’s original drawings was organized by the Weisman Art Museum in collaboration with Drs. Eric Newman, Alfonso Araque, and Janet Dubinsky, neuroscientists at the University of Minnesota and leaders in the field of neuroscience. Dr. Araque was formerly at the Instituto Cajal in Madrid, where Cajal worked and where his drawings are housed.
The exhibit is organized in collaboration with Ricardo Martinez Murillo, neuroscientist and curator of the Cajal Legacy at the Cajal Institute (CSIC) in Spain. Eighty of Cajal’s drawings, many appearing for the first time in the United States, will be accompanied by a selection of contemporary visualizations of the brain, photographs, historic books, and scientific tools. After the debut at WAM, the exhibition will travel to university galleries and museums throughout the United States and Canada. (WAM press-release)
Weisman Art Museum. 333 East River Road, University of Minnesota. Minneapolis
Image: Santiago Ramón y Cajal “The Beautiful Brain”
january 12 - march 01, 2017
Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (mythopia), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream. She allows a perceptual interpretation of a different kind.
Many of Guerrero’s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.
There’s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations. In the process of making the artwork, Guerrero reveals a binding ritual. The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.
Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system. Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states. As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.
Her most vivid construction would be derived from a varying “mythopia.” The result is formed with features that may be confrontational or bacchanal. Parts of it may be supposed to urge identification or resist it. In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas. (CCEMiami press-release)
Centro Cultural Español de Cooperación Iberoamericana. 1490 Biscayne Blvd, Miami, FL 33132
Image: Susana Guerrero
LONDON. Greta Alfaro, Maria Cañas, David Ferrando Girault “THE LOOKING GLASS (Debord Revisited, Part 1)” SCAN PROJECT ROOM
january 17th - february 25th 2017
SCAN (Spanish Contemporary Art Network) is pleased to present a curated series of videos by artists Greta Alfaro, María Cañas and David Ferrando Giraut. The works examine themes of voyeurism, memory, death and the reflective qualities of longing. Devises and images are interrogated for meaning and for traces of the lost, the absent or the dead. The technology of image production (and consumption) is present in all the works – not only by implication (how the works were made), but also as a kind of guilty presence, a reminder that the means is also the end, or at least provocation, at times.
Is it already a cliché to mention the omnipresence of total exposure, the pornography of everyday (if edited) experience present in our handheld devices? With technology we are able to perform our own lives to ourselves and many audiences, and to an extent perform beyond our means and lives. We dare each other and ourselves to show more, and more. But perhaps it is the structures that are relevant, rather than the means. The app may be only an amplifier of an existing economy.
2017 marks the 50th anniversary of the publication of The Society of the Spectacle by Guy Debord. Developments in social media, politics and pop culture have made Debord’s text seem frighteningly prescient and newly relevant. Debord exposes the mechanisms by which authentic experience is supplanted by what he calls the spectacle and relates this to the function (and power) within a consumer economy based on desire and a necessary and fundamental lack. Contemporary apps and social media seem to be the inevitable and predicted children of Debord’s text. Even the format of much of the original text seems to anticipate the word count of a tweet – short, focused, repetitive. The Looking Glass is both lens and mirror- it refers to the gaze of the subject who, in reflection is revealed as the object of the spectacle.
Greta Alfaro addresses the iconography and formalism of the baroque - and in particular the feast- as a means of implicating the spectator within the spectacle. María Cañas deploys satire in spliced video collages on love and murder that call to mind the films of Hitchcock and Kubrick and the political collages of Hannah Hoch. David Ferrando Giraut weaves text onto image in an analysis of the absence and the fetishism of the proxy. (SCAN-ARTE press-release)
SCAN PROJECT ROOM. 13-19 Herald Street, London E2
Image: El Cataclismo nos alcanzara Impavidos-HD Video. Greta Alfaro
7 december 2016 – 24 february 2017
The International 3 is pleased to announce the launch of Not for Navigation, a solo exhibition by Hondartza Fraga. Taking its title from inscriptions found on illustrative rather than functional maps, Not for Navigation brings together new and existing works that demonstrate the artist’s ongoing exploration of our individual and collective relationship to landscape and an examination of the spatial, temporal, emotional, cultural and imagined distance that exists between ourselves and everything / everyone else.
Alongside screen based works and two new large scale drawings Mappa (Hemispheres) and Blank Orrery; both of which investigate the act of mapping, Not for Navigation will also include the inaugural presentation of Hondartza’s major project 365 Globes. Produced by the artist from 1stJanuary 2015 to 31st December 2015 this work comprises of 365, A5 pencil drawings of earth globes; one made on each day of the year. A new publication of the same name will also be launched to accompany the exhibition. Published by East Street Arts in a limited first edition of 366 copies; echoing 2016 as a leap year, 365 Globes brings together images of all of the drawings alongside an essay commissioned by The International 3, written by Rebecca Morrill (Senior Editor at Phaidon). Books will be available for purchase throughout the exhibition.
Hondartza Fraga’s practice is based on a rigorous approach to the research of her subject matter and her technical abilities enable her to produce work of consistent quality across a range of media, resulting in a practice that is broad yet focused, precise yet flexible. Her work is multi-disciplinary and multi-layered, full of insight, intrigue and undeniable poetry.
Hondartza Fraga was born in 1982 in Cabanas, A Coruña, Spain. Hondartza graduated from a BA (Hons) in Fine Art at The University of the Basque Country (Spain) in 2005; completed an MA in Fine Art at Sheffield Hallam University in 2007 and will embark on a PhD at Leeds Metropolitan University in 2017. Hondartza has exhibited nationally (Leeds,Liverpool, London, Manchester, Sheffield) and internationally (Portugal, Spain, Norway, Istanbul, Italy). Hondartza is currently a studio holder at Patrick Studios (East Street Arts) in Leeds. Hondartza’s most recent solo exhibitions include The Sea Full Stop at Manchester Art Gallery and El Mar Indirecto, Espacio creativo Alexandra, Santander, (International 3 press-release)
The International 3. 142 Chapel Street. Salford, Manchester. U.K
Image: “The leap pone” Hondartza Fraga
18 december 2016 – 16 april 2017
The Spanish artist Santiago Sierra participates in the group exhibition Afterwork, curated by Inti Guerrero, with his artwork The Trap
Afterwork is a major group exhibition exploring issues of class, race, labour, and migration in the region and beyond, as well as their corresponding aesthetics and histories. The exhibition is presented in collaboration with Para Site, a leading contemporary art centre in Hong Kong and one of the oldest and most active independent art institutions in Asia. Afterwork premiered in Para Site, Hong Kong in March 2016 and is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim.
Migrant domestic workers are Hong Kong’s largest minority group and one of the most visible components of the city's society. Migrant workers in construction, agriculture, and services, alongside domestic workers also represent a significant social group in Malaysia and other countries in the region. In most of these places, migrant workers’ legal and symbolic status are matters of constant negotiation, reflecting the many complexities behind the continuing nation building processes of our times. The stories of migrant workers in Hong Kong, Malaysia, and elsewhere are crucial narratives that need to be told alongside the growing affluence of many of these societies in the past decades, together with the stories of struggle of what is considered the ‘local’ working class and of other historically disadvantaged groups, and on the backdrop of the different historical waves of migration that have shaped so much of our world.
Afterwork includes the work of artists of different practices, contexts, and generations. Several artists navigate directly the main thematic map of the exhibition; others chose a more personal approach, looking at the presence of domestic workers in households, the public sphere, and the artists' lives. Another group of artists create abstract and poetic landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes.
In addition to the exhibition, Para Site is publishing Afterwork Readings/Babasahin Matapos ang Trabaho/Bacaan Selepas Kerja/工餘, an anthology of migrant and domestic worker literature conceived in collaboration with KUNCI Cultural Studies Centre in Yogyakarta, Indonesia. This major volume about and by migrant workers contains short stories, poems, and excerpts from novels and plays, written by classical literary figures of the region, established contemporary authors, as well as domestic workers. It is printed in four different languages (Bahasa Indonesia, Chinese, English, and Tagalog), with the hope of creating a platform to facilitate the encounter and exchange through literature between the different migrant worker communities. It also aims to bring together the most relevant and important texts on this issue written in our region over the past century, as well as to promote the work of the most promising writers from among the domestic workers community.
Afterwork is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim
ARTISTS: Abdoulaye Konaté, Alfredo Jaar, Beatrix Pang, Brian Gothong Tan, Daniela Ortiz, Eisa Jocson, Elvis Yip Kin Bon, Fan Ho, Gan Chin Lee, Cheng Yee Man (Gum), Harun Farocki, Hit Man Gurung, I Gusti Ayu Kadek, I GAK Murniasih, Imelda Cajipe Endaya,Jao Chia-En, Jean-François Boclé, Joyce Lung Yuet Ching, KUNCI Cultural, Studies Center, Köken Ergun, Lai Loong Sung, Larry Feign, Liliana Angulo, Maria Taniguchi, Melati Suryodarmo, Miljohn Ruperto, Pangrok Sulap, Poklong Anading, Ryan Villamael, Santiago Sierra, Sakarin Krue-On, Sharon Chin, Sun Yuan & Peng Yu
Taring Padi, Xyza Cruz Bacani (ILHAM Gallery press-release)
ILHAM Gallery. LEVELS 3 & 5, ILHAM TOWER. NO 8, JALAN BINJAI. 50450 KUALA LUMPUR
La trampa: https://www.youtube.com/watch?v=1dd2RhZGcmk
Image: La Trampa. Santiago Sierra
12 december 2016 – 29 march 2017
Javier Pérez was born in Bilbao in 1968. His works are characterised by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Pérez reveals his inquiries an d reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism.
Pérez´ view is focused on the fascniating features of the human body that couldn´t be more contradictory:human skin is extremely sensitive and fragile, however at the same time it has the strength to control the body´s powerful mass, the fine and complex network of blood vessels providing the entire organism with essential substances. In the tradition of Borges, the mortality and metamorphosis of the body are central to his works.
The use of materials such as latex, artificial resin, glas, steel, animal hair or plant parts underlines the contradictory positions of stability/fragility, inside/outside, attraction/rejection
His work has been exhibited in several galleries and museums, among them: Centre Pompidou, Paris; Museo Guggenheim Bilbao; Pala is de Tokyo, Paris; Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofí a, Madrid; Chapelle du Centre de La Vieille Charité, Marseille; Kunsthalle Wien; Musée d ’ Art Moderne de la Ville de Paris; ARTIUM, Centro – Museo Vasco de Arte Contemporáneo, Vitoria; Carré d ’ Art – Musée d ’ art contemporain, Nimes; Musée d ’ Art Moderne et Contemporain de Strasbourg; and, Musée des Beaux – Arts de Rouen. Javier Pérez lives and works in Barcelona, Spain.(Kochi Biennale press-release)
Kochi Biennale Foundation. 1/1903, Kunnumpuram. Fort Kochi PO. Kerala 682001
Image: Javier Pérez. Vida Latente
december 04 — may 07, 2017
The exhibition presents moments of intersection in the formation of modernism art both in Europe and Latin America.
Pablo Picasso and Diego Rivera were contemporaries, erstwhile competitors, equally ambitious and prolific as artists, internationally famous, and well aware of their larger-than-life personalities. Picasso and Rivera: Conversations Across Time asks how these towering figures of the twentieth century engaged with their respective ancient Mediterranean and Pre-Columbian worlds.
The exhibition compares their artistic trajectories beginning with their similar academic training to their shared investment in Cubism and their return to an engagement with antiquity from the 1920s through the 1950s. By placing 150 paintings, etchings, and watercolors in dialogue with each other and with singular ancient objects, Picasso and Rivera: Conversations Across Time aims to advance the understanding of Picasso and Rivera’s practice, particularly in how their contributions were deeply influenced by the forms, myths, and structures of the arts of antiquity. (LACMA press-release)
Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA
Image: Pablo Picasso, Student with Newspaper (L’etudiant au journal), 1913–14. Los Angeles County Museum of Art
BEIJING. Fernando Sánchez Castillo, Cristina Lucas “BRIC-à-brac:The Jumble of Growth” Today Art Museum
10 december 2016 – 05 march 2017
This exhibition for Today Art Museum’s third Documents aims to explore the process of global economic, social and cultural transformations that the boom of emerging market economies has introduced. It will try to examine various ways in which art has participated in or reacted to some of the transitions involved, and to their effects on culture, society and the individual.
The French expression bric-à-brac is broadly employed to mean jumble, odds and ends, or an uneven group of things, with a certain undertone of confusion. The first word of this idiom coincides by chance with the acronym BRIC – Brazil (7th world economy), Russia (13th), India (6th) and China (2nd) –, launched in 2001 by economist Jim O'Neill to discuss the major global economic role played by these four countries. Despite their current slowdown, the BRICs are the largest emerging market economies in the world, and account for more than 25% of the world's land area and more than 40% of its population. The acronym has come into widespread use to epitomize a historic process that is taking place: the dramatic increase of global economic power of the developing world, which has come to play a leading international role in the post-Cold War era.
This shift is a decisive outcome of globalization that is reshaping the world and therefore having a planetary impact not only in economy, but also in politics, society, the environment, culture and life. It is changing the way in which modernity and colonialism have structured the world. Traditional divisions between First and Third Worlds have exploded, giving way to a mixed, more decentralized distribution of roles. The new situation not only involves the BRIC countries, but many other emerging economies in Africa. Curator: Huang Du,Gerardo Mosquera
Artist: AES+F, Chot Delat, Cinthia Marcelle, Cristina Lucas, Donna Conlon & Jonathan Harker, Fernando Sánchez Castillo, Francesco Clemente,Gonzalo Díaz Cuevas, Jamal Penjweny, Kendell Geers, Marcela Armas, Marcos Ramirez Erre, Marepe, Meiro Koizumi, Mounir Fatmi, Praneet Soi, Sascha Phole, Simryn Gill, Subodh Gupta, Tony Brown, Thomas Hirschhorn, Wilfredo Prieto, Wim Delvoye, Young-hae Chang Heavy Industr. (Today Art Museum press-release)
Today Art Museum, Building 4, Pingod Community, No.32 Baiziwan Road, Chaoyang District, Beijing
Image: “BRIC-à-brac:The Jumble of Growth” Today Art Museum
until 18 march 2017
The project Camins encontrats [Found Paths] proposes to bring together two works from different times by the same artist, the author, the collector, specialists and public in a given place, the Fundació Suñol, and through this exhibition and dialogue to discover and delve into questions about art that arise for us out of this encounter.
In the first of two shows of Camins encontrats, we can discover two opposed works by Joan Rabascall, Franco hace deporte – Autopistas Concesionaria Española S.A (1975) and Del Big Bang al Big Brother (2012). The fact of putting one in front of the other allows us to compare two positions, two situations, two moments that highlight fundamental questions of Rabascall’s artistic practice, while places them in the new context, amplifying the views and questions about them. Both works, despite the technical and stylistic differences, denounce the excesses and hypocrisy of consumerist ideology making use of the same procedures and languages through which it perpetuates itself: the mass media. With this phenomenon, the Rabascall’s work states the emancipatory role of art. (Fundació Suñol press-release)
Fundació Suñol. Passeig de Gràcia 98. 08008 Barcelona
Image: Joan Rabascall “Camins encontrats. Fundació Suñol
SEOUL. Jorge Mañes Rubio “Activating the City. Urban Gastronomy” National Museum of Modern and Contemporary Art
5 december 2016 – 19 march 2017
Jorge Mañes Rubio is in Seoul to participate in 'Activating the City: Urban Gastronomy', a new exhibition at the MMCA, the National Museum of Modern and Contemporary Art. Rubio will be presenting his work 'Street Food Lighting'and kicking off the exhibition with an open discussion together with curator Bora Hong and chef Ara Ahn. 'Activating the City: Urban Gastronomy' includes the work of several artists, designers and activists such as Gordon Matta-Clark, Bonnie Ora Sherk and Jongbuhm Kim. The exhibition imagines design methodology as a device to form relationships among people in consideration of how we shall live, rather than producing new objects or work.
Jorge Mañes Rubio born in Madrid in 1984, he is an award winning visual artist based in Amsterdam. He graduated in Design Products from the Royal College of Art London in 2010, where he confirmed his tireless eager to travel beyond the usual scopes of design. In 2014 he obtained the prestigious TED fellowship. His work explores the unseen. Forgotten places and stories inspire him to create artworks that reimagine and revive these sites as attention-worthy destinations, shining light on social, political or environmental issues from an alternative perspective. Rubio has been a guest lecturer at several international conferences such as TED2014 Vancouver, TEDxMadrid, FRAME Amsterdam or DDW Eindhoven. His work has been exhibited worldwide in galleries, museums and art centers such as PSA Shanghai, 501 Contemporary Art Centre Chongqing, AIAV Japan, Festival Bo:m Seoul, MUDAC Lausanne, CFCCA Manchester, LASEDE Madrid, Initial Gallery Vancouver, Spazio per le Arti Contemporanee del Broletto di Pavia, A+A Centro Pubblico per l’Arte Contemporanea di Venezia, etc. (NMMC press-release)
National Museum of Modern and Contemporary Art. 30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul 030
Image: Jorge Mañes
5 november 2016 – 4 march 2017
New York-based bitforms gallery celebrates its fifteen-year anniversary exhibition at Minnesota Street Project in San Francisco. The curated presentation of works includes currently represented artists as well as those who have shaped the gallery’s identity over the years, demonstrating the program’s continued engagement with technologically informed practices.
Exhibiting artists include Jeffrey Blondes, Daniel Canogar, R. Luke DuBois, Claudia Hart, Yael Kanarek, Beryl Korot, Rafael Lozano-Hemmer, Sara Ludy, Manfred Mohr, Jonathan Monaghan, Mark Napier, Tristan Perich, Quayola, Casey Reas, Daniel Rozin, Björn Schulke, Siebren Versteeg, Addie Wagenknecht, Marina Zurkow, and Zimoun.
Showcasing the full range of the gallery’s program, the exhibition at Minnesota Street Project spans three distinct spaces within the complex. In the main gallery, highlights include new LED wall sculptures by Daniel Canogar, a large-scale interactive work by Rafael Lozano-Hemmer, a sculpture that intercepts WiFi signals by Addie Wagenknecht, a drawing machine by Tristan Perich, algorithmically generated digital paintings by Siebren Versteeg, computer drawings from the 1970s by Manfred Mohr, a video compilation of Mark Napier’s net.flag––one of the first Internet artworks to be commissioned by a major institution, and works on paper inspired by Yael Kanarek’s browserbased World of Awe series. While the earliest works in the show date to the beginning of the 1970s, works by emerging artists––including Sara Ludy, Jonathan Monaghan, Quayola, and Addie Wagenknecht––showcase how a new generation of artists are engaging with contemporary technology. In their respective practices, these artists employ Second Life, computer-generated animation (CGI), lidar (light and radar three-dimensional scanning), and drone technologies. (MSP press-release)
Minnesota Street Project.1275 Minnesota St. and 1150 25th St. San Francisco
Image: ECHO 2016. Daniel Canogar
17 november 2016 – 26 february 2017
The Taylor Wessing Photographic Portrait Prize exhibition includes In Focus, an annual showcase of new work by an internationally-renowned photographer, in this occasion that person is award-winning Spanish photographer Cristina de Middel.
De Middel will be displaying previously unseen prints from a new body of work. The photographs are part of the series Gentleman´s Club, taken of prostitutes’ clients in brothels in Rio de Janeiro, Brazil. By recruiting her sitters through a newspaper advert, de Middel inverted the normal roles of the business by placing herself in a position of power. Sitters were asked about their experience, personal history and motivations.
Cristina de Middel was born in 1975 in Alicante to Spanish and Belgian parents, she has studied at the Polytecnic University of Valencia and Barcelona Autónoma University. Her artistic and commercial breakthrough came in 2012 with The Afronauts, a self-published photo book and exhibition documenting Zambia’s little-known and short-lived 1964 space programme. Her other projects include Poly Spam (2009) and Sharkification (2016). (NPG press-release)
National Portrait Gallery St. Martin's Pl London, WC2
Image: Daniel from the series Gentlemen’s Club by Cristina de Middel, 2016
03 december 2016 – 31 march 2017
A photographic project around Quixote and the Spanish-speaking community through places located in the south of the United States.
Barataria is the name of the fictional island Awarded to Sancho Panza, in the book The Ingenious Hidalgo Don Quixote de la Mancha, to govern, as a prank. What if Sancho Panza traveled to the U.S. in 2016? This is a photographic project around Quixote and the Spanish-speaking community through places located in the south of the U.S. The streets and cities have names from Miguel de Cervantes’ book.
Curated by Daniel Garcia and Edgar Melo (These Glory Days collective), Spanish photographers and documentary filmmakers are presenting the final results at the Institute of Hispanic Culture, after passing through Florida and Louisiana, prior to its continuation in Texas.
Edgar Melo is a photographer and documentary filmmaker born in Barcelona (Spain). He graduated from the Danish School of Media and Journalism. He was graphic editor of documentary photography magazine Piel de foto and the collective These Glory Days. As a documentary filmmaker, he has directed the documentary and feature filmCabriante Wavelength, one of the chapters of Transeuropa Caravans, a project funded by the European Commission and the Soros Foundation. He has also worked as a photojournalist and filmmaker for publications such as Lonely Planet, La Vanguardia,El Confidencial, Al-Jazeera TV or RTT.
Daniel García Antón is a documentary filmmaker born in Seville, Spain. He is the author of several short films and medium-length films broadcast on television and released in various international festivals (Visions du Réel, Transcinema Lima, Documenta Madrid, etc.). Currently working on his first feature film, Rest in Peace, Mr. Hopper, a hybrid of documentary and fiction produced by Colibri Studio and filmed in Peru, which will be completed in 2017. Back to Barataria, performed with Edgar Melo, is his first photographic project. (IHCH press-release)
Instituto Cervantes. 1701 4th Street SW. 87102 Albuquerque Nuevo México (ESTADOS UNIDOS)
Image: “Sancho Panza Rd” Daniel García Antón
november 27, 2016 - february 28 2017
I received an e-mail from a man I didn’t know, asking me for my address to send me something by ordinary mail. During the following three years J. kept sending me presents to my address, and later frequent telephone messages. I didn’t know anything about him but his name and that the sender was from Madrid.
As a response to his increasing invasion, I invited him to my place and offered him to stay there for 24 hours without the possibility to get out. During that day I observed all his steps with three hidden cameras. J and I have never met. Estela Sanchís
Image: Estela Sánchis
1 december 2016 – 30 april 2017
The Spanish artist Cristina Lucas radically and critically questions today’s lived reality, creating an intensive and simultaneously highly aesthetic engagement with our world.
Lucas makes democracy, globalization and the mechanisms of power the content of her works. She attentively analyzes fundamental structures in politics and business, revealing the contradictions that exist between official historiography, real history and collective memory.
The exhibition in OK shows sixteen works and is her first major retrospective in the German-speaking region. She establishes a direct relationship to the present with an impressive filmic cartography of all aerial bombardments with civil victims, which she has painstakingly researched around the world and realized with three-channel technology. Cristina Lucas, born 1973 in Jaén /ES, lives and works in Madrid.
In collaboration with MUDAM LUXEMBOURG, a catalogue will be published. Curator: Genoveva Rückert.(OK Centrum press-release)
OK Offenes Kulturhaus Upper Austria. OK-Platz 1, 4020 Linz
Image: Naked in the Museum, Prado 2014. Cristina Lucas
26 november 2016 - 26 march 2017
This exhibition is a coproduction between Macba, CA2M, Centro de Arte Dos de Mayo de la Comunidad de Madrid, ARTIUM, Centro Vasco de Arte Contemporáneo, Vitoria, and el Museo Universitario del Chopo, Mexico and the Ciudad de Mexico, curated by David G. Torres. Featuring over sixty artists, both national and international, the exhibition traces a journey through the influence of punk in contemporary art and echoes the importance of its presence as an attitude and as a referent for many creators. It includes installations, documentary excerpts, multiples, photographs, videos and paintings, together with a section documenting the origins of punk and its vestiges in the present day.
Some of the themes addressed include noise, denial, violence, nihilism and sexuality. Dissatisfaction, nonconformity, the loss of faith in progress and a fierce criticism of the icons of the economic and social system appear in the work of these creators.
Punk was born in London and New York between 1976 and 1978 as an explosion of discontent and dissatisfaction towards a situation without a future, which immediately caught on and spread geographically. A rage that still resonates today. The journalist and music critic Greil Marcus outlined this for the first time in 1989, in Lipstick Traces. A Secret History of the Twentieth Century, a journey through the history of the antecedents of the movement, going back to Dada and Situationism. The exhibition draws on this book and performs the same exercise in reverse: a prospective exercise that looks for vestiges of punk in the artists of today.
In this exhibition, punk appears as an explicit reference in many artists; in the use of elements such as noise, cut-out typography, anti-design and the aesthetics of the ugly; or in the inclusion of explicit references to musical bands. But it also shows traces of punk as an attitude: denial, opposition and destruction; the do it yourself; the reference to fear and horror in a society that alienates individuals; the same alienation that provokes psychotic states; the fondness for anything outside the norm; nihilism; criticism of the economic system and anarchy; or the demand for sexual freedom itself, the body as a place of battle.
Artists: Carlos Aires, Martin Arnold, Fabienne Audeoud, Bill Balaskas, Jean-Michel Basquiat, Laurent P. Berger, Chris Burden, Tony Cokes, Jordi Colomer, Brice Dellsperger, Christoph Draeger, Jimmie Durham, Tracey Emin, Mario Espliego, Ant Farm, Hans-Peter Feldmann, Claire Fontaine, Chiara Fumai, Iñaki Garmendia, Kendell Geers, Gelitin, Nan Goldin, Douglas Gordon, Dan Graham, Eulàlia Grau, Guerrilla Girls, Antoni Hervas, Mike Kelley, Martin Kippenberger, João Louro, Christian Marclay, Raúl Martínez, Raisa Maudit, Paul McCarthy, Jonathan Messe, Jordi Mitjá, Joan Morey, Janis E. Müller, Matt Mullican, Itziar Okariz, João Onofre, Antonio Ortega, Tony Oursler, Mabel Palacín, Juan Pérez Aguirregoikoa, Raymond Pettibon, Maria Pratts, Tere Recarens, Jamie Reid, Tim Reinecke, Martín Rico, Aida Ruilova, Pepo Salazar, Santiago Sierra, Federico Solmi, Natascha Stellmach, Gavin Turk y VALIE EXPORT. (CCEMX press-release)
Museo Universitario Del Chopo, Santa María la Ribera, Ciudad de México, Méxicohttp://ccemx.org
Image: Carlos Aires
LONDON. Andrés Jaque and Ana López “Fear and Love: Reactions to a complex world” The Design Museum Kensington
24 november 2016 – 23 april 2017
'Fear and Love: Reactions to a complex world' is an exhibition of the new Design Museum in London. It consists of a series of eleven major new commissions by some of the most innovative practitioners in design and architecture. Each commission is intended to be a powerful statement about the potential of design today. The ambition is for this to be a landmark exhibition presenting cutting-edge positions that define our time. The practitioners include London-based fashion designer Hussein Chalayan, the architecture practice OMA, founded by Rem Koolhaas, the artistic director of Muji, Kenya Hara, and the Spanish –with the support of AC/E– Andrés Jaque and Ana López. The eleven installations explore a spectrum of issues that define our time – from protecting the environment to network culture and sentient robots. The exhibition asserts that design is deeply connected not just to commerce and culture but to urgent underlying issues – issues that inspire fear and love. This is a bold, multidisciplinary exhibition that aims to capture the mood of the present and establish the Design Museum as the home of design debate. . (AC/E press-release)
The Design Museum Kensington. 224 - 238 Kensington High Street. London
Image: 'Fear and Love: Reactions to a complex world' The Design Museum Kensington
13 october 2016 – 5 march, 2017
Whoever visits museum Beelden aan Zee this winter can marvel at surprising sculptures by Pablo Picasso (1881 – 1973) and enjoy the warm, Mediterranean colours of his ceramic works from the years that followed 1947. Displayed in the exhibition will be unique examples in ceramic together with exceptional sculptures from the best private and museum collections of Europe. Some works have never been seen before in the Netherlands. As compared with his paintings, in the course of the years Picasso’s sculptural oeuvre has been given little attention.
Quite justifiably, Picasso is regarded as one of the pioneers of modern sculpture. As the first he introduced the ‘open’ sculpture: a work that consists of not one but of a number of forms. With his cubist still lifes he was the first to introduce everyday objects as a theme, and again as a first he dared to replace the traditional sculpting materials – stone, wood and bronze – with non-sculptural resources such as tin, iron and objets trouvés.
There is a great deal of speculation as to the reason why in the years following World War II Picasso developed a great interest in ceramics. It was particularly circumstances of a personal nature that were given a reasons for this, such as the influence of his new partner Françoise Gilot, or his homesickness for Spain. In 1945 Pablo Picasso’s renown was at its zenith. Via his friend Man Ray he discovered Antibes, where he had an atelier in the centuries-old Château Grimaldi (now the Musée Picasso), which lies directly on the Mediterranean Sea. At that time Picasso discovered the nearby village of Vallauris, the centre of pottery making.
The artist, who had for years complained about the transience of paint, was attracted by the everlasting durability, plasticity and sparkle of ceramics. Virtuoso that he was, Picasso chose the existing shape of the vase as his starting point, projecting his images onto it. He folded the ‘flat’ images as it were around the vase, where it took on the shape of a woman, an owl or a hand. The themes in Picasso’s oeuvre, and thus in his ceramics too, are of great simplicity. Women play a central role, but animals also appear frequently in his work. As a fanatic enthusiast of Spanish bullfighting, which too was popular in the South of France, Picasso also decorated his ceramics with bulls, toreros, picadors and horses. Whilst he was at work in Antibes an owl flew into Château Grimaldi. Picasso made the small nightbird his favourite model.(Beelden aan Zee press-release)
Museum Beelden aan Zee. Harteveltstraat 1. 2586 EL Den Haag. The Netherlands
Image: Picasso “Tanagra aux mains jointes” All images courtesy of Beelden aan Zee
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
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
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
30 september, 2016 – 4 june, 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”
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
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
WeARTe is an exhibition proposal which aims to display and highlight the vanguard of a group of artists from the Iberian peninsula, which, being of different generations, bring to us the world and its realities through art.
This exhibition is a unique and honest view, that joins emerging and recognised artists in establishing an artistic coalition that seeks to create an international point of contemporary meeting in the beautiful city of Poznan, providing the public with the chance to be part of this connection. Comisariado: Katia Muñoz y Beata Pflanz.
Artists: Aysel Gözübüyük, Turkey, Carla Tabora, Spain / Brasil, Gloria Keller_Spain / Germany, Jacqueline Rodríguez, Peru. Susie Gadea, Spain / Peru, Vicente Greus ,Spain . Eduardo Mezquida, Spain. Antonio Aires, Portugal. Rosemary Cassidy Buswell , UK / France. Mariola Landowska, Portugal /Poland, Mercedes Casas Ocampo Spain-Argentina. Cecilia Moreno Yaghoubi_Colombia-USA. (Czapski Art Foundation press-release)
Czapski Art Foundation. ul. Wawrzyniaka 39 bud. C II piętro. 60-502 Poznan
Image: Vicente Greus
29 october -13 dicembre, 2013
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. The images are captured in an international destination, in this 3rd edition, the city of New York. This time, the theme proposed was "Ausias March in New York” whose purpose was to promote indigenous cultural values on a tumultuous cultural moment.The jury: Francesc Vera, Roman de la Calle and Tomás Llorens. (I. Cervantes press-release)
Instituto Cervantes. Alfons-Goppel-Strasse 7.D-80539 Múnich Baviera. (ALEMANIA)
Image: Jaime Belda