Spanish contemporary art worldwide
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12 may – 13 december, 2016
Cofradías are religious Mayan brotherhoods, shaped in Mesoamerica at the end of the 15th century as a reaction to the Spanish invasion. Incarnating the Latin American syncretism, they combine today the Catholic codes, initially adopt under force, with their indigenous beliefs. As priests, guides, shamans, thecofrades, literally „members of the brotherhood“, are elected depending on their faith and moral respectability. In a total dedication to their mandate, they give advice, lead celebrations, mediate and preside over the cultural and religious live of their community. The Maya Cofradías inherited from the ancient Roman brotherhoods and the guilds of the Middle Ages from the Occident as well as the Orient, the protection by a saint or an avatar, the conduct of ritual celebrations and processions as well as a „freely accepted“ hierarchy of functions.
The Maya civilisation, once a major pre-Columbian empire, handed down to their modern descendants what constitute today the principal fundaments of their „relation to the world“. Behind the theater of divers influences, the Cofradíasare today one of the last „indigenous cultural bastions“. Their cult, symbology and numbering, calendars and perception of time, languages and glyphs, artisan craftwork and techniques have survived the upheavals of the last centuries.The cofrades should today be understood as “guardians of the Mayan fire“. (Tumuult press-release)
Tumuult galerie. Heinrich-Roller-Straße 8. 10405 Berlin
Image: Tomás, Cofrade Chichicastenango, Guatemala. Foto © Santiago Albert, 2014
28 may – 31 july, 2016
Hybrid Modus documents how traditional concepts of sculpture are being challenged and expanded to their outer boundaries, and how sculpture merges into other disciplines. New, contemporary definitions are questioned, adapted and proved.
Hybrid Modus is a group show that brings together artists, based in Germany, Belgium and the Netherlands. Their works deal with the paradigm shift that has taken place on the level of ecological, societal and technological issues, leading to a post-human environment.
In a market where circulation increases value, and in many cases even equals value, the flow of goods and digital data has become currency itself. Trade has moved from objects to immaterial production of data and follower-bases. Moreover, the growing demand for optimized use of natural resources and efficiency leaves little room for serendipity and entropy.
Hybrid Modus addresses the issue of a man-made, hybrid ecology where nature, culture, capital, and the circulation of information coexist and overlap within the web of life. It may be related to our physical space, natural or urban surroundings, to virtual worlds. How do we deal with and live in these different realities? From the perspective of the human environment being in such a state of flux, the exhibition focuses on the significance of sculpture in the context of today’s networked society. How does the sometimes seemingly anachronistic, traditional medium address this current development?
Hybrid Modus is the 2016 edition of Skulptur Bredelar, and is curated by Bas Hendrikx (NL), and Ursula Ströbele (GER).
Artists: Stian Korntved Ruud &AE, Isabelle Andriessen, Lara Almarcegui, Julian Charrière, Andreas Greiner, Spiros Hadjidjanos, Martijn Hendriks, Markus Hoffmann, Rachel de Joode, Sculptress of Sound (Julia Bünnagel, Patricia Köllges, Tamara Lorenz), Philip Topolovac, Mirko Tschauner, Alvaro Urbano, Benjamin Verhoeven, Raul Walch, Dan Walwin.(sculptur bredelar press-release)
Kloster Bredelar: Sauerlandstraße 74a 34431 Marsberg-Bredelar
Image: sculptur bredelar
12 may – 4 june, 2016
Shirin Gallery NY is pleased to present Underground Passages, the solo exhibition of works by the artist Isidro Blasco. Born in Madrid and based in New York, Blasco creates sculptural works to describe both urban sites and private spaces. His use of materials – combining C-Prints with wood and other hardware – turn once two-dimensional photographs into 3D representations of space. Although they are three- dimensional, the works present a single spectator’s perspective. In this exhibition, the photographic prints, anchored to pieces of structured wood, describe spaces within New York subway system.
“I take the subway every day from my home in Jackson Heights to the studio in Bushwick, and very often I find myself looking at a particular corner or stairs, or section of the tracks. Every time they look very similar but not the same as the day before. And I wonder if other people like me also look at these same sections of the subway system, and if by this looking that we all do, somehow we are effectively changing those places.
I am guessing all this is just an effort to relate to these places. There is an emotional restraint that we all exercise, conveying not destruction but disorientation, the unsettlingly simultaneous expansion and compression of space that the urban dweller experiences in their way through the city and through its underground.” Isidro Blasco
Isidro Blasco was born in Madrid in 1962, and has lived in New York since 1996. He is a candidate for Ph.D. at the Architectural School of Madrid, and received his BFA from the Fine Arts School in Madrid. He was twice the recipient of the Pollock Krasner Foundation Grant in 1998 and 2010, and in 2000 he received the Guggenheim Foundation fellowship in Visual Arts. In 2004, Blasco had a solo exhibition of his works at the Reina Sofia in Madrid, and has since shown his work at the Museum of Modern Art and MoMA PS1, NY; and the Champion International Corporation (of the Whitney Museum of American Art), Stamford, Connecticut, among others. His works are included in collections at the Museum of Modern Art, the Whitney Museum of American Art, both NY; the Chicago Institute of Contemporary Art; and the Tweed Museum of Art, Duluth, MN. (Shirin gallery press-release)
Shirin gallery. 511 W 25th St #507, New York, NY 10001, United States
Image: Isidro Blasco
26 may – 24 june, 2016
“Chance and construction are the coordinates that contain the secret of art, and the fate of the artist lies in accepting this as contingency” Sartre
“The question that scientists and philosophers arise is whether chance is a simple product of our ignorance or, on the contrary, is an inherent right of nature” Playing with the chance and giving it an opportunity is something I have pursued for a while until today in the art world.
As Nietzsche wrote, "We must keep up the chance".
A mutable play that calls us into question that does or undoes itself depending on how the beholder stares at it. But what I have clear in advance, is that chance will be a definite asset and assumed in the outcome of my work.
In addiction of my dedication for the painting and the drawing I has incorporated to my work, since few years ago, disciplines like the installation, video and performance. My plastic principle and start point of my artwork are concepts like the balance and chance.
My artworks shows the reality and the appearance of the construction of the image, I offered to the observer a play of mistakes and misunderstanding which it give to the observe the complexity of the reality. (Trema press-release)
Trema - Arte Contemporânea. Rua do Jasmim, nº 30 - 1200-229 LISBOA
Image: Sismógrafo III. Gabriel Castaño
22 may – 10 june, 2016
Raja Yoga meditation has been a major influence for Spanish artist Eva María Pacheco, whose upcoming exhibition “Being Light” is sure to present a vision of spirituality that would resonate through the inner space of the spectators.
“My art and creativity are related to spirituality. Raja Yoga meditation brought me to this country. I am a yogi and for the last 15 years, I have been practicing yoga in India and (my hometown) Barcelona,” Pacheco told IANS.
“Being Light” on which she has been working for almost a year, the paintings are “created in the light and by being the light,” the artist explained of the title, adding: “We can understand light as energy and vibrations; colours as expressions through the paintbrush and the space on the white canvas – everything is a reflection of the light (energy),” she added.
The paintings reflect the spiritual knowledge that she has experienced in her yogic life.
“The biggest gift I can give to life is to surrender and allow life to show its self to me. I am expressing this idea through paintings that are the mirrors of the inner soul and its development,” said the artist who has a doctorate in the fine arts.
“In my method of creation, the heart directs the composition, letting intuition and feelings to direct my hands. It is not the mind that leads,” Pacheco explained.
“Using this method is extraordinarily delicate and subtle (in) that if I am not self-centered, aware and focussed, the process and images will not come (out) natural.”
“When everything is in equilibrium,” the canvas does not come in the way of “the sensibility of the composition, colours, materials and forms”, she added.
Her paintings are evidence of how her practice of meditation helps her bridge the gap between art and spirituality. (Caustic news press-release)
Creativity Art Gallery 6, GF-Hauz Khas Village, New Delhi
Image: Eva Maria Pacheco. Being Light
3 may – 3 july, 2016
Antoni Taulé born 1945 in Sabadell, Catalonia. Architect by training, performer and street artist during the Sixties, his art has been labelled as a representative of the “new figurative” movement. He paints classical empty buildings and interiors: ballrooms, office receptions, halls of the Louvre museum, chambers of the Prado, the Palace of Versailles, monumental spaces that fuse reality and fiction under a fleeting atmosphere of light.
His unique creative universe mixes scientific and mathematical concepts and a passion for art from the past, Italian, Dutch and Spanish old masters, especially Diego Velázquez and Francisco Goya. It has inspired numbers of writers and critics, like Jean-Christophe Bailly or Julio Cortázar who were fascinated by Taulé’s rooms and tables.
As Taulé says : "The building is actually just like a person. It has a heart, lungs, a nervous system, intestines, and eyes ... I am fascinated with what one can see, with the reason why does one look at it or avoid looking, and how one reflects upon what he sees. In one word my work is about how a man functions." (Photo 12 press-release)
Instituto Cervantes. 31, rue des Chalets. 31000 Toulouse (FRANCIA)
Galerie Alain Daudet. 10 rue de la Trinité. Toulouse
Image: Antoni Taulé
ATHENS. Declinación Magnética: Julia Morandeira, Sally Gutierrez and Juan Guardiola “Margin of Error” Metamatic:taf. CTRL+T
28 – 30 may, 2016
CTRL+ T is an initiative aimed at mobilizing local and international artists and researchers to present or develop work for a limited period of time amidst the social turmoil and cultural transitions that are currently triggering new concerns in the field of cultural production in Greece. A new tab. A platform for alternative narratives. Throughout the year and for a specific period, invited cultural practitioners are given control of metamatic:taf’s spaces, both physically and virtually.
As it has been widely covered in the global media, Greece has been undergoing turbulent times since the financial crisis of 2008. These forceful and contextual transformations have produced a climate of questioning and displacement, particularly in the cultural sector, where we are currently facing identity-forming notions.
The intervention proposed by Declinación Magnética with the support of AC/E for CTRL+T addresses the idea of challenging established historical narratives; a re-examination,a new tab of sorts, of the historical memory. During the three days of their occupation of metamatic:taf’s virtual and physical spaces, many issues native to this shared framework between Spain and Greece will emerge, mainly through the screening, on the second day, of the 60 minutes film ‘Margin of Error’, followed by a Q&A/Open discussion and a more casual reception. This work is particularly relevant to the Greek context, as it identifies the mechanisms used to produce History, and signals the different strategies of complicity and dissemination found in the education system.
Declinación Magnética’s intervention at CTRL+T will act as a catalyst of different social and cultural actors involved in this arena, which still remains a very sensitive issue in Greece. We find that this event will serve as fertile ground, a point of exposure and discussion showing where the discursive vectors that surround Greece’s past, from the Ottoman times, to the Nazi invasion, to the Cypriot war or the military dictatorship, could be taken to; introducing new poetics and forms of narration that are critical to Greece’s often debated past, and its multiple official versions.
The collective Declinación Magnética will be represented by three of their members: Julia Morandeira, Sally Gutiérrez and Juan Guardiola. (AC/E press-release)
Image: Metamatic. Declinación Magnética
24 may – 31 december, 2016
Room One, a creative space in the heart of historic Clerkenwell, has announced the exhibition of work by award-winning Spanish artist Oscar Tusquets Blanca. An internationally-renowned architect, designer, writer and painter, whose successful career has spanned many decades and disciplines, Tusquets is exemplary as a ‘Total Artist’.
Born in Barcelona in 1941, Tusquets graduated as an architect from Escuela Tècnica Superior de Arquitectura de Barcelona in 1965, and went on to design a number of notable buildings including several exhibition halls in the Musées des Arts Décoratifs at the Louvre, Paris, and most recently, the Toledo metro station in Naples.
A celebrated furniture designer and recipient of the Spanish National Design Award, perhaps the most recognizable of Tusquets’ designs is Dalilips, the iconic sofa that he co-designed in 1975 with his master and friend Salvador Dali, for the Mae West salon at Teatre-Museo de Figueras. A founding member of prestigious design company BD Barcelona, which today holds the exclusive rights to manufacture Dali’s furniture designs, Tusquets’ own designs are held in the collections of high-profile public institutions including MoMA in New York and the Georges Pompidou Centre in Paris. (Room One press-release)
Room One Gallery. 12-14 Berry Street. London EC1V 0AU
Image: Room One Gallery. Oscar Tusquets Blanca
12 may – 11 june, 2016
José Moñú (Zaragoza, 1981) presents his latest works at 3 Punts Galeria, Barcelona. Entitled "Invisible", the exhibition hosts fifteen medium and large format paintings on canvas.The creative work of this young artist, initially included within the new figuration, has led to an increasingly abstract impressionism, with some allusion to the language of pop art in the use of color and the integration of certain popular icons. With an absolutely personal style, unfocused characters emerge from the generous paint he uses on his canvases, and they seem to move into a continuous zigzag or centrifugal movement. This creates an optical illusion which at times allows us to see the characters or, as the title of the exhibition suggests, allow them to become invisible so that the abstraction predominates in the composition and moves to the foreground. (3 Punts press-release)
Image: José Moñu. 4.Crupier Internacional, 2016
15 may – 15 june, 2016
On the initiative of asbl THIEF IN THE NIGHT a new project YART was launched in the beginning of 2015. The project has the objective:
“The realisation of an exhibition whereby young artists are given the oppurtunity to present their work in public space. Herewith is attempted to create a connection between a diverse audience, the artist and his work, and the location in order to trigger a dialogue about art”
During this first edition of the art event YART de public, whether not a semipublic, garden of the Duivelsteen is presented as a scenery for six selected, young artists. Each artist will employ the garden en his ambivalent context to present a work of art.
YART will be concluded with a retrospective exhibition in the historical crypte of the Duivelsteen. Via this finissage the public and the artists can be brought yogether. During YART each artist and his/her work will be captured in images under a given pattern. Across this imagery the finissage will be made.
The oeuvre of the six young artists ranges from purely conceptual to formal. Of the one hand the formal works have a clear link with perception, use of materials and proportions of heritage and monuments. The conceptual work respond to the casual passer: observation, imagery and isssues as privacy and the significance of semipublic space are adressed.
Almudena Lobera (Madrid 1984) has been devoted in recent years to showing alternative models for the configuration of the visible, delving deeply into the notion that the image is not always visible or accessible in nature. She explores the nature of the image, its varying layers, the perception of the (un)represented, the questioning of the ‘work of art’ as device and the relationship of the work with the space and with the beholder. Her work aims to connect the legacy of the past and the influence of Classical and Renaissance authors with the indication of what is to come from an instantaneous continuous present that explores the ephemeral and virtual image qualities in our era (YART press-release)
Devilstone Castle. Geraard de Duivelstraat 1. 9000 Gent. Belgium
Image: Almudena Lobera. Epiphany. Mise-en-scène [Phase II]
22 may - 14 august 2016
With a large volume of works by the Spanish artist belonging to Musée National Picasso-Paris, this powerful exhibition organized by Instituto Tomie Ohtake shows items that bear a very special relationship of Picasso with his work, since they were selected and held by him throughout his life. These works that have thus stood by his side are now part of the collection of the French museum, whose Picassian collection is one of the most important in the world, mostly after two successive donations made by the painter’s heirs in 1979 and 1990. Only two of the works presented at the exhibition originally came from Dora Maar’s collection, later acquired by the museum.
‘Picasso: savant hand, savage eye’, curated by Emilia Philippot, who is also curator of Musée National Picasso-Paris, is made up of 153 pieces, the vast majority of which unprecedented in Brazil, and follow a chronological and thematic journey around sets that mark the main stages of the artist, from his early educational years to the last years of production. The exhibition unveils 116 works by the Spanish master - 34 paintings, 42 drawings, 20 sculptures and 20 prints - as well as a series of 22 frames by André Villers, made in partnership with Picasso. The exhibition ends up with 12 photographs authored by Dora Maar, three by Pirre Manciet, and films on the works and their ‘making-of’. “We chose to take advantage of the specific character of the collection to sketch a portrait of the artist that questions his relationship with creation, in-between production and design, implementation and thought, hand and eye,” says Philippot.
(Instituto Tomie Ohtake press-release)
Instituto Tomie Ohtake. R. Coropés, 88 - Pinheiros, São Paulo - SP, 05426-010, Brasil
Image: Picasso "Joueurs de ballon sur la plage", 1928
21 may – 14 august, 2016
Designed by New York-based Nomad Studio, Green Air is the second major, transformational installation in CAM’s courtyard. Green Air comprises two thousand slices of wood suspended from the courtyard’s trellis with Tillandsia air plants attached to each. The sculpture hangs above the heads of visitors, swaying in the breeze and filling the 45-by-50-foot space. Headed by William E. Roberts and Laura Santín, landscape architecture firm Nomad Studio is known for combining contemporary art and design with natural elements. Green Air is the second work in a two-year commission made possible by an Innovation Fund grant by the St. Louis Regional Arts Commission. Following Nomad’s previous installation, Green Varnish (on view May–September 2015), the new work re-uses wood that formed the armature of the original sculpture and re-envisions its curving, wave-like shape.
Green Air’s four-foot-long poplar sticks are hung at varying heights, moving together in the wind and functioning as a monumental aerial garden. The installation transforms the surrounding gray concrete and glass environment into a natural and organic setting. Surviving on light and air alone, the Tillandsia function as a bio-indicator, speaking to the pollution pervasive in a man-made environment. Nested within the courtyard, this immersive hanging garden surrounds visitors with unexpected beauty in a surprising location.
Nomad Studio was founded in 2009 by William E. Roberts and Laura Santín and is located in Brooklyn, New York. Committed to innovative landscape architecture, planning, art, and urban design, Nomad coordinates an international network of professionals who work together to create unique and memorable experiences that foster a connection between the user and the landscape. Nomad fosters a dialogue with the landscape from all angles and scales, with the objective of creating inspirational and experiential backdrops for people to engage with natural systems through beauty, outdoor recreation, or community interaction.
This exhibition is generously supported by an Innovation Fund grant from the Regional Arts Commission St. Louis and the Whitaker Foundation. (CAM press-release)
CAM. 3750 Washington Blvd. St. Louis, MO 63108
Image: Green Air. Nomad Studio
25 may – 19 june, 2016
"The Perils of Obedience" is a long-time multimedia project that will conclude at PARTICIPANT INC in May 2016. During one week four performers and theater director Niegel Smith, will work in the gallery. This project merges different media and challenges notions of social rules, participating on a larger debate about labor conditions and subjectivity. Following the performance a solo show by Spanish artist Itziar Barrio will take place in the space. "The Perils of Obedience" is a trans-disiciplinary approach to the seduction of power. Inspired by Stanley Milgram's 1961 psychological experiments, the project confronts established sets of rules and cultivates the conditions for unscripted consequences. While being filmed, four actors are directed towards the completion of a scene. Situated in a conflict, the actors will reveal their inner desires and the power dynamics behind the group. The project blurs the line between the person and the character, the fiction and non-fiction. The audience witnesses at the same time the performance and the making of a movie. (Participant INC press-release)
PARTICIPANT INC: 253 East Houston Street, ground floor between Norfolk and Suffolk Streets on the Lower East Side
Image: Casting THE PERILS OF OBEDIENCE. Itziar Barrio
19 may – 16 june, 2016
Rodríguez Gallery is very proud to present the new body of works by Andrés Pachón, Magic Lantern. In this exhibition he takes as a starting point the actual Magic lantern – a device used to project images in the 17th century, a precedent of the cinematograph - working on a series of hand painted slides produced in Germany between 1890 and 1930 for the latest models of these projectors. By breaking down the slides, which illustrate Middle-Eastern coloured landscapes, the artist will point to their different readings and crossed interpretations: the ethnographic objectivism being overlapped by our visual expectations toward the exotic world.
Andrés Pachón’s project demonstrates the manipulation carried out already in the early stages of the photographic medium, tightly linked to an anthropological question: the Western look at the Other, our conception of the world. This series of works throws a light on how our vision of the Other is conditioned by the many prejudices and stereotypes, deeply rooted in our culture. (Rodríguez gallery press-release)
Rodríguez Gallery. ul.Wodna 13/4. 61-782 Poznań, Poland
Image: Andrés Pachon “Magic Lantern”
01 may – 31 july, 2016
During the thirties, forties and fifties of the last century, Havana was known for its casinos. Artists,mafiosos, politicians and smugglers would mingle with each other in an undercover prosperity of nightlife, salsa and fireworks. They would laugh and drink together. Attracted by this spiral of joy, affluent Americans would travel to Cuba.
After the Revolution of 1959 and the rise of the Communist party to power, gambling establishments were shut down and their dazzling shine faded away. It was replaced by Las Vegas. Overnight, Americans managed to build a city in the middle of nowhere, which became the new center of entertainment. A city created in the heart of a desert used to satisfy their vices and the excess that Capitalism allowed.
This exhibition tries to confront two opposing ways to understand the world. On the one hand, the concept that Las Vegas represents, a paradigm of an idle society. On the other hand, Havana, a faded paradise that has become a wasteland of expectations, a place out of its time that has been isolated due to the failure of Egalitarianism.
A comparison between both cities is unacceptable. Each city is located in an extreme. The only thing that connects both cities is an anecdote, a small detail that ends up being crucial for the success of Las Vegas: Gambling. The shining star of Havana fades away in order for it to start dazzling in Las Vegas. These two opposing worlds that have stopped the urge of the world in the 20th century and paradoxically have ended up giving a meaning to emptiness, defeating motivations, leisure winning against work. Constructing dead routes leading nowhere.
Ángel Marcos, born in Medina del Campo, Valladolid, 1955, Ángel Marcos is an artist who uses photography as his primary medium. He has exhibited in prestigious private galleries and international institutions. His works are held in the collections of a number of museums as well as in renowned private collections, among them the MNCARS, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; the MUSAC, Museo de Arte Contemporáneo de Castilla and León, Spain; Margulies Collection, Miami, USA; the Naples Museum of Art, Naples, USA; the Siemens Foundation, Vienna, Austria and la Maison Européenne de la Photographie in Paris. He lives and works in Madrid and Valladolid, Spain. (MANA press-release)
MANA Contemporary. 888 Newark Avenue. Jersey City, NJ
Image: “Hasta Siempre” Ángel Marcos
22 april - 31 july 2016
Picasso - Transfigurations, 1895-1972, an exhibition dedicated to one of the most influential artists of the twentieth century, organised by the Museum of Fine Arts - Hungarian National Gallery, Budapest in partnership with the Musée national Picasso-Paris, opens 22 April 2016. The exhibition is on until the end of July, is Hungary's largest ever exhibition of works by Pablo Picasso.
Boasting a hundred paintings, drawings, sculptures and other artworks, this exhibition embraces every period of Picasso's career, paying particular attention to one aspect of his ouvre: the constant transfigurations in his portrayal of the human figure. Most of the exhibited works have been generouslyloaned by the Musée national Picasso-Paris, which, with some 5000 works, preserves the largest Picasso collection in the world. The collection was bequeathed to the French state by the artist's heirs, and contains works from every period of his activity, as well as 200,000 documents - letters, periodicals and photographs - from Picasso's private archive.
Visitors to the show are invited to take an informal journeythrough Picasso's distinctive creative method, focusing on the series he produced, his recurring motifs, and the landmark moments of breakthrough. The central theme is the evolution of Picasso's approach to figural depiction as he progressed through a career in art that spanned more than seven decades. In every period, the most prominent role was played by the human form, whether in the shape of the woman, the sensitive and passionate human, the thinker, the artist, the socio-political player, or the élite star. The changes in the way Picasso modelled his figures reveal the very essence of his art: his incessant innovation of form can be traced through his paintings - which make up the lion's share of the exhibition - as well as his prints and drawings, his sculptures and ceramics, and his film and photography. Curator of the exhibition: Emilie Bouvard (Musée national Picasso-Paris), co-curator: Ferenc Tóth (Museum of Fine Arts of Budapest) (Hungarian National Gallery press-release)
Hungarian National Gallery. Buda Palace. Buildings A, B, C, D. H-1014 Budapest
Image: Budapest Times. 2016
5 may – 4 june, 2016
ASPA Contemporary has the pleasure to present the work of the Aragon artist, José Luis Balaqueró. The exhibition “cuando Ir es Volar” (When Movement is Flying), will open on the 5th of May.
Geometry has always been present in Balaquero´s work. But here, in his latest works, his geometry is heated by the force of colour, by the temperature of the materials used, and, above all, by the artist´s constant hunger and thirst for painting, drawing, creation. The exhibition “cuando Ir es Volar” ,organized by Alejandro Carro, offers the more recent and private vision of Balaguero´s characteristic spacial world. The selection of the works define and resume the artist´s latest work, reflecting the combination of his subjective and poetic aura with different tecniques and formats: painting, sculpture and moviles.
“cuando Ir es Volar” introduces the espectator to the artist´s most personal world not only through his paintings. The exhibition is also conformed by a sinthesis of his universe, incorporating his recent series of moviles with feminine figures suspended on wires that swing in the wind, and, a selection of small wooden object-pieces.
José Luis Balaqueró (Zaragoza 1930). In his long artistic path has combined the emphasis of Barroque painting with the intellectual impartiality that connects with European and American painting traditions. Balagueró has recieved, among others, the First Prize of Cuidades Capitales Iberoamericanas (Iberoamerican Capital Cities); and the Goya Prize of the Madrid City Council. He has lived and worked in France, Switzerland and the U.S.A. Since 2001 he has resided in El Escorial, Madrid.
Works in Museums and Collections: Museo de Arte Abstracto, Cuenca. The Garage Museum of Art, Fort Lauderdale, Florida. Museo de Teheran, Iran. Museo Municipal, Zaragoza. Ayuntamiento de Madrid. Madrid. Biblioteca Nacional, Madrid. Evanston Art Center, Chicago. Colección Amos Cahan, Nueva York. Museo Nacional Centro de Arte Reina Sofia, Madrid. Fundación Santillana. Fundación Chateau Citran, Burdeos. Ministerio de Trabajo, Madrid. Cortes de Aragón, Zaragoza. Diputación de Aragón, Zaragoza. Fundación Juan March, Madrid. Fundación ICO, Madrid. Museo Salvador Allende, Chile. Centro Cultural, Conde Duque. Madrid. Palacio de Congresos, Madrid. Art Institute, Chicago. Fundación Ibercaja, Zaragoza. (ASPA press-release)
ASPA Contemporary. Galileo, 19. 28015 Madrid
Image: “Brisas” móvil. José Luis Balagueró. 2015
29 may – 31 august, 2016
As part of the cultural activities of Benedicti Claustra Onlus and in conjunction with the 2016 Biennale of Architecture in Venice, in the Officina dell'Arte Spirituale exhibition space at the Abbey of San Giorgio Maggiore, Spanish artist Antonio Girbes presents Refugios , a site specific installation comprised of thirteen large-scale works. REFUGIOS is the brainchild of DELIRIOUS CITY, a series of works from 2006 in which the artist brought together photographic images of buildings by renowned architects in several European cities. Over the years all of these images generated the DELIRIOUS CITY project, a new and different space, a global, timeless city, in which the architectural elements created by man over the centuries coexist together simultaneously. Andrea Palladio, Pere Compte, Fritz Wotruba and Félix Candela are some of the seminal names encountered on this journey through the history of art, a fitting tribute to the extraordinary heritage that these great artists have left us. REFUGIOS eschews the typical two-dimensional quality of photography by making use of perspective to create illusions of impossible depths through which the eye is plunged into an unreal yet highly realistic three-dimensionality. Curator: Javier Molins. (Abbey of San Giorgio Maggiore press-release)
Abbey of San Giorgio Maggiore. Officina dell’Arte Spirituale – Isola di San Giorgio Maggiore – Venice Public boat, line 2
Image: Refugios. Antonio Girbés
20 may - 30 july, 2016
The body is central in the works by Javier Pérez. Detached from the strongly gendered approach to the body in contemporary art, Pérez gives the body a different meaning: in his performances, drawings, photography and sculpture it is illuminated as a distorted, strong and at the same time fragile mass.
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. Javier Pérez (*born 1968 in Bilbao, Spain) Lives & works in Barcelona, Spain (MAM press-release)
Mario Mauroner Gallery. Weihburggasse 26. 1010 Wien. Austria
Image: Javier Pérez. VIDA
28 may - 27 november, 2016
The 15th Venice International Architecture Biennale will take place from 28 May to 27 November 2016. Based on the theme "Reporting from the Front". it is directed by Chilean architect Alejandro Aravena, winner of the Pritzker Prize in 2016. It is a call for reflection on mistakes made in order to share solutions that could help other countries anticipate and avoid similar outcomes (statement by Alejandro Aravena on the theme of the Biennale).
During the past period of economic growth in Spain construction became the main driving force behind the economy. Today we find the built presence and unfinished remains of the largest constructional undertaking in history, which left behind an awkward layout and large partially built and unconsolidated volumes.
With the exhibition ‘Unfinished’ the curators of the Spanish pavilion, Iñaqui Carnicero and Carlos Quintáns take a look at unfinished architecture in order to discover virtues that can be turned into design strategies. ‘Unfinished’ sets out to explore creative speculations on converting a past condition into a positive contemporary action.
In order to show the largest possible number of architectural designs related to this theme, the Spanish Pavilion for the 2016 Venice Biennale initially launched a call for selecting the built works to be shown under one of the following categories.
INFILL without façade. ELEVATIONS without land. CONSOLIDATE without autonomy. PATTERNS without deadlines. STRUCTURES without cladding. DEMOLITIONS without material. GENERIC without program. ADAPTABLE without permanences. REAPROPRIATION without new spaces. RAW MATERIAL without finishing LOW COST without money. COLLABORATIVE without authorship. SUBVERSIVE without regulations (AC/E press-release)
Bienal de Venecia Arquitectura. Ca’ Giustinian, San Marco 1364/A. 30124 Venezia
Imagen: Pabellón de España. Bienal de Arquitectura. Venecia 2016
4 may – 4 september, 2016
This exhibition invites visitors to experience passage, adjustability and mobility through the woks of Spanish artist Xavier Mascaró (b. 1965, Paris). Visitors can observe possibilities and meanings through the 18-meter iron ship shown at the entrance of Warehouse421, which is suitably located in Mina Zayed, inciting parallel dialogues between the artworks and the surrounding environment. Inside the exhibition, the 26 unique boats and documentation, along with the poems of reminiscence, survey thoughts, processes and experimentations that investigate notions of departure.
Mascaró employes a thematic that can be universal and personal. He transports visitors from ancient mythology and rampant totalities, to an icon that speaks to the historical specifics of the United Arab Emirates (UAE) community with its versatility. These relations manifest in traditional poems and songs that were instruments to convey what traveling really meant for the community, from longing to reuniting, and the essential emotions that bonded people together, and with the sea.
The UAE's geographical relation with the sea helped in creating strong trading, fishing and pearling industries that supported the community for years. Not only that, but it was also one that shaped the urban life and facilitated building the coastal cities that are witnessed today. (Warehouse421 press-release)
Warehouse 421. Mina Zayed. Abu Dhabi. UAE
Image: Departure. Xavier Mascaró
5 may – 18 june, 2016
Continuity and discontinuity, light and shadow, material and illusion are the drivers of Juan Uslé’s inimitable body of work. Rhythmic sequences move regularly but not uniformly in bands across the breadth of the canvas—first forward, then backward, then forward again, in gradations from dark to light as the pigment empties from the brush.
It is well known to anyone who has followed Uslé’s work that the short, broad brushstrokes comprising these bands are based on the artist’s pulse—in an interview with John Yau for the Brooklyn Rail, he describes his “sequential field or territory of marks” as a “cardiogram.” If so, it is a cardiogram that is ruptured, torn, and tattered.
The pulses are the dominant force in many of Uslé’s works, including the large paintings collectively known as Soñe que Revelabas (I Dreamt that You Revealed) which were begun in 1997. The Soñe que Revelabas paintings are individuated not by a numbering system but by parenthetical subtitles named after great rivers of the world—Columbia, Nilo Azul and Ganges.
The breaks in these rhythms—the ruptures in the cardiograms—can be harsh, lyrical, or matter-of-fact. They might be as understated as the stripes separating the repeated bands of strokes in Uslé’s small-scale In Kayak paintings, whose subtitles bear the names of lakes. But almost invariably the stripes in these works are mottled with secondary and tertiary colors, with opaque surfaces and dense textures that set up a distinct contrast with the translucent, primarily monochromatic pulses. Often these color-upon-color interventions are painted with a jagged edge, a hint of violence that resembles a piece of snapped, serrated celluloid. As light travels through the filmic skin of the paint—the “porous membrane,” as he calls another family of works—it bounces off the lustrous surface of the gesso, illuminating the image from behind.
Juan Uslé has been the subject of major retrospectives at the Es Baluard, Museu d’Art Modern i Contemporani de Palma, Palma de Mallorca (2010); the Centro de Arte Contemporáneo Málaga (2007); S.M.A.K., Ghent, Fundación Botín, Cantabria, Spain, and the Irish Museum of Modern Art, Dublin (2004); the Museo Nacional Centro de Arte Reina Sofía (2003); the Museum Morsbroich, Leverkusen (2002); and the Institut Valencià d’Art Modern and MACBA Museum, Barcelona (1996). He was also included in the 2005 Venice Biennale, Documenta IX (1992), the 1992 Istanbul Biennial, and the 1985 Bienal de São Paulo. In 2014, a major exhibition of Uslé’s Soñe que revelabas series was presented at the Kunstmuseum Bonn. The exhibition, titled Dark Light, traveled to the CGAC Museum, Santiago de Compostela. (Cheim&Read press-release)
Cheim & Read. 547 W 25th St, New York, NY 1000
Image: Juan Uslé. Membrana Porosa
05 - 29 may, 2016
Juan focuses on architecture as a colonial tool to neutralise local imaginary in Africa. This presentation is concerned about how the historical fact is represented and transmitted, rather than the history in itself. Construction materials or building ornaments are some of the elements used to rethink the decolonial process of British Institutions and Museums. Humor and anecdote introduce a disruptive grammar used to analyse the content provided by official video databases, such as Imperial War Museum or British Film Institute.
Juan Crespo (b. 1987, Zaragoza) lives and works in London. He graduated in Fine Arts from the University of Barcelona, where he also studied the MA in Artistic Production and Research. He has recently shown works in Barcelona (Sala d’Art Jove, ARSM or Loop Video Art Festival), Museo de Arte Contemporáneo de Santander, “Biennal Leandre Cristófol” La Panera, Lleida and Festival Cine-Septiembre, Sinaloa, México. He is Co-Founder of PIL Project, presented at London Metropolitan University, and now part of the Digital Artist Residency within the Wrong Biennale. PIL Project has recently been granted in Step Beyond to develop a research project in the Russia’s new internet content law. (Whitechapel press-release)
Window Space Gallery. Whitechapel Gallery. 59 - 63 Whitechapel High Street, E1
Image: It is Probably Best to Start from Zero. Juan Crespo
23 may - 30 june, 2016
The exhibition (Cervantes, a contemporary spirit), organised by AC/E and the Instituto Cervantes, shows the photographs produced by José Manuel Navia in connection with the celebration of the 400th anniversary of the death of Miguel de Cervantes in 2016. For this project, Navia followed in Cervantes’ footsteps, visually capturing the places and paths trodden by the great author throughout his life – a troubled and uncertain life that is also revealed to us in a veiled manner in his works.
The photographs that make up the exhibition – between 60 and 80 – are mostly new, taken especially for this purpose. The project is based on the act of photographing the main places linked to Miguel Cervantes’s life, the traces of a lifetime, so that the end result is not just another collection of pictures of different places but a series of photographs that embodies the personal gaze of a traveller who wishes to embrace Cervantes’s real and literary territory through image. The photographs are accompanied by detailed texts and literary quotes that refer to the author’s life as well as to his works. (I.Cervantes press-release)
Instituto Cervantes. Via Nazario Sauro, 23. 80132 Nápoles(ITALIA)
Image: Argelia, medina de Argel, ciudad donde estuvo cautivo Cervantes durante ciJosé Manuel Navia “Cervantes, a contemporary spirit” Instituto Cervantes
26 may - 30 june, 2016nco años. José Manuel Navia
25 may - 16 july 2016
Focusing on the visual and symbolic relationships between authority and power, Spanish artist Marco Godoy (b. 1986 Madrid) analyses the social and political ramifications of the real and fictional divides that make up the European Union. In his upcoming exhibition at Copperfield, Godoy works with sculpture, installation, and photography to explore the concept of Europe’s boarders.
Presenting these divides as a construction of authority, Godoy’s work illustrates the peculiarity of differences in basic legal rights such as labour wages that change within a matter or meters from one country to another. Attention is also drawn to the way the actual geographical divide removes those in the United Kingdom from the full effects of issues such as the refugee crisis.
Marco Godoy has studied Fine Arts at the Universidad Complutense de Madrid and is a graduate of the Royal College of Art (2014). Following his recent group exhibitions at the Centre Pompidou and Palais de Tokyo, The exhibition Europe at Copperfield, London will be Godoy’s first solo show in the UK. (Copperfield Gallery press-release)
Copperfield Gallery. 6 Copperfield Street. London SE1 0EP
Image: Installation Europe. Marco Godoy
MERANO. Álvaro Urbano “My Boy, with such Boots, we may Hope to Travel Far” Art&Nature. Merano Spring Festival
until 5 june, 2016
This second edition of Art & Nature titled Walking with Senses is held in Merano and the villages Naturno, Scena and Tirolo during the Merano Spring Festival.
The curatorial team BAU has invited international artists, performers, architects, designers and dancers to respond to, and dialogue with the peculiar characteristics of the region in a relationship set with nature, environment and landscape. It presents a series of temporary and permanent artworks in public spaces of various sites where it takes place, as well as on the walkways that connect the villages with Merano
My Boy, with such Boots, we may Hope to Travel Far, by Alvaro Urbano (Madrid 1982), a narrative of concrete runes that compose a cryptogram that leads you to a new discovery of the landscape.
Artists: Kristina Buch, Numen/For Use, Andreas Angelidakis, Tue Greenfort, Alvaro Urbano, in Manuel Pelmuş, Alexandra Pirici, Michael Fliri, Angelo Plessas (Art&Nature press-release)
Image: Álvaro Urbano
14 may – 7 august 2016
The Swiss Chapters examine the work of the Spanish artist Eduardo Arroyo (born in Madrid in 1937, lives and works in Madrid and Paris) and his affinity to Switzerland. Whether as an artist, author or set designer, Arroyo is a storyteller. As a key figure of the movement entitled Figuration narrative he draws upon the large stock of world history, literature or boxing and combines them with personal motifs – for instance, the characters of Wilhelm Tell or the chimney sweep, both impressions from his Swiss journeys. Due to the enigmatic narrative elements, his detailed works demand an almost investigative approach from the viewer. The exhibition shows works from different life stages of the artist, from lithographs, paintings and drawings up to sculptures. In addition, Swiss friends and artists valued by Arroyo are also invited to participate in the exhibition: Alberto Giacometti, Thomas Huber, Meret Oppenheim, Peter Stämpfli, Hugo Suter, Gérard Thalmann, Jean Tinguely, and Félix Vallotton (Kunstmuseum press-release)
Image: Eduardo Arroyo, El martirio de San Sebastián, 1995, Courtesy the artist, © 2016, ProLitteris, Zürich
30 april – 7 august 2016
The degree of individual and collective, spiritual, ecological, and economic exhaustion and burnout we are experiencing today has led to a unique sort of 21st century melancholy.
For Sigmund Freud, the "deep and painful malaise" of melancholy is characterized by a "withdrawal of interest in the external world" and "loss of the capacity to love." During the Romantic period, the pensive wistfulness and exuberant idealism of the melancholic were still seen as a divine madness common in people doing creative work. The artworks on display at the exhibition and the symposium/performance "A Government of Times" invite us to pause for a moment, reorient ourselves, and reflect on new perspectives, raising questions about political fantasy and a different form of acceleration - an experimental, navigational process where we can discover a universe of possibilities.
Multi-disciplinary spanish artist Álvaro Martínez Alonso (1983, Burgos) presents inphotography and video works which deals with the economic crisis and the problems "On Suspension" The financial crisis that currently lives Spain has caused problems not only of employment but, more importantly, personal deficiencies and existential problems that affect the lives of hundreds of families everyday. With an endless imagination and a praxis always simple but effective, the projects covered by Alvaro Martinez Alonso are a compendium of everything that happens on the streets, that is impossible to separate from the ideals, aspirations, needs and hopes of individuals. And although you cannot know who influences whom, in his work, social activism becomes culture and art, the same way that the ethical spirit translates to aesthetic.
Artists: Gregory Barsamian, Stefan Brüggemann, Anetta Mona Chisa & Lucia Tkacova, CHTO, Jeannette Ehlers, Famed, Rumiko Hagiwara , David Maisel, Álvaro Martínez Alonso, Guido van der Werve. (Halle 14 press-release)
HALLE 14 . Zentrum für zeitgenössische Kunst Leipziger Baumwollspinnerei. Spinnereistr. 7. 04179 Leipzig
Image: Suspendidos. Álvaro Martínez Alonso
until 31 may, 2016
A journey through the artistic lives and works of two histories most important cultural icons.
Visitors will discover the evolution of styles, techniques, and the influences that drove the changes including the confluence of the two artists over their five decade friendship.
Comprising of over 267 pieces of artwork from the renowned artists, the exhibition commences with a section titled Creators of Myth and continues on to investigate the works of Picasso and Miró in chronological order with sections titled; Inventors of New Languages, Jugglers of Form, Poets of Color and Alchemists of Art.
The exhibition title evokes the key points to understand the perspectives, which involve the personalities, experiences, suggestions and mysteries of two of the most extraordinary artists of the twentieth century. The Dubai narrative path crosses figures and themes, which characterized the graphic experience of Pablo Picasso and Joan Mirò, linked with a fil rouge which intertwined their lives. The exhibition is not just a journey that tells a dialectic relationship between history and contemporaneity, but also a dialogue between the signs of tradition lived and interpreted by the artists, and the energies, which ignited their creativity. Curator: Sergio Gaddi. (Burj Khalifa Annex press-release)
Burj Khalifa Annex. Downtown Dubai Burj Khalifa. 1 Mohammed Bin Rashid Boulevard. Dubai, UAE
Image: Picasso, “Passion and Poetry” Burj Khalifa Annex
NIORT. Núria Mora "Objects in the mirror are closer than they appear" Le Pilori Espaces d´Arts Visuels
4 may – 4 june, 2016
Nuria Mora uses the public space as a medium in a constructive, non-invasive manner. Her artwork both indoor and on the street is inspired in the urban surrounding and the community that inhabits it. She works with materials that range from paper, wood and glass, to multimedia. Though she inquires in different creative fields, her constant is to redeem the human component, the mistake. In every one of her projects, she seeks to capture her own experiences and impressions of the place where she finds herself. Her artwork has been exhibited in galleries and museums worldwide, such as the Tate Modern in London, the Joan Miró and Pilar Foundations in Barcelona and Mallorca, and the Museum of Contemporary Art of Johannesburg. Nuria is also part of “Equipo Plástico” collective with artists SixeArt, Eltono & Nano4814 (Winterlong press-release)
Le Pilori. Place du Pilori, 79000 Niort, France
Image: Nuria Mora. Winterlong galerie
6 may - 3 june, 2016
A minimalistic aesthetic has always fascinated artists. But it is in the 60s when a movement, Minimalism, was developed as a reaction to the Abstract Expressionism in vogue in those years. Around the same time, the term Arte Povera was coined by the art critic Germano Celant, literally meaning “poor art”, because of its use of everyday or “poor” materials. It also started as a reaction to abstract painting. However the production process is very different in both movements. Minimalism favours industrial manufacturing while Arte Povera assembles daily objects, both following a rigorous intellectual process and aiming for a basic, and perhaps spiritual, presentation of ideas.
Contemporary Minimalism is a fusion of many movements. Nowadays artists feel free from the corset of manifestos from the last century and pick and choose as they wish. A selection of six artists demonstrates that Minimalism can also be presented as art in movement, or kinetically, in the contribution of Gavin Turk; as photojournalism of an island destroyed by bombs during the Second War World; as Surrealism with basic colouring. Or just as an artwork where the terms Minimalism and Arte Povera can be interchanged.
Belenguer, the curator and one of the exhibiting artists, says: “The 60s produced some of the most innovative movements in Art History and I find Minimalism and Arte Povera rather unique. Based in two different cities in two different continents, a strong dialogue between both took place. I would like to present this show as a starting point of future projects with works by Serra, Judd, Flavin, Pistoletto, Andre, Penone, Merz, Kounellis, etc, shown alongside contemporary artists such as the ones introduced in this exhibition. A dialogue in the making.” List of artists: Gavin Turk, Ayelet Amrani Navon, Vanya Balogh, Lorenzo Belenguer, Cedric Christie and Eva Raboso. (Le Dame press-release)
Le Dame Art Gallery at Meliá White House. 1 Albany ST, Regent’s Park, London NW13UP
Image: Lorenzo Belenguer
18 april - 17 july, 2016
“Ràfols-Casamada presents,” wrote the historian and critic J.F. Yvars, “in sharp profile the Romantic chimera we still refer to as the complete artist.” Merging Catalan classical tradition with his own sensibility and producing art that is spontaneous and expresses the subconscious, Ràfols-Casamada (Barcelona, 1923-2009) is a key figure in the history of Catalan art who has bequeathed us a recognition of painterly painting; the material of painting as an artistic object in itself. Pintura (Painting) brings together, alongside passages from his personal journal, around 40 works in which the artist discourses with reality via the silences of form and colour. (Museu Can Framis press-release)
Museu Can Framis, C/ Roc Boronat, 116-126. 08018 Barcelona
Image: Museu Can Framis
23 april - 28 may, 2016
Dario Urzay worksshows that art should operate in an open world, not limited by exclusion. A world of continuous change and symbiosis, where the personal poetic and observation is fed back to induce new forms of knowledge and communication.
His works are complex Hybridations. Displayed in a format stylistically abstract , build up an imaginary territory, invented from metaphors, in which there is not will to correspond with an external truth. He uses its own language, developed and matured for three decades, which is not designed nor as a representational medium neither as an inner expression, but merely as an adaptive tool to the environment of his own time.
The artist's project includes any effective way to generate new new world configurations through the experience of art. But not in isolation, or in a self-referential way, but connected to the total of human knowledge. Geography, Biology, chemistry, computer programming and iconography applied, may be their source of work. His contemporary paintings offer a good example of this.
In Urzay´s world any human stage is capable of artistic intervention, because nothing should escape to the analysis of beauty or its reverse. His obsessive investigation of technical procedures from traditional pigments and binders to the digital manipulation of audiovisual recordings and public interaction with specific scenarios show a continuing concern where nothing is concluded, nothing is definitive. (Pilar Serra press-release)
Eastmen Gallery. Zuivelmarkt, 50. 3500 Hasselt. Belgica.
Image: Darío Urzay “Construyendo en las ruinas” Nocturno 2014. Galería Pilar Serra
21 april–21 may 2016
“I think that no matter what, the painter has to have a sense of the physicality of the world.” – Esteban Vicente
ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father served in the Civil Guard, a police force in the Castile region, and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.
Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt.
The late paintings of Esteban Vicente, exhibited at the gallery, represent the continued influence of his native Spain through his time spent in his Bridgehampton, New York home, purchased in 1964, studying the light and colors of his flower garden. Vicente’s critical role in the evolution and discourse of Abstract Expressionism is evident in the progression of his works. The paintings selected for this exhibition are significant examples of his use of broad bands of color to illustrate perceived landscapes and light. His use of color is attributed to the attention he paid to all of the physical senses – not just his sight. Vaguely defined forms frame his canvases, while hazy veils of blue, deep oranges, powerful greens and subtle yellows introduce a sense of depth and place. This grouping is a confirmation of Vicente’s pursuit of abstraction, his desire to revisit and rework forms until his last days.
Vicente spent a good portion of his career teaching. He was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, NY; and the University of California, Berkeley, CA, among other institutions.
In addition, he received numerous awards, some of them being the most prestigious given to an artist in the United States. His works can be found in important collections and museums such as the Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; and the Solomon R. Guggenheim Museum, New York, NY, among others.
At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.
Vicente died at the age of 97 in 2001 in Bridgehampton, New York, 10 days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90’s at his home in Bridgehampton. (Ameringer | McEnery | Yohe press-release)
Ameringer | McEnery | Yohe . 525 W 22nd Street New York, NY 10011
Image: . Esteban Vicente. Tact, 1995
28 april – 17 july, 2016
The exhibition on Cristóbal Balenciaga at the Museo de Arte Moderno de México is the first of its kind to be held in Latin America on the brilliant Spanish designer, one of the greatest innovators in international haute couture.
The show examines the social and artistic context of fashion design as part of the identity of the twentieth century and its aesthetic milestones. It features dresses, headwear, photographs, sketches with fabric samples and documents from the Museo Cristóbal Balenciaga in Getaria, which establish a dialogue with masterpieces from the collections of the Museo de Arte Moderno. Javier González de Durana, curator of the show, has devised an academic programme of lectures and sessions in connection with the exhibition. (AC/E press-release)
Museo de Arte Moderno Paseo de la Reforma y Ghandhi s/n Bosque de Chapultepec. Ciudad de México.
Imagen: Beta2. Milenium
until 29 may 2016
“Sand, Paper, Scissors” is a play on the name of the child’s game “Rock, Paper, Scissors” that pits these various materials and objects against one another. These three materials (objects) can currently be found in Museum Wiesbaden’s project room, where they serve as the starting point of the three works on display there: Sand is the original material for the works in glass – Untitled (Vitral) / Ohne Titel (Kirchenfenster) 2015/16 and Blue Chain / Blaue Kette 2016. Paper forms the material basis of Lama no Sapato / Schlamm auf dem Schuh 2014/15, while scissors, in turn, were used to bring the material into its rather unpaper-like form. Belén Uriel transforms industrial, machine or handcrafted objects and traces of machine work into other materials, stripping the original objects of their meaning. What remains are familiar objects whose meaning now lies in their form, or, sometimes new forms created with familiar patterns from everyday life. In Lama no Sapato, molds of tire tracks in mud create patterns put into circular forms. Positioned in a row on the exhibit floor, the tire tracks take on a sculptural quality in their new form. Untitled (Vitral) was created especially for the show at Museum Wiesbaden. The work’s formal language derives from shards of glass held together and re-formed into a pane using tape. Affixed to the massive windows of Theodor Fischer’s museum structure, Uriel’s glass objects, her “church windows” of broken glass, examine the aesthetic value of the re-formed fragments. Belén Uriel, (*1974 in Madrid) live and works in Lisbon and London. She studied at the Complutense University in Madrid and Chelsea College in London. (C/E press-release)
Museum Wiesbaden. Hessisches Landesmuseum für Kunst und Natur. Dr. Alexander Klar Friedrich-Ebert-Allee 2, 65185 Wiesbaden
Image: Teresa Santos/Pedro Tropa
16 april - 15 august 2016
The Exhibition Photosbooks: Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.
For a long time the aesthetic consideration of photography has been limited to individual images that are able to work in a similar way to paintings or etchings, a blueprint developed by historians and museum curators alike to assemble a canon of ‘masterpieces’ for studios or exhibitions. Yet this model is not the only one, and many photographers cannot synthesise their work in a single image, devising it instead in a series. Both models give rise to two coherent histories of photography: one comprised of photos to hang on walls, with a limited number of copies and on sale at art galleries; the other in book form, possibly with a reissue, available in bookstores. By and large, photographers prefer the last option: “pictures on walls and photos in books” (Cartier-Bresson).
A photobook is a publication made up of photographs ordered as a set of images, with plots and complex meanings, and the medium used by some of the most pre-eminent photographers to produce their greatest work; a tried-and-tested model to present, communicate and read photos. Photobooks are becoming more widely recognised as the best medium for presenting series of photographs.
As far as Spain is concerned, the history of photobooks is determined by the avatars of its own national history, for instance the Civil War and the transition to democracy, the focus of some of the finest work produced. In addition to propaganda, changes to the image and social role of peasants and, above all, women, are also prominent issues that are explored. The relationship between literature and photography is another characteristic of Spanish photobooks, which also include works in closer proximity to the international history of the format, such as publications on urban matters.
The study of photobooks is leading to a reinterpretation of the history of photography in diverse countries, as well as in Spain. Along with well-known photographers (the likes of José Ortiz Echagüe, Alfonso, Francesc Català-Roca, Ramón Masats, Xavier Miserachs, Francisco Ontañón o Colita), the exhibition features a considerable number of practically unknown frontline artists who in their day actually published first-rate photography collections, as is the case with photographers like Antonio Cánovas, the collective work of Misiones Pedagógicas, José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa.
Curated by Horacio Fernández, the exhibition Photobooks: Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photo books. The exhibition is concluded with the publication of a catalogue raisonné, jointly published by the Museo Reina Sofía, AC/E and RM (AC/E press-release)
Museo Amparo. 2 Sur 708, Centro Histórico, Puebla, Puebla. CP 72000
Image: Fotos & libros. España 1905-1977
18 march - 5 june, 2016
In his practice, Oriol Vilanova investigates the characteristics of men and cultures. This investigation is also key in an extensive collection of postcards he has been collecting for years on flea markets and that he regularly uses as a starting point of his works. Chance, repetition and exaggeration often return in his minimal installations, performances and texts.
In M Vilanova focuses on the act of exhibiting. He explores how museums show artifacts in images on postcards or through exhibition devices such as showcases and plinths. What stories do they tell? And does this also create at the same time a certain distance towards an audience?
Oriol Vilanova was born in 1980 in Manresa/Barcelona, he lives and works in Brussels.
Oriol Vilanova has recently presented several solo exhibitions, amongst others at the Fondation Joan Miró, Barcelona and at Nottingham Contemporary in 2013 ; at Palais de Tokyo, Paris and at the galerie Parra & Romero in Madrid in 2012 ; at Musac de León in 2011. He has also took part in several group exhibitions : FILMS-CORRIDOR, presentation of a set of films proposed by the CEC for artgenève 2014, at Jeu de Paume and the Maison Populaire in Paris and at the Kunsthalle de Mulhouse in 2013 ; at Frac Champagne-Ardenne, Reims in 2012 ; at Frac Nord-Pas-de-Calais and at the Fotomuseum Winterthur in 201. (Museum Leuven press-release)
Museum Leuven. Leopold Vanderkelenstraat 28, 3000 Leuven
Image: Oriol Vilanova, Anything, everything
23 april – 24 july, 2016
The ambiguity and uncertainty are concepts that arise from observing his works, pieces of aesthetic beauty, colorful and polished, always perfectly calculated, that works as a lure to the viewer. Jorge Perianes metaphorically indicates the pretensions of his work: “Its inner gear is very similar to the carnivorous plants or flowers. They are structures that bring you closer to a story that is perhaps cruder or more cruel than it seems”. Thus, Perianes seeks people to get closer to the works and to be caught by them, even though at the end they do not understand the message. Thus, Perianes expect people getting closer to the works and getting caught by them, even though at the end they do not understand the message. Using subtle mechanisms of attraction-repulsion-deception, with a distinctly scenographic, which he normally conceives ex profeso for the place where the piece will be exposed.
Jorge Perianes (Orense, 1974), lives and works between Madrid and Vigo. He completed his degree and doctoral studies at the Faculty of Fine Arts of Pontevedra. He resided in Berlin and London during 2008, thanks to the VIII Unión Fenosa Artistic Creation Abroad scholarship.
Worth mentioning are his installation Categorías in Abierto X Obras, in Matadero Madrid last year, a poetic exercise that longitudinally divided this singular space, and his installation at the Cidade da Cultura in Santiago de Compostela. Other solo exhibitions include: Diálogos, Museo Provincial Lugo, 2011; Los animales se equivocan; MACUF, La Coruña, 2009, among others. (Max Estrella press-release)
Centro de Arte Contemporânea Graça Morais. Rua Abílio Beça, 105. 5300 – 011 Bragança. Portugal
Image: Sin título. Jorge Perianes. Instalación MARCO, Vigo, 2008
until 10 september.2016
In its most essential meaning, looking is defined as the act of setting the gaze on some object, person or space. Yet when we speak of looking in the context of art, we have to go further than that. If we consider the creation of the work of art as a way of relating to the world, as a link between what is real, imaginary and symbolic, and as a fact taking on meaning in the act of communication, looking also implies understanding, comprehending and feeling.
In this exhibition the Fundació Suñol presents a selection of work from its own collection, with the goal of once again addressing the importance of the gaze in art. While it is evident that the spectator gazes upon the work of art, it is less clear that the artwork is looking at us as well. By means of a multitude of languages and a great variety of signs and codes, artists communicate experiences, thoughts and emotions in creations that reveal subjectivity, providing a reciprocal gaze that turns into a three-sided active dialogue: the work of art condensing the artist’s gaze; the spectator enquiring about the work from his or her own individuality; and the immensity of the world, understood as an unfathomable vessel where art constitutes an effort to put it all in order.
This exhibition features work by Luis Gordillo, Man Ray, Zush, Richard Avedon, Luis Frangella, Carlos Pazos, Jaume Plensa, José Luis Alexanco, Ramon Guillen-Balmes, María José Lacadena, Christo, Jordi Colomer, Claudio Bravo, Ferran Freixa, Ignasi Aballí, Antoni Tàpies, Juan Genovés, José María Sicilia, Alberto García-Alix, Joan Rom, Jaume Xifra, Robert Llimós, Idroj Sanicne, Sergi Aguilar, Federico Guzmán, Manuel Millares, Pello Irazu, Max Bill and Miquel Mont. The work is grouped into various sections, corresponding to seven different subject areas: gazing; reading; covering up; value; walking/resting; holes; and the colour red. The heterogeneous nature of the subjects chosen demonstrates the variety of recurring concepts in art, each in its own way drawing the attention of artists so as to be interpreted through the form of new languages, multiplying their possibilities. For this reason the works in each section dialogue amongst themselves while inviting us to participate in an open, multidirectional conversation that has not be previously scripted, even while awaiting our reply. (Fundación Suñol press-release)
Fundación Suñol. Passeig de Gràcia 98. 08008 Barcelona
Image: Joan Rom, Sin título (pies atados), 1992. Fotografía Fundación Suñol.
21 april - 4 june 2016
The RYDER is pleased to present a solo exhibition by Jaime Pitarch. In the widest sense, Pitarch’s work addresses humanity’s inability to identify with the structures we ourselves have created. The sense of loss or inadequacy we feel when faced with these structures (whether we call them culture, setting, society, ..) moves humanity to interpret the world, and ourselves, constantly and intuitively in order to try to insert ourselves into it. Through the use of elements fabricated by man, inhabited by man, or elements that have helped man to construct an idea of himself and of what the world is, Jaime Pitarch addresses in this exhibition notions of time, value and productivity. In its formal integrity, each of the works included in this show deal with the artist’s interest in the concept of unity, always working with the elements that form the object and recomposing them in various and inventive ways.
In his work Qui Custodiet Ipsos Custodes the artist progressively paints the exterior of a can with the paint contained in its interior. This process, which takes around four years to complete, unveils the object in a new form through a repeated act of considerable futility. The substance of the work is also entirely visible, it’s life cycle as a usable object being presented rather than applied. The repetition of a seemingly futile act is also present in Pitarch’s A place for hope, a piece in which the artist removes the green thread of a woollen sheet usually used to transport artworks and presents the resulting ball of string nestled within a crease of the blanket that remains. Here, the focus of the viewer is drawn to the materials that make up the process of art as an economic industry.
Jaime Pitarch (b.1963) lives and works in Barcelona (Spain). Graduated from Chelsea College of Art in 1993 he then gained an MA in Fine Art from the Royal College of Art in 1995. Recent solo exhibitions include Galeria àngels barcelona, Galeria Fúcares, Madrid and Spencer Brownstone Gallery, New York. His work has been selected for group shows in places such as Cristina Guerra, Portugal; MASS MoCA; Manifesta 7; Fondation Maeght, Saint Paul, France; Musée d’Art Contemporain, Lyon; Carré d’Art Contemporain, Nimes or MACBA, Barcelona, amongst others. His work can be found in public and private collections such as the MACBA, La Caixa, Artium, Bergé collection, among others. (The Ryder press-release)
The RYDER. 19a Herald Street. London E2 6JT
Image: Jaime Pitarch, Momentum #15, 2007
14 april - 17 june, 2016
Encarna Monteagudo (b.1960, Fuentealbilla, Albacete.Spain) The University of Valencia awarded Encarna Monteagudo a doctorate in fine arts in 1991 after she had finished her education as scupltor by forming part of artist’s studios such as Enrique Mestre's, Angel Bados', Juan Hidalgo's and Antoni Muntadas'. She had her first individual exhibition in 1981 and since then has presented her work in different art galleries and spaces throughout Europe.
Her sculptures and two-dimensional works reaffirm her influences by geometry and constructivism and her interest in the analysis of space. She uses materials she considers to be „noble“ and intrinsicly emotionally loaded, whereas she parts with those potentially confusing with their appearance.
Since 2009 she works with a selfcreated symbolism, in which the colors most used by her, like gold, silver, copper, black and white are given an unusual validity. It’s this kind of new order that helps her go beyond abstraction and inside emotional ranges of meaning. (100 Kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21. 50670 Köln
Image: Encarna Monteagudo
MIAMI. Pepe Gimeno “Writing without words...A poetic adventure that transcends words to tell a story” Centro Cultural de España
14 april – 29 july, 2016
Hushed Writing is a book that cannot be read in the conventional way: only a graphic interpretation is possible. This act of deliberately separating form from content has transformed the graphic structure of the book into its narrative.
The project is made entirely from materials found on the beach. Using them, Pepe Gimeno has created evocative approximations of different forms of writing, ancient hieroglyphics, binary alphabets and a number of other motifs, managing to convert fragments of stone, sticks, plastic bottle tops, parts of toys, shells, cigarette butts and broken glass into messages replete with expressiveness and enormous poetic force.
The exhibition of the book can be approached in two different ways: firstly, by a sequential and orderly reading of the collection of powerful images portrayed in the book, and secondly, by a direct and detailed observation of the objects that make up these surprising and original pieces of work.
Pepe Gimeno (b. Valencia 1951) is a Spanish graphic designer and typographer with an extensive professional career. From his studio in Valencia he has developed a large number of projects across the whole range of graphic design. He has won numerous international awards, amongst them the Certificate of Excellence in Type Design from the TDC in 2001 for his font FFPepe. He has worked for the Office of the President of the Government of Spain, Las Cortes Valencianas (the Valencian Regional Government), the Roca Company and the United Nations Food and Agriculture Organization (FAO).
In addition to his professional activities, since 2002 he has been developing and expanding upon his creative expression with new formal projects based on waste materials; a fascinating personal venture which, in terms of concept and form, is positioned between experimental graphics and works of art. (TDC press-release)
CCE MIAMI.1490 Biscayne Boulevard Miami,
Imagen: Pepe Gimeno. The Type Directors Club
Instituto Cervantes de Chicago. 31 W. Ohio,Chicago, IL 60654
Image: Pepe Gimeno. The Type Directors Club
23 april – 31 july, 2016
Cristina Iglesias was born in San Sebastián in November 1956. She studied Chemical Sciences in her home town (1976-1978) and then after a brief period in Barcelona practising ceramics and drawing, she studied Sculpture at the Chelsea School of Art in London, UK (1980-1982). Was granted a Fullbright scholarship to study at Pratt Institute, 1988 In 1995 she was appointed Professor of Sculpture at the Akademie der Bildenden Künste in Munich (Germany) and in 1999 she won Spain's National Visual Arts Prize. In 2012 she won the Grosse Kunstpreis Berlin . She has represented Spain twice at the Venice Biennale, at the 42nd edition in 1986 and at the 45th edition in 1993; at the Biennale of Sydney in 1990; at the Taipei Biennial in 2003; at the SITE Santa Fe Biennial in 2006 and at the Triennale of Folkstone in 2011. She also represented her country at the world fairs held in Seville in 1992 and Hanover in 2000, and at the 1995 Carnegie International, Museum of Art Carnegie Institute in Pittsburgh.(Musée de Grenoble press-release)
Musée de Grenoble. 5, place Lavalette, 38000 Grenoble. France
Image: Sans titre (Passage II). Cristina Iglesias, 2002. Musée de Grenoble
4 april - 28 june, 2016
Internationally-renowned artist Antoni Muntadas will bring two Janiculum neighbors together on Tuesday 7 June 2011, when the American Academy in Rome and the Real Academia de España en Roma will unite to present two Muntadas events as well as a new project by Italian artist Giulio Squillacciotti
Muntadas’ provocative installation About Academia investigates the complicated, often contradictory relationship between the production of knowledge and economic power. Projected on three large hanging screens in the space of the gallery, the video installation simultaneously juxtaposes scrolling textual quotations drawing from Muntadas’ research for the work, excerpts from interviews by Muntadas with significant figures in contemporary academia, and footage of various universities to emphasize their architectural characteristics. Together these components form a disassembled and spatialized documentary, encouraging viewers to move amongst the screens. (RAER press-release)
Real Academia de España en Roma, Piazza San Pietro in Montorio, 3, Roma, Italia
Image: Antoni Muntadas, About Academia (production image), 2001. Courtesy of Irina Rozovsky
31 march – 28 may, 2016
This spring, if in Paris, you will be able to discover one of the leading contemporary artists in Spain, the surrealist painter and sculptor Pedro CASTRORTEGA. Born in 1956, living in Madrid, Pedro CASTRORTEGA is acknowledged for his original and creative paintings "landscape + portrait + still life + nude" that condense in one all 4 pictorial types. This creates overlapping, unique and memorable perceptions in the spectator's intimacy.
The relations between man and nature, with which the painter nourishes a continuous connection, are the guideline of his poetic fables.
Marc CHAGALL, Joan MIRO, Max ERNST... the dreamlike "Noah's Ark" of Pedro CASTRORTEGA is an explosion of life that drills our references and leaves us stunned.
Pedro Castrortega ( Piedrabuena , Ciudad Real, 1956) Bachelor of Fine Arts from the Complutense University of Madrid, extended experience in New York with Fulbright Hispanic - American Committee ; and the College of Spain in the University City of Madrid. Among the awards achieved include the White and Black Award in 1984; First Prize University of Castilla - La Mancha Iberdrola ; First Honorary Award Triennial of Graphic Arts in Cairo ; First Medal of the International Exhibition of Valdepeñas ... and his work is in public and private Spanish and foreign collections, including the Reina Sofia in Madrid, BBVA Foundation, Spaarkse Verlag Stuttgart , and AENA Foundation, among others. (5 Contemporary Art Gallery press-release)
5 Contemporary Art Gallery. 48 rue du Roi de Sicile, 75004 Paris
Image: Pedro Castrortega
6th april - 18th september, 2016
Picasso. German Records has clearly opened up an important new avenue in Germany, too, as it examines from different angles the links, affiliations and divergences between Pablo Picasso and a select group of German artists who are now considered Modern classics, and who radically changed the direction of art history. Recently, the influential German newspaper Frankfurter Allgemeine Zeitung published a highly favourable review of the exhibition, mentioning particularly the “impressive number of works, paintings, engravings and sculptures on display, myriad documents, and emphasis on European Modern Artists”, as well as the fact that “German works have not in any way been sacrificed in favour of the cult genius, Picasso. Quite the opposite, they are presented as equals”. At the German institution’s request, MPM will publish a German edition of the profusely illustrated accompanying book, with contributions from renowned experts on the multiple connections between Pablo Picasso and German art and thought of the time. (Museo Picasso Málaga press-release)
Kunsthalle Würth Lange Straße 35 74523 Schwäbisch Hall. Alemania
Image: Pablo Picasso: Venus und Amor, 1968
07 april – 07 june, 2016
Cristina García Rodero “Open-Mouthed“. This comprises a theme in retrospective of her works right from the first of her photographic endeavors through the end of the seventies till today. The exhibition studies the diversities in the behaviours that are expressed through the mouth. (efe press-release)
Instituto Cervantes. Na Rybnícku 536/6. 120 00 Praga (REPÚBLICA CHECA)
Image: Con la boca abierta. Cristina García Rodero.
14 april - 17 june, 2016
Lluís Cera (b. Barcelona 1967) studied at the University of Fine Arts in Barcelona, obtaining his degree in 1993. Since 1995 he had many exhibitions around the world achieving several awards and recognitions. Cera works with great precision and sensitivity entering with his sculptures in a creative universe. With great technical mastery he mixes material like marble, granite, iron, bronze, wood or resins adjusting every millimeter of the joints. He completely dominates properties such as hardness, structure, texture and color. Sometimes and depending on the choosen material, he uses whole texts or text fragments of in different languages, carved or applied to the surface of his work. Since the beginning of the career of Lluis Cera, the harmonious union of his sculptures to the literature has been a priority. (100 kubik press-release)
100 kubik - Raum für spanische Kunst. Mohren Str. 21. 50670 Köln
Image: Trama, 2013. Lluis Cera
WASHINGTON. “The Color of Optimism, Spanish Illustrators” Former Residence of the Ambassadors of Spain
april 21– june 26, 2016
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators.
The exhibition #the_color_of_optimism features 67 works by artists Ricardo Cavolo, Littleisdrawing, Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen, María Simavilla.
This show aims to promote a generation of young artists whose works can be regularly seen in national and international publications and who have the support that the internet provides to make their work public. (AECID press-release)
Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington
Image. Sonia Pulido “Hop hop”
01 april – 29 may, 2016
An immersive multimedia installation which tackles themes of trauma, displacement, personal narratives and landscape. The work is an intimate account of the personal experience of travelling through an unfamiliar landscape reminiscent of the experience of refugees.
Through the use of video, photography, light and sound, Altered Landscapes aims to engage the viewer in a journey. It asks the viewer to navigate the different elements in the gallery space so as to be absorbed in the experiences and journeys of the refugees, in order to open up contemplation and discussion about the current situation in Europe, a place that that has become filled with militarised border control.
For this exhibition delGado travelled to Greece, Macedonia and Calais to film, photograph and record the journeys taken by refugees. delGado has not filmed these ‘invisible’ people, who proliferate our media, but the places they have passed through. There are traces of their existence, fragmented experiences, fleeting moments and marks left on the land as they pass through to find safety.
Inspired by the text The Metamorphosis by Czech writer Franz Kafka, the project centres on a personal diary from a narrator, a European subject, who is describing how his human identity is gradually being transformed into something else, as a response to the suffering he is viewing.
These reflections are provoked by the events and debates of the last few years around the refugee crisis and are contextualised in a landscape which is strongly embedded in our collective imaginary, Greece with its Acropolis, the ancient citadel of Athens, and the birthplace of the democratic values and culture.
Juan delGado works across a range of media including installation and photography and has produced an extensive body of work that explores themes of trauma, landscape, disability, dislocation and gender. delGado has exhibited widely including at ARCO’05, Madrid, End of the World Biennial, Argentina, and the 2014 Mardin Biennial, Turkey. He was selected in 1997 for the John Kobal Photographic Portraiture Awards, for the 2012 BBC Big Screens programme, in 2013 he was shortlisted for the Jerwood Open Forest exhibition, and in 2014 he was awarded a major project commission by Unlimited that premièred at the Southbank Centre, London. His work has been supported by many prestigious organisations including the British Council, the Wellcome Trust, Arts Council England, Spanish Ministry of Culture, and ArtSchool Palestine. (Watermans press-release)
Watermans Art Centre. 40 High St, Brentford, Middlesex TW8
Image: “Altered Landscapes” Juan delGado
until – 12 june, 2016
‘Digital Revolution’ is an exhibition about art, design, film, music and videogames.
This exhibition will show the work ‘Wishing Wall’, created by the artistic duo formed by Varvara Guljajeva from Estonia and Mar Carnet, Spain. This piece, which combines different media (digital, audio and interactive technology), will try to collect the whispering voices of visitors and transform them into digital butterflies. Guljajeva describes this transformation as ‘the metamorphosis of a wish’.
Mar Carnet is a computer gamer engineer, designer and media artist. Born in Mollet del Valles (Barcelona) in 1981, he is interested in elements such as software developing, game modes, digital expression, data display or new media art.(Zorlu Center press-release)
Zorlu Center, Levazım Mah. Koru Sok. No:2/PSM/70 Zincirlikuyu, Beşiktaş / İstanbul
Image: Andrew Meredith
26 march – 17 july, 2016
Stored in concrete-clad tunnels deep within the earth, radioactive matter is being buried that will continue to have the potential to create catastrophic disaster deep into the future, into a period of time we can barely perceive of, yet alone imagine. Troubling over signs, objects and markers that endure from the past, the group exhibition ‘Riddle of the Burial Grounds’ stares unblinkingly into this future, and to a landscape littered with industrial ruin, excavated caverns and objects and messages that will outlast us: a future counted in the devastating, radioactive reality of half-lives.
‘Riddle of the Burial Grounds’ is generously supported by Culture Ireland, and is a partnership bound by ideas, forged between Extra City Kunsthal, Antwerp, and Project Arts Centre, Dublin. While ‘Riddle of the Burial Grounds’ thinks far into the future, ‘Allegory of the Cave Painting’ (2014-15), curated by Mihnea Mircan, looked 40,000 years into the past, and evolved into an exhibition called ‘A breathcrystal’ which was presented at Project Arts Centre in 2015.
The exhibition at Extra City Kunsthal features many artworks newly commissioned by Giblin for steirischer herbst festival, Graz, artworks featured in Project Arts Centre, and some artists who have joined the exhibition for the first time, including Lucy Skaer, Emmanuel Van der Auwera and Ruth E. Lyons.
Artists: Lara Almarcegui, Stéphane Béna Hanly, Rossella Biscotti, Simon Boudvin, Mariana Castillo Deball, Dorothy Cross, Regina de Miguel, Mikala Dwyer, Harun Farocki, Geoffrey Farmer, Peter Galison & Robb Moss, Tracy Hanna, Mikhail Karikis, Sam Keogh, Ruth E. Lyons, Nicholas Mangan, Jean-Luc Moulène, Lucy Skaer, Lonnie van Brummelen & Siebren de Haan, Emmanuel Van der Auwera. (Extra City Kunsthal press-release)
Extra City Kunsthal. Eikelstraat 25. BE 2600 Antwerpen–Berchem
Image: Lara Almarcegui, Buried House, Dallas 2013, film still
18 march – 25 june, 2016
At Carriageworks, the Embassy of Disappearance brings together works by artists exploring themes of absence and memory, including disappearing languages, histories, currencies and landscapes.
Engaging in a research-driven practice that spans installation, sound, film, performance and sculpture, Aura Satz often investigates the history and use of twentieth-century inventions and the way technological advances have informed cultural shifts in communication and perception of proximity and distance. Fascinated by the sculptural, ergonomic and visceral qualities of now obsolete technologies, Satz considers the connections between objects and the body; examining the manner in which many devices were modelled on human anatomy, acting almost as prosthetic extensions of the individual. Aura Satz .
Aura Satz (b. 1974, Barcelona, Spain. Lives and works in London) gained her practice / theory PhD in Fine Art Media at the Slade School of Fine Art, London in 2002. Her practice encompasses film, sound, performance and sculpture and she has performed, exhibited and screened nationally and internationally, including FACT, Liverpool; Site Gallery, Sheffield; Galleria Civica di Arte Contemporanea di Trento, Italy; De La Warr Pavilion, Bexhill-on-Sea; the Zentrum Paul Klee, Switzerland; Färgfabriken, Stockholm; Tatton Park Biennial, Cheshire; AV festival, Newcastle; Arnolfini, Bristol; Ikon, Birmingham; BFI Southbank, Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, ICA, Jerwood Space, Tate Britain, Tate Modern, Beaconsfield Gallery, Artprojx Space, and the Wellcome Collection, London. (Biennale of Sydney press-release)
Carriageworks, 245 Wilson St, Eveleigh NSW 2015.
Image: Aura Satz, Between The Bullet and The Hole, 2015 (video still), HD film, 10 mins. Courtesy the artist. Co-commissioned by Dallas Contemporary, Texas and the 20th Biennale of Sydney. Funded by Arts Council England. Photograph: Aura Satz
15 march - 17 july, 2016
Although it is clearly retrospective, the exhibition “Toni Catany: Back and Forth” offers to reveal quite a different Catany from the one we know and the memory we normally have of his work.
Often labelled “classical”, “traditional”, “neopictorialist” and even “nostalgic”, Catany’s work sometimes matches these epithets a great deal and sometimes very little. It is work that is sometimes bold, linked to its times and full of surprises: modern work.
The life and work of Toni Catany (Llucmajor, Majorca, 1942 – Barcelona, 2013) could perhaps be defined as an incessant succession of toing and froing between Llucmajor and Barcelona between the Mediterranean and the rest of the world, between interior and exterior, between projects and memories, between the photographic techniques of the past and modern technologies.
It all becomes a matter of comings and goings, toing and froing, inside and out, here and there. These incessant and inextricably linked movements feed off one another mutually in passionate research: glorifying beauty and harmony, picking out the art in everyday things, creating lines, building bridges, finding similarities, some of them scarcely believable. And finding oneself; in other words, showing oneself. Through his photographs, Toni Catany has never spoken of anything other than himself. This is the cohesion and coherence between thousands of images covering half a century. . (La Pedrera press-release)
Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona
Image: Toni Catany. Bodegón, núm. 121/2012
26 march - 12 june 2016
reGeneration3 brings together 50 artists with 25 different nationalities, representing some 40 art institutions. Their work is distinguished by their multidisciplinarity, ranging from printing and photographic series, artists’ books, multimedia installations, videos, projections, films and performances, to on-site installations. FORMAT presents the first UK showing of this exhibition, curated by Musée de l’Elysée, Switzerland.
reGeneration is an innovative international project devoted to the emerging photographic scene launched in 2005 by the Musée de l’Elysée, Switzerland. Although many similar projects have seen the day since then, the Musee de l’Elysee decided to embark on a third edition on the occasion of its 30th anniversary, one that would focus on the multifaceted nature of photography.
Almost one hundred art academies worldwide responded to their call for applications and submitted up to five portfolios of the best work of their recently graduated students, including spanish artistsIrene Muñoz Martín, Ángelica Dass y Emilio Pemjean.After a careful review of the 400 applications submitted, three major themes were identified as being representative of the emerging art scene: the variety of approaches for dealing with documentary subjects; the question of memory; and the wealth of aesthetic photographic expressions inspired by the history of the medium and, more broadly, the history of art. Artists: Magdalena Baranya (CH), Emile Barret (FR), Mohit Bhatia (IN), Giacomo Bianchetti (CH), Rachel Boillot (US), Jan Brykczyński (PL), Delphine Burtin (CH/FR), Juno Calypso (UK), Rachel Cox (US), Angélica Dass (BR/ES), Emilie De Battista (CH), Michael Etzensperger (CH), Veronika Geiger (DK), Anna Gutová et Gabriel Fragner (CZ), Artur Gutowski (PL), Elizabeth Hewson (UK), Karl Isakson (SE), Jung A Kim (KR), Jonna Kina (FI), Karel Koplimets (EE), Marek Kucharski et Diana Lelonek (PL), Ola Lanko (UA), Jae Hoon Lee (KR), Michael Liani (IL), Silin Liu (CN), Emily Macinnes (UK), Robert Mainka (PL), Irene Muñoz Martin (ES), Loan Nguyen (CH/FR), Nobukho Nqaba (ZA), Martyna Pawlak (FR/PL), Emilio Pemjean (ES/CL), Constance et Philippine Proux (FR), Laurence Rasti (CH), Simon Rimaz (CH), Jacinthe Robillard (CA), Paul Samuels (ZA), Ulrike Schmitz (DE), Juuke Schoorl (NL), Corinne Silva (UK), Sara Skorgan Teigen (NO), Gaia Squarci (IT), Harit Srikhao (TH), Benjamin Swanson (UK), Jennifer Thoreson (US), Sinan Tuncay (TR), Matt Waples (CA), Piotr Zbierski (PL), Tereza Zelenkova (CZ), Li Zhi (CN). (Format fest. Press-release)
FORMAT Festival, QUAD, Market Place, Cathedral Quarter, Derby DE1 3AS
Image: Emilio Pemjean. Palimpsesto V
19 march - 29 may, 2016
The Spanish artist Santiago Sierra participates in the group exhibition Afterwork, curated by Inti Guerrero, with his artwork The Trap.
Afterwork is a major group exhibition exploring issues of class, race, labor and migration in Hong Kong and the surrounding region. It is part of Para Site’s ongoing Hong Kong’s Migrant Domestic Workers Project, a long-term initiative aimed at engaging the domestic worker community through collaboratively organised public programmes and commissioned artist research. As an exhibition, it is nevertheless an autonomous proposition, including the often ambivalent and polychromatic aspects of the social and cultural mosaic of Hong Kong, Philippines, Indonesia and beyond. Domestic workers represent one of the most visible components of Hong Kong's society and their legal and symbolic status are matters of constant negotiation, reflecting the shifting position of Hong Kong citizenship. The group’s invisibility in the various narratives of what constitutes the Hong Kong society is countered by the hypervisible weekly occupation of Hong Kong’s public spaces for the Sunday picnic gathering of the community. It was the social spaces and cultural structures constituted around this regular gathering that facilitated the beginnings of our project. At Para Site, we strongly believe in art's potential as a tool for re-imagining the meaning of community in Hong Kong, between the different groups and communities that inhabit it. Afterwork looks at Hong Kong’s largest minority group, and tells their stories—crucial narratives that need to be told alongside the growing affluence of Hong Kong in the past decades, and on the backdrop of the different historical waves of labour migration in Hong Kong and the world. It is not, however, meant to patronizingly give a voice to or be the vindicator of the struggles of migrant workers. The show takes into consideration the representation of migrant domestic workers from various perspectives to provide critical reflection on the persisting issues of discrimination, stereotypes, legal status, but also domesticity, rest, and privacy. The very notion of representation is also placed into question throughout the show. Afterwork includes the work of artists of different practices, contexts, and generations dealing with the issues, aesthetics, and histories of migrant labor. Several artists venture into the personal implications of the presence of domestic workers in households, the public sphere, and the artists' lives. Other artists create abstract landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes. (AC/E press-release)
Para Site. 22/F, Wing Wah Industrial Building. 677 King’s Road. Quarry Bay. Hong Kong
Image: The Trap. Santiago Sierra
25 march – 11 september, 2016
The oeuvre of Joan Miró, one of the most celebrated figures in the history of modern art, is closely linked to Surrealism and reveals the considerable influence that artists and poets belonging to the movement had on his work in the 1920s and 1930s. Indeed, they aroused in Miró the need to meld painting and poetry. Thus his art moved towards a simplification of reality, reminiscent of primitive art, on the basis of which he constructed an innovative language of symbols that would give him a new perception of material culture.
‘Joan Miró. La forza della materia’ (Joan Miró: The Force of Matter) focuses on this last aspect, showing through a wide selection of works executed between 1931 and 1981, the importance the artist always gave to the material, not only as a useful means of learning new techniques, but especially as an end in itself. Miró experimented with unconventional media and innovative procedures, breaking the rules so as to arrive at the very origins of art.
Over 100 works are displayed chronologically to reconstruct the artist’s trajectory. The majority are from the Fundació Joan Miró collection in Barcelona and from that of the artist’s family. (MUDEC press-release)
MUDEC. Museo delle Culture. via Tortona 56, CAP 20144 Milano
Image:”Perro pequeño”. Fundación Joan Miró
23 march – 4 september, 2016
Starting with plaster as a construction material of the Casino Luxembourg exhibition halls, Spanish artist Lara Almarcegui probes the underground geological layers of the Casino to find her mineral counterpart - gypsum - to develop its potential. In parallel, she explores the extent to which the architectural envelope covers and harbours the gypsum. A play of relations develops between the underground presence and the mineral ownership, between the architecture of the building and its material reality, as well as between the edifice and its urban context. curator: Kevin Muhlen
Lara Almarcegui was born in 1972 in Zaragoza, Spain. She currently lives and works in Rotterdam, Netherlands. The works that Lara Almarcegui has been developing over the course of nearly twenty years question the frontier between urban decay and urban renewal, and try to make visible what tends to remain unnoticed. While focusing on abandoned spaces and structures that are undergoing a process of transformation, Almarcegui also investigates the different connections that can be established between architecture and urban planning. She inquires into the current state of peripheral areas -their development, use, and decay- and manages to set up a discourse about the different elements that constitute the physical reality of an ever-evolving urban landscape. (Casino Luxembourg press-release)
Casino Luxembourg. 41, rue Notre-Dame, L-2240 Luxembourg
Image: Casino Luxembourg. Lara Almarcegui
march 22 – 28 august, 2016
The Bibliothèque nationale de France and the Musée national Picasso-Paris organize a joint event dedicated to Miquel Barceló. Numerous pieces, never-presented before, allow visitors to discover the Majorcan artist’s universe. Paintings and ceramics are presented at the Musée national Picasso-Paris while the engraved works are put on display at the BnF.
Miquel Barceló’s engraved works that stand as a major part of the artist’s production are rarely presented. The artist, painter, sculptor and ceramist, has also been trying his hand at printing techniques since the beginning of his career. Rich and deeply original, his printed works gather nearly 250 copper and wood engravings, lithographs, screen prints and stampings. Although a self-sufficient part of the artist’s production, these pieces remain an integral part of his protean work because of their fundamentally experimental dimension.
The BnF naturally decided to present this little-known part of his work in parallel with drawings, sculptures, ceramics and paintings. Visitors are invited to follow a thematic path built around a selection of 60 recent or very old prints accounting for the coherence and singularity of his artistic approach.
A monumental fresco made of soil and daylight was created in situ across the full height of the windows of the Julien Cain alley that the artist covered with a fine coat of clay before scraping the dried material. An outstanding introduction to the exhibition, this 190 metre-length over 6-metre high fresco immerses visitors in Barceló’s bewitching universe. (BNF press-release)
Bibliothèque Nationale de France. Site François-Mitterrand. 75706 Paris François-Mitterrand / Gallery 1
Image: 'Le Grand Verre de terre' (2015), Miquel Barceló.© Adagp, Paris 2016. ph. A. Torres, 2015
march 22 – 28 august, 2016
Miquel Barceló. Born in 1957 in Majorca, he will be the first contemporary artist invited to present a monographic exhibition at the Hôtel Salé since its reopening in 2014. The exhibition, titled “Sol y sombra,” will display an ensemble of paintings, sculptures, ceramics, and works on paper from the 1990s to today. The exhibit will center around the artist’s diverse domains of creation and highlight the affinities of his work with the attitudes, the motifs, and the creative processes of Pablo Picasso.
At the same time, the Bibliothèque nationale de France will present an exhibition focused on the engravings of Barceló. Conceived as a partnership, these two exhibitions will give the public the opportunity to discover, and rediscover, the rich and protean work of this well-known artist of the contemporary scene. (Musée Picasso press-release)
Musée Picasso Paris. 5 rue de Thorigny. 75003 Paris
Image : Miquel Barceló. Mur de briques © Xavier Forcioli, 2016 © ADAGP, Paris, 2016
8 march – 28 august, 2016
Picasso Sculpture is a sweeping survey of Pablo Picasso’s innovative and influential work in three dimensions.
Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status for Picasso. He approached the medium with the freedom of a self-taught artist, ready to break all the rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished the sculptures' company and enjoyed re-creating them in a variety of materials and situations. Picasso kept the majority in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his work. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which until now was the first and only exhibition on this continent to display a large number of the artist’s sculptures.
Picasso Sculpture focuses on the artist’s lifelong work with sculpture, with a particular focus on his use of materials and processes. The exhibition, which features more than 100 sculptures, complemented by selected works on paper and photographs, aims to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention. The exhibition is organized in chapters corresponding to the distinct periods during which Picasso devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. Organized by The Museum of Modern Art in collaboration with the Musée national Picasso – Paris. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art; with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso – Paris. (Picasso Museum press-release)
Musée Picasso Paris, 5 rue de Thorigny. 75003 Paris
Imagen: Pablo Picasso. La Femme au jardín. Paris, printemps 1929. Photo :© RMN-Grand Palais / Adrien Didierjean / Mathieu Rabeau
26 february - 12 june, 2016
Joan Miró (1893–1983) once famously declared that he wanted to assassinate painting. Today he is recognized as one of the greatest artists of the 20th century. With a focused solo exhibition, the SCHIRN presents a previously little-discussed aspect of the Catalan artist’s work: Miró's preference for large-scale formats and his fascination with the wall. From early on, the wall was the starting point for his painting – the wall as an object to be depicted, and which at the same time would determine the physical and tactile quality of his painting. Miró distanced himself from the simple reproduction of reality and equated the picture plane with the wall. By using different colored grounds, coarse burlap, Masonite (hardboard), sandpaper and tarpaper, he created unique visual worlds of monumental dimensions and outstanding materiality. The exhibition covers over half a century of Miró’s oeuvre, beginning with his emblematic painting "The Farm" (1921/22), and continuing with his iconic dream paintings of the 1920s, his key work "Painting (The Magic of Color)" from 1930, his works and frieze formats painted on unconventional grounds in the 1940s and 1950s, to the brilliant late works such as the monumental triptych "Blue I–III" (1961) and the extraordinary "Paintings I–III" (1973). With this exhibition, which includes around 50 works of art from prominent museums worldwide, such as the National Gallery of Art, Washington DC, the Solomon R. Guggenheim Museum, New York, the Museo Reina Sofía Madrid and the Centre Pompidou, Paris as well as important private collections, the SCHIRN opens up an entirely new approach to Miró's art. An exhibition in cooperation with Kunsthaus Zurich. (Schirn Kunsthallen press-release)
Schirn Kunsthallen. Römerberg, 60311 Frankfurt am Main, Germany
Image: Joan Miró. Painting, 1953. Oil on canvas, 194.9 x 377.8 cm. Solomon R. Guggenheim Museum, New York
23 february - 5 june 2016
Painter, sculptor, printmaker and theoretician Antoni Tàpies (1923−2012) was born in Barcelona and is today one of the most famous Catalan artists since the Second World War. The exhibition, which is being prepared in collaboration with the Fundació Antoni Tàpies in Barcelona, will provide the Slovenian public with a clear presentation of the artist's graphic oeuvre produced between 1959−1987. It will be complemented by art objects from the late 1980s.
On the occasion of the graphic art retrospective exhibition by Spanish artist Antoni Tàpies, MGLC launches a workshop for art lovers. Participants will go on a weekly journey through Tàpies' ideas and techniques, making use of symbols from their daily lives and simple graphic and printing resources.
The workshop will be based on using the carborundum technique, widely used by Tápies in his printed work.
As an innovation, we will simplify some processes using new materials and make different interventions in the prints, searching for more direct and immediate creation processes. Participants will select objects from their everyday life, and will analyze their possible symbolic meanings, or their capacity for suggesting ideas, emotions and concepts. We will try out Tàpies' best solutions to express his inner vision of reality and his "fetish" motifs, while learning more about this essential European artist of the 20th and 21st century, who influenced Slovenian art and took part in the Biennial of Graphic Arts of Ljubljana several times, receiving the Grand Prix in 1967.
Damiàn Vega Velasco is a Spanish artist. He holds a degree in Printmaking Techniques (Art School of Oviedo). He has been living and working also in Slovenia during the past year. His most recent project is inspired by the urban landscape of Ljubljana. Lately, he has been working almost exclusively with graphic art, investigating the generative potential of traditional printing techniques in combination with new technologies. (mglc press-release)
International Centre Of Graphic Arts. Grad Tivoli, Pod turnom 3. SI-1000 Ljubljana
Image: Tapiés workshop. Damián Vega
27 february – 31 august, 2016.
“De Salvador a Dalí” is a cohesive exhibition of Dalinianartwork, exhibited worldwide and seen by over 10 million people. Curator of the collection and President of the Stratton Foundation, Mr Benjamin Levi; an avid collector and expert of Dalí, has assembled the Collection over the past forty years, selecting each artwork in order to bring various aspects of Dalí’s lifework to the public eye.
Artworks on display include the most important and largest grouping of bronze sculptures, such as the ‘Space Elephant’ and the ‘Persistence of Memory’. Ten original Tarot collages, created by Dali during the 1960’s, Dalí inspired furniture, and the Mae West’s Lips sofa remind us that Salvador Dalí was a multi-facetted artist who explored a wide range of themes and materials. (expodalí press-release)
Gare des Guillemins. Place de Guillemins 2 . 4000 LIEGE
Image: "Mae West",Salvador Dalí
9 february - 23 april 2016
Chillida: Rhythm-Time-Silence will go on public display at Ordovas in London from 9 February to 23 April 2016, following its recent showing to inaugurate the gallery’s presence in the U.S., where it was the first exhibition dedicated to the work of Eduardo Chillida (1924-2002) to have been staged in New York in twenty-six years. A central figure in European Post-war sculpture, Chillida produced an extraordinary body of work over a five decade-long career, and established himself amongst Spain’s most distinctive and internationally acclaimed artists. This is the third Ordovas exhibition devoted to Eduardo Chillida, and the monumental works to be shown in the gallery at 25 Savile Row reflect the intimate and universal themes that characterised his vision. (Ordovas press-release)
Ordovas Gallery, 25 Savile Row. London W1S
Image: Chillida: Rhythm-Time-Silence installation view, Photography by Maris Hutchinson
january 23 – may 30, 2016
A multifaceted, multi-disciplinary exhibition that explores the complexity of snow and ice through the lens of artists, featuring the collaborative artistic duo of Walter Martin and Paloma Muñoz.
32°: The Art of Winter features winter inspired works of art in an array of mediums, from the late-nineteenth century to present day. Artworks ranging from Claude Monet’s Grainstacks, to contemporary photography, sound pieces, digital art, games and ephemeral sculptures will be located both inside the gallery space and on the Museum grounds.
This multifaceted, interactive exhibition provides visitors with the opportunity to explore and experience the complexities of snow and ice. The exhibit embraces the dialogue between fine art, decorative art, and digital art, challenging visitors to rethink their perceptions of the seemingly simple matters.
Curator Carolyn Bauer actively sought out international and contemporary artists while digging deep into the rich collections of Shelburne Museum to explore the themes of aesthetics, ephemerality, nostalgia, and climate change. (Shelburne Museum press-release)
Shelburne Museum, 6000 Shelburne Rd, Shelburne, Vermont 05482. USA
Image: Walter Martin and Paloma Muñoz Traveler 46 at Night, 2003, snowglobe
23 january - 12 june 2016
This immersive and enriching multi-media exhibition will tell the story of the unlikely alliance between two of the most renowned artists of the twentieth century: brilliantly eccentric Catalan Surrealist Salvador Dalí and American entertainment innovator Walt Disney.
Presented through a multimedia wonderland of original paintings, story sketches, conceptual artwork, objects, correspondences, archival film, photographs, and audio – this comprehensive exhibition showcases two vastly different icons who were drawn to each other through their unique personalities, their collaboration on the animated short Destino – which, regrettably to both Disney and Dalí was never completed during their lifetimes – and their enduring friendship.
Born three years and half a world apart, both Disney and Dalí bore boyhood imaginations grounded in their upbringing in the 1900s, encouraging their lives, careers, and legacies to be paralleled on a profound level. A deeper look into the lives and artistic prominence of the Surrealist and the dreamer—highlighted by hand-written letters and alongside filmed dramatizations and audio re-creations—will show just how alike these two innovators were in blurring the lines between reality and dreams.
“Disney and Dalí heralds a new era in art exhibitions,” said Dalí Museum Executive Director, Hank Hine. “Visitors can expect a multi-sensory environment of moving image, soundscapes, and the transformative aura of exquisite individual paintings. Disney and Dalí broke new ground as artists—the Walt Disney Family Museum and The Dalí will deliver a brave new world of experience.”
Disney and Dalí: Architects of the Imagination is co-organized by The Walt Disney Family Museum and The Dalí Museum, with the collaboration of the Gala-Salvador Dalí Foundation in Figueres, Catalonia (Spain), and The Walt Disney Studios. The exhibition is guest-curated by filmmaker Ted Nicolaou. (Dalí Museum press-release)
Dalí Museum. One Dali Blvd, St. Petersburg, FL 33701, USA
Image: Salvador Dalí, Study for Sentimental Colloquy (1946). © Salvador Dalí. Fundació Gala-Salvador Dalí
26 november – 30 december, 2015
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service,allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed.
"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, betweeimate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Sciences Po Bordeaux press-release)
Hall de Sciences Po Bordeaux. Université Bordeaux
Image: After Schengen, Ignacio Evangelista
14 november 2015 - 17 january 2016
Jakarta Biennale 2015 aims to promote a continuous reading of the development of the idea of the city, which is viewed as a complex and dynamic area that reacts to both local and global changes. The Biennale amplifies the observation of sociocultural phenomena within the scope of a specific time and space. Furthermore, in the artistic context, the Biennale plays a very prominent role in challenging the latest trends in relation to the development of cultural, social and political matters both in Indonesia and internationally.
The theme of the 16th edition of Jakarta Biennale, curated by Charles Esche, is ‘Maju Kena, Mundur Kena: Learning in The Present’. This year’s event features a broad-ranging programme that includes a general exhibition, projects in public spaces, night events, exhibitions of young artists, workshops and other educational activities and symposia, as well as the publication of a catalogue. The aim is to explore the significant cultural influences found in the present of Indonesia and how they shape the image of today’s world. For this purpose it is divided into three core exhibition sections: ‘Indonesia in the 80s’, ‘The contemporary international in Jakarta’ and ‘Young Indonesian artists now’. The curators will weave three subject strands across these three exhibition elements: ‘Learning’, ‘Water’ and ‘History today’, which will cross over the abovementioned sections to allow visitors to discover them from the viewpoints of different generations.
The Spanish artist Juan Pérez Agirregoikoa has been invited by Jakarta Biennale Foundation to take part in the Biennale, with the support of AC/E. (AC/E press-release)
Jakarta Biennale. Jl. Amil Raya No. 7 A Pejaten Barat,. Pasar Minggu Jakarta Selatan. Indonesia
Image: Jakarta Biennale 2015
30th october, 2015
Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)
Image: Olmo Blanco
6th october, 2015 – 13th february, 2016
From 6th October to 13th February of 2016, the Foto Colectania Foundation demonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from its own collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance, if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "
The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of this exhibition are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself. Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.
The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection. Presented in several towns around Barcelona thanks to a program of traveling exhibitions organized by the Diputació de Barcelona, "Face to Face" culminates with this presentation in the main city after being revised and enlarged for the occasion.
Participant photographers: Helena Almeida, Manel Armengol, Atín Aya, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fundació Foto Colectania press-release)
Fundació Foto Colectania. Julián Romea 6, D2. 08006 Barcelona
Image: Humberto Rivas, María, 1979
1 – 30 october, 2015
Closed Paradise explores themes of nature and extinction. The exhibition’s title refers to a banishment from a paradisiacal state, both metaphorical and literal, that mirrors our current environmental situation. This cross-cultural and multidisciplinary exhibition focuses on the legacy of earth’s natural resources and states of erosion and extinction due to human activity. Closed Paradise features works by Javier Viver, Jose Val del Omar and Lili Chin.
Viver will create a Rainbow site specific installation of melting colored wax on the window panes and use objects molded from casts of plant species and an herbarium to compose The Eurasia Archive of Extinct Plants. In this way he drafts a reflection about the paradoxical co-existence of the ephemeral and the eternal, memory and the imagination.
Chin uses drawing, installation and Super 8 film in a meditative process to investigate states of growth and decay in wild and pastoral terrains . For this exhibition she will include a social sculpture – a garden of donated plant cuttings collected in an open call. Her work expresses concern with vanishing landscapes, preservation, memory and the sublime.
Val del Omar’s work includes a selection of films composed by Javier Viver for Val del Omar’s PLAT laboratory installed in the Reina Sofia National Museum, Madrid. These films reference The Alhambra, the Moorish palace in the South of Spain, a place he called the closed paradise. It was the hidden place Val del Omar often visited, and filmed as the lost paradise.
Viver is based in Madrid and Shanghai, while American artist Chin lives and works in New York City. The two met at the Swatch Art Peace Hotel Residency in Shanghai and discovered they both shared a mutual admiration for the work of José Val del Omar. Through this project, these artists create a cross-cultural reflection on culture, exploitation, memory and preservation.
With the support of the General Consulate of Spain in New York..(The Clemente press-release)
The Clemente. 107 Suffolk Street. New York, NY 10002
Image: Closed Garden. José Val del Omar
2 april – 29 may, 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda
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
21 march – 9 june, 2014
The19th Biennale of Sydney: You Imagine What You Desire, under the artistic direction of Juliana Engberg celebrates in 2014 its 19th edition, is an evocation celebrating the artistic imagination as a spirited describing and exploration of the world through metaphor and poesis. You Imagine What You Desire seeks splendour and rapture in works that remain true to a greater, even sublime visuality.
AC/E collaborates with the Biennial supporting the project presented by the Spanish artist Libia Castro in collaboration witb the artist Olafur Olafson
Solo exhibitions of Libia Castro and Ólafur Ólafsson’s work include ‘Asymmetry’, TENT, Rotterdam (2013); ‘Under Deconstruction’, National Gallery of Iceland, Reykjavik (2012); ‘Libia Castro & Ólafur Ólafsson: Tu país no existe’, Centro Andaluz de Arte Contemporáneo, Seville (2011–12) and ‘Libia Castro & Ólafur Ólafsson: Recent Works’, Künstlerhaus Bethanien, Berlin (2008). They have also participated in prestigious international group exhibitions, including 7th Liverpool Biennial (2012); 5th Nordic Biennial of Contemporary Art, Moss (2009); and Manifesta 7, Rovereto (2008). In 2011, Castro and Ólafsson represented Iceland at the 54th Venice Biennale
Image: Libia Castro and Ólafur Ólafsson, Bosbolobosboco #4, 2004, audio sculpture, Courtesy the artists. Photograph: Job Janssen and Jan Adriaans (AC/E press-release)