Spanish contemporary art worldwide
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04 november – 19 december 2014
The Languedoc-Roussillon Regional Contemporary Art Collection [FRAC] and the Greater Montpellier Advanced School of Fine Arts [ESBAMA] are pleased to be jointly presenting a solo show of the Spanish artist Mabel Palacín. Living and working in Milan and Barcelona, she is one of the emblematic figures of a generation offering relevant analyses of current image production methods and their powerful questioning in contemporary art (as a conventional context and “environment”), together with their analysis of reality (as a social or imaginary world). She represented Catalonia and the Balearic Islands at the 2011 Venice Biennale.
Mabel Palacín has devoted herself to the issue of the frozen/static image and the image in motion. The presentation systems of photography and film projection interest her as much as the production tools which permit their creation. This is why her works and her exhibitions have often taken the form of installations, in which the different forms of the recorded image co-exist, mutually question each other, and present the challenge of the relation they allow “subjects” (spectators and people involved with the works themselves) to have with the world. For the artist, this “world”, or reality, is as much the objective and exterior space in which human beings move about as the representations which surround them, inform them, and existed before them.
“My work examines our relation to images and the go-between function they have with reality. There are two aspects in this relation which particularly interest me: the resistance of images to a stable interpretation and the propensity of image techniques to produce a kind of specific language (lingua franca) in contemporary art.” Mabel Palacín.
The two-part show being proposed by the FRAC Languedoc-Roussillon and the ESBAMA will be a twofold way of experimenting with Mabel Palacín’s work, based on viewpoints put forward by these two institutional contexts (teaching and creation at the School of Fine Arts, “memory of art” at the FRAC): (ESBAMA press-release)
ESBAMA 130 rue Yehudi Menuhin 34000 Montpellier. France
Imagen: installation "La distancia correcta", 2002/03. Mabel Palacín
17 November – 6 December 2014
P74 Gallery is pleased to present “The Violence of Games”, the first solo exhibition by multimedia artist Antoni Muntadas in Ljubljana and Slovenia.The show will investigate topics such as mass events, control, spectacle, violence, sport and football – themes which artist explored since the late 1970s. The exhibition will feature a selection of images and video projections from the 1990s and 2000s, as well as recent unseen printed wall works using archival material and internet images.
Barcelona-born but a longtime New Yorker, Muntadas is considered one of the early and significant practitioners of media and conceptual art. He figures among the first generation of artists exploring the social and political power of mass culture and mass media and works in diverse disciplines spanning photography, video, publications, the Internet, installations and urban interventions. The interaction between citizens and contemporary social and cultural systems are at the core of his research. The project will build on Muntadas’s previous “Stadiums” – an ongoing project since 1989, exploring the stadium from the perspectives of architecture, audience and propaganda. The installations are tailored for the gallery space, using videos and sounds that denote how politics, security, order and control come together during mass events.
Born in 1942 in Barcelona, Muntadas has lived and worked in New York since 1971. His work has been exhibited internationally, including the 51st Venice Biennale (Spanish Pavilion), Documenta VI and X, and the Sao Paulo, Whitney, Lyon, Gwangju and Istanbul Biennales. Solo exhibitions include The Museum of Modern Art in New York, the Berkeley Art Museum in California, the Musee d’Art Contemporain de Montreal, the Capc de Bordeaux, France, the Museo de Arte Moderna de Rio de Janeiro in Brazil, and the Museo Nacional Centro de Arte Reina Sofia in Madrid, among other institutions. Muntadas has a long-standing academic career, teaching in universities worldwide. (P74 press-release)
P74 Gallery, Trg Prekomorskih brigad 1, Ljubljana
Image: Antoni Muntadas, KJE?, 2014
06 november 2014 – 30 january 2015
Number Twelve has been throughout the history of mankind the most representative and enigmatic number . In its mythological, philosophical , religious or scientific backgrounds twelve sense has become in positive aspects and perfection. Twelve has also symbolized the wisdom and balance. In this sense MECA Mediterranean Art Center has organized the program Twelve.Douze. Contemporary Art to be held at the Cervantes Institute in Lyon with unpublished works of 12 participating artists: Toña Gómez, Juan Morante, Fernando Baños, Jerónimo Muñoz, Antonio de Diego Arias, Fernando Barrionuevo, Tomás Cordero, Belén Mazuecos, Marie-Pierre Guiennot, Pedro Cuadra, Manuel Vázquez y Carmen Sicre. (I Cervantes press-release)
Instituto Cervantes. 58 Montée de Choulans. 69005 Lyon. France
Image: Fernando Barrionuevo
8 november– 16 february, 2014
This landmark exhibition features rarely loaned works from more than 20 international art museums and private collections worldwide pairing these two legendary artists.
Over 80 works –with a focus on paintings, and also featuring drawings, prints and sculpture– are on display exclusively at The Dali Museum in St. Petersburg, Florida, from November 8, 2014 through February 16, 2015 (and at the Museu Picasso in Barcelona from March 19–June 28, 2015).
The story of Pablo Picasso and Salvador Dali is one of influence, rivalry, and artistic greatness. This exhibition presents these two giants of modern art who changed the way we understand images and the role of the artist. They are presented side by side in this exhibit, perhaps for the first time.
This exhibition shows how these artists were shaped by the currents of their time. Yet, their individual and insistent reactions to these currents inspire us all to find our own ways. Each artist, drawing his art from an interior and personal vision, tried to rescue the power of art from meaningless invention. In so doing they changed the ways that art was understood.
Picasso/Dali, Dali/Picasso was organized by The Dali Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dali and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities. (Dalí Museum press-release)
DalíMuseum. One Dali Blvd,St. Petersburg, Florida 33701
Image: Pablo Picasso. Femme dans un fauteuil rouge. 1939
14 november – 20 december 2014
To celebrate its first anniversary, Barnadas Huang will host a solo exhibition by one of its best-selling artists in Asia, Didier Lourenço.
Born in the stunning seaside town of Premia de Mar in Spain, Lourenço is an artist whose pieces are romantic yet enigmatic, frequently capturing fleeting moments, connections and emotions he hopes to bottle and keep in real life. Having built a following in Asia Pacific by exhibiting in countries such as Singapore, Hong Kong and Malaysia, Didier Lourenço’s first solo exhibition in South East Asia is titled “Muse” – an homage to the mysterious woman whose portraits and glances he has immortalised on canvas.
While her identity is deliberately left unclear, Lourenço prompts the viewer to discover the essence of her character by offering hints and suggestions of her personality and life. Lourenço refuses to contextualise his paintings, intentionally leaving most of the background and settings in his paintings ambiguous. By doing so, he urges the viewer to build their own narrative around the muse, making her a part of their lives as much as she is a part of his.
Approximately 20 artworks are scheduled to be shown during this exhibition, with a quarter of them brand new pieces from his new “Invisibles” series, in which a collection of smaller portraits come together to reveal a larger hidden portrait of the muse. (Barnadas Huang press-release)
Barnadas Huang gallery, 22 Dempsey Rd. Singapur 249679
Image: Didier Lourenço
10 – 23 november 2014
Basurama, in collaboration with the Spanish Embassy in South Africa and Greatmore Studios, will be one of the last of World Design Capital project’s in the public arena of Cape Town this November.
In Love We Trash encompasses a public art project and its process of reflection on waste, consumption and public space. Together with empowered local communities and trained creators we aim to raise new collective points of view, reflection and research on the cities of today.
Several researches reveal that around 3.500 plastic particles per square kilometre exist along the South African coasts. The analyses made on 50 of the South African beaches show that plastic pollution has increased by 190% in the last five years. More than 90% of all articles found on these beaches were made out of plastic. Plastic is now found on practically all South African beaches
In Love We Trash embodies a better way to understand how to work with what is readily available around us, leftover materials or underused public spaces. Plastic waste can be a new and valuable category of resources; it is both a form of infrastructure and a source of information to understand consumer society.
In Love We Trash has thus far participated in over 10 countries across 4 continents, with the participation of over 40.000 citizens. Each intervention is specifically designed for the city in which it is located. For this occasion Basurama makes a special nod to the South African seas, keeping in mind The International Year of the Ocean. (Basurama press-release)
EINDHOVEN. Antoni Miralda y Fernando García-Dory “Confessions of the Imperfect: 1848 – 1989 – Today” Van Abbemuseum
22 november 2014 – 22 february 2015
A traverse through modern culture. Confessions of the Imperfect is an exhibition on art, design, life and work, structured as a practical and experiential survey of the modern world. The exhibition presents a diverse mix of historical material, design and contemporary art projects to reflect on but also to use. It takes its title from the Romantic art critic and social reformer John Ruskin, who in Stones of Venice (1869), presented a holistic and ecological view on the relation between art and life as a perpetual and necessary struggle with human imperfection. “We may expect that the first two elements of good architecture should be expressive of some real truths. The confession of Imperfection and the confession of the Desire of Change”. You could not summarise the modern dilemma more succinctly than this. We dream of a perfect world which is actually within reach with all our technological progress, but every time that we achieve our ideal, the utopia we dream of turns out to be a dystopia.
He developed this vision as a critique of industrialising and capitalist societies that tried to resolve human imperfection through standardised forms of production and government. Instead of worrying about the outcome, however, Ruskin suggests we should focus on the process. How can we live life artfully and experience work not only as toil for reward, but as an organic part of a total social and ecological system of life and work? This question inspires this exhibition to take an unusual tour through modern times Artists: The basis of the exhibition is an impressive, architectural intervention by artist Liam Gillick, who constantly puts up different barriers in the exhibition based on the barricade, which the visitor has to conquer in a playful way. In this architecture you will come across new and old work by artists including Constant, Jeremy Deller, Fernando García-Dory, Liam Gillick, Renzo Martens, Antoni Miralda, Li Mu, Wendelien van Oldenborgh, Alexandra Pirici & Manuel Pelmus, John Ruskin, Static and Akram Zaatari. Curators: Steven ten Thije, Alistair Hudson. Curators: Steven ten Thije, Alistair Hudson. (Van Abbemuseum press-release)
Van Abbemuseum. Bilderdijklaan 10.5611 NH Eindhoven. The Netherlands
Image: Miralda, Power Food Canbarricade, 2014. Courtesy Missile Energy Drink
november 13, 2014 - january 15, 2015
With a series of 21 photographs the exhibition "Mare stone" runs nearly the whole coast of the Mediterranean. This "Mare Nostrum" by Isabel Muñoz, in the words of Christian Caujolle, curator of the exhibition, "seems to be made of water but illusions and seductions evoke the sculpture". The technique used by Isabel Muñoz to perform his works is platinotype. This technique obtains monochrome copies sensitized by contact with iron and platinum salts.
Isabel Muñoz (born 1951, in Barcelona) is a Spanish photographer who lives in Madrid. In 1986, she made her first exhibition, "Toques" and she has already made more exhibitions in several countries of the world for more than 20 years. Her works are in the Maison Européenne de la Photographie, in Paris, the New Museum of Contemporary Art, in New York, the ContemporaryArts Museum in Houston or private collections. (I.Cervantes press-release)
Instituto Cervantes - Sala de Exposiciones. 7, Rue Quentin Bauchart,75008 París
Image: Isabel Muñoz
14 november 2014 – 15 february 2015
“Turning Points” is the title of the contemporary art collective exhibition organized by EU Cultural Institutes represented in Hungary (EUNIC) in partnership with the Fine Arts Museum of Budapest and the National Gallery of Hungary. The exhibition’s opening ceremony will take place in November the 13th and will be open to visitors from November the 14th 2014 until the 15th of February 2015.
Within the context of the First World War Centenary (1914), the 75th anniversary of the Second World War (1939), the 25th anniversary of the Fall of the Berlin Wall (1989) and the 10th anniversary of EU enlargement to Central and Eastern Europe (2004), this art project, led by curator Zsolt Petrányi, pays tribute to the most relevant happenings of the 20th century, those events that made a significant turning point in the European contemporary history. With the aim of exploring last century’s history, the exhibition will display a collection of works of twenty six artists from sixteen different and diverse countries, as the UK and Israel or Japan and Spain may suggest.
The Spanish artists who take part in this exhibit are Javier de Villota and the work team Democracia. Javier de Villota, an architect, painter, and sculptor with a long professional career, will exhibit his series “Los Grises” (“The Grays”), draw with pencil and pastel. Democracia, a team work with Iván López y Pablo España, will display three channels video art installation under the title “Ser y Durar” (“To Be and to Last”) . (AECID press-release)
Galería Nacional de Budapest, 1014 Budapest, Szent György tér 2.Hungary
Image: Colectivo Democracia
LONDON. Libia Castro y Ólafur Ólafsson “The Partial Declaration of Human Wrongs” Waterside Contemporary
20 november 2014 – 15 february 2015
The mobility grants awarded by AC/E are enabling the artists Libia Castro and Ólafur Ólafsson to take part in an exhibition project at London’s Waterside Contemporary, for which they are developing a fragment of their project The Partial Declaration of Human Wrongs. This project consists of a series of works based on texts published in newspapers by the British philosopher Nina Power and a large installation on the façade of St. George’s Hall in Liverpool. The texts underline how easy it is to subvert, ignore and corrupt the rights enshrined in the Declaration of Human Rights.
Castro and Ólafsson use many artistic strategies to promote political debate, from advertising to public interventions and music – elements that can be seen in the exhibition at the Waterside, on the façade of the gallery. In addition to the exhibitions, a series of parallel activities will be staged, including a talk at the gallery with Nina Power and the screening of works by video artists at Tate Modern. The whole project will be compiled and published by Waterside Contemporary. (AC/Españolana press-release)
Waterside Contemporary. 2 Clunbury Str. London N1 6TT
Image: The Partial Declaration of Human Wrongs. Libia Castro y Ólafur Ólafsson
31 october 2014 – 10 january 2015
Abel Azcona is an spanish interdisciplinary artist specially bonded to performance art, his work, though, explores and focuses great attention to the aesthetic results and is therefore related with mediums such as photography, videoart, installation and sculpture. His art work has been presented in various museums, contemporary art centers, galleries and artistic spaces from countries all over the world like Spain, Portugal, France, Italy, Denmark, United Kingdom, Germany, Greece, Poland, Mexico, Colombia, Venezuela, Peru, Ecuador, Argentina, United States of America, China, Philippines and Japan.
His work is usually defined under two axises explored between one another through a constant synergy: autobiographical and critical. This makes his work highly heterogenous, and renders it as a personal portrait. This thoughts find in art a tool for criticism, but also a tool for self knowledge that questions reflections about society in which they are involved. Azcona invites the public to share their experience dragging them to his inner world
His artistic exploration considered highly biographic looks into his own childhood, scarred experiences of abuse, abandonment, and child maltreatment, being his biological mother a key reference of his experience and therefore of his artistic craft. The feeling of abandonment experimented for the first time because of his mother, who practiced prostitution, and his pass through multiple child shelters, mental institutions and different foster homes, are determinant to the way Azcona expresses himself. His life experience, marked by drugs, prostitution, or several suicide attempts during his adolescence, are linked to his creation and so he doesn't hesitate to share with the viewers through his work. In his works on this intimacy, Azcona is known for experiencing pain and physical stamina, exposing himself to beatings, intoxications, aggressions and various tortures both physical and psychological, and doesn't cower to confront himself. Azcona tells us that when inner pain is so intense, outer pain can disappear; uses pain to empathize with his own feelings and own experiences during childhood and teen ages. Also, he assures that when he practices self-harm, it's his own choice to alter the shape of his body, as opposing to an abused child or woman, without a chance to decide. A resilient Azcona, creator of a cathartic work as a mean of self knowledge and personal construction. . (MAC press-release)
Museo de Arte Contemporáneo de Bogotá MAC. Carrera 74 No. 82A - 81
Image: “No deseado” Abel Azcona
ALBURQUERQUE. “VAIVEN. Six visual journeys back and forth between Spain and the U.S” Instituto Cervantes
november 21 – february 20, 2015
An exhibition featuring six photographers from Spain and the U.S. who interpret the realities of both countries from multiple perspectives, creating a visual round trip.
The dichotomy of belonging to two places and the constant play between the influence of cultural background versus the setting, remains the core of this exhibition. Memories, popular culture, identity, the every day life, nature and urban spaces function as starting points to analyze the motivations and expectations that lie behind each photographic series.
The diverse backgrounds of all the artists meet on the common grounds of their intersecting perspectives of both countries. Born in Madrid and raised in Maryland, Ana Hayes-Pérez, explores her personal connection with Spain through souvenirs and family memories. Spanish photographer Raúl Urbina observes Chicago by foregoing its iconic side to focus on the city’s driving forces, from its people to its infrastructures. Hailing from Canada and born to Spanish parents, Chicago based photographer Xavier Nuez uses dark alleys and ruins of the city to turn his pictures into monuments that give dignity to rejected urban spaces. Javier Corso reinterprets the military imagery of Spain through the strong visual references present in the popular culture of the U.S. Tarragona-born photographer Monica Lek uses her photographs of New York to reflect the human reality of the city through portraits of her neighbors. New York-based photographer Carla Tramullasanalyzes the process of remembrance with shots snapped on her trips across the US with her grandfather’s Leica. (I.Cervantes press release)
Instituto Cervantes, 1701 4th St SW, Albuquerque, NM 87102
Image: Carla Tramullas
VIENNA. Azahara Cerezo & Mario Santamaria and Nuria Güell & Levi Orta “WE ARE HERE BeCAUSE YOU WERE/ARE (t)HERE” Das Weisse Haus
11 november – 13 december 2014
‘WE ARE HERE BeCAUSE YOU WERE/ARE (t)HERE’ curated by the actual Curator in Residence Lennard Dost. His challenge for the exhibition was the anniversary year of the Viennese Congress, that took place 200 years ago. 14 artists are presenting their works on the main topic of Europe and immerse themselves into themes like borders, politics and inhabitants of these continent. With Azahara Cerezo & Mario Santamaria (ES), Elmas Deniz (TUR), Nuria Güell & Levi Orta (ES/CUB), Marina Gržinić & Aina Šmid (SLO), Fabian Hesse (D), Jennifer Mattes (A), Wouter Osterholt & Elke Uitentuis (NL), Abner Preis (NL), Oliver Ressler (A), Alexander Schikowski (HUN), Katharina Swoboda (A), Christina Werner (A), Daniel Dennis de Wit (NL), Ivette Mrova Zub (NL), curated by Lennard Dost. (Das weisse haus press release)
Das Weisse Haus. Kriehubergasse 24-26, 4th floor. 1050 Vienna. Austria
Image: Das Weisse Haus
06 - 25 november 2014
The work of Antonio de Felipe is a constant source of fascination and surprises. It is a great pleasure to witness how the artist’s inge-nious world of ideas and his sense of humour are constantly evolving.
Antonio de Felipe was born in Valencia in 1965. Ever since a very young age he has felt an artistic drive that led him to earn a fine arts degree at the University of Valencia. During his studies he worked as a creative designer in an advertising agency which undoubtedly influenced what would be his future pictorial style. In 1996 he moved to Madrid where he has his studio.
Antonio de Felipe is one of the most renowned artists and the greatest exponent of Pop Art in our country. The title of the exhibition "Female Character" which includes a collection of some of the most important works of Antonio de Felipe has developed in his career, and as a tribute dedicated exclusively to women. It can be seen from figures and artistic portraits that share the "nature of woman" that has marked his career in various media such as art, fashion, music and film. (I.Cervantes press-release)
Instituto Cervantes. Avenue de Tervuren, 64. 1040 Brussels
Image: Antonio de Felipe
31 october 2014 – 02 february, 2015
'The Copenhagen Declaration' is one large installation that fills the whole of Faurschou Foundation’s exhibition space. As with Haaning’s and Sierra’s other works, this is a work that takes its point of departure in socioeconomic and political matters. The work operates in the field between the ceremonial, formal declaration and the open statement of this declaration, which is dependent on context and the cultural background of the viewer. The artists have no wish for a direct communication or interpretation of this work, and there is no indication of who is the source or who is the recipient. Both Jens Haaning’s and Santiago Sierra’s works deal with issues of national origin, state boundaries and cultural differences, and their works urge reflection over the state of the world.
SantiagoSierra (b. Madrid 1966) is preoccupied in his practice with, among other issues, problematizing the value of labour, as can be seen in the many works where he pays excluded social groups to participate in what are often quite pointless, physically exhausting, directly humiliating, labour. This can be seen in the work '10 People Paid To Masturbate' (2000) where ten men from Havana, Cuba, were paid 20$ to masturbate alone in front of a video camera. In '133 Persons Paid To Have Their Hair Dyed Blond' (2001) 133 illegal immigrants from third-world counties in Asia and Africa were paid to have their hair bleached in connection with the Venice Biennale the same year. A small group of immigrants who primarily lived by selling copied bags were subsequently invited to sell bags as part of the actual art exhibittion. The work 'NO' (2009) consists of a simple “No” in large black-painted letters. The expression only takes on meaning when it is placed in a context and the meaning changes depending on the specific setting of which it forms a part. Sierra in other words offers us a work that is on the one hand meaningless, but on the other hand can be inserted in a multitude of contexts and functions as a kind of protest or opposition to the way things work. (Faurschou Foundation press-release)
Faurschou Foundation. Klubiensvej 11. 2150 Nordhavn. Denmark
Image: Installation view of the exhibition “Jens Haaning / Santiago Sierra: The Copenhagen Declaration” at Faurschou Foundation Copenhagen. Photo by Guston Sondin-Kung, © Faurschou Foundation
november 7 - december 27, 2014
The Gabarron Foundation is pleased to announce the upcoming exhibition entitled Landscapes of the Soul, which will bring together 42 works by 22 photographers from Castile and Leon. Curated by Gabriel Villamil and Carlos Aganzo, these 42 Visions of Castile and Leon inspired six poets from the historical Spanish region to create a poem for each of the seven different images. This exhibition contributes to exploring the roles that art and culture play in shaping the physical, social and economic futures of our communities; from the rural to the urban landscapes of nine provinces (Avila, Burgos, León, Palencia, Salamanca, Segovia, Soria, Valladolid and Zamora) that all together constitutes the biggest region of the European Union and treasures over 50% of the artistic patrimony in all of Spain.
Artists: David Arranz, Claudio de la Cal, Enrique Carrascal, Justino Diez, Santiago Farizano, Jesús Formigo, Peio García, Ramón Gómez, Luis López Araico, César Manso, Andrés Martínez Casares, Marian Montesinos, Ricardo Muñoz, Víctor Otero, Antonio Quintero, Raúl Sanchidrián, Henar Sastre, Antonio de Torre, Concha Ortega, Fidel Raso, Alberto Rodrigo - Miguel A. Valdivieso, Gabriel Villamil.
Poets: Carlos Aganzo, Antonio Colinas, Asunción Escribano, Fermín Herrero, José María Muñoz Quirós, Gonzalo Santoja.
"Landscapes of the Soul collects the work of 22 photographers who have captured the passion for their land in their images. A particular vision that has been transformed into 42 snapshots that collect a vision of a territory full of stories and legends, of culture and tradition. Starting from absolute creative freedom, each of the artists creates a setting of reflection that is able to add reality to what is real, of incorporating new aspects to what is known with the purpose of enduring the memory of what is lived in this exhibition in the memory of the visitor." Gabriel Villamil, exhibition curator for photography.(Gabarron press-release)
The Gabarron Foundation Center for the Arts. 149 East 38th Street. New York, NY 10016
Image: “Tierra de Campos” Gabriel Villamil 2014
7 noviembre 2014 – 10 enero 2015
For over 25 years, Alberto Hernández (b.1959, Béjar, Salamanca) has been researching with ceramic procedures and tools, and reinvented a new field in painting. His works are produced in the moment of confrontation with the fire: the artist paints directly with flames and smoke effects of fire. The technical complexity, the need for speed of movement and the extreme physical conditions exert a strong pressure to which the artist undergoes, to achieve his results. This enables the audience to expect a unique experience with new and exciting surfaces.
Olga Simon (Madrid, 1974) has a degree in Fine Arts from the University of the Basque Country. His career received highlights grant by the University of the Basque Country, her solo exhibition at the Sala Recalde Area2 Bilbao and Thibierge & Comar II Prize Awards in Paris. His images are part of the Photo Archives Madrid in Memoriam Ministry of Culture in Madrid and the Photographic Archives of the Museum of Elysée in Lausanne Switzerland, among others. Image. Jardín Polar.15. Olga Simón. (100 Kubik press-release)
100 Kubuk, Mohren Str. 21. 50670 Köln
1 november – 7 december, 2014
Jose Iglesias Gª. Arenal offers an investigation into the role of social networks, Facebook, in this case, in our lives. The artist creates a file that consists of a set of information and conversation regarding your personal profile leaving them available to the public for consultation: a kind of large data librarie that are impossible to read due to the huge amount with a identity as hypertext.
The enormity of the work reveals a new way of looking at the text as distant communication literature and closer to the use of the image. The voyeurism of the viewer, in this case becomes legitimate, guaranteed by the author's desire to show his statement to the public.
Jose Iglesias Gª-Arenal (Madrid, 1991), artist and curator, graduated in Fine Arts at the University of Seville. During his training he attended classes with artist Isidoro Valcárcel Medina, Margarita de Aizpuru curator, artist and cultural manager Rubén Barroso; (Art International and Human Rights Meeting in Wester Sahara, 2012) ARTifariti and Erasmus scholarship at the Academy of Fine Arts in Perugia. It delves into the performance, conceptual art and relationships, creating installations, creating space and attitudes to reflect the emotions, the connection points and language codes, all heavily inspired by the philosophy of Beatriz Preciado. Curator: Carla Capodimonti. (Galleria Cinica press-release)
Image: Facebook’s Pavilion. José Iglesias Gª Arenal
3rd november – 5 december, 2014
The exhibition consists of about 30 works of different format, an installation of fiberglass over four meters made specifically for this project , and two video creations : The Lifeguard and Hauptunkt . It was produced by the Education, Culture and Universities department of the Balearic government .
Born in Son Servera (Mallorca ) in 1973 , Amparo Sard has a degree in Fine Arts from the University of Barcelona, where he now teaches art, and is one of Mallorca's most internationally renowned artists . He has won the City of Palma "Antoni Gelabert " Painting Prize and the Deutsche Bank International Award (1999 ) , in 2004 was a finalist for the 2005 Generation Award, Caja Madrid, among other awards . Amparo Sard commented that his work often moves in the field of metaphor. (Maddox Art press-release)
Maddox Arts, 52 Brook’s Mews London W1K 4ED
Image: Limits, Amparo Sard
30 october – 09 december, 2014
Project "Crown of Aragon. History and Art" leads to Palermo, Sicily, his exhibition "A Soul in common." The exhibition, which opens on October 30, is organized by the Government of Aragon and has the support of the Regional Assembly of Sicily, the Federico II Foundation, the Embassy of Spain in Italy, the Instituto Cervantes in Palermo and Università degli Studi di Palermo.
The exhibition, through 75 photomontages, architectural influences between Aragon and Sicily during the period of ownership of the Crown of Aragon, over 200 years of history, from the reign of Peter III to the reign of Ferdinand II of Aragon, King of Sicily.
The architectural influence between Sicily and Aragon is reflected in the exhibition "A Common Soul" has 46 buildings (23 and 23 Aragonese Sicilians) who have been subjected to a comparative study are shown. It's both constructive and stylistic characteristics common to assert the existence of a common soul. Professor of Architecture, Aurelio Vallespín, highlighted in the presentation, treatment similarities light with blinds, the wooden roofs, the relief and the color or the use of limestone among other, also states that "Aragon in Sicily arelike brothers." (Cervantes Palermo press – release)
Palazzo Chiaramonti Steri. Piazza Marina, 61. 90133 Palermo. (ITALIA)
Image: “Un Alma Común. Arquitectura sículo-aragonesa” I. Cervantes Palermo
19 october 2014 – 11 january 2015
This exhibition calls the audience to dive into the oneiric, provocative and fanciful universe of Salvador Dalí.
Including approximately 164 works, paintings, drawings and prints, in addition to documents and photographs from major institutions holding the artist's collections, i.e., Gala-Salvador Dalí Foundation (Figueres), the Centro de Arte Reina Sofia National Museum (Madrid) and Salvador Dalí Museum (Florida), the exhibition presents the artist's production since the 1920s all the way to his last works, providing visitors a clear perception of Dalí's evolution – not only in terms of technique -, but his influences, theme capabilities, ideological references and forms of symbolism.
In the words of curator Montse Aguer, the works have been selected to "show not only surrealist Dalí, but also an artist that gets ahead his time, is daring and shows up in defense of the artist's unshackled imagination in his/her own creative processes. Concomitantly, the exhibition strolls over Salvador Dalí's artistic and personal paths."
Curator: Montse Aguer
The exhibition in Brazil will include around 164 paintings, photographs, films and objects lent by the Reina Sofía, the Fundació Gala-Salvador Dalí in Figueres, Spain and the Dali Museum in St Petersburg, Florida.(I.Tomie Ohtake press-release)
Instituto Tomie Ohtake. Av. Faria Lima, 201. Pinheiros. Sao Paulo
Image: Salvador Dalí. I.Tomie Ohtake
october 30 - december 13, 2014.
Apocryphal Times is an exhibition that presents the work of eleven international artists who grapple with the ultimate-elusive concept of time. Striving to grasp time’s essence, these artists were invited to reflect on traditional temporal notions and to create narratives that defy, fictionalize, or capture ‘time’ as we know it. Organized by Thorsten Albertz, gallery director at Friedman Benda, and artist Tamara Kostianovsky.
Through sculptures, performative works, installations, and drawings, the artists in the exhibition demonstrate a common preoccupation with clocks, memory, ruins, the aging body, and anxiety about the future. Informed by the power of history, myths, scientific theories, and personal experiences, the selection of works ultimately challenge the idea that ‘time’ is what keeps everything from happening at once. Featuring the work of Diana Al-Hadid, Juanli Carrion, Cesar Cornejo, Lars Fisk, Valerie Hegarty, Hedwige Jacobs, Jessica Lagunas, Aili Schmeltz, Julien Salaud, Mark Lawrence Stafford, and Tamara Kostianovsky.
The digital prints of Spanish artist Juanli Carrion postulate further on peripatetic projections of time and the hierarchy of memory in the virtual realm, by using thousands of layered images of ‘ruins’. Born in Yecla, Spain. 1982. Lives and works in Brooklyn. (Friedman Benda press-release)
Friedman Benda. 515 West 26th Street. New York, NY 10001
Image: Un-Dramatics After the Fall, 2011. Archival C-PRINT and Saint. Juanli Carrión
30 october 2014 – 1 february 2015
Salvador Dalí’s artworks are traditionally divided into periods, directly related to the geopolitical situation in the world. However, the exhibition in the MMOMA will not be arranged chronologically. Viewers can choose the way they go through the exhibition themselves. The show is divided into two parts, inextricably connected with each other. The first one will demonstrate Dalí at work. Covers and articles for Vogue, GQ, TV Guide, Newsweek, Town&Country, This Week magazines and many other editions will introduce the audience to Dalí the illustrator and the art director, the writer and the editor. The MMOMA halls will tell about each new role of the artist. The second part is a world of images which are an integral part of the era of the Fourth Estate, where the artist worked. Giant eggs, female legs in Bryans Hosiery, lips and, of course, Dalí’s famous mustaches recreate the unique space of Dalí’s mad world. But surrealism will be interrupted by a hall of ratio, without which it is impossible to imagine the work of the genius with media. Numbers have accompanied from the very beginning of his creative work be it circulation of a publication he has contributed to, a number of covers or the author's emoluments he received from one of the largest publishing houses.
Dalí’s oeuvre in mass media was inextricably connected with the imagery one finds in his art. His work as an illustrator was neither casual nor a temporary passion. It was one of the foundations of his total oeuvre. (MMOMA press-release)
MMOMA, 10 Gogolevsky boulevard
Image: Photo Monde, 02/1954. Image Rights of Salvador Dalí reserved. Fundació Gala-Salvador Dalí, Figueres, 2014
23 october – 10 december, 2014
Some images within the history of photography are so radical people just don’t know where to place them. The beach images of Carlos Pérez Siquier (b.Almeria 1930) look as fresh now as the day the were taken and we must bear in mind the context of contemporary photography in both Spain and Europe at the time Back in the early 1970’s Europe was still in the thrall of black and white photography, if you were a serious practitioner, colour was the domain of either the commercial world or snapshot photography. Over in the USA, there were seeds of colour photography establishing a Museum presence with the likes of William Eggleston and Stephen Shore, but only by the end of this decade.
His work was not influenced by other practitioners. I would have loved to have heard the response to these images as they were released in Spain, but for sure I can’t imagine great enthusiasm from the traditional world of black and white humanistic photographers. They could easily be read as heresy! The brash subject matter, the intense colours, it could all appear so trivial. In one sense I would like to claim I was influenced by this work, but sadly I never saw these images when I started shooting beaches in colour, latterly with the ring flash and macro lens, where unbeknown to me the anguage with Siquier did have some overlap. But I recall the first time I saw these images, about 15 years ago and they stopped me in my track, but I assumed they were recent work. I was amazed when I saw they were taken in the early 1970´.
So here we are, many years later and we can now start to appreciate better these remarkable images. They have been published in more recent years, but this new edit is not only most welcome, but can also help us to understand one of the most underappreciated and truly original bodies of post war Spanish photography. Martin Parr. (Colecctania press-release)
Galería Tagomago, 4 Villa Ballu. 75009 Paris
Image: Carlos Pérez Siquier.
18 september – 8 december, 2014
This exhibition demonstrates the importance of the female model in the work of Picasso.The artist himself spoke of "eternal feminine." The 67 prints and drawings here are dated from 1927 to 1964. It shows among other portraits of his companions and wives, and is immersed in his pictorial inspiration of the Italian Renaissance.
The works on display are from the collections of graphics Fundación Picasso Málaga. (Musée Beaux Arts press-release)
Musée de Meaux Arts. Rue Mathieu Lalanne, 64000 Pau
Image: Fundación Picasso, Málaga
18 october 2014 – 1 february, 2015
A Curitiba new look. That's what Isidro Blasco proposes in his solo exhibition entitled Landscape Deconstruction in the Muma Curitiba Municipal Art Museum. Curated by Denise Gadelha, the exhibition is an art installation of 26 meters long. They are photographs and videos offering to visitors a different perception of the city.
Isidro Blasco (Madrid 1962) combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. Using digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist’s personal cityscape. His work often references the realm of private or domestic space. Blasco normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that Blasco orchestrates risk comparison with the actual streetscapes or rooms he’s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Isidro Blasco (b.Madrid 1962) is held in the collections of The Museum of Modern Art in New York, The Whitney Museum of American Art, The Chicago Institute of Contemporary Art, The Baltimore Museum of Art and many International Museums.
(MUMA press - release)
Image: Isidro Blasco
19 october 2014 – 18 january 2015
Animal que no existeix inhabits an immaterial, abstract and unstable space. Animal que no existeix wanders through Daniel Steegmann Mangrané's exhibition, developing in it, as a process of exchange and operations of transformation.
Animal que no existeix is a perceptible space with no object. Animal que no existeix is made up of relations between subjects (entities) and exchanges of perspectives which engage the viewer in visualizing the potential for transformation of the phenomena perceived. Animal que no existeix spatializes viewpoints in the exhibition, and by being one with it, the viewer tries to adopt them … these viewpoints.
Animal que no existeix may (at times simultaneously) use drawing, collage, cut-outs, film, and installation, and develop organically to achieve the right level of abstraction allowing it to migrate from one piece to the other. Animal que no existeix overlays different strata of relations and ramifications. Geometric grids, and in the middle of these grids, a lozenge. A combination of V-shaped chevrons that can be multiplied ad infinitum. An element structuring the abstract motifs of the “people who draw” of Amazonia, referring to the myth of the Great Anaconda a seasoned, chevron-striped snake which allegedly taught the Indians how to weave and draw. Animal que no existeix makes the wall vibrate and crunch and dissolves in the abstract space of thought. Animal que no existeix is an ambiguous song which has lost an S’. Animal que no existeix is an animal which does not exist.
A monographic book of Daniel Steegmann Mangrané designed by Manuel Raeder and edited by Rivet will be released in 2015. (CRAC. Alsace press-release)
The exhibition is supported by KriskaDECOR, Montblanc, Spain.
Centre Rhénan d´Art Contemporain, 18 rue du chateau. Altkirch
Image: Daniel Steegmann Mangrané, Phasmides, 2012
21 october 2014 – 25 january 2015
This exhibition of photos by Alberto García-Alix, on show at the Maison Européene de la Photographie (MEP) in Paris from 21 October 2014 to 25 January 2015, brings together a selection of the León-born photographer’s best work of the past five years. Through leaps in time, these photographs establish dialogues with other works from the artist’s past, paying special attention to unpublished works that help contextualise the photographer and his oeuvre.
To cite Alberto García-Alix, Un horizonte falso (A false horizon) is “a world of altered presences trapped in an instant of eternal silence. Here the visible is a metaphor of itself and of a thought. Thought as a revelation fuelled in a monologue that is stretched over a horizon. A false horizon...”
The ambiguity of photography, life, death… Portraiture and self-portraiture, defying natures, urban landscapes and plays on scale dominate García-Alix’s snapshots in this project. The exhibition is organised by the Maison Européene de la Photographie (MEP) with the collaboration, in addition to AC/E, of the artist’s main galleries: Kamel Mennour (Paris) and Juana de Aizpuru (Madrid). RM publishers have been entrusted with the exhibition catalogue. (AC/E press-release)
La maison Européenne de la Photographie. 5/7 Rue de Fourcy - 75004 Paris
Image: Alberto García Alix
october 25, 2014 – march 08, 2015
Mallorcan artist Bernardí Roig installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum.
Bernardí Roig (b. 1965) participates in the contemporary art projects series Intersections at The Phillips Collection. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary.
Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light —whether a single light bulb, neon tubes, or fluorescent lights— Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.
Intersections is a series of contemporary art projects that explores —as the title suggests— the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. Whether engaging with the permanent collection or diverse spaces in the museum, the projects suggest new relationships with their own surprises. Many of the projects also riff on the nontraditional nature of the museum's galleries, sometimes activating spaces that are not typical exhibition areas with art produced specifically for those locations.(Phillips Collection press-release)
The Phillips Collection, 1600 21st St NW, Washington, DC 20009
Image: An illuminated head for Blinky P. (The Gun) (2010) Galerie Klüser, Munich
19 september – 29 november, 2014
In this show, “Enigmas del deseo” (Enigmas of desire). Villalba has chosen to give us an extensive tour of his production, with particular emphasis on the structure of enigmas of desire, as the exhibition title itself indicates. The works range from 1974 to the present. We find relevant pieces from his career, such as: La espera Blanca (1974), Superficie interior-fusión (1993), Autorretrato (1995), Hombre Brecha (2008) or the latest polyptych Picadilly Rent (2014), recently exhibited in Centro del Carmen in Valencia, Spain.
As Manuel Segade explains in his text “Brechas”, ‘Villalba’s work is defined by the gap which it offers, a space in between painting and photograph, sprinkled by both. The fixing of the photographic stops being well-known, so as to suspend the gestural movement of painting. The photograph is thus trapped as a sign which requires pictorial action to develop its significance. The inherent nostalgic of the image is driven by the desire to be a painting in a permanent escape from each other. As if the immersed body of the photographic emulsion would lead to a new emerging pictorial body, the overlays generate an enormous vitality of emotional intensity.
His work explores material sedimentation despite its apparent essentialization of the image, giving way to a compressed text, in-sandwiched, where banality is not possible because what is left in between is a space for fundamental questions. That is the reason for the elemental importance of a photographic background as working material, a sediment which is always human, on the edge inside the support, on the surface of the pictorial subjectile. Villalba has recognized his mutual distrust of both techniques, but he has never expressed his distrust in the experience. Sigfried Krakauer defined something similar with a term of modernity: the demonic ambiguity’.
Darío Villalba (San Sebastian, 1939) is a compulsory reference for understanding the development of art after the informalist generation of the 1950´s, as well as the main link in Spanish art with the international vanguard movements, who´s postulates he subverts. In 1970, at the XXXV Venice Biennale, he presented his “encapsulated” that brought him fame and artistic significance. He is electected a member of the Royal Academy of Fine Arts of San Fernando on the 12th of march of 2002 and he is awarded by the King of Spain the Gold Medal for the Merit in Fine Arts in the same year. (Luis Adelantado press-release)
Luís Adelantado Gallery. Laguna de Terminos 260. Col. Anahuac. 11320 Miguel Hidalgo. México DF.
Image: S/T. Darío Villaba, 2014
19 september – 29 november, 2014
The photographs shown in the show Silenciosos susurros (Silent whispers) by Montserrat Soto at Luis Adelantado Gallery Mexico represent places extended in time. They are images which introduce the past and the present in a continuous evolution in a continuous rethinking of contemporaneity. In this exhibition, Soto leaves on the walls of the gallery a reflection on the exterior and interior world, on the recognized and the expectation of what will come, in a constant study of the environment in which we live and its desires. Her photographs of landscapes glide us to places we know and where we live and look in a special way to join them in their half-spaces created on the walls of the gallery as a trick creating new spaces within the same walls.
Silenciosos susurros is part of the project Montserrat Soto has been working on in recent years about different communities in the world and their current developments and which is included under the title of Doom city, del hombre nómada al hombre sin lugar. (Doom city, from nomad to man without a home).
Montserrat Soto (1961) lives and works in Barcelona, Spain. She has presented her work in the last years in Sanish Authors Collective Big Sur, in Berlin with “The limits of perception”; in Joan Miró Foundation from Barcelona, in Room Koldo Michelena of San Sebastian, in CGAC center of Santiago de Composela and Fundación Telefónica in Madrid, inside PHotoEspaña. (Luis Adelantado press-release)
Galería Luís Adelantado. Laguna de Terminos 260. Col. Anahuac. 11320 Miguel Hidalgo. México DF.
Image: “Invasión sucesión 44”. Montserrat Soto 2014
01 october – 30 november, 2014
This travelling exhibition shows the architectural and intellectual production of the Herreros Arquitectos office. It presents a selection of forms, constructional details and maps of work equipment that are shown without references to the buildings to which they belong precisely in order to establish an independent dialogue on the ‘what’, ‘how’ and ‘who’ that can be used by third parties as a starting point for other explorations.. (AC/E. press-release)
Museo Franz Mayer. Hidalgo 45. Centro Histórico. México D.F
Image: Herreros Arquitectos
1 october – 23 november, 2014
Ricardo Calero leads to Evora Museum, materials resulting from installation "Space of Thoughts II" a nomadic sculpture that is also a space where programming lock conversations about culture, art and heritage. The work in iron, built in the shipyards of LISNAVE and inspired the Alentejo, patent chimneys since June in Sertório Square, is the protagonist of captured during the Spanish artist in residence Alentejo images and the stage production and transportation of the piece to Évora. A tribute to the natural landscape and architectural Alentejo. (Trienal Évora press-release)
Museu de Évora. Largo Conde de Vila Flor. 7000-804 ÉVORA
Image: Ricardo Calero
01 – 30 october, 2014
The Évora Public Library hosts the exhibit "Dónde # 4 Sleeping Library" by Eugenio Ampudia, work filmed in Portugal at the invitation of the National Palace TnA Help and already presented in the latest edition of ARCO in Madrid . In Alentejo, the choice of space is also evocative of the figure of the Cenacle, which has the Public Library and the Museum of Évora among his greatest achievements.
Like the openings of the other works in this series, the Spanish artist proposes an "open night" where the public will be invited to bring their sleeping bags and sleep in the exhibition space. The gesture of sleep has been repeated by Ampudia in places like the Prado Museum, the Alhambra in Granada and the flag of the IFEMA on ARCO. (Trienal Évora press-release)
Public Library. Largo Conde de Vila Flor. 7000-804 Évora. Portugal
Image: Eugenio Ampudia
23 september 2014 – 1 february 2015
The exhibition titled ‘Joan Miro: Women, Birds and Stars’ focuses on the artist’s mature period and is partly organized by Joan Miro Foundation in Barcelona.
Creations including oil and acrylic paintings, lithographs, etchings and assemblages with relevant models and drawings as well as his textiles and ceramic works will be exhibited.
Speaking at a press conference at Sabanci Museum, director Nazan Olcer said that preparation for the exhibition took three years."Our dream was to add the third link with this great Catalan master to the trilogy of Spain’s great masters," Olcer said, referring to the museum’s earlier exhibitions of Pablo Picasso and Salvador Dali.
"Some of his art in different techniques and some of his personal belongings will be exhibited for the first time in Turkey," she added. "A series of documentaries will also be shown at the exhibition thus giving us the chance to observe the artist’s life, inner world, his transformations, friends, anger and reaction to the political events in his country and in the world," she said. Miro's grandson Joan Punyet Miro was also at the launch. Speaking to The Anadolu Agency, Punyet Miro said that one of the objects displayed at the exhibition had a special meaning for him as it reminded him of his childhood. Posing along with a water tap he said: "When I was a child I was using the water tap to fill a tank where I was swimming in Catalonia. One day the water tank disappeared and it was used in one of his sculptures."
Punyet Miro described the exhibition as "complete" as there are paintings, drawings, sculptures and tapestries. Rosa Maria Malet, director of the Joan Miro Foundation, said that Miro defined himself as 'painter' but a painter who tries to work with all kind of material that he finds. "He was a big explorer and a big teacher; Miro tried to explore new techniques," Malet said.
Both an artist and sculptor Miro was born in 1893 in Barcelona and lived between Barcelona and Paris. The great Catalan artist died in Mallorca in 1983.(Anadolu Agency press-release)
Sakip Sabanci Museum, Sakıp Sabancı Cad. No:42. Emirgan 34467. İstanbul
Image: Joan Miró Foundation
21 september – 23 november, 2014
The Cultuurcentrum features a large retrospective exhibition by Spanish artist Alicia Framis (1967, Barcelona). Framis gained international recognition for performances and projects in public spaces that focus on human existence and social relationships. Her projects are interdisciplinary and intersect with fashion, architecture and design. Framis seeks to bridge the distance between the artist and viewer. All of her work is designed to create unexpected encounters and experiences.
Framis believes that normal art objects are too limited to convey ideas and emotions, and that as an artist you can best reach the public through direct contact and interaction. Her contribution to Utrecht’s Festival a/d Werf in 1996, for instance, was Compagnie de Compagnie, an escort service of identical twins who accompanied solo travelers to festival locations. In 1997 and 1998, Framis offered herself as a “dreamkeeper” for 40 days, a service for people who wanted company as they slept at night. At a number of exhibition sites, including the 2001 Berlin Biennale, she developed a mini-relaxation space exclusively for women where they could indulge in a male “comforter.” In 2003 she created a sensation with her project Anti-Dog. This clothing line is based on a new material that is both bullet-resistant and resistant to dog bites (2003). In the project Not for Sale (2008) Framis brings attention to global child slavery using necklaces and photos of children. Since 2009, Framis has worked on the project Moon life Academy. For this piece, she challenged a number of artists, designers and architects to develop innovative products and prototypes for living on the moon with the ultimate goal of also having positive repercussions for life on earth. (Cultuurcentrum press-release)
Cultuurcentrum Bruges, Buiten Smedenvest 1. 8000 Brugge
Image: AC/E. Alicia Framis
11 september – 29 november, 2014
The Belgian curatorial collective’s Alberto García del Castillo has invited artist Carles Congost and creative duo Sarah & Charles to the space to exhibit their recent video works exploring the “blurry almost-kitsch atmosphere on the border between ‘I did not want to do that’ and ‘this is actually how I see it'”.
Self-described as an exhibition with the “foundational characteristic of über-felicity” or “a narrative strategy revealing disenchant”, Bright Like a Diamond will feature Congost’s 2014 single-channel video work The Artist Behind The Aura and Sarah & Charles’s latest video titled Props For Drama: Suspension of Disbelief.
With the support of Vlaamse Overheid, Embajada de España en Bruselas - Cooperación Española, Instituto Cervantes de Bruselas, Fédération Wallonie-Bruxelles, Vlaamse Gemeenschapscommissie, Gemeente Vorst, Loterie Nationale and COCOF. (Komplot press-release)
Komplot. 295, Voxemlaan. 1190 Bruselas. (BÉLGICA)
Image: Carles Congost
24 september 2014 – 22 february, 2015
As part of Beijing Design Week 2014, which is the guest Barcelona city, the Cervantes Institute and the Institut Ramon Llull offer this exhibition, from the perspective of Barcelona artist Perico Pastor, how cultural exchanges established throughout the Silk Road have finished modifying and configuring both the public and private space in European and Chinese cities. With the representation of people, objects and places using the traditional technique of Chinese ink on paper, Perico introduces us to the human landscapes of cities like Barcelona, Beijing and Xi'an, and we discover the nature of its inhabitants: the customs and styles lives of three of the most important urban areas of the planet in the twenty-first century. (I.Cervantes press-release)
Instituto Cervantes , A1 Gongtinanlu, Distrito Chaoyang.100020 Pekín
Image: Xativa. Perico pastor
12 September 2014 - 11 January 2015
With his imaginative pictorial motifs, Joan Miró is one of the most popular artists of the 20th century. The Albertina is dedicating a solo exhibition to the Catalonian artist containing around 100 paintings, drawings and objects, which strives to emphasise the poetic quality of the famous Surrealist.
Miró's painting is characterised by a sense of lightness and spontaneity. He looks upon the world with a carefree, almost childish fascination for all things. His unmistakable pictorial language is as magical as it is universal. Moons, stars and comets, eyes and insects, birds and women populate his paintings and are among the most recognisable elements of his art. Miró's works provide insight into his poetic perception and interpretation of the original, of that which is actually essential in things, the world and the universe. Curator: Dr. Gisela Fischer. Guest Curator: Jean Louis Prat (Albertina press-release)
AlbertinaMuseum. Albertinaplatz 1, 1010Vienna. Austria
Image: Metamorphosis. Joan Miró 1936
6 september – 7 december, 2014
The title of the 31st Bienal de São Paulo, How to talk about things that don’t exist, is a poetic invocation of art’s capacities, of its ability to reflect and act upon on life, power and belief. The sentence, neither a question nor a proposition, entangles, through art, the mystical and spiritual side of life with political and social ideals – all this in a constantly changing world. It intends to communicate optimism about the possibilities of art today – an optimism that echoes that of the Bienal and the projects within it. The range of possibilities for action and intervention is open – an openness that is the reason for the first of the two verbs in the title to constantly change, anticipating the actions that might make present these things that don’t exist. We started by talking about them, later to move onto living with them. This was followed by using, struggling against and learning from those same things, in a list that has no end.
The 31st Biennial of São Paulo under the direction of Charles Esche, who along with spanish Pablo Lafuente and Nuria Enguita Mayo, Galit Eilat Oren Sagiv, besides the French commissioners associated curatorial team Benjamin Seroussi and the brazilian Luiza Proenca, selected and monitored a total of 81 projects, collective and individual responsibility, developed by more than 100 participants and totaling about 250 works.
On the Spanish side, you will see projects by Teresa Lanceta (Barcelona, 1951), Pedro G. Romero (Aracena, Huelva, 1964), Juan Pérez Agirregoikoa (San Sebastián, 1963), Asier Mendizabal (Ordizia, Guipúzcoa, 1973) and José Val del Omar. (31 Bienal Sao Paulo press-release)
31 Bienal de Sao Paulo. Bienal Pavilion Av. Pedro Álvares Cabral, Ibirapuera Park, Gate 3
Image: 31 Bienal de Sao Paulo.
04 september - 30 november, 2014
The Cervantes Institute in cooperation with the Hamburg art gallery Kunstforum Markert Hamburg presents the exhibition of artists from Mallorca Toni Barrero (Soller, 1970) and Ñaco Fabré (Palma de Mallorca, 1965). Trained at the School of Arts and Crafts in Palma, Ñaco Fabré then extends his studies with painters Juan José Deudero and Ellis Jacobson and trips to London, Venice and Paris. His work has been exhibited in Palma, Madrid, Bordeaux and Cologne among other cities. He has been awarded the Premi Ciutat de Palma (2000) and in 2008 he was appointed professor at the Royal Academy of Fine Arts of San Sebastian. Toni Barrero (Soller, 1970) has presented three solo exhibitions at Centre d'Art Contemporary Addaya Alaro (Mallorca) and numerous group exhibitions: Trentapertrenta in different editions of graphic or ImatgesRaonades among others. He also exhibited his works in the gallery Artara Mahon, forming part of the exhibition Amb Menorca to cap, and has participated in various art fairs and at Room Art Fair in Madrid. .( Kunstforum Markert press-release))
AHMEDABAD. Taller La Casquería “Live Architecture” XII BEAU. Bienal Española de Arquitectura y Urbanismo
01 november – 31 december 2014
Since the year of its establishment, the Spanish Architecture and Town Planning Biennial – Bienal Española de Arquitectura y Urbanismo, formerly the Spanish Architecture Biennial – has been incorporating into its overall programme a number of specifically architecture-related activities organised by the various collaborating institutions and a travelling exhibition which each year features the works that are shortlisted and win awards in each of the categories on account of their qualities.
The theme of the 2013 biennial was ‘Inflexión/Turning Point’, and the award-winning and shortlisted projects focused on rehabilitation, a town planning based on change, and an architecture that is environmentally friendly and not costly to maintain.
As a result of this call and of the selected works, the Ministry of Development, with the collaboration of AC/E, is organising and producing the Live Architecture exhibition designed by the young architects’ studio Taller de Casquería.
Live Architecture shows the award-winning architecture from a close and dynamic approach. The centrepiece of the exhibition is a major video installation that conveys not only the value of the prize-winning projects but also how they are used and experienced and how they behave over time, in daylight and with night illumination. Its design allows it to be shown simultaneously in several cities and in different formats.
The exhibition project was presented at the 12th Spanish Architecture and Town Planning Biennial (BEAUXII). Its aim is to make known the award-winning architecture in use, by showing the different stages of activity and how spaces are understood through their users. The focal point of the exhibition space is a black box with a large screen that displays all the information. All the buildings selected by the biennial are shown, evidencing their relations and unique features. Cross-cutting readings are made as equivalent or contrasting situations appear and are related on the screen. Management software was specially developed for this purpose to coordinate the different live entries in relation to the pool of recorded videos. A red light. . (AC/E press release)
Imagen: XII Bienal de Arquitectura
20 september 2014 – 21 february 2015
As of 20 September 2014 Palazzo Strozzi in Florence will be focusing on modern art once again with a major new event devoted to one of the greatest masters of 20th century painting, Pablo Picasso.
The exhibition will present a broad selection of works by this great master of modern art in an effort to stimulate a reflection on his influence and interaction with such leading Spanish artists as Joan Miró, Salvador Dalí, Juan Gris, Maria Blanchard and Julio González: art reflecting on art and on the relationship between the real and the surreal, the artist's heartfelt involvement in the tragedy of unfolding history, the emergence of the monster with a human face, and the metaphor of erotic desire as a primary source of inspiration for the artist's creativity and world vision.
Picasso and Spanish Modernity will be showing some ninety works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving and even film, thanks to the Fondazione Palazzo Strozzi's synergistic cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art on display will include such celebrated masterpieces as Woman's Head (1910), Portrait of Dora Maar (1939) and The Painter and the Model (1963) by Picasso, Siurana, the Path (1917) and Figure and Bird in the Night (1945) by Miró and Dalí's Arlequin (1927), along with Picasso's drawings, engravings and preparatory paintings for his huge masterpiece Guernica (1937), none of which have been displayed outside Spain in such vast numbers before now.
Organised by Fondazione Palazzo Strozzi and Museo Nacional Centro de Arte Reina Sofía. Curated by Eugenio Carmona (Palazzo Strozzi press-release)
Fondazione Palazzo Strozzi - piazza Strozzi 50123 Firenze
Image: Pablo Picasso. El pintor y la modelo (The Painter and The Model), 1963. Museo Nacional Centro de Arte Reina Sofía, Madrid
31 August - 21 December 2014
This is a group exhibition in which AC/E is supporting the participation of Spaniard Adrià Julià along with artists Bas Jan Ader, Meris Angioletti, Ali Cherri, André Cadere, Mathis Collins, Alighiero Boetti, Jimmie Durham, Naufus Ramirez-Figueroa, Julia Meltzer and David Thorne with Rami Farah, Gilad Ratman, Olve Sande, Benjamin Valenza, Guido van der Werve, Nancy Spero and writer Golan Haji.
The exhibition, curated by Elena Lydia Scipioni (Rome, 1979), explores the history of the artists and intellectuals who sought refuge in Marseilles when the Second World War broke out, and waited for an opportunity to escape to North America. In 1941, they stayed at the Villa Air Bel, where André Breton and a group of surrealists – Victor Brauner, Oscar Domínguez, Jaques Harold, André Masson and Frederic Delanglade – created a deck of hybrid cards (a mixture of traditional playing cards and tarot cards) known as ‘Le Jue de Marseille’ as entertainment. These cards are now held in the Musée Cantini, and are being shown especially on this occasion.
In this context Adrià Juliá (Barcelona, 1974) has been invited to create a new work based on Siegfried Kracauer’s texts – ‘Two planes’, written in 1926, ‘Apparition at Le Cannebière’ (1928 / 1931) – and Walter Benjamin’s texts ‘Marseille’ and ‘Hashish’. Julià explores the spatial, social and geometric relations that Karacauser describes around a square in Marseilles, but without disclosing its exact location or name. The text describes the square, which is now unknown or has disappeared, as an everyday, controlled theatrical space. It can also be found in the text written by Walter Benjamin on Marseilles and even in the letters exchanged by the two abovementioned authors. Julià treats this square as a space for speculation and promotion, with different interlinked stories and chronologies. For this purpose he has made a film that is projected in the exhibition space and refers to the architectural framework dealt with in Kracauer’s text. Julià sets out to make a slight shift in the focus of historical references in order to highlight the key role played by Marseilles. (AC Española press-release)
Le Cartel de la Friche, 41 rue Jobin - 13003 Marseille
Image: Adriá Juliá
july 19 – december 31, 2014
As part of the project TRANSIT- Creative Placemaking with Europe in Baltimore, the Spanish artist collective mmmm… has created a fun and interactive bus shelter in S. East Avenue, Highlandtown A&E District, right next to the Creative Alliance.
This is a bus stop that you can’t miss. It consists of three large sculptures that form the letters B U S. Each letter stands 14 feet tall and 7 feet wide and it’s made with wood and steel. The artist collective mmmm... has created a place for the community to enjoy, interact, and meet while waiting for the bus. They have transformed the experience of waiting for the bus to an entertaining, leisurely space in the middle of the lively rhythm of Highlandtown.
mmmm… is a collaboration between Emilio Alarcón, Alberto Alarcón, Ciro Márquez and Eva Salmerón, who have been creating projects for public spaces since 1998 in Madrid, Spain. They have arranged 100 couples kissing simultaneously throughout the crowds of the city center. Noise levels on the streets unexpectedly plummeted during that moment of mass intimacy. They have scattered members of an orchestra that played the same music simultaneously on various streets. Pedestrians experienced the music differently depending on which street they walked past, the speed at which they walked, and by which direction they were headed.
They have also built the Meeting Bowls in Times Square (New York), large objects shaped like bowls with seating to accommodate eight people. They constructed temporary and playful urban furniture, designed to promote interaction by having those seated inside face one another. The Meeting Bowls were social places for gathering and getting to know people.
TRANSIT – Creative Placemaking with Europe is an initiative of the Washington DC cluster of the EU National Institutes for Culture (EUNIC) and the Baltimore Office of Promotion and the Arts (BOPA), supported by a grant from the European Union. TRANSIT is supported by the British Council, Goethe-Institut, SPAIN arts & culture, the Embassies of Austria, Greece, Ireland, Finland and Poland. (Spain arts&culture press-release)
Bus Stop, S. East Avenue, Highlandtown A & E District
Image: Bus Stop. mmm..
18 june 2014 - december 2015
On the occasion of the 10th anniversary of Jaume Plensa’s Crown Fountain, the artist presents four monumental sculptures installed in Millennium Park for this special exhibition, 1004 Portraits. The sculptures are portraits of young girls created in cast iron and resin; they continue the story of the original 1000 portraits of local Chicago residents that illuminate the Crown Fountain every day. (Millennium Park press-release)
MillenniumPark. 201 E. Randolph St., between Michigan Ave. & Columbus Ave. Chicago, IL 60602
Image: Jaume Plensa
AUGSBURG. Jaume Plensa “The secret Heart” H2 Centre for Contemporary Art in the Glaspalast and Augsburg-Oberhausen gasworks
7 June 2014 – 30 january, 2015
Following an invitation by the Kunstsammlungen und Museen Augsburg, the Catalan artist Jaume Plensa designed a project for an extensive exhibition at three locations in Augsburg. The project’s centrepiece is The Secret Heart / Das Geheimherz in the gasometer of the Augsburg-Oberhausen gasworks. Here, Plensa has installed a monumental suspended heart with an accompanying sound installation, giving a new meaning to this industrial space. When he first saw this space, in the disc-type gas holder, Plensa was both fascinated and daunted. Its massive dimensions presented a huge challenge: how could a contemporary artist fill such a space? Can art overcome the artificiality of this space? Would what is technically possible be at all compatible with the artist’s creative ideas? Plensa’s spectacular heart is the emphatic response to such questions. This creation, reminiscent of an anatomical model of a heart, forms the crystallising centre of Plensa’s artistic deliberations, which seek to represent society as a complex image or symbol. The ‘secret heart’ is enclosed, or wrapped, in the steel cylinder of the building, in the interior of which the pulse of society becomes visible and audible. With this artistic concept, Plensa on the one hand takes up elements already present in his work to date, but the sculptural motif of the heart appears here for the first time.
Plensa’s work is always location-specific. He analyses the locations he uses for his installations, gets a sense of their specific features and integrates them into his works, drawing artistic energy from the place itself. This reciprocal relationship between place and artwork is also evident in his installation Void – Air – Water in the ballroom of the Schaezlerpalais, the second exhibition location in Augsburg, where Plensa has arranged three sitting figures, illuminated in changing colours from the inside. The three figures are related to their theatrical context in the rococo ballroom and respond to it in a contemporary way. Finally, in the great hall of the H2 Centre for Contemporary Art in the Glaspalast, Plensa presents sculptures whose common formal feature is the letter, for example his Self-Portrait of 2013, a globe inside which the sitting artist sculpturally constructs himself, or Talking Continents (2013), a series of floating figures composed of letters which interact with the situation, the light and the breadth of the room. The artist describes his Augsburg project as a grown trinity, as moments of the emotional (gasometer), the rational (Schaezlerpalais) and the intellectual (H2), which come together to form an organic whole. (H2 press-release)
H2 – Zentrum für Gegenwartskunst im Glaspalast. Beim Glaspalast 1 D-86153 Augsburg. Germany
Image: “The secret Heart” Jaume Plensa
NEW YORK. Laura F. Gibellini “Dom (Variations)” Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
june 17 – december 31, 2014
The project consists of a mosaic mural and twelve laminated windows located at the Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
Dom (Variations) appears as an apparition at the Fresh Pond Station a warm and inviting bedroom welcoming commuters to their home station. A neat bed, wallpapered wall, firm pillows and shiny furniture complete the scene. The artist’s intent is to reflect the path that flows from within the interior space of a cozy home to the exterior world, tracing the daily commute to work and the return home.
Based on the concept of “home," the mosaic mural, located across from the mezzanine entrance, depicts a lived in domestic interior scene, complete with scattered garments, books and a floor lamp. The pattern of the wallpaper on the bedroom’s back wall derives from a map, while natural elements like tree-leaves and branches invade the room, and seem to themselves form into wallpaper. The image of a window within the mosaic emulates the real windows in the next two stations. Overall, the work seeks to inspire an ethereal and dreamy atmosphere that evokes memories of the past and of a dreamed home.
Laura F. Gibellini(Madrid 1978) is a visual artist and theorist whose work grapples with the notion of ‘place‘ and what it means to inhabit the world. She is especially concerned with the emergence of specific places in the interstice between ideal and factual gestures, in the gap between conceptualization and practice. In her work, Gibellini pays particular attention to the conditions in which, at a given moment, specific artworks find their expression and manifest themselves. This places emphasis in the (thinking) process and how the artwork may appear as a result or residue of such development.
Gibellini’s art practice involves substantial investigation in a variety of disciplines and extends to the field of writing. She uses drawing, collage, photography and video and, at times, she produces site-specific installations. (ISCP press-release)
Commissioned and owned by MTA Arts for Transit & Urban Design
Fresh Pond, Seneca Avenue and Forest Avenue Stations (M Line), Queens, NY
Image: Laura F. Gibellini
20 june – 21 november,
2014 NURTUREart is pleased to present Videorover: Season 8, curated by Rachel Steinberg and featuring works by Spanish artists Beatriz Meseguer, Sofia Quirno, and Raul Valverde, along with Dave Greber, Victoria Keddie, Derek Larson, Brendan Lee, Alona Rodeh, and Adam Douglas Thompson.
Videorover, NURTUREart’s dedicated video program, aims at becoming an ever-expanding forum for emerging and underrepresented artists working in video. This season’s video works explore the idea of video as installation, highlighting the immersive potential that time based media hold. Through audio and visual tools and using the body as a reference point, this exhibition aims to interrupt our exteroceptive senses. For three weeks in June, Videorover: Season 8 will take over NURTUREart’s main gallery space; opening in shifts for a series of three consecutive installations. Each installation will feature three of the selected artists, to allow for the works to expand in the space, while still in dialogue with the larger group of works.
On June 20, the second selection will open, featuring artists Beatriz Meseguer, Alona Rodeh, and Raul Valverde, whose works are centered on conditions of light and absence as a common ground. Architectural in nature, the focus of this group turns to the empty gallery space, where small interventions create chaos in the truancy of human interference. Here, the unnoticed subtleties of a gallery become the center of our attention. The resulting calm is enveloping, shifting our perspective to the architectural.. Beatriz Meseguer (b. 1981, Murcia, Spain) received a B.J. in Journalism from the Complutense University of Madrid, and studied at the EFTI International School of Photography in Madrid, and the School of Visual Arts in New York, where she currently lives. Since 2011, she has been experimenting with installation, photography and video. Her artwork is focused on constructing analogies and semantic games with a strong conceptual force. Her pieces and installations, often created from simple everyday objects, acquire a strong poetic sense through the use of small interventions. An attention for the essence of things as well as the importance of language, are prominent in her artistic practice. Space, memory, and transformation processes, are recurring themes in her work.
Raúl Valverde (b. 1980, Madrid, Spain. Lives and works in New York) received a BFA from Complutense University in Madrid, an MA from Central Saint Martins, London, and a MFA from School of Visual Arts, New York.
Raúl Valverde examines his own activity as an artist through the use of irony, appropriation, and illusion. The context in which his work is produced and displayed is a pivotal component to his projects, which overtly explore the relations between space and temporarily. He uses a variety of artistic media ranging from installation, video and digital animation to sculpture, drawing, photography, and publications. (NURTUREart press-release)
NURTUREart. 56 Bogart St. Brooklyn, NY 11206
Image: NURTUREart. New York
28 june – 31 october, 2014
Manifesta is a European contemporary art biennial that takes place in a different city every two years. In 2014 Manifesta will be held in St Petersburg, the main venue being the Hermitage, which is furthermore celebrating its 250th anniversary. The curator of this year’s event, German Kasper König, has made a very small selection of artists in comparison to previous years, including two Spanish artists: the deceased Juan Muñoz and Jordi Colomer. AC/E is collaborating in the project to exhibit the works of both.
Juan Muñoz (Madrid 1953 – 2001) His first exhibition was in 1984 in the Fernando Vijande galleryy of Madrid. Since then, his works have been frequently exhibited in Europe and other parts of the world. At the beginning of the 1990s, Juan Muñoz began breaking the rules of traditional sculpture by sculpting works in a "narrative" manner which consisted of creating smaller than life-size figures in an atmosphere of mutual interaction. Muñoz's sculptures often invite the spectator to relate to them, making the viewer feel as if they have discreetly become a part of the work of art. His slate-gray or wax-colored monochromee figures create a sort of discreetness due to their lack of individuality, but that absence of individuality questions the viewer, perhaps even so much as to make the viewer uncomfortable. When asked his occupation, Muñoz would respond simply that he was a "storyteller."
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these. (Manifiesta 10 press-release)
StateHermitage Museum, Palace Square, 2, St Petersburg, Russia, 190000
Image. Juan Muñoz, Jordi Colomer
VENICE. Ricardo Boffil “Towards biology, Time Space Existence” Palazzo Bembo, Venice Architecture Biennale
07 june – 23 november, 2014
The exhibition presents an architectural narrative based on La Fabrica the firm’s well-known headquarters in a former cement factory in Barcelona. The exhibition extends the space far beyond its physical existence in Spain, to consider how it can also exist in other places, most specifically in Venice. Drawing upon past, present, and future similarities between Barcelona and Venice, the exhibition will reimagine La Fabrica as the Venice-based starting point of a communal/ individual journey and thought process that transcends physical and mental frames. (R.Boffil. Taller de Arquitectura press-release)
Palazzo Bembo, located at Riva del Carbon, 4793- 4785, Venezia 30124.
Image: W Hotel, Barcelona. Ricardo Bofill Taller de Arquitectura
VENICE. “Grafting Architecture. Catalonia at Venice” Collateral event, 14th.Venice Biennale Architecture
7 June – 23 November
Catalonia returns to the Eventi Collaterali of the 14th Venice Biennale of Architecture with the project Arquitectures Empeltades/Grafting Architecture curated by Josep Torrents i Alegre together with associate curators Guillem Carabí Bescós and Jordi Ribas Boldú.
Casa Bofarull by Josep Maria Jujol (Tarragona, 1879 – Barcelona, 1949) is the starting point for understanding an architectural approach present in many buildings where the architect is faced with a pre-existing feature (physical or otherwise) and blends the new and old layers to beget a new architecture that is able to combine them harmoniously. The proposal will show the process and perception of a series of examples of Catalan architecture that begins with Jujol's work. (Venice Biennale press-release)
7 june – 23 november, 2014
This year’s biennale, based on the theme of ‘Fundamentals’, will focus on History, the constant features of architecture and the developments witnessed in the past hundred years in national architecture, which has evolved towards an interchangeable and global style.
Greater coordination and coherence will be sought between the National Pavilions, which will base their work on a single theme – ‘Absorbing Modernity: 1914–2014.
The Spanish Pavilion will examine the concept of ‘Interior’ as the overall theme of the pavilion. As the curator Iñaki Ábalos explains, ‘there is no architecture without an interior; there is no idea of architecture if there is no thought of interior in all aspects. The interior speaks of space, and space is, by definition, the theme of architecture.’
The result of exploring the central theme of ‘Interior’ will be approached as an investigation through different examples of Spanish contemporary architecture that evidence one of the distinguishing features of its identity and essential core: the need to understand or interpret it as an environmental construction. References from our modern history such as Coderch, Oiza and Sota, and works by earlier architects like Gaudí and Guastavino already pointed to this specificity and are essential to understanding many of the architectural designs that will be shown in Venice. (AC Española press-release)
Spanish Pavilion, Pavilion at Giardini Biennale di Venezia