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Spanish contemporary art worldwide

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VIENNA. Miguel Ángel Rego “Post-Contingent Coherence” Charim Gallery

9 september – 14 october, 2016

Post-Contingent Coherence shows a pianist performing Nocturne Op. 55, No. 1 in F Minor by Frédéric Chopin. The pianist suffers anosognosia, and the viewer’s perception changes according to the perspective of the camera, and also to what the audience hears from the instrument – an overlap of different melodic realities. In this artwork the first and third person perspectives are underscored to explore the self-model in regards to confabulations derived from the lack of feedback from the paralyzed left side of the body. In Post-Contingent Coherence, through images and sound, we can see different self-models interacting as distinct realities happen at once.

‘Some of the elements of the model may become opaque to a degree, by incorporating representations of their own functional structure, and thereby the possibility of its malfunction.’ Thomas Metzinger. (Charim press-release)

Charim Galerie. Dorotheergasse 12/!. 1010 Viena

http://www.miguelangelrego.com   http://www.charimgalerie.at

Image: Muguel Angel Rego. Post-Contingent Coherence (2016)- Video monocanal. Duración 5' 51"

SANTA MONICA. Daniel Canogar “Code and Noise” Arena 1 Gallery

10 september – 8 october, 2016

Technology has been prevalent in the art world since the early nineties. Alan Rath, Nam June Paik, Bill Viola, Jim Campbell to name a few have pioneered electronic, video, computer and interactive art, all summed up now under “media” art.  Along with the introduction of the digital camera to mainstream market, “New Genre” was introduced to art programs to address the use of technology as an art form. Engineers and artists started sharing ideas and exploring possibilities. In 2003, MIT graduate Casey Reas introduced Processing, an open source programming language built for electronic arts, and new media. With all that in place, generative art exploded and galleries and museums followed closely behind by embracing this new art form. Though media art is able to take a visual experience beyond the surface and sometimes turn the passive viewer into an active participant, it remains a challenge for many collectors. While Alan Rath and Nam June Paik consciously exposed the hardware like a canvas, Jim Campbell and Bill Viola made sure that the technology was as little invasive as possible and returned to the fundamentals of art, letting an image and an idea tell the story.

Moving forward fifteen years and a new wave of media artists find themselves fully immersed in the art market and equal to their peers – the painters, the photographers, mixed media artists and installation artists – thanks to the inevitable advance of the technology with smaller portable devices, enhanced visual displays, storage space and Apple. Media artists continue to push the boundaries of technology venturing into the software world taking a chance in exchanging ideas with a code rather than a brush. Where abstract painters often rely on intuition to free themselves of any conscious direction, media artists rely or create algorithms to alter and challenge the preset disposition of the software.

“CODE and NOISE” is an exhibition that presents fifteen artists from Chicago, New York, Los Angeles, the Bay Area, and China who use, create or leverage software to produce works that are engaging, stimulating and invite us to ponder many current issues such as the environment, memory, art history, data collection, emotions and surveillance.

 Curated by Christine Duval. Artists:JD Beltran& Scott Minneman, Jim CampbellDaniel Canogar, Mel Day& Frank Ham, Laurie FrickJames Lanahan, Ligorano Reese, Clive McCarthy, Simon PyleCasey Reas, Laura Splan and Yang Yongliang.(Arena 1  press-release)

Arena 1 gallery. 3026 Airport Avenue. Santa Monica, CA 90405

http://arena1gallery.com http://danielcanogar.com

Image: Sikka Magnum. Daniel Canogar

RIO DE JANEIRO. “Picasso: savant hand, savage eye” Caixa Cultural

13 september – 20 november, 2016

With a large volume of works by the Spanish artist belonging to Musée National Picasso-Paris, this powerful exhibition organized by Instituto Tomie Ohtake shows items that bear a very special relationship of Picasso with his work, since they were selected and held by him throughout his life. These works that have thus stood by his side are now part of the collection of the French museum, whose Picassian collection is one of the most important in the world, mostly after two successive donations made by the painter’s heirs in 1979 and 1990. Only two of the works presented at the exhibition originally came from Dora Maar’s collection, later acquired by the museum.
‘Picasso: savant hand, savage eye’, curated by Emilia Philippot, who is also curator of Musée National Picasso-Paris, is made up of 153 pieces, the vast majority of which unprecedented in Brazil, and follow a chronological and thematic journey around sets that mark the main stages of the artist, from his early educational years to the last years of production. The exhibition unveils 116 works by the Spanish master - 34 paintings, 42 drawings, 20 sculptures and 20 prints - as well as a series of 22 frames by André Villers, made in partnership with Picasso. The exhibition ends up with 12 photographs authored by Dora Maar, three by Pirre Manciet, and films on the works and their ‘making-of’. “We chose to take advantage of the specific character of the collection to sketch a portrait of the artist that questions his relationship with creation, in-between production and design, implementation and thought, hand and eye,” says Philippot. (Caixa Cultural  press-release)

Caixa Cultural. Av. Almirante Barroso, 25 - Centro . Rio de Janeiro

http://www.caixacultural.gov.br

Image: Picasso "Joueurs de ballon sur la plage", 1928

SHANGHAI. Eva Armisén “One stitch for each wish” Wheelock Square

22 september – 22 october, 2016

One stitch for each wish is a solo exhibition by contemporary Spanish artist Eva Armisén whose paintings, drawings, and etchings have the capacity to transform each day into a unique occasion.

Eva Armisén brings something that goes almost beyond definition: an affirmation of life that vetoes any form of aggression.

Her work is essentially narrative and speaks of the small moments in daily life. She paints stories and characters, accompanied by a word or a message: walking, reading, ideas, falling in love; at times she goes a step further and adds ‘for you’ or ‘a special day.’ She transforms ordinary acts into the realm of the extraordinary, making us believe that each and every one of us has something to celebrate and enjoy.

Armisén (b. Zaragoza 1969) has exhibited her work in galleries and art fairs in Europe, America and Asia. Her artworks have been used in publicity campaigns by Coca-Cola, Skinfood, TMT, and O’2nd. Her art has been a part of TV series and Hollywood movies such as Modern Family, I hear your voice, Parenthood, and House. (Shanghai daily - press-release)

Wheelock Square . 1717 Nanjing West Road, Jing'an District, Shanghai, 200040

http://www.wheelocksquare.com   http://www.evaarmisen.com

Image: Eva Armisén “de viaje”

PUERTO RICO. Ricardo Santonja “Los Espacios Vividos” Universidad Interamericana

15 september – 14 october, 2016

Professor and visual artist Ricardo Santonja presents in this exhibition an emotional, scientific vision of what represents Cervantes to him, with regard to the places where Cervantes lived and that were fundamental to the creation of his literary works.

Motivated by the 400th anniversary of the death of Miguel Cervantes de Saavedra, author Ricardo Santonja hopes to pay homage to the internationally renowned and indispensable Spanish author, reflecting on the spaces in which Cervantes lived. For this, he has selected the images known as “poems of light” (poemas de luz) to create a halo of magic around the life of Cervantes. The lived spaces: Madrid, La Mancha, Barcelona, Valencia, Roma, Nápoles, Cerdeña, Argel and Túnez, among others, are the driving forces of this photographical exposition based on the energy of emotions. . (Spainculture press-release)

Universidad Interamericana de Puerto Rico, 89, 1 Cll Villa Universitaria, Aibonito, 00705, Puerto Rico

http://inter.edu/i2

Image: Ricardo Santonja

NEW YORK. Ignacio Uriarte “Cut, Folded, Pressed & Other Actions” David Zwirner Gallery

september 15 - october 29, 2016

This group exhibition will highlight modern and contemporary artists who utilize paper as a site of rigorous formal and conceptual inquiry through direct manipulation and engagement with its materiality.

Ignacio Uriarte (1972) was born and grew up in Krefeld in Germany. He studied business administration in Madrid and Mannheim, then worked for various corporations in Germany, Spain and Mexico. There, he graduated in audio-visual arts from the Centro de Artes Audiovisuales in Guadalajara, Mexico. He left the corporate world ten years ago and dedicated himself fully to art, calling his work “office art”, and moved to somewhat more artist-friendly Berlin in 2007. Uriarte draws inspiration from 'the little creative moments' within office routines. The two-channel video Blue Ribbon takes as its starting point the simplest of all office doodles: filling out squares on graph paper. Whether monumentalising the 'cascade' function in Windows by spacing sheets of paper over a wall, or drawing shapes with two different shades of black marker pen, Uriarte uses administrative tools to restore creative agency to the office worker.

The exhibition includes work by Noriko Ambe,Hans Bischoffshausen, Enrico Castellani, Célia Euvaldo,Fernanda Gomes, Oskar Holweck, Vlatka Horvat, Sol LeWitt, Marco Maggi, Anna Maria Maiolino, Gordon Matta-Clark, Eleanore Mikus, Joshua Neustein, Arthur Luiz Piza, Fred Sandback,Mira Schendel, Günther Uecker, and Ignacio Uriarte, among others. (David Zwirner press-release)

David Zwirner Gallery. 519, 525 & 533 West 19th Street. New York, NY 10011

http://www.davidzwirner.com   http://www.ignaciouriarte.com

Image: Ignacio Uriarte

PORTO. Joan Miró “Materiality and Metamorphosis” Serralves Villa

30 september, 2016 – 28 january, 2017

The exhibition covers a six-decade period in Joan Mirós's career - from 1924 to 1981. It focuses in particular on the transformation of pictorial languages that the Catalan artist first developed in the mid-1920s. The exhibition considers his artistic metamorphoses across the mediums of drawing, painting, collage and work in tapestry.

Miró’s visual thinking and the ways in which he negotiates between optical and tactile modes of sensation is examined in detail, as are the artist’s working processes.  

The exhibition comprises around 80 works by Joan Miró from the collection of 85 works, most of which have never previously been seen by the general public, including six of his paintings on masonite produced in 1936 and six "sobreteixims" (tapestries) of 1973. The exhibition is accompanied by a fully-illustrated catalogue with a lead essay by the curator.

Suzanne Cotter, Director of Serralves Museum, stated about the exhibition: "We are delighted to be able to contribute to a greater awareness and appreciation of the work of Joan Miró through what will be an authoritative and unique presentation of this singular collection”. The exhibition ‘Joan Miró: Materiality and Metamorphosis’ is organised by the Serralves Museum of Contemporary Art and is curated by Robert Lubar Messeri, with architectural design by Álvaro Siza Vieira. (Casa de Serralves press-release)

Casa de Serralves, Rua de Serralves 1052, Porto

http://www.serralves.pt

Image: Casa de Serralves. Joan Miró “Materiality and Metamorphosis”

LONDON. Gorka Mohamed “Raise ravens and they will pluck out your eyes” Peter von Kant Gallery

16 september – 28 october, 2016

The work of Spanish artist Gorka Mohamed is of a both humorous and disturbing nature. Offering a concrete allusion to the pictorial language of cartoons, his protagonists often bend the boundaries between reality and fiction, between a yearning for infinity and the set rules of their everyday lives. With great sensitivity towards the shifts within modern day society, Gorka analyses sharply, while introducing a refined imagery that thrives on a unique use of colour, character and form. His current exhibition at Peter von Kant ‘Raise ravens and they will pluck out your eyes’ introduces his latest body of work while revealing a distinct take on the current state of cultural reality.

Gorka Mohamed (b. Santander, 1978) lives and works in London. He graduated in 2003 from Escuela Massana de Barcelona and obtained his MFA in Fine Art from Goldsmiths College in 2008. Recent and upcoming exhibitions include Choi & Lager, Cologne (2016); ‘ Raise ravens and they will pluck out your eyes’, Peter Von Kant, London (2016); ‘Termite Painting & The Sick Feet’, Galeria Juan Silio, Santander, Spain (2015); ‘100 Painters of Tomorrow’, One Art Space Gallery, New York (2014; Exeter Contemporary Open, Exeter, UK (2014); ‘Enlaces + Seis Contextos’, Museo Patio Herreriano, Valladolid, Spain (2012); ‘Riendo hacia Atrás’, Galería Distrito4, Madrid (2011); ‘Wonderpia’, Seoul Museum of Contemporary Art, Nanjo Studio Gallery, Seoul, Korea, (2011). (Peter von Kant press-release)

Peter von Kant. 25 Tanners Hill. London SE8 4PJ

http://www.petervonkant.com     http://gorkamohamed.com

Image: Doña Passiflora del Tinder. Gorka Mohamed

PARIS. David Rodríguez Caballero “Danser la Sculpture” Espace Meyer Zafra

22 september – 4 november, 2016

David Rodríguez Caballero’s career has been an exploration of light and material, relentlessly immersed in abstraction. He has been fearless to the limitless possibilities of creating with non traditional resources, but using light like a classical master. His reliefs continue to acquire new dimensions through a vocabulary of surface, folds, color, and shades. Geometry and composition are fundamental to works that seem minimalistic at a distance, but that upon looking closely unveil the richness of their materials. His work results from the combination of a rational discipline and an organic sensitivity that

inspire a rich multisensory experience. His is a world of reflections and transparencies, physically and intellectually speaking, in a constant melodic flow. Francine Birbragher. (Meyer Zafra press-release)

Espace Meyer Zafra. 4 rue Malher. 75004 Paris

http://espace-zafra.com http://www.davidrodriguezcaballero.com

Imagen: David Rodriguez Caballero. Espace Meyer Zafra

 

HOUSTON. Daniel Garcia Antón and Edgar Melo “Back to Barataria” Institute of Hispanic Culture

24 september – 4 october, 2016

A photographic project around Quixote and the Spanish-speaking community through places located in the south of the United States.

Barataria is the name of the fictional island Awarded to Sancho Panza, in the book The Ingenious Hidalgo Don Quixote de la Mancha, to govern, as a prank. What if Sancho Panza traveled to the U.S. in 2016? This is a photographic project around Quixote and the Spanish-speaking community through places located in the south of the U.S. The streets and cities have names from Miguel de Cervantes’ book.

Curated by Daniel Garcia and Edgar Melo (These Glory Days collective), Spanish photographers and documentary filmmakers are presenting the final results at the Institute of Hispanic Culture, after passing through Florida and Louisiana, prior to its continuation in Texas.

Edgar Melo is a photographer and documentary filmmaker born in Barcelona (Spain). He graduated from the Danish School of Media and Journalism. He was graphic editor of documentary photography magazine Piel de foto and the collective These Glory Days. As a documentary filmmaker, he has directed the documentary and feature filmCabriante Wavelength, one of the chapters of Transeuropa Caravans, a project funded by the European Commission and the Soros Foundation. He has also worked as a photojournalist and filmmaker for publications such as Lonely Planet, La Vanguardia,El Confidencial, Al-Jazeera TV or RTT.

Daniel García Antón is a documentary filmmaker born in Seville, Spain. He is the author of several short films and medium-length films broadcast on television and released in various international festivals (Visions du Réel, Transcinema Lima, Documenta Madrid, etc.). Currently working on his first feature film, Rest in Peace, Mr. Hopper, a hybrid of documentary and fiction produced by Colibri Studio and filmed in Peru, which will be completed in 2017. Back to Barataria, performed with Edgar Melo, is his first photographic project. (IHCH press-release)

Institute of Hispanic Culture. 3315 Sul Ross. Houston. TX

http://www.ihch.org  http://dangarant.com  

Image: “Sancho Panza Rd” Daniel García Antón

 

SAO PAULO. David Bestué and Fran Meana “Kunsthalle Sao Paulo 2016”

27 september – 18 december, 2016

The event "Spanish artists at KUNSTHALLE São Paulo 2016" is a project in which Spanish artists David Bestué and Fran Meana are invited to take part of KUNSTHALLE São Paulo Art Residency program during the year of 2016. The program provides each artist with the possibility of spending a period of 6 weeks in São Paulo, while developing a new research, that will be displayed in the Vitrine space. The presentation will have an opening event, together with the exhibition of KUNSTHALLE São Paulo’s main program.
Along the residency period, artists have studio visits organized with local curators and other artists, in order to have more personal meetings. The residency program includes also weekly meetings with director Marina Coelho, who advises them on the research, and also introduce the artists to the city and the local art scene.
For the period of 6 weeks, the residency program offers to one artist at a time a private studio comprised of working space, bedroom, bathroom, small kitchen and laundry. KUNSTHALLE São Paulo offers support in the search and transport of needed materials, working tools, printer/scanner and Wi-Fi Internet. The studio is well located in the city and is served by several transportation options. (AC/E press-release)KUNSTHALLE São Paulo. Rua Apinajés, 1547. Sumaré – 01258-001. São Paulo – SP – Brazilhttp://kunsthallesaopaulo.com/wordpress2/     http://www.davidbestue.net   http://franmeana.com

Image: David Bestué

NEW YORK. Ignacio Evangelista “Can a line define?” Art Gallery College Staten Island

19 september - 22 october, 2016

This group exhibition will juxtapose artistic and journalistic approaches discussing the notion of the border. The exhibition also explores issues related to
the recent migration crisis in Europe.

Ignacio Evangelista presents "After Schengen", the project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service, allowing us to gaze into the past from the present. This causes many reflections, specially  in a moment that EU project it is severely discussed. "After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).

Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, between animate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace.

Artists:  Ignacio Evangelista, David Molina Gadea, Dario Mitidieri, Matej Povše, Chat Travieso, Terri Warpinski, Matic Zorman y Le Brothers. (Art Gallery College press-release)

Art Gallery College. Staten Island 2800 Victory Blvd. Staten Island NY 10314

http://www.csi.cuny.edu/artgallery  http://ignacioevangelista.com

Image: After Schengen, Ignacio Evangelista

BERLIN. Montserrat de Pablo “Sobre la Cámara Oscura – On the Camera Obscura” Embassy of Spain

22 september – 22 november, 2016

Proceeding from her doctoral thesis on the history of the camera obscura, Montserrat de Pablo presents in this exhibition the results of a research project that she carried out at the Max Planck Institute for the History of Science (MPIWG) in Berlin from 2013 to 2016.
The show offers an overview of the development of the camera obscura (pin-hole camera), from the earliest examples up to the invention of photography. Also on view is a selection of photographs and drawings, indoor and outdoor views, variations on a theme as well as photographic portraits of MPIWG staff that Montserrat de Pablo took with a camera obscura prototype designed for the Institute by Berlin-based artist Carsten Wirth.
Montserrat de Pablo works in Madrid, Cuenca and Berlin. After her fine arts studies at the Complutense University in Madrid, she did her doctoral work at the University of Castilla-La Mancha, where she is currently a photography. (MPIWG press-release)

Embassy of Spain. Lichtensteinallee 1. 10787 Berlin

http://www.spanien-kultur.de    http://www.montserratdepablo.com

Image: “Retrato de grupo” Montserrat de Pablo

 

MADRID. Rubén Guerrero “Deferred, reversible and not to scale” Galería F2

15 september – 12 november, 2016

In his first solo exhibition at F2 Galería, Rubén Guerrero presents his latest work: a series of large-size paintings in which he continues to look into the limits and conventions of painting.

Guerrero takes the work Untitled (2ndIdée de Peinture M.B.) as his starting point: a diptych whose title, The Idea of Painting, provides us with certain clues as to his interest in painting as a subject for critical thinking. Such critical thinking unfolds in a process that, because it is interrupted or open ended, lays bare its very logic and works much like children’s construction toys, like origami or even colour-by-number drawings.

The above evocation is also meant to be a way of rethinking the basics of painting: surface, colour and texture. For this, the artist creates simple geometrical compositions using small pseudo-architectural or totemic objects. Each work is the result of a complex analysis of the resulting image as the objects are systematically forced to adapt to a two-dimensional plane, thus acquiring an extreme frontality that is something like a trompe l'oeil. This inability to differentiate between the figure and the background confers a clear hermetic feel to the painted surface. Oscillating between the sculptural and the pictorial, the pieces seem halfway between the original object and the resulting picture, halfway between thought and process using painting as a constructive, material and mental principle.

Guerrero is matter-of-fact about the paradoxical matter of figurative abstraction or abstract figuration, and it seems he is trying to direct our attention in two opposite but tangent directions within each work; on the one hand, he relies on the image and the principles of illusion painting, and on the other, on the speculative and experimental whim of the abstract as if both directions converge into a sort of synthesis of the recognisable and familiar with the extraordinary, thus placing the viewer in the narrow space (or the loop) between the painting and the image. (F2 press-release)

Galería F2. Doctor Fourquet 28. 28012 Madrid.

http://www.f2galeria.com

Image: Rubén Guerrero

 

TOKYO. Salvador Dalí “Retrospective” National Art Center

14 september – 12 december, 2016

Salvador Dalí produced an array of appealing, stimulating images in an elaborate and surrealistic style that characterized 20th-century Spanish art. This exhibit is composed of nearly 200 works from three major Dalí collections - the Gala - Salvador Dalí Foundation, the Reina Sofia National Art Centre in Spain, and the Salvador Dalí Museum in the United States of America. Trace the multifaceted career of Dalí with paintings, graphics, objets d'art, jewelry, films and works in other media from his early days to his closing years. (NAC press-release)

Kokuritsu Shin-Bijutsukan.The National Art Center, Tokyo. 7-22-2 Roppongi Minato-ku Tokyo 106-8558 Japan

 http://www.nact.jp

Image: Salvador Dalí. Venus de Milo con cajones, 1936

BARCELONA. OTEIZA “La desocupación del espacio” Sala de exposiciones La Pedrera

27 september 2016 - 22 january 2017

Jorge Oteiza (Orio, Guipúzcoa, 1908 - San Sebastian, 2003) is certainly one of the sculpture leaders of the second half of the twentieth century, with a clear vocation for experimentation and theoretical reflection.

The exhibition shows a journey through all stages of the sculptural work of Oteiza, from the archaic forms of the first pieces to the latest series; and, also, wants to discover various facets of his career, ranging from poetry or architecture to the education or cultural agitation. (La Pedrera press-release)

Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona

 https://www.lapedrera.com  http://www.museooteiza.org

Image: “desocupación no cúbica del espacio” Jorge Oteiza

LUGANO. Ángel Marcos, “Gool” Artphilein Collection: Choisi - one at a time

13 - 28 september 2016

In September, on the occasion of the display of Artphilein Foundation collection,Choisi - one at a time presents "Gool" (2004) by Ángel Marcos

The photo series "Gool - In Cuba" is part of the project "Around the Dream", the trilogy that Marcos dedicates to three very different geographical places: New York, Cuba, China.

The artist considers New York as the West, intended as a generator of new aspirations and achievements, Cuba as the symbol of Communism and China as a possible combination of the social, political and economic aspects of New York and Cuba: a country with an economy based on unrestrained market, lead by a strict Communist government.

In depicting Cuba, Marcos demonstrates an interest in the contrast between the power and the political propaganda and the real aspirations and needs of the people. Marcos explains: "Havana is a phantasmagorical place. After the impressive architecture of New York, I changed scenery... I exchanged abundance with lack. I kept on working on the means of power and their relentless presence in the everyday life."
Ángel Marcos is born in Medina del Campo, Valladolid, in 1955. His works are exhibited in Spanish and international museums; in 2013 he participated in the 55th Venice Biennale (parallel event at the San Pasquale School); in 2009 at the X Bienal de la Habana, Cuba; in 2006 at the Bienal del Fuego, Museo de Bellas Artes de Caracas, Venezuela. On the occasion of the 55th Venice Biennale, Arphilein Foundation supported the realization of Ángel Marcos's book "The intimate subversion", published by Eikon, Wien, in 2013. The book is available at Choisi bookshop. (Artphilein foundation press-release)

Artphilein Collection. Choisi - one at a time, via Pelli 13, Lugano. Swissland

 http://us3.campaign-archive1.com  http://www.angelmarcos.com

Image: “Gool” Ángel Marcos

MILAN. Santiago Sierra “The Trough” Prometeogallery

september 16 - november 12, 2016

Prometeo gallery is proud to present The Trough, a solo exhibition by Spanish artist Santiago Sierra. The exhibition is the second and last part of a project begun in July 2015 at Centrale Fies in Dro (TN) in the context of the Drodesera Festival.

On the occasion of the festival, the first part of the work featured a laevogyrate swastika placed at a forty-five degree angle on a black & white tiled surface surrounded by four average-height walls separating off the space but allowing the public to get up close to the lives in captivity of a group of ordinary mice. The swastika acted as a recipient containing soymilk, a trough the rodents went to for food. Moulded in this way, the swastika – this time dextrorotatory - was later moved by the artist to the Karni Mata temple in Deshnoke in Rajastan, devoted to a Hindu woman worshipped as the incarnation of the goddess Durga – 'the invincible', 'the inaccessible' – where mice are venerated.
Each element of The Trough goes beyond representation to open a dialogue with history in an interweaving of symbols that have acquired different meanings over the various eras and cultures. From the initial symbolism of the swastika that from the Palaeolithic to the modern age stood for good fortune and that in contemporary history saw its symbolic meaning inverted negatively, to the black and white chessboard pavement of the Karni Mata temple rebuilt in Dro, from the mice to the milk and its white colour, to the marble pedestal that becomes the supporting base to the sculpture initially used as a trough.

The Trough is a circular exhibition through which the artist invites the public to go beyond stereotypes and simplifications. The exhibition is accompanied by a critical text by Fernando Baena. (Prometeo gallery press-release)

Prometeogallery. Via Ventura, 3 Milan 20134

http://www.prometeogallery.com   http://santiago-sierra.com

Image: Santiago Sierra, The Trough, 2015-2016. Italy-India

PITTSBURGH. Drap Art “International Festival of Recycling Art” PPG Wintergarden

9 september – 9 october, 2016

A month-long celebration of creative recycling, transformation and sustainability in Pittsburgh, featuring an international Drap-Art exhibition.

As Pittsburgh experiences a resurgence and addresses continuous, equitable improvement, this collaborative new festival reflects the city’s forward thinking arts and culture, creative industries, and sustainable technologies. Festival visitors will witness the North American premiere of Drap-Art, the International Festival of Recycling Art, held annually in Barcelona, Spain. This premiere in the PPG Wintergarden will set the stage for diverse programs all month long: exhibits in alternative venues, music showcases, eco-tours, markets featuring upcycled goods, hands-on workshops, education, films, performances, and environmental exhibits.

Drap-Art, based in Barcelona, showcases accomplished international artists who create provocative and compelling art from reused materials. Having exhibited across multiple continents for 20 years, Drap-Art will host its North American premiere at theRe:NEW festival in Pittsburgh.

Featuring group exhibitions of art and design made from repurposed materials; interventions in public spaces; discussions and panels; an artists’ market; hands-on workshops; and performances, Drap-Art Pittsburgh will be a month-long celebration in the PPG Wintergarden in Downtown Pittsburgh, opening September 9, 2016.

Drap-Art’s recent Barcelona showcase attracted 10,000 visitors to experience artists, musicians, educators and designers –all promoting environmental and sustainability ideas through artistic expression. (Drap-Arts press-release)

Re:NEW Festival. Greater Pittsburgh Arts Council, 810 Penn Ave.. Suite 600, Pittsburgh, PA 15222

http://renewfestival.com  http://www.drapart.org

Image: Drap-Arts

MEXICO. Remedios Varo “Apuntes y Anécdotas de una Colección” Museo Arte Moderno

8 september 2016 – 1 february 2017

The Mexico City Museum of Modern Art's new show devoted to painter Remedios Varo aims to explore the "deep waters" of her sensibility by presenting some of the Spanish surrealist's less widely known works.

The exhibition eschews the typical focus of Varo shows on surrealism or literature in favor of what philosopher Miguel de Unamuno called "intrahistory," curator Marisol Argüelles told EFE. In this view, "the subhistorical data are similar to the sea's deep, calm waters, while historical data such as great events are the waves and the surf," she said.

Varo (1908-1963) fled her adopted home of Paris during World War II and spent the rest of her life in Mexico. The show includes all 39 works in the museum's collection by the artist, which were donated in 2002 by her husband, Walter Gruen, and Anna Alexandria Varsoviano.

Included in the exhibition are writings from Varo and people who knew her that shed light on the motivations behind some of the works.Such is the case with "Musica del bosque" (1963), the only drawing that did not progress to an oil painting, where visitors may learn that the man depicted represents Gruen standing in a forest in his native Austria.

Photographer Eva Sulzer's comments reveal that "El gato helecho" (1957) was inspired by a dream of hers that she shared with Varo. The exhibit includes "Autorretrato" (1951), the artist's only selfportrait, "though there are those who say that all of Varo's characters are herself," Argüelles said. (MAM press-release)

MAM. Museo Arte Moderno. Paseo de la Reforma y Gandhi S/N. Bosque de Chapultepec. Ciudad de Mexico

http://www.museoartemoderno.com  http://remedios-varo.com

Image: Roulotte. 1955 Remedios Varo

 

WARSAW. Pep Vidal “How Green Was My Valley” Rodriguez Gallery

23 september – 4 october, 2016

My work is based on subtle and elusive changes, so small that they can’t be perceived with the naked eye until they lead to greater changes within the system. An example of this might be a book lying on a shelf, which falls one day for no apparent reason. This happens at a very specific moment in time as a result of a series of preceding events, which are predominantly chaotic, yet invisible. Everything that takes place between the moment the book is placed on the shelf and the moment it falls is precisely where my interests lie. This imperceptibility and intangibility of certain events is, above all, caused by a lack of information regarding the systems we live in and the innate limitations in how we perceive various phenomena.Pep Vida

Pep Vidal, Barcelona, 1980. Degree in Mathematics at Universitat Autònoma of Barcelona (UAB) (2008). Special interest in infinitesimal calculus, topology and infinite series. PhD in Physics in UAB and ALBA synchrotron (2014). Thesis research about mathematical algorithms for improving accuracy of instruments used in particle accelerators. I have two important conclusions from here: there are some extremely sensitive and complex systems; and I’m not interested in research that doesn’t include my own experience and vital life in the process. Advanced course in Contemporary Art in A*Desk (2011-12), conducted by David Armengol. Co-founder of granja.cat, a project focused on spreading mathematical culture -specially in child- with workshops, talks and other activities.  (Rodriguez Gallery press-release)

Rodríguez Gallery. ul.Wodna 13/4. 61-782 Poznań, Poland

http://rodriguezgallery.com  http://www.pepvidal.com

Image: Pep Vidal

SEOUL. “Transmorphed Realities_The Abdication Of The Visual Realm” Korea Foundation

6 – 28 september, 2016

Starting from September 6th to September 28th, the Korea Foundation and the Spanish Embassy in Korea will present an exhibition, Transmorphed Realities – The Abdication of the Visual Realm in the KF Gallery.
Composed of the 7 artworks by the 8 contemporary Spanish new media artists, the exhibition, Transmorphed Realities – The Abdication of the Visual Realm presents a collection of thought-provoking perspectives and visually arresting interactive artworks that go beyond an assumed reality and coveted virtuality.
Talking about the issues of choices, communication, interconnection, sensitivity, etc., this exhibition seeks to create a platform for a communication among entities that are torn apart due to perplexity and hypertrophy, which coexist in our sometimes consumerist and passive society.

Spanish artists participating in this exhibition are Ana Marcos and Alfonso Villanueva, Eugenio Ampudia, Miguel Sbastida, Joana Moll, David Rodríguez and Juan Carlos Sánchez Duque. (AECID. press-release)

Korean Foundation. 10-11F, Diplomatic Center Building, 2558 Nambusunhwanno, Seocho-gu, Seoul, 06750, Korea

http://en.kf.or.kr

Image: Eugenio Ampudia

MOSCOW. Aleix Plademunt “A Great Sum (In Parts)” Osnova Gallery

14 september – 10 october, 2016

Osnova Gallery is pleased to announce A Great Sum (In Parts), curated by Yulia Spiridonova and co­organized by the creators of A New Nothing, Ben Alper and Nat Ward.

A New Nothing, established in 2014, is an online project space that hosts ongoing visual conversations between photographers. The project aims at elevating images to a fully independent media language that better suits communication today. For the exhibition, Spiridonova, Alper and Ward chose to extend the project’s main idea of dialogue based on images.

A Great Sum (In Parts) takes form as a conversation: Spiridonova chose a pair of images from A New Nothing, sent it to Ward, who, responding in turn, sent a pair of images to Alper. Alper responded in kind with a new pair, sending those images back to Spiridonova. The dialogue continued over and over again for weeks like a wordless game of telephone. The resulting and concluded visual conversation is a collective assemblage comprised of thoughts and poetic gestures with deeply ambiguous connections.

Taking inspiration from both the Surrealist’s Cadavre Exquis and the appropriation techniques of Pictures Generation artists, Spiridonova, Ward, and Alper produced a new sequence of potential meanings and interpretations from imagery of contemporary American photography. The cumulative sum of these images in sequence becomes a mysterious and unpredictable encounter.

A Great Sum (In Parts) features works by Thomas Albdorf, Ben Alper, Veronique Besnard, Alexander Binder, Nick Boso, Timothy Briner, Nicholas Calcott, Joel Chapman, Connor Elledge, Grant Gill, Ariel Goldberg, Maury Gortemiller, Alexi Hobbs, Peter Hoffman, Katie Kline, Mac Lawrence, Matthew Leifheit, Joseph Maida, Catharine Maloney, Damien Maloney, Ross Mantle, Kai McBride, Yola Monakhov Stockton, Aleix Plademunt, Greg Ponchak, Louis Porter, Hector Rene, Shane Rocheleau, Eric Ruby, Tim Schutsky, Kyle Seis, Guillaume Simoneau, Brian Ulrich and Nat Ward. (Osnova Gallery press-release)

Osnova Gallery. 4th Syromyatnichesky Pereulok 1/6. 105120, Moscow, Russia

http://osnovagallery.com  www.aleixplademunt.com

Image: Nada. Aleix Plademunt

MADRID. Santiago Sierra “25 Veteranos, 2.205 Crímenes de Estado” Galería Helga de Alvear

22 september – 12 november, 2016

The ‘Veterans’ series was inaugurated 5 years ago in Berlin with the “Veteran of the Iraq war facing the wall”, a criticism of the armed conflict unleashed by the West during our century and of the imperialism of the United States in its bid to recapture its global hegemony through violence.

Since then, to date, this piece has been to the USA, the UK, Australia, Colombia, the Ukraine, Switzerland, Spain, Mexico and Israel. With each visit, the simple structure with its vast visual impact is recreated, adapting to the local context, yet at the same time referencing the long list of armed conflicts taking place all over the world.

Santiago Sierra (b. Madrid, 1966) lives and works between Madrid and Mexico City. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11 (Helga de Alvear press-release)

GALERÍA HELGA DE ALVEAR. Doctor Fourquet 12. 28012 Madrid

http://www.helgadealvear.com    http://santiago-sierra.com

Image: Galería Helga de Alvear

BARCELONA. Marla Jacarrilla “Online and in-person video creation” CCCB

1 – 30 september, 2016

"Pantalla CCCB. A month, an artist" is a space for the audiovisual works of artists who want to experiment and innovate with new aesthetic, formal and narrative languages. It is presented simultaneously as a gallery in our building and as an online screen on own website www.cccb.org/pantallacccb.The artist of the month of September is Marla Jacarilla (Alcoi, Alacant, 1980).

Marla Jacarilla develops her work by means of various techniques such as writing, performance, and video, using them as a testing ground for creating stories. She constantly seeks out links between visual art and literature, to develop a fragmented narrative, sprinkled with fiction, which the viewer is invited to reconstruct. . (CCCB press-release)

CCCB. Centro de Cultura Contemporàina de Barcelona. Montalegre, 5 - 08001 Barcelona

www.marlajacarilla.es     http://www.cccb.org/es

Image: La prima bastarda de Stephen Dedalus (Marla Jacarilla, 2014)

NEW YORK. “From doodles to pixels. Over a hundred years of Spanish Animation” MoMA

september 7–15, 2016

The works selected by curator Carolina López and include films by directors such as Segundo de Chomón, Josep Escobar, Francisco Macián, José Luis Moro, Jordi Amorós, Tomàs Bases, Raúl García, Juan Pablo Etcheverry, Isabel Herguera, Javier Mariscal, Anna Solanas, Marc Riba, Alberto Vázquez, Pedro Rivero, Izibene Oñederra, Nicolai Troshinsky and Rocío Álvarez, among many more. The project has involved the collaboration of Filmoteca de Catalunya, Filmoteca Española and Movierecord, as well as a number of companies and organisations.
Some of the least known and most fascinating films in this cycle are: Garbancito de la Mancha (Arturo Moreno, 1945), the first feature-length animated film made in colour in Europe; black-and-white advertisements from the 30s by Catalan cartoonists such as Serra i Massana and Ferran; La Edad de Piedra (Gabriel Blanco, 1965), with cartoons by Chumy Chúmez; the commercials of the Moro and Estela studios; and a short film made by Frederic Amat for the occasion. (AC/E press-release)

MoMA. 11 West 53 Street, New York, NY 10019

http://www.moma.org

Image: Minotauromaquia: Pablo en el Laberinto. Juan Pablo Etcheverry, 2004

 

PARIS. Anna Malagrida “Carte Blanche PMU 2016” Galerie de photographies - Centre Pompidou

28 september- 17 october, 2016

Anna Malagrida received the award Carte Blanche PMU 2016

“Anna Malagrida opens a window to a space that confronts the urban and the human and proposes a sensible interpretation of a social link form that unites behind the windows” Benoît Cornu, Communications Director of the PMU.

Anna Maladriga was born in Barcelona in 1970 and works between París and her hometown. She graduated from the National School of Photography of Arles (1996) and from the Universidad Autónoma of Barcelona in Communications (1993). Her photographs are literary works. The artist leaves a space for the viewer to react and to interact with his ideas or interpretations. The photographer observes from the outside and guides us inside those spaces. Malagrida allows us to penetrate the intimacy of the life of her models and puts us in a voyeur position, one who watches without being seen. Curator: Mnam / CCO, Karolina Lewandowska. (C.Pompidou/Galería Senda press-release)

Centre Pompidou. Place Georges Pompidou, 75004 Paris

https://www.centrepompidou.fr    http://annamalagrida.com

Image: Rue Bleue. 2008. Anna Malagrida

 

 

 

 

 

TOKYO. Carolina Ceca “Intangible” Instituto Cervantes

29 september – 22 october, 2016

Carolina Ceca (Spain, 1979) is a Tokyo-based visual artist, historian of contemporary art and PhD candidate at the University of Salamanca. Since living in Yokohama and Tokyo in 2005 and 2006, respectively, she has pursued the development of her personal style in Japan, Spain, Morocco and Italy. The emotions evoked by residing in these different places have most evidently found their way into her artwork as the combining of Japanese aesthetics with the Western approach to drawing. At the heart of Carolina's latest pieces is a sensitive analysis of the human condition, expressed through a confessional method; that is, by rooting herself in individual experience, she strives to visually communicate universal concepts. . (I. Cervantes press-release)

Instituto Cervantes. Cervantes Bldg. 2-9 Rokubancho. 102-0085 Chiyoda-ku Tokio (JAPÓN)

http://tokio.cervantes.es     http://www.carolinaceca.com

Image: Carolina Ceca. “ashes”

SAO PAULO. Xabier Salaberría “32nd edition of Sao Paulo Biennial ” Ciccillo Matarazzo Pavillion

10 september - 11 december, 2016

Sao Paulo Biennial, established by the Sao Paulo Biennial Foundation, is one of the most important international institutions in the promotion of contemporary art and is hailed as one of the leading contemporary art events. It showcases the output of both Brazilian and foreign artists.
The 32nd edition of Sao Paulo Biennial will take place from 10 September to 11 December 2016 at the Ciccillo Matarazzo pavilion and will be curated by Jochen Volz, head of programmes at the Serpentine Galleries in London, with the assistance of Lars Bang Larsen, Julia Rebouças, Gabi Ngcobo and Sofia Olascoaga. This team of curators have chosen as the theme of this year’s biennial ‘live uncertainty’ to explore different ways of living with the unknown through ecology, the cosmology of beginnings and ends, extinction, collective knowledge, evolutionary myths and vital practices. The works of art featured in this edition, more than objects or expressions in time and space, must represent a vision of the world that can offer everyone tools and strategies for living with uncertainty.
The biennial features 90 artists and groups, among them the Spaniard Xabier Salaberría, who has the support of Acción Cultural Española. Salaberría’s sculptural practice is based on both research and the experimental spirit and is fully in tune with the theme of the event. He has produced a new work specifically for the biennial – an installation that is both an artwork and an element that both hinders and guides visitors on their way around. (AC/E pess-release)

Parque Ibirapuera, Portão 3, Pavilhão Ciccillo Matarazzo  – São Paulo-SP – Brasil

Image: 32ª edición de la Bienal de São Paulo

http://www.bienal.org.br

 

BRATISLAVA. José Manuel Navia “Cervantes, a contemporary spirit” Biblioteca Universitaria

14 – 30 september, 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)

Biblioteca Universitaria de Bratislava. Ventúrska 11. 814 17 Bratislava Bratislava-Staré Mes. (REPÚBLICA ESLOVACA)

http://jmnavia.blogspot.com.es

Image: Calatrava. José Manuel Navia

 

BEOGRAD. Cristina García Rodero “Open-Mouthed” Instituto Cervantes

27 september– 15 november, 2016

Cristina García Rodero “Open-Mouthed“. This comprises a theme in retrospective of her works right from the first of her photographic endeavors through the end of the seventies till today. The exhibition studies the diversities in the behaviours that are expressed through the mouth. (efe press-release)

Instituto Cervantes. Cika Ljubina, 19. 11000 Beograd. (SERBIA)

http://belgrado.cervantes.es

Image: Cristina García Rodero

NEW YORK. Juan Genovés “Recent Paintings” Marlborough Gallery

september 13 - october 8, 2016

Born in Valencia in 1930, Genovés is one of Spain’s best-known contemporary artists. He is recognized for work rooted in Social Realism and Pop with a distinctly critical voice that advocated for political change during the Franco regime in Spain.

Paintings by Genovés depict bird’s-eye views of scenes where no buildings, roads, trees or clues to a common place are visible, thus creating a landscape of humanity in motion. Genovés creates his distinctive figures from thickly applied acrylic paint that protrudes from the surfaces. The lines that reinforce the picture plane can be read as breaks in the image or as topographies encouraging the directional movement of the crowd. While the precise horizontal lines of Animacion, 2015 (acrylic on board) impose order on the field of action, the figures moving within convey a sense of celebration that prevails throughout the paintings in this exhibition.The freely painted lines of Pliegue, 2015 (acrylic on canvas) create a dimensional space that corral the multitudes together. The artist’s use of line and perspective aligned with an exacting eye for the modulation and use of color is potently married to his conviction that art should be socially engaged and emotionally, indeed physically, engaging. As a child in Valencia, Genovés experienced the Spanish Civil War in a traumatic way: bombardments, death squads, neighborhoods silenced. Memories of crowds of people running for shelter still distantly inform his work, although in recent years his compositions are less existential and more harmonious. Throughout his long, illustrious career, the artist has never shied away from political engagement, even though it meant being jailed when his painting El Abrazo (now in the collection of the Museo Nacional Centro de Arte Reina Sofía) was made into a poster by the opposition. As the artist explained to Rubén Bonet in an interview, “The artist… testifies to his time, to a facet of his historical times.”

Genovés is the recipient of a number of important prizes, including the Mention of Honor at the XXXIII Venice Biennale, 1966; the Gold Medal at the VI Biennale Internazionale de San Marino, 1967; the Marzotto Internazional Prize, 1968; the Premio Nacional de Artes Plasticas, Spain, 1984; the Premio de las Artes Plásticas de l Generalitat Valenciana, Spain, 2002; and the Medalla de Oro al Mérito en las Bellas Artes, El Ministerio de Cultura de España, Plaza del Rey, Madrid, Spain, 2005. Genovés’ work is found in many of the most important public collections in the United States and Europe, including The Art Institute of Chicago, Chicago, IL; Centre National d’Art Contemporain, Paris, France; The Museum of Modern Art, New York, NY; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Museum Moderner Kunst, Vienna, and Museum fur Moderne Kunst, Frankfurt, Germany. (Marlborough press-release)

http://www.marlboroughgallery.com   http://www.juangenoves.com

MARLBOROUGH GALLERY, INC. 40 West 57th Street New York, NY 10019

Image: Juan Genovés. Cadmium, 2015

MADRID. Txomin Badiola “Another Family Plot” Palacio de Velázquez. Parque del Retiro

22 september, 2016 - 26 february, 2017 

The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, will present a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.

Curated by the Museo’s Deputy Director of Art, João Fernandes, the show will centre on the problem of form as both the particular way of understanding artistic creation and a process that assimilates its own transgression. To Badiola, the art form is always a “bad form” which, at the same time as it creates a vision, denies recognition. The artist works against culture, dismantling conditions of visibility and invisibility. The museum device, conceived from a curatorial process which has involved seven other close artists, gives shape to a kind of text-exhibition that enables at once simultaneity and a certain linearity, developing dialogue relations and references that cross through different works. Furthermore, a chronological reading becomes complex by dint of structural meta-comments and leaps in time that put forward possible developments or invoke forgotten origins. 

After graduating from the Faculty of Fine Arts, Bilbao, Txomin Badiola worked at the same school as a professor between 1982 and 1988. He has put together a catalogue raisonné of Jorge Oteiza’s work and curated his exhibitions at the Caja de Pensiones Foundation in Madrid and Barcelona, and the Museo de Bellas Artes, in Bilbao, in 1988, as well as the show Oteiza. Mito y Modernida  (Oteiza. Myth and Modernity), curated alongside Margit Rowell, for the Guggenhein Museum in Bilbao and New York in 2004 and 2005, and for the Museo Reina Sofía in 2005.

Awarded the Gure Artea Prize in 1986 and the ICARO Prize for outstanding young artist in 1987, his work has been the subject of solo and collective exhibitions, most notably PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 ejercicios 40 días 8 horas al día at León’s MUSAC in 2010; La Forme Qui Pense at the Museé d'Art Moderne de Saint-Étienne, France, in 2007, and Malas Formas 1990-2002 at MACBA, Barcelona, and the Museo de Bellas Artes, Bilbao, in 2002. (MNCARS press-release)

Palacio de Velázquez. Parque del Retiro. Madrid

http://www.museoreinasofia.es     

PARIS.Antoni Tàpies - Jannis Kounellis – Arnulf Rainer “Trio” Lelong Gallery

8 september – 8 october 2016

For this new Trio, Galerie Lelong brings together the works of three artists who placed the rawness of the material and the energy of the gesture at the heart of their production. Born in the interwar period, Tàpies (1923-2012), Rainer (1929) and Kounellis (1936) were part of that new generation who experienced the dramas of the 20th Century at a very young age but then also the boom period of scientific and technical discoveries as well as intellectual, artistic and material emancipation. They were the pioneers, in Barcelona, Vienna and Rome, of an art that moved beyond its traditional framework and freed itself from the idea of “schools”; they created an original artistic language that questioned the sacred character of art through a series of profane codes. Tàpies with his exploration of material and the inclusion in his works of signs and objects from daily life. Kounellis by his use of raw materials, and his pared-down and dramatic scenography. Rainer by his obsessional “overpaintings” and his ferocious self-portraits. Over the years, they have been exhibited in the world’s greatest museums and have earned an international reputation. The “Parla, Parla” exhibition of Tàpies’ work in the Abattoirs de Toulouse has just closed, and was the continuation of two other major exhibitions, one in Venice at Palazzo Fortuny in 2013 during the Biennale and the other at the Perez Art Museum in Miami in 2015. (Lelong  press-release)

Lelong Gallery. 13, rue de Téhéran – 75008 Paris

http://www.galerie-lelong.com

Image: “Parla Parla” Fundación Antoni Tápies

NEW YORK. Jorge Pombo “Religare” Instituto Cervantes

30 september – 29 october, 2016

A selection of works by the Spanish-born artist following his recent solo exhibition at San Gottardo in Corte, Museo del Duomo di Milano, Italy.

The exhibition consists of eleven never-before-shown works of the Religare project, dealing with a topic that is particularly up to date, in a time when religion is sometimes used as an excuse to use violence against others. An inhuman drama that has nothing to do with true spirituality.

In these works, Jorge R. Pombo places himself at the center of the symbols of the great monotheistic religions of our time which, although different, coexist harmoniously in the exhibition, emphasizing the complementary nature of religious feeling experienced in its various forms.

Jerusalem, Roma. Città del Vaticano, Makkah Al Mukarramah is the starting artwork of the exhibition Religare, a triptyque that introduces the visitor to an innovative and a creative reinterpretation of these three cities, passing through Milan on the way to an ideal city. The artist focuses his attention on the true meaning of the relationship between the religions and between religion and man: in these forms, this relationship is very strong. According to Pombo, there is nothing that cannot be united if God is the point of reference, the unifying factor.

Although the various works in the exhibition have come into being at different times, the current relevance of Religare is greater than ever. . (I.Cervantes press-release)

Instituto Cervantes, 211 East 49th Street, NY 10017

http://nyork.cervantes.es   http://www.jorgerpombo.com

Image: Jorge Pombo “Codice Rosso. Arazzo”

 

NEW YORK. Juan Francisco Casas “(HE)ARTBROKEN” Jonathan LeVine Gallery

10 september – 8 october, 2016

Jonathan LeVine Gallery is pleased to present (HE)ARTBROKEN, a series of new work by Spanish artist Juan Francisco Casas in what will be his debut solo exhibition at the gallery.

Casas recreates photographs he’s taken as large scale oil paintings and ballpoint pen drawings. While compositions of this size have traditionally been used in art to commemorate royalty and historical events, Casas utilizes the medium to memorialize his personal and provocative exploits. Described as “art for the selfie generation,” his portraits are hyper real, hyper sexual and transform viewers into voyeurs, intrigued by what happened prior and after the snapshot was taken.

This exhibition is the final installment of a trilogy Casas embarked on in early 2016 with SPQR(CA)VITA at the Royal Academy of Spain in Rome, followed by O(H)ROMAO(H)MORTE at Galería Fernando Pradilla in Madrid. In this epilogue he presents an autobiographical perspective of the effect love has had on his work. By depicting stories of sex, excess and pain, Casas explores the beauty that’s come from broken relationships and the art they’ve inspired. (Jonathan LeVine press-release)

Jonathan LeVine Gallery is located at 529 West 20th Street, New York

http://jonathanlevinegallery.com  http://www.juanfranciscocasas.com

Image: Juan Francisco Casas

LONDON. Alberto Reguera “The Unknown Universe” Serena Norton Gallery

16 september – 21 october 2016

Born in Segovia, Spain, in 1961, Alberto Reguera now divides his time between Paris and Madrid. His work originates in his admiration for the French lyrical abstract artists; in his evocation of the Romantic landscape painters; and in the spectacular vistas of his native Castile. Reguera's abstract landscapes represent fragmented elements of nature that he constitutes via a discrete series of shapes and colours. Tones and textures multiply as he experiments with the colour blue's position in space. Depending upon the play of light, greater nuances and ranges appear.

Reguera’s overall intention is poetic—in his use of painting materials, in the luminous layered textures and in his affirmation of the physical act of painting. He stresses a sense of visual depth and offers a three-dimensional view that transforms the two-dimensional medium into sculptural pieces. Several of the ‘painted objects’ are installed on the ground, so as to form an installation of paintings. Within this construct of blue, each painting is an integral aspect of a larger and more complex work. Multiform volumes offer various views, and the work extends across a flowing space seeking equilibrium with the material. (Serena Norton press-release)

SERENA MORTON, 343 Ladbroke Grove, London, W10 6HA

http://www.albertoreguera.com   http://serenamorton.com

Image: “Celestials Reflections” Alberto Reguera, 2016

MADRID. Rogelio López Cuenca”Los Bárbaros “Sala Alcalá 31

6 september - 6 de november, 2016

Rogelio López Cuenca, Nerja 1959, focuses his artistic practice on the analysis of mass media, the construction of identities and cultural criticism. He develops this work by means of publications, courses, exhibitions, interventions in public urban spaces, on TV or on the Internet (www.malagana.com), resorting to his own processes not only of visual arts but also of literature and social sciences. (Madrid.org press-release)

C/ Alcalá, 31. 28014 Madrid

http://www.madrid.org   http://www.lopezcuenca.com

Image: Rogelio López Cuenca “Do not cross art scene” 1991-2006. Colección Museo Nacional – Centro de Arte Reina Sofía (Madrid) 

LONDON. “VRPolis, Diving into the Future” London Design Biennale. Somerset House

7 – 27 september, 2016

With thousands of sensors that monitor things such as air pollution, noise and temperature, the smart city of Santander uses technology to improve urban life and the environment. Inspired by its success, VRPolis, Diving into the Future asks what a smart city could be capable of 100 years from now. An immersive 360-degree virtual-reality film imagines how medium-sized towns of the future could harness new technologies to make improvements in the fields of energy, mobility, connectivity, habitat, architecture, water and waste. This project shows prospective and possible sustainable futures based on emerging trends. It is a practical tool and could play an inspirational role for inventors and innovators.

Administering Body: Ministry of Education, Culture and Sport. Design Team: Dimeloami Productions. Curator: Maite Cantón. Supporting Bodies: Viesgo; Santander City Hall; Official College of Cantabrian Architects (COACAN); inMediaStudio; experience powered by HTC VIVE (London Design Biennale press-release)

Somerset House. Strand. London. WC2R 1LA. United Kingdom

http://www.londondesignbiennale.com/   http://dimeloami.es

Image: VRPolis, Diving into the Future. Dímelo a Mí

GWANGJU. Dora García, Fernando Gacía Dory "¿What is the essence of art in this age?” 11th Gwangju Biennale

2 september – 6 november, 2016

The Gwangju Biennale is organized by the Gwangju Biennale Foundation every two years. As the most prominent art festival in Asia, the Gwangju Biennale has been bringing distinguished exhibits and public discussions that reflect the Asian identity for the past 20 years. The 11th biennale poses a profound question: “"What is the essence of art in this age?”" It is to place art at the core in order to recover our confidence in art and its power. This year’'s exhibit will maximize community participation and bring art inside our society. The Gwangju Biennale has been partnering with art galleries around the world that are named a "biennale fellow". Through this, Gwangju will be a place to witness the lively, global cultural scene. AC/E is supporting in this year's edition "LAMENT OF THE NEWT" by Fernando Garcia Dory and "NOKDU BOOKSTORE FOR THE LIVING AND THE DEAD" by Dora Garcia.  The project Of García Dory connects forms and the political genealogy of the little theater movement from 40 years ago, with current socio-ecological struggles and a critical questioning of prevalent urban development models and the existing political support structures for it. It aims as well to reconnect Gwangju city with its ecosystemic flows and environmental questions, and in summary, to collectively propose the future projection of different existing tendencies, and to exercise foreseeing in order to act.  NOKDU… will be a meeting place in the middle of the Gwangju Biennale exhibition, a meeting place that adopts the form of a mythic bookstore, the NOKDU bookstore, which played a fundamental role in the events of the May 18 revolution in Gwangju. This bookstore form I give to the meeting place I want to construct is not a historical reconstruction of the original NOKDU bookstore, but a construction of how I imagine this bookstore to be, following my readings, my own emotional and cultural background, and the testimony of different people; a construction happening in a sort of anachronic moment that puts together the past (1980) the present, and the future of an event that catalysed the history of Korea.(AC/E press-release)

Gwangju Biennale Exhibition Hall, Asia Culture Center, Uijae Art Museum, Mudeung Museum of Contemporary Art,

http://www.gwangjubiennale.org/www/vieweng

http://fernandogarciadory.com  http://www.doragarcia.net   

Image: LAMENT OF THE NEWT. Fernando García Dory

PARIS. Manolo Valdés “Monumental Sculpture” Place Vendôme

7 september – 5 october, 2016

The Directors of Marlborough Gallery are pleased to announce the public exhibition of six new monumental sculptures by the acclaimed Spanish artist Manolo Valdés at Place Vendôme in Paris. Located in the 1st arrondissement, the site will serve as an architectural setting for the group of sculptures by Valdés: female heads in aluminum, iron or marble, their unique ornamentations on unforgettable display. The new works, all of which were created for the exhibition at Place Vendôme, depict beautiful, stylized women in the artist’s well-known signature style.  Valdés, famous for depictions of women in all media, has created some of the largest and most expressive three-dimensional portraits of his storied career.

One sculpture, La Pamela, wears a wide-brimmed hat and stands 16-feet tall. Another entitled Los Aretes, is 19-feet long and depicts a woman with earrings that are as large as her head, all in strikingly bright blue iron.  La Mariposa is the latest version of one of Valdés’s favored thematic presences: the butterfly. The featureless female in this monumental sculpture sports an enormous butterfly on her forehead, a headdress that is a symbol not only of inner beauty but also creativity. The blue iron visage in Mariposas is adorned with dozens of massive butterflies in a sculpture that is as uplifting as it is profound.  In additional to technical mastery, his sculptures exude deep passion for history and for humanity.  His monumental women are familiar but distinct, imposing yet alluring. The works will remain on view through October 5th, 2016. (Marlborough press-release)

http://www.marlboroughgallery.com

Image: La Mariposa. Manolo Valdés

MIAMI. “The Color of Optimism, Spanish Illustrators” Centro Cultural Español

september 1– october 16, 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)

Centro Cultural Español. 1490 Biscayne Boulevard Miami,

http://www.ccemiami.org/es

Image. Sonia Pulido “Hop hop”

COPENHAGUEN. Santiago Sierra “Black Flag” Nikolaj Kunsthal

20 august – 13 november, 2016

On April 13 2015, a black flag was raised at latitude 90° North – better known as the North Pole. On December 14 2015, an identical flag was planted on the South Pole. The two monochrome flags, signifying the universal symbol of the Anarchist movement, have been raised on behalf of the people of the world as a counter-claim - a symbol of defiance - against the compulsion of nation states to seize land. The black flags remain in situ as a potent symbol of liberation, resistance and discontent.

Historically, the North and the South Pole and the remote surrounding areas have been the object of countless expeditions. Presumed as endeavours on behalf of humanity, more often these expeditions have instead been driven by attempts at colonisation, conquests for land, bestowing glory on the participating nations. Throughout the centuries, numerous countries have laid claim to these territories.

Andreas Brøgger, Head of Nikolaj Kunsthal, says: ”We are proud to house the world premiere of the exhibition Black Flag. Sierra’s project is at one and the same time quite simple and symbolic, but also very specific and incredibly complex. It is no easy task for an artist to plant two flags on the Poles. The exhibition is relevant to Denmark as one of the nations to have laid claim on the seabed of the Arctic Ocean – an area 20 times the size of Denmark with a geopolitical and potentially economic significance.” 

Santiago Sierra’s works often function as commentaries on the social and political conditions of modern society. He received international recognition for a series of controversial exhibitions in which he hired unemployed people, prostitutes, political prisoners and immigrants to perform meaningless work for minimal wages as a critique of the personal and economic exploitation of the most vulnerable in society by the capitalist system.

Santiago Sierra (b. Madrid, 1966) lives and works between Madrid and Mexico City. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11.

Black Flag will have its world premiere at Nikolaj Kunsthal on August 20th 2016.

Black Flag is a collaboration between Santiago Sierra Studio and a/political with special thanks to Lutz Henke.

a/political is a nonprofit organisation, collaborating with artists who work within a socio-political framework. a/political, initiate, produce and tour large-scale projects world-wide. With offices based in London, a/political opened The Foundry in 2014 as an experimental art space, hosting ambitious projects outside the controls of the contemporary art market. Artists are invited to produce large-scale work in the neighbouring factories. In addition, a/political acquires artworks for permanent installation at The Foundry to compliment the collection currently located in London. (Nikolaj Kunsthal press-release)

Copenhagen Contemporary Art Centre. Nikolaj Plads 10. 1067 Copenhagen K
Denmark

http://www.nikolajkunsthal.dk  http://www.santiago-sierra.com

Image: Black Flag. Santiago Sierra 

LONDON. Jaume Plensa “Laura” Sculpture in the City. St. Mary Axe

until 1st may 2017

Now in its sixth year, the critically acclaimed Sculpture in the City returns to the Square Mile with contemporary works from internationally renowned artists.

Sixteen artworks in 19 locations ranging considerably in scale - from a seven-metre high cast iron head, to a series of delicate and playful lead paper chains - are thoughtfully placed between iconic architectural landmarks such as the Gherkin and the Cheesegrater. Wander the City's public spaces and stumble upon world-class public art, on an urban canvas recognised across the globe.

“Laura” (2013) is part of Jaume Plensa's on-going series of portraits. Each sculpture is drawn from a particular model of a young girl, whose image is then elaborated into a more universal symbol for dreaming and aspiring. Part of the technical process involves photography. The essence of the photograph – a moment caught in time – belies the architectural volume of the final form. 

'Laura' hovers between childhood and nascent womanhood, personifying an individual future and being symbolic of the future of humanity.  Each sculpture has a spirit that communicates to us across cultures and identities.  When the viewer first sees Laura, her silhouette stands out against its surrounding, but when the viewer moves closer Laura appears to shift her orientation.  The play on form and perception and a slippage between volume and image are part of Plensa's great contributions to postmodern sculpture

This year, discover exciting works by: Anthony Caro, Benedetto Pietromarchi, Enrico David, Gavin Turk, Giuseppe Penone, Huma Bhabha, Jaume Plensa, Jürgen artenheimer, Lizi Sánchez, Mat Collishaw, Michael Lyons, Recycle Group, Sarah Lucas, Shan Hur, Ugo Rondinone, William Kentridge & Gerhard Marx. (Sculpture in the City press-release)

Sculpture in the City. St. Mary Axe Gherkin

Image: Copyright the artist; Courtesy Galerie Lelong; Photograph by Nick Turpin

http://jaumeplensa.com   http://www.cityoflondon.gov.uk/things-to-do/visit-the-city/art-architecture/sculpture-in-the-city

 

LEHMBRUCK. Daniel Canogar “From Rodin to de Bruyckere. The Surface as a Carrier of Meaning in Sculpture” Lehmbruck Museum

2 july - 23 october, 2016

The surface of an object may be alluring or repellent, nondescript or exciting. It is our first impression. It invites us to contemplate, grasp and interpret. This exhibition shows how the surface and its meaning in sculpture have changed over time, presenting eminent examples from the 20th century with key works by pioneers of modernity such as Medardo Rosso, Auguste Rodin, Wilhelm Lehmbruck, Constantin Brâncuși, Max Bill, Mary Vieira, in order to shift the subject into the focus of our age: where does the surface of an artwork lead? What does it tell us about the process of creation, by the hand of the artist, and of her intentions? What ideas does the outer shell of a work of art inspire and what hides beneath the surface.

Featuring works by artists from countries such as the US, Great Britain, Spain, Belgium and Finland, the exhibition shows how surfaces determine our behaviour in the world of things. They activate our visual memories and tactile senses. It is surfaces that address our imagination and st: ore of experiences, arouse emotions and trigger a process of meaning generation.

With works by Auguste Rodin, Medardo Rosso, Wilhelm Lehmbruck, Constantin Brâncuși, Max Bill, Mary Vieira, Janet Cardiff/Georges Bures Miller, Daniel Canogar, Dorothee Golz, Rebecca Horn, Carsten Nicolai, Julian Opie, Georg Baselitz, Jeppe Hein, Elina Autio, Stella Hamberg, Evan Roth, Michael v. Kaler, Heike Weber, Berlinde de Bruyckere and others (Lehmbruck museum press-release)

Lehmbruck Museum. Friedrich-Wilhelm-Straße 40. 47051 Duisburg. Germany

http://www.lehmbruckmuseum.de   http://danielcanogar.com

Image: Waves. Daniel Canogar

BARCELONA. Ignasi Aballí “Infinite Sequence ” Fundació Joan Miró

01 july – 02 october, 2016

Infinite Sequence is an exhibition dedicated to the work of Ignasi Aballí, winner of the 2015 Joan Miró Prize. It proposes a stroll through a selection of pieces by Catalonia's foremost conceptual artist to allow visitors to gradually discover some of the key aspects of his oeuvre. The presentation of the selected works eludes a strict retrospective format to give way to an exhibition narrative with moments and spaces that relate to one another.

Together, they evolve as a composition that, in its conclusion, points to the idea of infinite continuity and open repetition, as referred to in the title of the exhibition itself. The exhibition starts with pieces dealing with temporality, followed by a room dedicated to Aballí's work on colour, and by another room dedicated to absence and invisibility, to conclude with a projection room featuring his video work on processes of semantic slippage. The exhibition includes works from the 1990s to the present as well as a number of new productions. (Fundació Joan Miró press-release)

Fundació Joan Miró: Parc de Montjuïc. 08038 Barcelona

http://www.fmirobcn.org   

Image: Ignasi Aballí. Ventana (cielo/polvo), 2014

 

 

LONDON. Asunción Molinos “Hunger, A Man-Made Object – Speculation” The Empire Remains Shop

4 august – 6 november, 2016

Molinos’ large body of work often deals with hunger as a man-made object. “Buy the rumor, sell the news” is the motto of the stock market, the engine that moves intangible, future markets. These intangible markets monetize harvests not yet planted, and anticipate the reaping by buying and selling future crops based on interpretations of mathematical models. This kind of commerce is termed “high frequency”, because they can conduct a larger number of transactions as what they sell is contracts rather than physical grain. The demand of these grains is considered inelastic as they are essential, and this quality has turned them into important products. They are always easily disposable on the market, and can always find a buyer who will pay regardless of cost. Since the 2008 crisis, the investment in food markets has grown exponentially. After the collapse of the real estate market, grain is the new financial instrument, resulting in the highest volatility of food prices to date, with prices skyrocketing at an unprecedented speed.

Asunción Molinos Gordo is an artist focused on the contemporary struggles of peasant life. Molinos’ work concentrates on the socio-cultural implications of food and agriculture. She employs photography, video, installation and other media to explore the rural sphere and apply a transnational approach to the issues of the peasantry. Her practice is centred around the social and cultural changes that are taking place in rural areas, always looking at what is being left behind in the rush of progress. She currently lives and works between Oman and her hometown of 80 inhabitants, Guzmán in Spain. Her work has been shown in Spain, the UK and Egypt at venues including La Casa Encendida, Museo Patio Herreriano, CAB, La Fábrica, The Townhouse Gallery and ARNOLFINI Art Centre, and her piece WAM (World Agriculture Museum) won the Sharjah Biennial Prize in 2015. She is currently studying Social and Cultural Anthropology through the National University (UNED). In 2006, Molinos received an MA in Contemporary Art Theory and Practice from the Universidad Complutense de Madrid, where she had previously completed a BFA in 2003. (Empireremains press-release)

The Empire Remains Shop. 91–93 Baker Street. London W1U 6QQ

http://empireremains.net  http://www.asuncionmolinos.com

Image: Asunción Molinos, Hunger, A Man-Made Object – Speculation, 2016

BOGOTA. Eugenio Ampudia “El futuro no es de nadie todavía” NC- Arte

6 august – 1 october, 2016

Born in 1958, Valladolid. Eugenio Ampudia lives and works in Madrid, Spain. The basis of Eugenio Ampudia’s work is his abandonment of the manufacture-making of the object in order to shape-show the idea. The artist takes a special interest in the processes and connections that his work establishes with the viewer. The spectator creates the art work and the artist wants him/her to interact. “Dialogues” is an exhibition of Eugenio Ampudia´s videoart that analyze the juxtaposition and the coexistence of the different cultures in historical harmony and balance. Eugenio Ampudia meditates about the dimension of the public and the private space, historical memory, conflicts and harmony. His works have been exhibited internationally in places such as ZKM, Karlsruhe, Germany, Jordan National Gallery of Fine Arts, Amman, Jordan; Museo Carrillo Gil, Mexico, Boston Center for the Arts, Boston (MA), United States, Ayala Museum, Manila , Philippines and Singapore Biennials as the Havana Biennial the End of the World. And art collections like MNCARS, MUSAC, ARTIUM, IVAM, La Caixa, (NC-Arte press-release)

NC- Arte Carrera 5 # 26-76, Bogota, D.C

http://www.eugenioampudia.net  http://www.nc-arte.org

Image: Eugenio Ampudia

PALERMO. José Manuel Navia “Cervantes, a contemporary spirit” Instituto Cervantes

12 july – 10 october, 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 Argenteria Nuova, 33. 90133 Palermo Sicilia (ITALIA)

http://jmnavia.blogspot.com.es   http://palermo.cervantes.es

Image: Argelia, medina de Argel, ciudad donde estuvo cautivo Cervantes durante cinco año. José Manuel Navia

BRATISLAVA. “Miró & CoBrA. The Joy of Experiment” Danubiana Gallery

7 july - 13 november, 2016.

Miró & CoBrA. The Joy of Experiment is the first exhibition to explore the relationship between Joan Miró (1893-1983) and CoBrA (1948-1951). A chance encounter in 1946 between Asger Jorn, a Dane, and Dutch artist Constant Nieuwenhuys laid the foundations for CoBrA, an international group of post-war artists. The two met at an exhibition of work by Miró in the Galerie Pierre Loeb, in Paris, and established Miró as a recurrent element in the movement’s history.

What links Joan Miró and the Cobra artists is their playful, experimental approach to art. Experimentation with materials, shapes and processes was a source of knowledge and innovation for both the Spanish master and the Cobra artists of the post-war generation. By bringing the work of Miró and CoBrA together, this exhibition gives insight into a shared sense of playfulness and poetic attitude which are at the heart of the work of both.

Katja Weitering, artistic director:“Miró & CoBrA is the long-awaited exhibition of one of the best-loved and exceptional 20th-century artists. This show is emphatically not a classic retrospective. By establishing a link with the Cobra movement and the museum’s own collection, Miró & CoBrA sheds new light on the Spanish master.”

In his late period, Miró’s artistic development saw a liberation from form, gesture and material which showed a striking correspondence with the work and artistic perceptions of various CoBrA members. This work is less familiar to general audiences – and on show now in the Netherlands for the very first time. This exhibition illuminates a wide range of experimental techniques which include, besides painting, works on paper, ceramics, sculpture, assemblages, visual poetry and artists’ journals.

This summer Miró’s sculptures will be exhibited in the gardens of the Rijksmuseum in Amsterdam. There has been no extensive Miró retrospective in the Netherlands for nearly 60 years, since the Stedelijk Museum’s exhibition in 1956. Now, in 2015, the Cobra Museum has succeeded in collating a substantial Miró exhibition which includes works from the Netherlands and abroad, thanks in part to assistance from many international partners. For example, New York’s Guggenheim Museum has generously provided Paysage (1927), while the Scottish National Gallery of Modern Art has sent the major work Figures and Bird (1934-1936) and the Museo Reina Sofia in Madrid has provided five works from the period from 1945-1950.

The exhibition includes more than 80 works by Joan Miró and 60 works by various Cobra artists including Karel Appel, Asger Jorn, Constant and Pierre Alechinsky. A central part of the exhibition is the reconstruction of Miró’s Mallorca studio, consisting of more than 40 original objects and shown for the first time on such a large scale. This part of the exhibition has been made possible thanks to a collaboration with the Fundació Pilar i Joan Miró a Mallorca. (Danubiana press-release)

DANUBIANA GALLERY. VODNÉ DIELO SLOVENSKO, 851 10 . BRATISLAVA-ČUNOVO . SLOVAKIA

http://www.danubiana.sk/sk

Image: Le Gant Blanc 1925 Fundació Joan Miró Barcelona

DRESDEN. Tomás Alonso “Friends+Design” Staatliche Kunstsammlungen

9 july – 1 november, 2016

True friendship is a rare and special gift – but how do creative people, competitors on the market, manage their friendships, exchange ideas, share their lives? The exhibition “Friends + Design” investigates this theme.
The Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) is inviting 7 friends / internationally acclaimed designers to work together on different commissions in 3 groups. From that, new works will be created for the Museum of Decorative Arts at Pillnitz Palace in Dresden, ranging between installations, products and happenings.
AC/E supports the participation of the Spanish product designer Tomás Alonso, who with the German Mathias Hahn has been commissioned to create a gift for each other, based on the question “What would a design look like if it was conceived to be a gift for your friend?” The commission is not limited to objects, as a gift could be anything, even time. The only limitation is that it needs to be recognizeable within the exhibition.
This setting brings together two up-and-coming designers who both live in London and have been working for well-reputed companies as well as independent artistic projects. They share an approach to design, which can be considered as elegant, slender, yet poetic. (AC/E press-release)

Staatliche Kunstsammlungen. Residenzschloss (Royal Palace) / Small Palace Courtyard . Taschenberg 2 . 01067 Dresden

http://www.skd.museum  http://www.tomas-alonso.com

Imagen: friends+design SKD

LISBON. Belén Uriel. Culturgest

2 july – 2 october, 2016

The exhibition of Belén Uriel (Madrid, 1974) at Culturgest, in Lisbon, is a comprehensive presentation of her work until now, revisiting her artistic practice over the last few years. Curated by Miguel Wandschneider, and taking place at Culturgest’s main gallery space (occupying 500 m2), the exhibition combines works that have already been shown in other circumstances with many recent and previously unexhibited pieces. The show will present a series of sculptures in metal, papier-maché and fired glass, along with photo-collage works - a total of circa 50 individual pieces. . Belén Uriel, live and works in Lisbon and London. She studied at the Complutense University in Madrid and Chelsea College in London.  (C/E press-release)

Fundação Caixa Geral de Depósitos – Culturgest. Edifício Sede da Caixa Geral de Depósitos. Rua Arco do Cego 50, Lisboa

http://www.culturgest.pt  http://belenuriel.net

Image: Teresa Santos/Pedro Tropa

NEW YORK. Martí Cormand “Postcards to AZ” Josée Bienvenu Gallery

7 june – 22 july, 2016

Josée Bienvenu presents Postcards to AZ, a solo exhibition by Barcelona born, Brooklyn based artist Martí Cormand. This new series of 7 x 5 inch oil paintings and graphite drawings exist as symbolic excavations and distant iterations of lost masterworks during the Nazi regime, challenging not only the notion of remembrance but also the materiality of history. 

Arranged in a museological display, qualities of transparency, density, light, shadow, and extreme precision are applied to either bring the works to a point of self-consciousness, or to articulate the oblivion of the subjects. Cormand’s work attests to the coalescence of time, or rather, of an intangible past that can only be grasped in the present through intuition. According to the artist, our present reaffirms the concept of an "eternal return," the idea that our existence is cyclical in nature instead of linear. These images also become a byproduct of entangled temporality in cyberspace, where Cormand often derives his source material.

Born in Barcelona in 1970, Martí Cormand lives and works in Brooklyn. Selected exhibitions include: Martí Cormand, Galería Cayón, Madrid (2014); "Formalizing Their Concept” Galería Casado Santapau, Madrid, (2014); Formalizing their concept, Josée Bienvenu Gallery, NY (2013); Algo de esto, Jugada a 3 bandas (Ja3b), Galeria etHall, Barcelona (2013); False Documents and Other Illustrations, Portland Museum of Art, Portland, Maine (2010 - 2011); Arranz-Bravo Foundation, Hospitalet de Llobregat, Barcelona (2010); Galerie Lelong, New York(2010); Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007); Villa Arson, Nice (2006). (Josée Bienvenu press-release)

Josée Bienvenu Gallery. 529 W20th St 2nd floor. New York

Martí Cormand     http://www.joseebienvenugallery.com

Image: Martí Cormand, Postcards to AZ, 2016, installation view

 

CHICAGO. Juan Muñoz “Thirteen Laughing at Each Other” The Art Institute

28 april - 06 october, 2016

This spring the Art Institute of Chicago welcomes to the Bluhm Family Terrace a theatrical installation by Spanish sculptor Juan Muñoz (1953–2001) that flips the experience of viewer and viewed. Many of Muñoz’s works unfold like stories in which the spectator is written into the drama. In the case of Thirteen Laughing at Each Other(2001), the viewer is thrust right into the center of the scene. By entering the installation space, one is surrounded by laughing figures seated on bleacher-like structures. From this vantage point, it quickly becomes clear that Muñoz is not merely granting the viewer unusual access to the artwork but also shifting the role of the observer to that of an unwitting subject, and potentially even an object of ridicule as the sculptural figures laugh hysterically—some toppling from their seats—at the spectacle in their midst. The work creates a tension and psychological depth that is at once unsettling and captivating. “I try to make the work engaging for the spectator,” said Muñoz. “And then unconsciously, but more interestingly, I try to make you aware that something is really wrong.”

Muñoz is regarded as a leading sculptor of his generation and among the most significant artists to have achieved maturity in post-Franco Spain. His focus on the human form set him apart from many of his contemporaries who saw figuration as outmoded. Known for emphasizing the relationship of sculpture to architecture and the viewer, Muñoz’s work is replete with references to the history of Western culture. His artistic activity includes drawings, radio plays, writings, and essays in addition to sculpture and installations.

Sponsors: This exhibition is organized by the Art Institute of Chicago with major funding from the Bluhm Family Endowment Fund, which supports exhibitions of modern and contemporary sculpture. Special thanks are due to the City of Chicago Department of Cultural Affairs and Special Events. (Art Institute of Chicago press-release)

Art Institute of Chicago. 111 South Michigan Avenue. Chicago, Illinois 60603-6404

http://www.artic.edu/com

Image. Juan Muñoz “2 Seated on the Wall with Small Chairs, 2000” Photo: Art Institute of Chicago

TOLEDO. Jaume Plensa “Human Landscape” The Toledo Museum of Art

17 june – 10 november, 2016

The upcoming exhibition marks a rare opportunity for visitors to experience the spectacular work of Plensa in The Toledo Museum of Art. This is the first time the artist’s work has been seen in such depth since his 2010 exhibition at the Nasher Sculpture Center in Dallas.
Plensa’s work in the United States include Crown Fountain in Chicago’s Millennium Park , and Echo, formerly on view in Madison Square Park in New York, now permanently sited at Olympic Sculpture Park at the Seattle Museum of Art. The recipient of many awards and accolades, Jaume Plensa was most recently awarded the 2012 prestigious National Visual Arts Award of Spain, the 2013 Velasquez Prize awarded by the Spanish Cultural Ministry, and Spain’s 2013 National Graphic Arts Prize. Nine large-scale outdoor sculptures, indoor installations and sculptures, and a selection of works on paper comprise this comprehensive exhibition, which will span the historic estate’s grounds, gardens and museum galleries for a uniquely engaging visitor experience. As a part of the exhibition, Jaume Plensa will create new works including a double sculpture entitled Soul of Words, which will be sited on the prominent color garden lawn. A monumental cast iron head, Laura with Bun, a 23 foot high cast iron portrait will grace the entrance of the grounds.
Plensa’s body of work is primarily inspired by the complexities of the human condition. He is known for the exploration of the tension between the interior and exterior life. The artist uses a variety of materials—from cast iron to steel and bronze to alabaster and synthetic resin—choosing the material which will best communicate his idea for the image. Plensa’s portraits are a radical reinterpretation of what is usually considered the domain of a more classical art.

Plensa is also involved with the transmission of language and culture. He often uses excerpts of texts from authors and poets whose writings are meaningful to him. The characters from many world alphabets are the physical elements that form a sculpture, making language as central to his work as human forms themselves. In this body of work, Plensa blurs the line of language, culture, belief system and physicality. The result is what is often described as work with a luminous beauty and grace, a sense of harmony, and supreme calm. (Toledo Museum press-release)

The Toledo Museum of Art. 2445 Monroe Street. Toledo OH

http://www.toledomuseum.org    http://jaumeplensa.com

Image: Jaume Plensa, Paula, 2013

 

BERLIN. Santiago Albert “Cofrades” Tumuult Gallery

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

http://tumuult.com  http://albertponsphoto.blogspot.com.es

Image: Tomás, Cofrade Chichicastenango, Guatemala. Foto © Santiago Albert, 2014

LONDON. Oscar Tusquets Blanca “Desingn Meets Art” Room One Gallery

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

http://www.roomone.gallery    http://www.tusquets.com

VENICE. "Unfinished" Spanish Pavilion. 15th International Venice Biennale of Architecture

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

http://www.labiennale.org/it/architettura

Imagen: Pabellón de España. Bienal de Arquitectura. Venecia 2016

NEW YORK. “Esteban Vicente” Ameringer | McEnery | Yohe

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

http://www.amy-nyc.com

Image: . Esteban Vicente. Tact, 1995

BARCELONA. “Dialogues of the Gaze” Suñol Foundation

until 29 october 2016

In its most essential meaning, looking is defined as the act of setting the gaze on some object, person or space. Yet when we speak of looking in the context of art, we have to go further than that. If we consider the creation of the work of art as a way of relating to the world, as a link between what is real, imaginary and symbolic, and as a fact taking on meaning in the act of communication, looking also implies understanding, comprehending and feeling.

In this exhibition the Fundació Suñol presents a selection of work from its own collection, with the goal of once again addressing the importance of the gaze in art. While it is evident that the spectator gazes upon the work of art, it is less clear that the artwork is looking at us as well. By means of a multitude of languages and a great variety of signs and codes, artists communicate experiences, thoughts and emotions in creations that reveal subjectivity, providing a reciprocal gaze that turns into a three-sided active dialogue: the work of art condensing the artist’s gaze; the spectator enquiring about the work from his or her own individuality; and the immensity of the world, understood as an unfathomable vessel where art constitutes an effort to put it all in order.

This exhibition features work by Luis Gordillo, Man Ray, Zush, Richard Avedon, Luis Frangella, Carlos Pazos, Jaume Plensa, José Luis Alexanco, Ramon Guillen-Balmes, María José Lacadena, Christo, Jordi Colomer, Claudio Bravo, Ferran Freixa, Ignasi Aballí, Antoni Tàpies, Juan Genovés, José María Sicilia, Alberto García-Alix, Joan Rom, Jaume Xifra, Robert Llimós, Idroj Sanicne, Sergi Aguilar, Federico Guzmán, Manuel Millares, Pello Irazu, Max Bill and Miquel Mont. The work is grouped into various sections, corresponding to seven different subject areas: gazing; reading; covering up; value; walking/resting; holes; and the colour red. The heterogeneous nature of the subjects chosen demonstrates the variety of recurring concepts in art, each in its own way drawing the attention of artists so as to be interpreted through the form of new languages, multiplying their possibilities. For this reason the works in each section dialogue amongst themselves while inviting us to participate in an open, multidirectional conversation that has not be previously scripted, even while awaiting our reply. (Fundación Suñol press-release)

Fundación Suñol. Passeig de Gràcia 98. 08008 Barcelona

http://www.fundaciosunol.org

Image: Joan Rom, Sin título (pies atados), 1992. Fotografía Fundación Suñol.

NEW YORK. Chillida “Rhythm-Time-Silence” Ordovas Gallery

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

http://www.ordovasart.com

Image: Chillida: Rhythm-Time-Silence installation view, Photography by Maris Hutchinson

BORDEAUX. Ignacio Evangelista "After Schengen" Hall de Sciences Po Bordeaux

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

http://ignacioevangelista.com/  http://wwws.ciencespobordeaux.fr

Image: After Schengen, Ignacio Evangelista

JAKARTA. Juan Pérez Agirregoikoa“Jakarta Biennale 2015”

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

http://jakartabiennale.net

Image: Jakarta Biennale 2015

BARCELON. FACE TO FACE. Portraits from the Foto Colectania Collection

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

http://www.colectania.es

Image: Humberto Rivas, María, 1979

 

NEW YORK. “Closed Paradise “The Clemente. Abrazo Interno Gallery

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

http://www.theclementecenter.org

Image: Closed Garden. José Val del Omar

BORDEAUX. Jaime Belda “New York. Side B” Instituto Cervantes

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)

http://burdeos.cervantes.es   http://www.jaimebelda.com

Image: Jaime Bleda

TOKYO. “Picasso ceramics from the collection Yoku Moku” Spanish Embassy

16 february  - 13 march, 2015

Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.

In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.

Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.

http://www.exteriores.gob.es/Embajadas/TOKIO/es

Image: Embajada de España en Tokio.

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