Spanish contemporary art worldwide
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5 – 30 august, 2015
The Drawing Center's Open Sessions feature Catalan visual artist Laia Solé, among others
Open Sessions is a two-year program created by curators Nova Benway and Lisa Sigal as a platform for artists to find new approaches for contextualizing and exhibiting their work, through conversation, public programs, and gallery installations. The participants are artists, musicians, dancers, filmmakers, poets, theorists, scientists—anyone who is interested in expanding the boundaries of drawing. Laia Solé is a Barcelona born and New York based visual artist and researcher, whose interest lies in public spaces and everyday practices within cities' public space.
Laia Solé (Barcelona, 1976) is a visual artist and art/educator based in New York. She is interested in urban space as a terrain for cultural expression, as a performatic locus that is constantly being negotiated. Her works seeks to activate forms of representation, interaction and transformation of the multifaceted dynamics that shapes the space and urban life. Most of her works are site-specific, employing video and photography, and often developed with the collaboration of local agents, communities, architects, anthropologists and artists.
Laia Solé has taught at different educational institutions, and has been involved in collective projects: co-curating the show Apamar: charts, metrics and politics of space (ACVic, 2011), and co-directing the forum QUAM 2011: Wikpolis. Cartographies and collective creation of the social space (ACVic, 2011). She is the co-author of the book Balkan Suite (Olot, 2008) and have been artist in residence at the platform Trans Art Laboratori: art in context (Hospital Sant Pau, Barcelona, 2008). Her work has been exhibited in various contemporary art centers, in Spain and abroad. (I.Ramón Llull press-release)
THE DRAWING CENTER 35 Wooster Street, New York, NY, 10013
Image: e-, estevez & sole, 2015
17th July - 28th August 2015
Catalan born Vanessa Donoso López has lived away from the country of her birth for 12 years during which time she has lived in England and Ireland. It is this sense of lost and found that infuses her exhibition,Eye before e, except after seewhich opens on 16th July at the Limerick City Gallery of Art.
Lopez’s work focuses on a mental state described as Persistent Immigrant Homesickness. Away from home people will almost certainly miss something about their home-place making home-sickness a near-universal experience.
An investigation of homesickness may be an important tool for developing strategies needed to improve the quality of life for those who are forced to travel as refugees or economic migrants.
Donoso López has identified different ways of dealing with homesickness through her own visual language; material experimentation, play and repetition, using the three of the rooms in the first floor Galleries to explore the many layers of this enigmatic emotion.
In the Carnegie gallery the artist uses clay which she has partially dug herself in the Wicklow Mountains, Bull Island, Dublin and Mallorca. The repetitive process allows the artist to “dig deep” in what she describes as a “primal and intimate process”. With this material she creates fired clay beads and knot shapes that are arranged in a necklace-like form ; creating a pattern which, at first grabs our attention and then creates a feeling of familiarity.
In the DARK ROOM gallery the artist focuses on play using elements that come from both cultures. The pieces of small furniture and the bast majority of the other objects have been collected or made from materials found in Barcelona or Dublin. Gadgets, lights and magnets raises an exalting reaction, the abrupt and the sudden.
In the Herbert rooms, attention is centered on material experimentation. Elementary materials like paper, dyes, inks, wood, branches, plaster, fabric, glass, live plants are used for this installation.
Vanessa Donoso López (born Barcelona, Spain) lives and works in Dublin. She studied at the School of Arts and Design Llotja, Barcelona, the University of Barcelona, and the Winchester College of Art, UK.
In 2014 Vanessa was awarded a Sculpture Workshop Residency Award and Bursary at the Firestation Artists Studios and a year project studio at Temple Bar Gallery and Studios. Currently she holds a studio in Temple Bar Gallery and Studios as a studio member until 2018.( Limerick City Gallery of Art press-release)
Limerick City Gallery of Art. Carnegie Building. Pery Square. Limerick
Image: Vanessa Donoso López
25 july - 8 august, 2015
The Spanish artist works depict the beauty of simple moments of everyday life.
Spanish artist Eva Armisén’s work speaks of the small moments in daily life. 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.
In a way, Armisén encourages us to stop for a second and look around at our surroundings. We all have things to be happy about –it is only a matter of raising our consciousness of them.
Armisén 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.
Together with her husband Marc Parrot, she co-authored the children’s books ¿Qué me está pasando? and Todos a comer, published by Mondadori in Spain and Venezuela. (Hamilton galleries press-release)
Hamilton Galleries, 1431 Ocean Ave, Santa Monica, CA
Image: Eva Armisén
08 - 29 august 2015
The current economic situation in Spain has created a forced displacement of the inhabitants. The young population is the most affected by these circumstances. However, this gives the rest of the world the opportunity to see the work of Spanish artists that might otherwise not have had the opportunity to exhibit outside their home country. In August the Grant Bradley Gallery will host a number of these artists, most of which have chosen Bristol to settle and carry on creating and spreading their art. Bristol's prosperous art scene encourages them to continue developing their own creativity and individual styles.
Spain has accumulated centuries of exceptional art demonstrated by masters such as Velazquez, Goya and Picasso. These masters influence contemporary artists to varying degrees and their presence reflects on many of the pieces in this show.
The works of these 22 artists from all regions of Spain will extend over every medium and technique gathered together in one place. Some of them are exhibiting for first time, some of them have created works especially for this exhibition while some have established art careers around the world. It's a unique opportunity to enjoy their works.
ARTISTS: Andres Castrillo Ferrer, Alejandro Perez Fabregas, Beatriz Elorza, Dani Rodriguez, Dani Tinez, Daniel Artesero, Daniel Bayardi, Ibai Fernandez, Israel Martinez Herrero, J. Nezna, Jose Camacho, Josep Prats, Marisa Jiménez, Marta Conesa Rojo, Miguel Angel Galan, Pablo Teresa-Palacio, Sandra Justo, Sara Abad Catalan, Sara Louro, Susana Morcillo Leon, Yeyo Riancho, Yol Bernado.( The Grant Bradley Gallery press-release)
The Grant Bradley Gallery. St Peters Court, 1 Bedminster Parade, Bristol BS3 4AQ, United Kingdom
Image: Sculpture by Josep Prats
01 august – 18 october, 2015
Between the late eighties and early nineties, Antoni Abad (Lleida, 1956) focused on the development of mobile sculptures that, accompanied by photographic sequences, already inquired into the possibilities of the expanded and moving image. After a period as artist-in-residence at The Banff Centre for the Arts (Alberta, Canada), he began working with the videographic medium, without renouncing to the spatial and architectural concerns of his earlier work, as we can see in the piece Últimos deseos (Latest Wishes), 1995, which was presented in 1999 at the Venice Biennale curated by Harald Szeemann. In 1996, following an invitation from Roc Parés for the platform ‘MACBA online’, a project initiated by the Universitat Pompeu Fabra and MACBA, Abad made Sisyphus, a video installation that reinterprets the classic myth and that also unfolds into a new version for the web: his first foray into the Internet. In 1997 he made a further video installation, Natural Sciences, which investigated users’ reactions of empathy and repulsion.
Since then Antoni Abad has focused on digital media, making proposals as emblematic as Z (2001–3), a work that anticipates the use of social networks, where users interact with each other by downloading to their computers a virtual fly allowing for collective and simultaneous interaction. The Z project was presented at MACBA in 2002 and received the Ciutat de Barcelona 2003 award in the Multimedia category.
Based on the above-mentioned investigations, megafone.netpioneers the exploration of other possible social and communicative uses for mobile phone technologies, which were in wide use at the end of the last century.(Pinacoteca do Estado press-release)
Pinacoteca do Estado de São Paulo
Praça da Luz, 2 - 11 3324-1000 | Lg. General Osório, 66 - 11 3335-4990
Image: Antoni Abad. megafone.net
21 july – 5 september, 2015
This exhibition’s approach follows the clear, concise criteria of its curators, Carolina Bustamante and Francisco Godoy, whose insurgent voices stem from a biographically-specific position of empathy with the subjects and issues addressed within Madrid’s Casa Encendida. Their empathetic position gives a different perspective to the generally pejorative use of the term "sudacas" or "South American migrants" and adds to the power of their critique. Placing the focus on the Spanish State, one of whose cultural institutions is sponsoring the exhibition, they attempt to create a "means of uncovering and pointing out the window dressing behind the inconsistency between migration policies and economic policies, which continue to perpetuate the logic of colonial ideologies".
Artists: Laura Ribero, Ana Álvarez-Errecalde, María Galindo/Mujeres Creando, Rogelio López Cuenca, Magdalena Correa, Lucía Egaña Rojas, Runo Lagomarsino, Daniela Ortiz, Xose Quiroga, Miguel Benlloch, Guillermo Gómez-Peña, Paula Heredia, Coco Fusco, Juan Pablo Ballester, Konstanze Schmitt, Stephan Dillemuth, Territorio Doméstico, Francesc Torres, Eduardo Otero, Fernando Debas Dujant, Xatart a.s. y Jean Laurent Minier. (Aecid press-release)
Entro Cultural de España. 655 Calle de la Colonia Palmira, Tegucigalpa, Honduras
Image: Crítica de la razón migrante
ATRI. STILLS OF PEACE “Italy and Spain: a search for the meaning of the contemporary” Museo Capitolare / Cathedral Crypt
30 july – 13 september, 2015
Cultural dialogue between Italy and Spain, the summer of Atri dedicated to Claudio Acquaviva d'Aragone. After the homage to Pakistan, this year we celebrate Spain in Atri, to honor the sixteenth-century anniversary from the death of the famous Claudio Acquaviva, with the project STILLS OF PEACE and Everyday Life, promoted by the Festival. A contemporary art exhibition, a film festival named CineEspaña and a series of meetings about literature, poetry and music will cheer the Museo Capitolare, the Cathedral Cloister and the beautiful city theatre from the 30th July to the 14th September.
Contemporary art exhibition curated by Antonio Zimarino and Marta Michelacci. Artists: Soledad Córdoba, Ignacio Llamas, Olga Simón, Fernando Sordo , Anna Talens, Marco Appicciafuoco, Jacopo Casadei , Michele Giangrande , Valentina Perazzini, Gino Sabatini Odoardi. (Still of peace press-release)
Museo Capitolare / Cathedral Crypt, Atri. Italia
Image: Olga Simón “ Lágrimas” 2015
10 july – 29 september, 2015
Ángel Marcos exhibits “The White Glance” series at Ostrale´15, Dresden, Germany
Handle with care – the plea that seems to grow ever more urgent in our relationship with the environment, fellow human beings and not least of with ourselves – has long been present in the world of visual arts and will unite more than 200 artists from across the world this year at the 9th edition of OSTRALE in Dresden’s Ostragehege.
Ángel Marcos is one of Spain’s most prestigious artists. He began his career with the series Paisajes (Landscapes) (1997) and Los bienaventurados (The Blessed) (1997), linked to the rural environment in which he spent his childhood. The first contains a strong autobiographical content, while the second is a critique of the exclusion and vindication of the weak. This is a constant theme in Macros’ work, as is his interest in leading to reflection through his images with works that go beyond aesthetic content and deal with some of the defining issues of our time. (OSTRALE press-release)
OSTRALE, Centre for Contemporary Art. Messering 8, 01067 Dresden, Germany
Image: Ángel Marcos. The White Glance 5
22 july - 21 august, 2015
In the past few years, there has been an exciting resurgence in sculpture. The reinvigoration of the medium has simmered quietly alongside a more public interest in painting. However, the current breadth, energy and sheer number of vibrant works being made in three dimensions call out for close examination.
For object’hood, curated by Penn and Babaeva have selected artists who mine the depths of other disciplines in order to inform and enrich their work, resulting in a kind of revitalization through contamination. Referencing painting, installation, drawing, architecture, pattern and decoration, craft, design, video, photography and material culture, these artists have constructed pieces that are extraordinarily rich pictorially, thematically and materially. These “porous” objects reside in a complex locus of their own invention and speak to each other in strong, sonorous voices, lyrical, cacophonous, playful, anxiety, ridden, that command our attention.
Isidro Blasco (Madrid 1962) uses digital photography to combine elements of architecture, landscape, and human movement. Utilizing wood slats and digital images, Blasco then creates sculptural installations that expand his vision into physical space.
Artists in the exhibition: Rachel Beach, Katie Bell, Isidro Blasco, Nicole Cherubini, Martha Clippinger, Joy Curtis, Matthew Deleget, Peter Dudek, Kate Gilmore, Don Gummer, Mike Hein, Elana Herzog, Lisa Hoke, Christopher Joy, Harry E. Leigh, Elisa Lendvay, Doreen McCarthy, Sheila Pepe, Sarah Peters, Judy Pfaff, Don Porcaro, Elise Siegel, Kirk Stoller, Daniel Wiener, Letha Wilson. Curated by Inna Babaeva and Gelah Penn. (Lesley Heller press-release)
Lesley Heller Workspace. 54 Orchard Street. New York, NY 10002
Image: Shanghai Planet , 2015. Isidro Blasco
TRENTO. Avelino Sala “Be-diversity. A mental attitude on differences, beyond biodiversity” MUSE, Science Museum
18 july – 30 september, 2015
“To safeguard the future of the planet and the right of future generations everywhere to live healthy and fulfilling lives. This is the great development challenge of the 21st century. Understanding the links between environmental sustainability and equity is critical if we are to expand human freedoms for current and future generations.” This is the incipit of the Milan Charter, the document made in the months leading to Expo, which lists the rights and obligations that citizens can subscribe to look for solving the problem of food and malnutrition in some parts of the world. A collective manifesto – therefore – which seeks to sensitize people on the main topic of Expo, Feeding the Planet, Energy for Life. Even the Muse of Trento embraces this challenge, moving, in the months of Expo Milano 2015, among several layers of investigation, science, art, technology, with attention to the interweaving between the local and global elements of the debate.
The artist’s contribution by Stefano Cagol, for the first time working as curator, fits into these reflections and comes into the spaces of MUSE for put in contact a corpus of works by established international artists, selected for their skill to face topics such as biodiversity, sustainability, ecology, food and the future of the planet.
Avelino Sala (1972) lives and works in Barcelona. Is artist, curator and editor.
His work as an artist has led him to question the cultural and social reality from a late romantic perspective, with a continuous explore the social imaginary and trying to put finger in the sore to check the power of art as experimentation spaces capable of recreating new worlds.
His work has been presented in various exhibitions, national and international, highlighting among the latest, at Puma Pungo Museum in Cuenca, Laboral Art Center in Gijón, NCCA in Moscow, Matadero in Madrid, Royal Academy of Spain in Rome, National Museum of Art Sofia, 10th Bienal de la Habana, A Foundation in London, Tina B in Prague, Chelsea Art Museum in New York. (MUSE press-release)
Artists: Wim Delvoye (BE), Christian Jankowski (DE), Giancarlo Norese (IT), Khaled Ramadan (LBN), Oliver Ressler (AT), Avelino Sala (ES), Åsa Sonjasdotter (SE)
MUSE – Museo delle Scienze – Corso del Lavoro e della Scienza, 3 – 38123 Trento
27 june – 15 november, 2015
“The Silence of Thought” is a selection of works that speak "of the body, the soul and the word", and one that will serve as an overview of his work. The sculptor is particularly famous for his sculptures of giant heads and people sitting in the foetal position. Plensa encourages visitors to "enjoy and have fun" because, thanks to the "intimate spaces and cosy human scale" of the museum and the use of light and shadows, they can fully understand his sculptural universe. The exhibition consists of three creative installations, each with their own room, and five monumental faces of alabaster and bronze.
Installations: 'Silhouettes' (2011-2012) is comprised of 16 steel silhouettes that float in space, suspended from the ceiling by banners with sayings and featuring verses from poems of Plensa's choice. One of them reads: "One thought fills immensity", a verse from William Blake that the artist cites as a source of inspiration for his work. The life-sized silhouettes are blended into those of the people in the room, who circulate freely among the figures and sentences. 'Talking continents' (2013) constitutes 19 elements formed by letters from different alphabets, welded together to form transparent boulders on which the human silhouettes sit. The fixtures are meant to represent a silent dialogue between planets, universes and the men who frequent them without ever coming in contact with each other. The poetic imagination of these floating islands is that all humanity, regardless of language, is somehow connected. Here, visitors can again move between the pieces.
The last of the creations at the gallery is a monumental installation, 'Air, Water, Void' (2014): a sculpture of three sitting men – made of colour-changing luminous resin – covering their mouths with their hands who seem to be having a mute conversation. The calm that comes from this encounter is an invitation to perceive the silent language and its mysteries. The exhibition also includes five monumental faces made from 2014 to 2015 of either basalt or bronze. Inspired by the faces of real people that have attracted Plensa's attention for their beauty or their personality, like Lou or Sanaa, the artist strives for universality by depicting them in their most pure and simple expressions. Their closed eyes invite dreams and meditation. The density of their presence fills the other, transparent and aerial installations, encouraging visitors to immerse themselves in a deep sleep. (Musée d´art Moderne press-release)
Musée d'art moderne de Céret. 8, Bd Maréchal Joffre . 66400 Céret - France
Image : Air, Water, Void. Jaume Plensa
23 july – 25 october, 2015
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, (CONARTE press-release)
Centro de las Artes. Parque Fundidora. Av. Fundidora y Adolfo Prieto S/N, Col. Obrera
Image: Eugenio Ampudia.
10 july – 5 september, 2015
The exhibition reflects the contradictions of the activity produced in the past two decades, the works of the highest architectural quality and now in a difficult process of transformation and adaptation to the new economic and cultural needs. The exhibition includes videos of the 15 winning projects, is organized by the Spanish Ministry of Public Works. (AECID press-release)
Centro Cultural España | Rincón 629 Montevideo, Uruguay
Image: “XII BEAU” NOTE
july 02 – september 11, 2015
The exhibited works result from decades of applied photographic research and visits to the United States to observe, first-hand, original works by photography pioneers. Selected portraits and landscapes use wet collodion, an early form of photographic emulsion. A glass plate or sensitized metal is exposed directly to sunlight with a chemical solution that enables rapid production of unrepeatable images, a procedure invented by Frederick Scott Archer in 1856 with the tintype patent.
To Salom, “the liturgy of the process is long and tedious but always requires precision chemistry,” but with an unpredictable outcome due to the many variables involved in the “state and purity of chemicals, water quality and composition, temperature and humidity, exposure to light, level of UV light, and other contingencies.” With excellent tonal range and absence of grain, ambrotypes and tintypes are noted for their aesthetic subtlety and their practical durability. In contrast to the infinite multiplication of digital images, in tune with current trends’ revaluation of the first photographic and cinematographic techniques, Ictum Olim III: Ambrotypes and Tintypes provides an opportunity to observe the purity of pioneering photography techniques.
Miquel Salom was born in Mallorca, Spain in 1951. When he was 14 years old, his father placed a Kodak Brownie Fiesta camera in his hands to take a photograph, and in that moment he felt a “strange vibration” when looking through the viewer. Salom has ever since dedicated himself to photography. He has traveled to more than 50 countries honing his craft, and has committed himself to sparking popular interest in the arts and to encouraging people to use photography for self-examination. Miquel Salom now divides his time living in both Mallorca and New York City. (OAS/AMA press-release)
OAS | AMA F Street Gallery 1889 F Street, NW, Washington DC 20006
Image: Miquel Salom
03 july – 1st August, 2015
Basque artist Alain Urrutia (*1981, Bilbao) appropriates existing images and paints them always changing some elements, in order to tell his own version of the story. Walking around São Paulo in his first days in the city, the artist was confronted with several aspects from the Brazilian culture, which had an impact on him. For the exhibition «Sociedade Anônima» at KUNSTHALLE São Paulo, his first solo show in Brazil, he proposes a four chapter analyses of the Brazilian history and how it reflects in the development of the social values.
Chapter one, entitled Pindorama, is a wall painting of an indigenous pattern used for body painting, that is an abstraction of palm tree leaves. The image is used by the artist as an homage to the country’s origins, the indigenous people, their cosmology, and the nature, which he could experience in Parque Trianon – a small remaining sample of the former Mata Atlântica – where the light and the freshness of the air provide the feeling of being inside of a jungle. Pindorama – the Tupi word for Land of the Palms – was used by the indigenous people to name Brazil.
Chapter two, entitled Mula sem Cabeça, is an oil painting based on the cover of Paulo Prado’s book Retrato do Brasil, which shows the image of a bandeirante – one of the 17th-century Portuguese settlers and fortune hunters in the São Paulo region – riding a horse. However, in the painting, Urrutia replaces the horse by a Mula sem Cabeça – a character from the Brazilian folklore, who, in the legend, is the ghost of a woman condemned, for her sins, to turn into a fire-spewing headless mule, and to gallop through the countryside, scaring people. The work is a reflection on the effects of the Portuguese colonization process, with the genocide of millions of indigenous people, and the imposition of the Catholic religion in the national culture. The work also comments on how the bandeirantes are still worshiped as heroes by the contemporary society that keeps erecting their statues on the public space.
Chapter three, entitled Cobogó, is comprised by two images, one that shows Lina Bo Bardi’s hands holding a small object, and the other, an indigenous pattern, which resembles aesthetically to the structure of a cobogó – the typical Brazilian hollow concrete element used to build up walls, that allows more ventilation and lighting within a building. The work reflects on the effort of the modernist architects in establishing a national architecture that would integrate the nature, through the use of elements, such as the pilotis, the concrete, the glass, and the cobogó.
Chapter four, entitled Sociedade Anônima, is a sculptural oil painting that seems to be an architectonical element of the exhibition space. The image on the painting is a frame from the homonymous film by Luis Sérgio Person. Dating from 1965, the film shows a progressive period of the Brazilian history, which has been decisive for the way how life is experienced in the big cities. In that period, the establishment of the car industry in the country has given preference to the individual transport in detriment to the public, generating the transport problems existing today in the Brazilian metropolis. In the same way, the verticalization process of São Paulo, caused by the constant construction of skyscrapers, transformed the city into a dehumanized place, for the living of an anonymous society.
As an epilogue of the exhibition, Alain Urrutia chose the first page of the book Magia do Brasil, which has been sent by a Brazilian to an European friend in 1978, with an inscription saying: “Ao amigo Pico, para que conheça um pouco do meu país. Ezio Elio Bovino” (To my friend Pico, for you to know a little of my country. Ezio Elio Bovino). Curated by Marina Coelho. (Kunsthalle press-release)
KUNSTHALLE São Paulo. Rua dos Pinheiros, 411. Pinheiros – 05422-010. São Paulo – SP – Brazil
Image: Pindorama. Alain Urrutia
03 july - 02 august, 2015
A shadow advances and gradually devours the landscape. A man leaves his tower to explore a ravaged land. In a world that is ever more known, connected, under surveillance, and inventoried, in a nature doomed to catastrophe, symptom of human activities, clues crop up everywhere, upsetting categories and opening up areas of possible alternatives. The exhibition, curated by Bénédicte le Pimpec & Isaline Vuille, proposes the participant artists to investigate and find those clues in order to make a proposal that fills the physical space with their artworks. Works by artists Maxime Bondu, Marcel Broodthaers, Gerard Byrne, Jasmina Cibic, collectif_fact, Aurélien Froment, Uriel Orlow, Paloma Polo y Riikka Taurianien try to show a new paradigma for a future world.
AC/E collaborates in this project through the Mobility grants, supporing the Spanish artist Paloma Polo that presents her 16 mm film 'Path of Totality' together with 4 collages. (Le Commun press-release)
Le Commun, BAC, Geneva, CH
Image: Le Commun
10 july – 16 august, 2015
“I believe we lose immortality because we have not conquered our opposition to death; we keep insisting on the primary, rudimentary idea: that the whole body should be kept alive. We should seek to preserve only the part that has to do with consciousness.”
– Adolfo Bioy Casares, The Invention of Morel
Inspired by Argentinian author Adolfo Bioy Casares’ 1940 novel, The Invention of Morel, the exhibition Memory Burn observes mortality and death in relation to recording devices. The title of the exhibition refers simultaneously to unforgettable visions burned in the mind and to digital burning used to archive memories.
In the novel, a fugitive stranded on an island obsesses over a beautiful tourist named Faustine, only to find out that she and her fellow travelers are three-dimensional recordings projected by a machine. Coping with loneliness and gradual madness, he learns how to integrate himself into the machine’s memory, altering it to suggest that he and Faustine are together, in love. Although the process means certain death, he wishes to live on as a projection, hoping a machine is invented that can merge his soul and conscience with Faustine’s.
The phenomenon that takes place on the island foreshadows our contemporary experience with recording devices, as well as virtuality, and electronic networks. We document our lives as if to prolong them. Featured in the exhibition are a range of works that utilize photography, video, face recognition software, and virtual reality.
Daniel Canogar will present a large-scale photographic print, “Enredos 1”, which depicts bodies tangled amongst clusters of wire. Utilizing the cobweb as a metaphor for electronic networks, the work conveys complex emotional connections tethered by technological means. The dangling bodies are connected but also imprisoned.
Debuting in the U.S., Rafael Lozano-Hemmer’s “Level of Confidence” commemorates the mass kidnapping of 43 students from the Ayotzinapa normalista school in Iguala, Guerrero, Mexico. The project uses a face-recognition camera that tirelessly looks for the faces of the disappeared students. As a viewer stands in front of the camera, the system uses algorithms to find which student’s facial features look most like the viewer. The piece can be acquired for art collections, but all proceeds are directed to a fund to help the affected community, for example in scholarships for new students at the normalista school.
Artists: Daniel Canogar, exonemo, Rafael Lozano-Hemmer, Sara Ludy, Sarah Rothberg, Angela Washko, Andrea Wolf. curated by Chris Romero (Bitforms gallery press-release)
Image: Enredos 1. Daniel Canogar
15 july – 6 august, 2015
Alejandro Carro POP and MARCH & ART present at Galleri Bredgade 22 from July 15th to August 6th two consecutive exhibitions:Alejandro Carro’s So What? and María Cano’s Tuesdays Head start on July 15th and end on July24th:
Alejandro Carro insists on the ways of POP Imposture intervening over his own or others works in diverse formats and techniques, namely: Sketches, Newspaper covers, poems, child art or Goya etchings, child art or Goya etchings, So What? María Cano offers her world of small big thing...s; in Tuesdays Head meticulous leisure scenes featuring smooth figures, charm us with the suggestion of organic shapes. Form is a reason itself. Between July 25th and August 6th, Alejandro Carro’s Black Strokes and Soulscapes by Leandro Alonso:
Carro shows a different face. Black strokes presents possible pictoric atmospheres generated by a sensible interpretation of the signs. Closer to abstraction, obsessed with offering a different view of matter, process and phenomenon. Leandro Alonso votively offers the substance of his “Soulscapes” to poetry. His sculptures distil the essence of ephemera through the accurate balance of the inherent beauty of the materials and the accurately veiled presence of calligraphy.
You’ll also have the chance to discover in “Thoughts so Far” Javier C Temboury’s work, a young artist in full expansive creativity.MARCH & ART is dedicated to the promotion of Spanish art and the representation of artists. During the exhibition, March & ART will anticipate the works of other Spanish artists, facilitate the contact among galleries and aim to participate in projects with other cultural institutions. In Tuesdays Head meticulous leisure scenes featuring smooth figures, charm us with the suggestion of organic shapes. Form is a reason itself. Between July 25th and August 6th, Alejandro Carro’s Black Strokes and Soulscapes by Leandro Alonso:
Carro shows a different face. Black strokes presents possible pictoric atmospheres generated by a sensible interpretation of the signs. Closer to abstraction, obsessed with offering a different view of matter, process and phenomenon. Leandro Alonso votively offers the substance of his “Soulscapes” to poetry. His sculptures distil the essence of ephemera through the accurate balance of the inherent beauty of the materials and the accurately veiled presence of calligraphy.
You’ll also have the chance to discover in “Thoughts so Far” Javier C Temboury’s work, a young artist in full expansive creativity.
MARCH & ART is dedicated to the promotion of Spanish art and the representation of artists. During the exhibition, March & ART will anticipate the works of other Spanish artists, facilitate the contact among galleries and aim to participate in projects with other cultural institutions. (Galleri Bredgade 22 press-release)
Galleri Bregade 22, Bregade 22. 1260 K Kovenhavn
Imagen: Alejandro Carro
3 july – 22 august, 2015
Instituto Cervantes Dublín, PhotoIreland and espai d’art fotogràfic in Valencia present this exhibition by artist Emilio Andrés Codina. This collection clearly displays his robust classic and balanced style.
His work aims to open up the debate on some of the consequences of uncontrolled consumerism in society. His assignment was supervised by Nicolás Llorens, Director of espai d'art fotogràfic, and the international photographer Philipp Scholz Rittermann. Images were taken at the Salton Sea Lake in the State of California, Unites States. This location is considered one of the most contaminated lakes in the country. Sewage and industrial waste from local towns, to name a few, have created a place in decline. A phantasmagorical site where fish lay dead and the damaged landscape contradicts the ideal image of the “American Dream”
The work showcased in this exhibition is the result of the Master's degree in Photography at espai d'art fotogràfic. Students were asked to prepare a photographic project of a professional, personal and artistic nature. Out of all the projects completed at the Master's degree 2009-2010, a panel of judges awarded Emilio Andrés Codina’s work with the financing of a monographic publication, the production of this exhibition in a prestigious venue and its entry into a circuit of international exhibitions that includes Instituto Cervantes. The panel of judges was made up by Francesc Vera, Doctor of Audiovisual Communication from the Polytechnic University of Valencia, Romà de la Calle, Professor of Aesthetics and Art theory at the Polytechnic University of Valencia and Tomàs Llorens, art critic.
Emilio Andrés Codina (Villanueva de Castellón, Spain 1953) trained as a photographer at the espai d’art fotogràfic photography school in Valencia. He undertook a Diploma in Photography (DEF) and completed his training with the Master's Degree in Photography. Emilio Andrés chose to specialise with the Arquitecture Photography workshops by Juan González Fornes and Travel Photography in National Geographic by Tino Soriano. During his learning process Emilio devised his first solo exhibition entitled No places (No-lugares) in 2009 and participated in a group exhibition on Arquitecture in 2010. (I. Cervantes press-release)
Instituto Cervantes - Sala de Exposiciones. Lincoln House, Lincoln Place. 2 Dublin
Image: Emilio Andres Codina
BERLIN. Rafel G. Bianchi, Martin Llavaneras, Teresa Solar Abboud “Mount Analogue” invaliden1 Galerie
20 june - 01 august, 2015
Mount Analogue is an unfinished book by René Daumal (1908–1944), which was published in 1952. It is a fictional story based on an enthusiastic search for a mountain that is beyond reach since it occupies a parallel dimension. It is protected by an invisible shell and held by an ontological and metaphysical condition impossible to prove. The epic narrative of its conquest begins a speculative exercise on the limits of knowledge, understanding and belief. Daumal’s sudden death of in 1944 left the novel unfinished.
The proposals by Rafel G. Bianchi (Olot, Spain, 1967), Teresa Solar Abboud (Madrid, Spain, 1985) and Martin Llavaneras (Lleida, Spain, 1983) are not an illustrative approach to Mount Analogue, quite the contrary. In this regard, Daumal sets a point of departure that, far from imposing itself, remains the possible tone under which to thread an exhibition focused on the management of the incomprehensible.
Rafel G. Bianchi’s work implies a constant review of the artist condition. He develops a metareferential discourse where commitment to humor, irony or game produces a conceptual charge based on antagonistic combinations: success and failure, hope and frustration, knowledge and ignorance, relevance and futility… After a euphoric reading of Mount Analogue, Bianchi recoups old works to confront them with new productions. This generates a set of postcards, photographs and small-format oil paintings that construct a fabulous imaginary, inspired by the perceptive impossibility of Daumal’s scenarios. In addition, the artist adds a curious narrative twist: he extracts phases from the book and titles his artworks with them, a subtle detail that helps questioning the images. While the postcards and photographs show moments related to the anticipation of a physical destiny, the oil paintings bring back two key figures for the artist: Joseph Albers, a reference artist for Bianchi and his research on failure, and Miss Pancake, the protagonist that paints mountains in the novel.
Teresa Solar Abboud’s work uses an audiovisual language and sculpture to explore issues like those of the emotional construction of landscape, the physical qualities of the image or those of nonverbal communication languages. For the exhibition, the artist presents Ghost (2015), a new production linked to her research on sign language. This thesis combines three independent but complementary videos where she includes a series of close references to an extreme vision of narrated experience. First, we witness the sign language gestures corresponding to an “Air Malaysia Ghost Plane” in direct reference to the mysterious disappearance in the middle of the ocean of the Malaysia Airlines Flight 370 more than a year ago. Next, there is one hand exposed to the optical effects of the Schlieren machine, an apparatus through which we are able to visualize the density of heat produced by bodies or fluids. While we are observing the chromatic changes of the image, a brief fragment of Joseph Conrad’s Heart of Darkness challenges us about life in the wilderness. Finally, some hands are modeling in clay, under the same codes of sign language, the word “ghost”, thus giving a material translation to a gesture that exhibits illusory and immaterial traits. Here, a quote of Austerlitz de W. G. Sebald makes a reference to the building of seventeenth century defense fortifications. In short, these three gestural actions developed by the artist expand toward contexts related to unverifiable, inaccurate or directly impossible suppositions.
Martin Llavaneras’ work brings forward a conceptual approach to sculpture using processes where performance, the body and physical endurance play an important role. For this occasion, the artist presents a new installment of The Power of the Press Belongs to Those Who Can Operate One (2014–2015), a long-term project focused on the recovering of lithographic stones that, broken by their continuous use, are restored by Llavaneras through the application of his graphic interventions. This operation points out to a gradual process of erosion, the product of the pressure that the lithographic press applies to each copy, that eventually causes the physical breakdown of the stone. In this sense, the stone claims its double status: as a mechanism of technological production and, at the same time, as organic sediment, combining, therefore, fossilized cultural remains with natural fossils. We witness an inseparable fusion that achieves its ultimate condition: that which, as defended by the anthropologist Bruno La Tour, depends on both human as well as non-human properties. The exhibition shows two of his recent lithographic stones, objects of great analogic precision that the artist brings face to face with the current systems of digital representation, establishing, therefore, several similarities between the micro-pore of the stone and today’s micro-pixel.
In short, Mount Analogue is an exhibition that comes from a share fascination with René Daumal. It develops a three-points-of-view scheme where each of them focuses on discourses that aim to explore unstable perceptions of reality. Although all of them take enough distance from the novel, I can help noticing some pleasant coincidences among the artists and some of the members of the expedition that take part of Mount Analogue. I am thinking, for instance, about Judith Pancake, high-range mountain painter, Ivan Lapse, a notable linguist, or the brothers Hans and Karl, acrobatic climbing specialist. Curator: David Armengol (invaliden 1 press-release)
invaliden1 Galerie. Schönleinstr. 25. 10967 Berlin
Image: Rafael G. Bianchi
12 june - 04 september, 2015
French artist Eltono (1975) worked in Madrid for the last decade, then in Beijing for four years and now lives in southern France. Flâneur, stubborn walker and chronic observer, for years Eltono has used public space as support, studio and inspiration source. His sensitivity to what is happening around him and his knowledge of the nature of the street – its whims and its unpredictability – are his main tools when generating works.
He has worked in the street of more than ninety cities and has shown his works in many world-renowned galleries and museums, including the Tate Modern, the Somerset House, Fundacion Miro and Artium Museum. Over the last twelve years, the development of Eltono’s work in galleries has focused on finding solutions to address the problems of showing public art in private indoor spaces. (I. Cervantes press-release)
Instituto Cervantes - Salle d expositions / Sala de Exposiciones. 7, Rue Quentin Bauchart. 75008 París
NEW YORK. Andrés Jaque “COSMOS” MoMA PS1 23 june – 7 september, 2015 The Spanish architect is the winner of the MoMA PS1 Young Architects Program (YAP) in New York. Now in its 16th edition, the Young Architects Program at MoMA and MoMA PS1 has been commi
23 june – 7 september, 2015
The Spanish architect is the winner of the MoMA PS1 Young Architects Program (YAP) in New York.
Now in its 16th edition, the Young Architects Program at MoMA and MoMA PS1 has been committed to offering emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation at MoMA PS1 that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. Andrés Jaque, drawn from among five finalists, will design a temporary urban landscape for the 2015 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
The winning project, COSMO opens at MoMA PS1 in Long Island City in late June. This year’s unique construction, COSMO, will be a moveable artifact, made out of customized irrigation components, to make visible and enjoyable the so-far hidden urbanism of pipes we live by. An assemblage of ecosystems, based on advanced eliminating suspended particles and nitrates, balancing the PH, and increasing the level of dissolved oxygen. It takes four days for the 3,000 gallons of water to become purified, then the cycle continues with the same body of water, becoming more purified with every cycle.
Andrés Jaque addresses the statistic put forth by the United Nations, estimating that by 2025 two thirds of the global population will live in countries that lack sufficient water. COSMO is designed as both an offline and an online prototype. Its purpose is to trigger awareness, and to be easily reproduced all around the world, giving people access to drinking water, and to a dialogue about it. But above all, COSMO will be a party-artifact moving in whatever direction the party happens to take it. (MoMA press-release)
MoMA PS1, 22-25 Jackson Avenue, Long Island City, NY 11101
Image: COSMOS, Andrés Jaque
23 may – 2 august 2015
Global interconnectedness due to the growing movements of travel and migration, and to increasingly complex flows of goods and data, raw materials and capital has made often ambivalent changes to the reality of life in various regions of the world. The developing processes of globalisation are leading to ever new questions, experiences, images and formal languages of globality, which are manifest in the personal and social reality of life. The international group exhibition Worlds in Contradiction – Zones of Globalisation presents works by 16 artists from Europe, Asia, America and Africa who investigate global and local contexts within diverse thematic fields. In research-based and documentary, but also narrative, poetic and thought-provoking works they reflect on aspects of mobility, the ambivalent links between production, transport and consumerism, the essence of global information and knowledge networks, or the effects of the global economy on work and our environment.
With Michael Blum, Christian von Borries, Bureau d’études, Cristina Garrido, Andreas Gursky, Kasmalieva & Djumaliev, Rosmarie Lukasser, Eva and Franco Mattes, Nyaba Léon Ouedraogo, Oliver Ressler, Allan Sekula and Noël Burch, Gabriele Sturm, Thomson & Craighead, Gruppo Tökmag, Wang Qingsong, Yin Xiuzhen. Curators: Julia Brennacher, Jürgen Tabor (Galerie im Taxispalais press-release)
Galerie im Taxispalais. Galerie des Landes Tirol. Maria-Theresien-Straße 45. 6020 Innsbruck
Image: Cristina Garrido
28 may – 1 august, 2015
In his second solo exhibition at Mario Mauroner Contemporary Art Vienna Carlos Aires confronts the viewer with shocking images of catastrophes, wars and violence, everyday icons and attributes of a capitalist society. Dazzled by the shining light of the banknotes and the gleaming gold, the complexity of Carlos Aires’ works is often only revealed upon second glance. This is also true, for example, in the exhibition’s eponymous work „Sweet Dreams (Are Made of This)“, in which the artist cuts the text of the 1983 Eurythmics classic out of banknotes from the 20 strongest financial markets and poses the question whether our dreams are made of money. The letters and flies made of laser cut banknotes and fastened with gold pins call to mind entomological preparations and underscore our mortality. Aires explains the vanitas motif as follows: „Love is in the Air“ deals with the dark side of our daily melodrama: the same finger that switches off the computer screen on which you have just watched horrible images of a war, afterwards rings the bell of a private nightclub.“
Carlos Aires (Ronda, Málaga 1974) currently lives in Spain, his work developped his aesthetic of ambiguity and analytical attitude to the way we perceive the reality around us. From collage to photography, video and performance, shows a provocative art, full of concern and skepticism. We dipped into a disturbing and questionable reality, where regular myths lose their meaning, the story takes new nature and gives space to the truth lies halfway. Carlos Aires liked propose games to the public, to find out how many and what might be the different ways of reading an image, a video, a performance, to interpret a situation. (Mario Mauroner press-release)
Weihburggasse 26. 1010 Wien. Austria
Image.Carlos Aires. Sweet Dreams (are made for this)
19 june - 17 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, 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 (Stiftung-mercator press-release)
Mercator Centre Berlin Neue Promenade 6. 10178 Berlin
Imagen: After Schengen, Ignacio Evangelista
2 june - 2 august 2015
Artists: Simon Callery, Adriano Costa, Deb Covell, Angela de la Cruz, Lydia Gifford, David Goerk, Alexis Harding, Jo McGonigal, DJ Simpson, Finbar Ward.
Castlefield Gallery is pleased to present Real Painting, an exhibition of new and existing work by ten artists working nationally and internationally including 2010 Turner Prize nominee Angela de la Cruz and 2004 John Moores Painting Prize winner’s Alexis Harding. Curated by Deb Covell and Jo McGonigal the exhibition emphasizes the essential grammar of painting, considering not necessarily what a painting means but what it ‘does’.
Each artist shares a purposeful interest in the material components of painting and its ability to assume its own presence, rather than being symbolic of something else. Slipping between painting and object, the visual and physical, the work in the exhibition highlights the expressive capacity of the materials and processes speciﬁc to painting to be sites of investigation in their own right.
Throughout the exhibition painting is transformed from subject matter to object matter, transcending its flat surface to fix the viewer’s attention on ‘seeing’ as both a visual and physical encounter.
Angela de la Cruz (b. 1965, Galicia, Northwest Spain) lives and works in London, she is represented by Lisson Gallery, London. De la Cruz received a BA in Philosophy from the University of Santiago de Compostela in 1989 before moving to London where she graduated from Goldsmiths College with a BA in Fine Art (1994) and an MA in Sculpture and Critical Theory from the Slade School of Art (1996). She was nominated for the Turner Prize in 2010 the same year as her solo exhibition at the Camden Arts Centre, London. De la Cruz was selected for Adventures of the Black Square: Abstract Art and Society 1915-2015, Whitechapel, London (2015). Selected solo exhibitions include: Escombros, Fundación Luis Seoane, Spain (2015); Larger Than Life, Galerie Thomas Schulte, Berlin, Germany (2015); Angela de la Cruz: Transfer, Lisson Gallery, London (2011); and Angela de la Cruz: Burst, Lisson Gallery, Milan (2014). Her work is held in numerous private and public collections including: Tate, England; the British Council Collection; Contemporary Art Society Collection, England; Collection of Contemporary Art, Fundacion La Caixa Fundacion, Spain; National Gallery of Victoria, Melbourne, Australia; FRAC Nord Pas De Calais, France. (Castlefield Gallery press-release)
Castlefield Gallery, 2 Hewitt Street. Manchester, M15 4GB
Image: Angela de la Cruz, Mini Nothing (Pink), 2010. © the artist & Lisson Gallery. Photo Ken Adlard.
6 june – 21 september, 2015
Built out of waste materials, the 95sqm canopy promotes cycling and allows 500,000 visitors to chill out under NY's biggest bouquet.
Izaskun Chinchilla Architects is an architectural Spanish office, winner of the City of Dreams Competition 2015. The first non american winner in the history.
Their winning design takes inspiration from nature to create an innovative and flexible solution that directly engages with local communities and familiar materials. Flower structures such as those found in hydrangeas have the ability to respond to the natural environment, growing and morphing to remain in balance with nature. They believe architecture must adopt a similar responsiveness, adapting to uncertain budgets, social change and ecological dynamics naturally, beautifully and intuitively.
The proposal is intended as a sheltered gathering place for people to meet, learn about the arts programs on the island, engage with performances or lectures, and the historic context of Governors Island.
This project will be fully funded through a Kickstarter campaign so if you want to enjoy the pavilion this summer please help them to make it happen. (Figment project press-release)
Trust for Governors Island. 10 South Street. Slip 7. New York, NY 10004
Image: Organic Growth Pavilion by Izaskun Chinchilla Architects, Madrid/London
24 june - 7 september, 2015
The exhibition Picasso and Spanish Modernity, made up of a selection of works from the Museo Nacional Centro de Arte Reina Sofía Collection, represents multiple approaches to the plastic and poetic foundations of Pablo Picasso and other Spanish artists, whose contributions were most decisive in the creation of Modern Art. Not only is there a consideration of Picasso’s influence on Modern Art in Spain, but also, primarily, it aims to show the most original and important characteristics in the artistic sensibility with which the artist and other Spanish creators contributed to the international arts scene. As a result, the exhibition refers to the role of Picasso as both artist and myth, putting forward the idea of variation as an element that distinguishes his concept of modernity, embarking on a journey through the way he approached the transfer of meanings, figures and symbols from the representation of monstrosity and tragedy, arriving at the realisation of Guernica.
The exhibition, always based on Picasso, in addition to his relationships with Juan Gris, Joan Miró, Julio González, Salvador Dalí, Óscar Domínguez and Antoni Tàpies, considers, on one side, the singular – and relatively unknown – Spanish contribution to the art of the constructed form, both specific and analytical, while on the other, the new lyricism represented by the painting of signs, surfaces and sculpture understood as “drawing in space”.
Moreover, it analyses the distinctive dialectics of Spanish creation between realism and super-realism, delving deeper into another creative register, into the powerful relationship between nature and culture as an expression of identity, established by artists rooted in their places of origin or vernaculars. The exhibit concludes with an approach to the way Spanish artists foresaw the shift towards another notion of modernity through a chronological and aesthetic opening that moved in the direction of the present.
Some of these ways of understanding and assembling contributions to Spanish plastic modernity are considered for the first time in an exhibition and are the result of studies and work to comprehend and recover carried out in recent decades. Thus, the exhibition constitutes an attempt to reconsider Modern Art by approaching it with originality and from unconventional points of view. Organized by: Museo Nacional Centro de Arte Reina Sofía, Banco do Brasil. Curator: Eugenio Carmona. (MN.Reina Sofia press –release)
Centro Cultural Banco do Brasil Rio de Janeiro, Rua Primeiro de Março, 66 CentroCEP: 20010-000 / Rio de Janeiro (RJ)
Image: Pablo Ruiz Picasso. Seated Woman Resting on Elbows 1939. Museo Nacional Centro de Arte Reina Sofía
24 june - 13 september, 15
This summer new works by some of the promising names from the Belgian art scene will be on display in the Centre for Fine Arts. Of the 250 dossiers submitted, an international jury selected ten artists, all of whom work in Belgium and are under 35 years of age. In September the jury meets to reveal the winners of the Young Belgian Art Prize. Since 1950 this is the very highest distinction for young artistic talent in Belgium. The finalists are in competition for three prizes. During the exhibition you can vote for your favourite artist via www.youngbelgianartprize.com - this will increase his/her chances of winning the ING Public Prize.
Selected artists: Hamza Halloubi, Katrin Kamrau, G. Küng, Lola Lasurt, Hana Miletic, Max Pinckers / Michiel Burger, Emmanuelle Quertain, Emmanuel Van der Auwera, Hannelore Van Dijck, Floris Vanhoof.
Lola Lasurt (Barcelona 1983) “My work comes from graphical material that testify a period of time that correspond at that of my previous generation, thus a temporal space that I have never occupied. I work with displaced time aspects, those which make us appeal to the past at present when it becomes difficult to embrace. I work with the time just before I was born and with the paradoxes of an epoch that was to suppose lots of changes. It is about having a concrete and stable case to study. I vindicate personal historical time working from my own family's albums where referents operate as narrative structures. I also work with concrete editions that were instructions dictated by hegemonic culture. I work with the last layer of things which deal with appearances in two different ways; it can be even through a phenomenon of recognition or, on the contrary, through a phenomenon of strangeness unable to approach the rare in familiar terms. Taken all together, it marks a return to the past that establishes a dialogue between our current beliefs as a collective which are still in a state of confusion posing questions about what it is that makes up now our identity” (Bozar press-release)
Rue Ravenstein 23, 1000 Ville de Bruxelles, Belgium
Image: Lola Lasurt
25 June - 18 October 2015
Serpentine reveals today designs for the 15th annual Pavilion. The render by Madrid-based architects selgascano shows an amorphous, double-skinned, polygonal structure consisting of pane als of a translucent, multi-coloured fabric membrane (ETFE) woven through and wrapped like webbing. Visitors will be able to enter and exit the Pavilion at a number of different points, passing through a ‘secret corridor’ between the outer and inner layer of the structure and into the Pavilion’s brilliant, stained glass-effect interior.
Serpentine Galleries Director, Julia Peyton-Jones and Co-Director Hans Ulrich Obrist said: ‘We are proud to work with selgascano in this, the 15th year of a commission unique in the western world that continues to showcase some of the boldest and innovative designs in contemporary architecture internationally. In keeping with their reputation for playful designs and bold use of colour, selgascano’s structure will be an extraordinary chrysalis-like structure, as organic as the surrounding gardens. We can’t wait to go inside to experience the light diffused through the coloured panels like stained glass windows. It will be a place for people to meet, to have coffee and to experience the live events we put on throughout the summer.’
Since the commission was launched in 2000 by Director Julia Peyton-Jones, the annual Serpentine Pavilion, unique in terms of its conception, delivery and funding model, has been designed by some of the world's greatest architects, including Zaha Hadid, Oscar Niemeyer, Rem Koolhaas and Cecil Balmond, Frank Gehry and Jean Nouvel. Projects have ranged from SANAA’s floating, aluminium cloud in 2009 to Peter Zumthor’s zen-like garden enclosure in 2011 to Smiljan Radić’s shell-like structure in 2014. In keeping with the criteria of the commission, this will be the first built structure in England by selgascano.
The architects describe their design: “When the Serpentine invited us to design the Pavilion, we began to think about what the structure needed to provide and what materials should be used in a Royal Park in London. These questions, mixed with our own architectural interests and the knowledge that the design needs to connect with nature and feel part of the landscape, provided us with a concept based on pure visitor experience. We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, color and materials. We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it.
Each entrance allows for a specific journey through the space, characterised by colour, light and irregular shapes with surprising volumes. This is accomplished by creating a double-layered shell, made of opaque and translucent fluorine-based plastic (ETFE) in a variety of colours. At the heart of the Pavilion is anopen space for gathering as well as a café. We are also very much aware of the Pavilion’s anniversary in our design for the 15th annual commission. The structure therefore had to be, without resembling previous Pavilions, a tribute to them all and a homage to all the stories told within those designs.” (Serpentine Gallery press-release)
Serpentine Gallery, Kensington Gardens, London W2 3XA, United Kingdom
Image: SelgasCano, Serpentine Pavilion 2015
june 23 - august 14, 2015
Paul Kasmin Gallery is pleased to announce "A Moment," an exhibition of recent paintings by Brooklyn-based, Spanish painter Santi Moix on view at 297 Tenth Avenue from June 23 to August 14, 2015. This is the artist’s sixth solo exhibition with the gallery since 2007.
Santi Moix’s works have long been characterized by their accumulation of saturated biomorphic forms that are simultaneously figurative, narrative and abstract. In this vein, these new canvases mark a continuation of his signaure collaged aesthetic. Moix works quite rapidly, exploring inspirations, ideas, and stories through a mass of studies in watercolor on paper pinned to the walls of his studio in Brooklyn’s Navy Yard. In a recent essay on the artist, contemporary art critic and curator Luca Beatrice cited what comes of this process as “generous, eclectic, no-holds-barred, pure energy,” and it is these energized studio materials that now serve as the basis for new compositions. Here, Moix returns to the central themes in his oeuvre, evoking plant and animal life by sifting through the breadth of studies and trial works on paper then collaging them onto large canvas backdrops. The result is an intricate, ethereal world that is Moix’s own.
Santi Moix was born in Barcelona in 1960. Recent solo exhibitions include “Brooklyn Studio,” M77 Gallery, Milon, Italy; “Santi Moix on Huckleberry Finn: Watercolors and Wall Dryawings,” Paul Kasmin Gallery, New York; and “Las Aventuras de Huckleberry Finn,” Centro Cultural Fundación Cïrculo de Lectores, Barcelona, Spain. In 2013 he was commissioned for a 200-foot mural at Prada’s SoHo Epicenter. His work is included in numerous private and public collections including the Brooklyn Museum, New York and Museo de arte Moderna de Sao Paulo, Brazil. Moix lives and works in Brooklyn, New York. (Paul Kasmin press-release)
Paul Kasmin Gallery. 297 Tenth Avenue, New York, NY 10001
Image: Santi Moix. Palebufranse, 2011
23 june – 12 september, 2015
Curated by SCAN (Spanish Contemporary Art Network)
In an image saturated age, digital media, internet, television, film, and video entertain, inform and surround us every waking hour. Hand-held technologies have made us not only incessant consumers but also constant maker/editors of images. The artistic value of the painted image has been in crisis for a century and, particularly in recent decades, painting has been relegated to the periphery of contemporary art discourse. Amidst numerous and expanding media and visual technology, what is the role of painting now?
SATURATION looks at the persistence of painting in contemporary artistic production. Coinciding with the 100th anniversary of Kazimir Malevich’s Black Square, SATURATION explores the range, methods and means of painting production today through the work of seventeen Spanish painters in three simultaneous London exhibitions.
FIGURE/GROUND at The Fitzrovia Gallery from 23 june until 31 july: ROSANA ANTOLÍ, ANA BARRIGA, GLORIA CEBALLOS, VICTORIA IRANZO, KEKE VILABELDA, RUTH MORÁN, PEPA PRIETO, SANTIAGO YDAÑEZ
Figure/Ground explores readings of narrative and sub-narrative in works on canvas, paper, acrylic, and concrete. Drawing on techniques from film and photography, painters re-assemble appropriated imagery to overlay and alter associations, spatial and narrative hierarchies and meaning. Cut-and-paste, collage, scale distortions, photographic transfers and animation and video become tools for destabilising painting conventions and introducing fluidity and ambiguity to the medium. What is foreground, what background? Is the viewer witness to the depicted event or a party to the act of witnessing itself? This reading of figuration elides such distinctions, offering both and neither.These borrowed images are neither stable nor stealable. The fact of paint on a ground stands for itself alone.
ADD SUBRACT DIVIDE at COPPERFIELD Gallery, 16th - July to 12th of September: GUILLERMO MORA, MARÍA ACUYO, LOIS PATIÑO, RUBÉN GUERRERO, SONIA NAVARRO, ALAIN URRUTIA
Add Subtract Divide sees artists revisit the abstract painting tradition with new media, processes and experimentation. Some works take physical issue with the discipline by disassembling or reconfiguring canvas and stretcher, preferencing material qualities over any notion of the picture plane. The historical reading of flatness in the language of Modernist geometric painting is investigated using trompe l’oeil and collage, flickering between picture plane and referent. Other works experiment with scale and non-traditional materials to re-position otherwise familiar forms, investing them with political or gender narratives; Geometric abstraction is reworked in stitched lines and layers of applied felt, transforming the medium and linking it to other traditions of making.
PERFORMED PAINTING at The RYDER Project 17th- July to 12th of September: ALAN SASTRE, VICKY USLÉ, FERRÁN GISBERT, ROSANA ANTOLÍ
Performed Painting explores the act and re-enactment of painting whether directly on the gallery wall or abstracted into video or film. Physical and visual limits are probed and tools or technologies deployed to extend the artist’s reach, expand the extent of a brushstroke or amplify the colour spectrum visible to the human eye. The image can resemble a movement-map for the eye to wander over and revisit, trailing the artist’s hand. This is action painting - or an idea of action painting we can no longer be certain (SCAN press-release)
The Fitzrovia Gallery, 139 Whitfield St, London, W1T 5EN
Galería Copperfield, 6 Copperfield Street,London SE1 0EP
The Ryder Projects, 19a Herald Street, London E2 6JT
Imagen: ‘Mitad tú, mitad yo (Pedro) Guillermo Mora-2015
19 june – 11 october, 2015
This summer, over 20 sculptures from international museums and private collections by the Spanish artist Joan Miró (1893-1983) will adorn the freely accessible gardens of the Rijksmuseum. Following Henry Moore and Alexander Calder, this is the third in a series of five open air exhibits that are made possible in part by the BankGiro Loterij.
Joan Miró was born April 20, 1893 in Barcelona. He died December 25, 1983 at Calamayor near Palma de Mallorca. A major figure of twentieth century art, Joan Miro assert throughout his life an absolute freedom avoiding any agreement - Cubist, Surrealist, Abstract - that could lock him up. For six decades, the Catalan artist author of a language of signs of great wealth, painter and poet, engraver prolific, sculptor, ceramicist, illustrator and designer of sets and costumes for stage, will invent his world.
At 14, he studied at the Art School of Llotja. From 1912 to 1915,he enrolled in art school anti-academic Francesc Gali and devoted himself entirely to painting. By the early 20s, he shared this year between Paris and Mont-Roig, near Tarragona, and often very quickly the Surrealist group. In a continuing effort to pictorial research, he realized, by 1929, its construction, three-dimensional works made â€‹â€‹with wood, iron, objects founded, cut and assembled to announce his sculptures.
In 1940 he began work in ceramics, in Barcelona, with his friend Llorens Artigas (many vases and plates enamelled). Then he made his first sculptures in bronze and terra cotta. Exhibited in major museums, two foundations open to the public now bear his name. (Rijksmuseum press release)
Rijksmuseum Amsterdam. Postbus 74888. 1070 DN Amsterdam . The Netherlands
Image: Joan Miró, 213 Personnage, 1970 © Maeght Fondation (detail)
24 may - 16 august, 2015
Joan Miró “A força da Matería” focuses on the artist's interest in the matter, which served both to learn new techniques and to get the purity of art. The exhibition, organized under the direction of Rosa Maria Malet, includes paintings on canvas, paper and other props, sculptures and graphic works made between 1931 and 1981.
The show centred on Miró’s interest in different materials, which helped him master new techniques and reach the purest sources of art. It included paintings on canvas, paper and other media, sculptures and prints made between 1931 and 1981.
Instituto Tomie Ohtake, Faria Lima 201. Pinheiros. Sao Paulo.
Image: Joan Miró: Femme et Oiseau dans la Nuit, 1947
5 june - 23 august 2015
The University Museum and Art Gallery is delighted to collaborate with Spanish artist Alberto Reguera on Blue Expansive Landscape. This exhibition highlights a borderless space that is woven together by the artist’s paintings, sculptures and installations. Reguera’s work across various media shares a similar visual structure formed through an expansive use of the colour blue. Diverse stylistic elements are then linked to create a single aesthetic and conceptual unit.
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.
This exhibition has been generously supported by the Spanish Consulate in Hong Kong and Macau, and it received corporate sponsorship from Blue Move and El Corte Inglès. (University Museum press-release)
University Museum and Art Gallery, The University of Hong Kong
90 Bonham Road, Pokfulam, Hong Kong
Image: Oriol Nieto "Deslizamientos pictóricos" Alberto Reguera, 2010
8 june – 15 november, 2015
Santiago Calatrava´s exhibition will feature seven new monumental aluminum sculptures in red, black, and silver installed along the central median on Park Avenue between 52nd and 55th Streets in New York City. These works represent the artist’s continued exploration of expressive forms and structure abstracted from nature. In the artist’s own words, “their relation to the natural world suggests a link between man and nature, implying the sculptures are found objects in a human forest.”
Two of the works, S2 and S3, are complex tension compression structures wherein each element is held in place through the utilization of very fine, almost invisible cables. Calatrava’s intention is for the sculptures to “simply grow from the ground. Within each sculpture, an internal logic of autonomy delivers lyrical forms and implies a sense of elevation and spiritual uplifting.” Santiago Calatrava builds basswood models to evaluate the aesthetic and structural characteristics of each work before moving to full-scale metal sculptures. The largest of these, S1, is 40 feet across and approximately 20 feet tall. From the side, its rib-like structure appears as a thin arched line. When approached, the massive layered roof reveals its architectonic depth.
Santiago Calatrava’s work continues to shape and redefine the boundaries that have historically separated the visual arts, particularly sculpture, from architecture and engineering. This is evident in the artist’s broad oeuvre , which includes ceramics, drawings, paintings, sculpture, architecture and engineering projects. As a whole, these works express a unified aesthetic anchored in the artist’s continuing exploration of the relationship between the origins of creativity and the evolutionary structure of the natural world. (Marlborough Gallery press-release)
Marlborough Gallery.40 West 57th Street. New York, NY 10019
Image: S1, 2015, painted, welded aluminum plate. 396 x 168 x 216 in.
13 june - 27 september, 2015
With his imaginative motifs, Joan Miró (1893–1983) is one of the most popular twentieth century artists. He envisioned a dynamic art that makes its way into life. For him, painting meant creating his own, unique world. Instead of rendering reality, his work was characterized by a new emotional visual language. In February 1920, the 27-year-old Miró left his native city of Barcelona in a quest for inspiration and recognition in Paris. He moved into a studio on rue Blomet which became a gathering place for literary Paris. Miró, who loved to read, was greatly influenced by his friendship with such avant-garde writers as Tristan Tzara, Robert Desnos, Paul Éluard and Michel Leiris. Miró pushed the boundaries of painting and incorporated words to generate associations in many of his painting poems – a term that became the title of many of his works after 1925. The exhibition Miró. Painting as Poetry illustrates how Miró’s pictorial symbolism emerges from his playful treatment of words and images. In the same way that he was inspired by literary works, his own works inspired poets, including André Breton, spokesman of Surrealism. Miró and his literary friends worked on many joint projects together. In addition to around 50 paintings from all of his creative periods, the exhibition will show a representative selection from the more than 250 illustrated books that he designed. ( K20 GRABBEPLATZ press-release)
K20 GRABBEPLATZ. Kunstsammlung Nordrhein-Westfalen. Grabbeplatz 5. 40213 Düsseldorf
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965
29 may – 28 august, 2015
For some forms of artistic representation the reproduction of reality is not sufficient, this is also the case with the artists Cristina Ghetti (*1969, Buenos Aires) and Carlos Albert (*1978, Madrid).
For both the basic element of expression is the line and the geometry that emerges from it.
The fluent lines of Cristina Ghetti change by its conception and its illusionism the perception of the space and have a meditative effect on the viewer. Pure geometry is also the language of the works of Carlos Albert with his powerful sculptures of Corten steel and iron. The sculptures originate three-dimensional lines which enter a dynamic symbiosis with their environment.
Both artists experiment in their works with new concepts which allow to interact and incorporate with the viewer and stimulate him to rethink this own concept of space. (100 Kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21.50670 Köln
Image: Carlos Albert
may 22 - november 1, 2015
The upcoming exhibition at Cheekwood marks a rare opportunity for visitors to experience the spectacular work of Plensa in Nashville. 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.
Plensa’s new sculptures are informed and inspired by Cheekwood’s landscape and essence. Specifically designed for Cheekwood’s exhibition, Awilda & Irma consists of a pair of monumental stainless steel mesh faces that will engage with each other as well as the landscape visible through them. Visitors to Cheekwood will see the U.S. premier of The Soul of Words I and II, a pair of white stainless steel seated figures formed from the symbols and letters from nine different alphabets.
In addition to the installation at Cheekwood, a portion of Jaume Plensa: Human Landscape will be presented at the Frist Center for the Visual Arts, located at 919 Broadway Avenue in downtown Nashville. One large-scale sculpture will be placed at the museum’s Demonbreun Street entrance, with three additional large-scale works on display June 5 through September 7, 2015 in the Gordon Contemporary Artists Project Gallery. (Cheekwood press-release)
Cheekwood Art Museum . 1200 Forrest Park Drive Nashville Tennessee
Image: Jaume Plensa, Paula, 2013
VENICE. Pepo Salazar, Cabello&Carceller and Francesc Ruiz “The subjects“ 56th Venice Biennale 2015. Spanish Pavilion
09 May - 22 November, 2015
The theme of the 56th Venice Biennale is All the World's Futures and it is curated by Okwui Enwezor. This year the Biennale proposes a project devoted to a fresh appraisal of the relationship of art and artists with the current state of things.
The Spanish Pavilion at the Biennale is organised by the AECID with the collaboration of AC/E and is curated by Martí Manen. Its project, entitled Los sujetos (The subjects), features works by the artists Pepo Salazar (Vitoria, 1972), Helena Cabello (Paris, 1963) & Ana Carceller (Madrid, 1964) and Francesc Ruiz (Barcelona, 1971). Los sujetos is intended to provide a very free view of Dalí through the works of the chosen creators. It is a direct dialogue that does not set out to illustrate the past from the present but shows a present that makes it possible to re-site creation, identity and a timeline from today’s perspective, from our current situation, from multiplicity.
The artistic team formed by Cabello y Carceller produce interdisciplinary works including video, stage design, photography, writing and musicals in order to question the prevailing means of representation and propose critical alternatives. Their artistic work based around the idea of multiple identity and their proposal linked to feminism and queer thought make up a critical approach to Dalí that reveals intimate layers and allows the public and private realms to be positioned at the same political level.
Pepo Salazar, who lives in Paris, also combines photographs, videos, installations and objects in his creations, manipulating the meaning of representation in order to introduce a critical viewpoint. Like Dalí, Pepo Salazar broadens the scope of artistic action by overstepping norms and through extensive knowledge of what working in art means.
Francesc Ruiz takes as a basis the language of comics, which he uses “as a tool for contemporary art interventions, just as I could use video or another material”. If Dalí fully embraces the media and understands how they function, Ruiz goes one step further and makes them the setting for a surreal narrative, for a spatial deconstruction towards sensual narrative fields. (AC/E press-release)
Spanish Pavilion, 56 Bienal de Venecia. Giardini della Biennale. Venecia
Image: Cabello/Carceller, Suite Rivolta. An Aesthetic Proposal for Action, 2011. HD Video. Elba Benitez Gallery
JERSEY. Elena Bajo and Marlon de Azambuja “THEOREM.You Simply Destroy the Image. I Always Had of Myself” Mana Contemporary
may 3 – august 1, 2015
Curated by renowned curator and art critic Octavio Zaya, Theorem presents large-scale installation, sculpture, video art, and photography by 30 international artists.
Several artists from far-flung locations such as Peru, Brazil, and Norway, are traveling to Mana to create their installations on-site. The artists address the hypothetical question ‘what if?’ – as inspired by Pier Paolo Pasolini’s 1968 film Teorema – contemplating a world turned upside-down, where social tensions can be amplified to the point of poetic subversion, achieving possible transcendence.
Exhibiting artists include: Miguel Andrade Valdez, Julieta Aranda, Kader Attia, Marlon de Azambuja, Elena Bajo, Otto Berchem, Monika Bravo, Fernando Bryce, Marìa Magdalena Campos-Pons, Heman Chong, Elena Damiani, Aleksandar Duravcevic, Radames "Juni" Figueroa, Nicole Franchy, Richard Garet, Kendell Geers, Pedro Gómez-Egaña, Lucia Koch, Annette Lemieux, Ramón Miranda Beltrán, Warren Neidich, Jo Ractliffe, Rivka Rinn, Santiago Roose, Susan Siegel, DM Simons, Milagros de la Torre, Sergio Vega, Antonio Vega Macotela and Zoé T. Vizcaíno. (Mana Contemporary press-release)
Mana Contemporary. 888 Newark Avenue. Jersey City, NJ 07306
Image: Elena Bajo
9 may – 22 november, 2015
Invited by the Biennale and with the support of AC/E, the Spanish artist Dora García is taking part with a performance project entitled The Sinthome Score based on a transcription of Jacques Lacan’s 23rd seminar Le Sinthome.
The artist was selected by Okwui Enwezor, curator of this 56th International Art Exhibition. Enwezor is an art critic, writer and publisher and director of the Munich Haus der Kunst since 2011, Okwui Enwezor has proposed as this year’s title All the World´s Futures.
All the World´s Futures is intended as a dramatisation of the exhibition space as a continuous live event that is constantly unfolding. It shows existing works but also invites artist to produce contributions specifically for the exhibition.
The Sinthome Score is a performance and installation.It allows a few different formats. In all of them there are two essential elements: the score and two performers.The score is made of text + drawings depicting sets of movements. The text is one of the transcriptions of the seminar XXIII of Jacques Lacan, “Le Sinthome”, “unofficially” translated into English (I have made previous to that an “unofficial” translation into German-‐). This text is divided into 10 chapters. For each of those ten chapters there is a set of movements, appearing at the beginning of the chapters.
There are two roles in the performance: reader and mover. Each chapter being read by the reader is accompanied by the corresponding set of movements performed by the mover, from chapter I to chapter X, from set of movements I to set of movements X. The ten sets of movements are formulated so as to be performed by any type of person, without previous training or rehearsal, of any age and physical condition. It is just enough to pick up a score and follow it. Idem for the reader-‐there is no concept of “reading well”; and the difficulties, and repetitions, when pronouncing certain French terms or technical words are welcome. Therefore, anyone is qualified to perform the Sinthome Score, either as reader or as mover. The performers can switch roles (reader-‐mover) when they wish, and they can agree on which chapter they prefer to start with. They determine the rhythm, cadence and speed of both reading and moving.
There are no rehearsals for this performance. There is a long meeting where the artist briefs the future performers and discusses with them the intention of the piece. The main point to understand is that they are not performing for an audience but for each other-‐therefore the performance is never triggered by the presence of the audience; it happens in relation to the two performers, they play for each other, unmindful of the audience.In the two occasions when The Sinthome Score has been presented, it has been as an installation and performance.
The performance happens within the installation or, if you prefer, the “set design” for the performance, consisting of: -‐A wallpaper, based on the diagrams of the score. -‐A group of photographs (of the type seen sometimes in dance academies) showing individual performers performing some of the movements of the score. Within this “set design”, the performance happens in a continuous way, for as long as the audience can enter the exhibition space, having the same duration as an exhibition, two or three months, six days a week… (AC/E press-release)
Pabellón de España, 56 Bienal de Venecia. Giardini della Biennale. Venecia
Image: Dora García
07 may – 22 november, 2015
On the occasion of the 56th International Art Exhibition of la Biennale di Venezia, one of Venice’s most celebrated landmarks, the Basilica of San Giorgio Maggiore, will host Together, a major exhibition of new works by Spanish artist Jaume Plensa. Plensa (Spain, b.1955) is one of the world’s foremost artists working in the public art space, with permanent works spanning the globe including the Crown Fountain (Chicago), Echo (Seattle), Breathing (London) and Roots (Tokyo). The exhibition is curated by Clare Lilley, Director of Programmes at Yorkshire Sculpture Park. The works in the exhibition all make their debut in San Giorgio and reflect the artist’s continued interest in a bodily relationship to space, scale, material and place.
For four hundred years the Basilica of San Giorgio Maggiore has been a place of worship, communication and meditation, where Palladio’s profound architecture creates a stilling and contemplative environment. Plensa’s response to this powerful space is Together; a conversation between two sculptures - hand, suspended beneath the cupola in the foreground of the altar, and head, sited in the nave. Placed on the dominant west-east axis of the building, the works set up a line of spiritual and intellectual discourse which evokes emotion and seeks to connect with his viewers on an intuitive level.
As a speaker of five languages alongside a nomadic life that takes him around the globe, Plensa’s work reflects a desire to break down barriers. Merging difference is a cornerstone of his work, and here it is further emphasized by the installation of meticulous drawings and a group of five alabaster portraits in the contiguous Officina dell'Arte Spirituale, located 300 meters from the entrance to the Basilica on the island’s northern edge. Plunged in darkness and lit to reveal their luminous opacity, the sculptures were carved using reformed scans of real girls; chosen because, like nomads, they have traveled, settled and traveled again. Chosen, too, because they are teenage girls on the cusp of leaving and arriving, whose potential – like that of all humanity – so deeply glows.
Clare Lilley, Curator, commented: “Plensa’s installations for the Isola di San Georgio Maggiore are testament to his acute understanding of space and scale. His sculptures do not impose themselves on these historic spaces; rather they capture and reflect the actual light and shadows within to communicate a metaphorical language. Both visually stunning and intimate, they draw our attention to a world where migration and difference challenge civilised behaviour; in this place, which for centuries has welcomed world travellers, Plensa’s work will connect people of many faiths and of no faith.”
In collaboration with the monks of the Abbazia di San Giorgio, as part of the cultural activities of the Benedicti Claustra Onlus, Together hopes to advance the Benedictine community’s efforts to develop a number of restoration projects of the monumental Palladian complex on San Giorgio Maggiore. Inspired by textual elements in the body of Plensa’s work, the project has contributed a significant donation to restore the Abbazia’s 15th and 16th Century illuminated manuscripts; prayer books previously too delicate for public view.
Dr. Carmelo Grasso, head of the Benedicti Claustra Onlus explains: “During the Plensa exhibition an 'Illuminated choral' of San Giorgio Maggiore Abbey, liturgical instrument of prayer and spiritual dialogue used by the monks for centuries for the daily Opus Dei and community prayer, will be placed on the lectern of badalone's choir behind the main altar. This is the contribution of the Benedictine Community to strengthen the sense of togetherness and the intellectual and spiritual dialogue between the hand, the head and those who wish to enter into a relationship with the artist's work and the great Palladian Basilica.” (Plensa press-release)
The Basilica of San Giorgio Maggiore and Officina dell'Arte Spirituale are located on the island of San Giorgio Maggiore across the waters of Bacino San Marco.
9 may - 22 november 2015
If today Raymond Williams were to decide on more entries for his celebrated text,Keywords, he surely would include, ‘Singularity’. The term refers to the moment when artificial intelligences will surpass human capacity and human control. In mathematics, singularity describes a point at which a given mathematical object is not defined or “well-behaved”, for example, infinite or not differentiable. Filmmaker Albert Serra will take this notion as a point of departure in his next film. Interested in how images act in diverse contexts, the project presents the audience with a filmic space investigating the range of “applications” the notion of singularity has. It designates a turning point in the way in which we relate to information, to “matter”, to images produced by machines, to representation, to the interplay between culture and nature. It actually names a new era where these dualisms are no longer contemporary. A machine-made cosmology, a capital of knowledge capable of altering our dreams, the image we have and will have about the world.
Albert Serra’s movie is broken down into several perspectives - ways of seeing, ways of narrating the world. His cinema makes the statement that being aware of the world is not simply a result of the mind’s existence, but rather it is the mind in action. Intellect is not an eye that observes us from some vague place within, but rather, the very fact of thinking. To link cinema with the singularity condition means to foster belief in the notion that thought, will and imagination are not made of the same substance as the world, objects and things, but of images, feelings and ideas. Nothing can happen beyond what is real, and what is real can only be grasped through language. This implies a revolution: since we cannot expect to find correlations between the world of ideas and the world of matter, our questions cannot hope to find answers, but rather to become sense-making operations. Like untangling a knot, solving a problem involves changing the order of what is known.
The exhibition is a site that offers both the artist and the curator an opportunity to address this question: how does the cinema-machine create a mind? Chus Martínez, curator. (I. Ramon Llull press-release)
Catalonia in Venice, Cantieri Navali (Via Castello 40). Venice
Image: Singularity. Institut Ramon Llull
1 may – 31 october, 2015
Antoni Miralda, one of the great figures in contemporary “food-art”, is the artist in charge of bringing to life the exhibition El Viaje del Sabor (The voyage of flavour); a poetic proposition designed to induce reflections about food and acting as an artistic link between Spain Pavilion and the theme of Expo Milano 2015: “Feeding the Planet. Eneilionrgy for Life”.
Materialised as a large, 5 by 4 metre suitcase-museum at the entrance of Spain Pavilion, this sculpture is an icon unto itself, as well as the starting point of the audiovisual exhibition El viaje del sabor, created by the multidisciplinary artist and representative of Food Cultura to connect with the theme of Expo Milano 2015:“Feeding the Planet. Energy for Life”.
After this first encounter, a series of real-sized suitcases will guide visitors towards the Pavilion, transforming the main access into a kind of airport where ideas and information about food move around constantly. Once inside, the exhibition invites visitors to join the journey of certain products through a series of video setups that can be watched separately or as a group. A delicate and generic journey through Spain which, according to the artist, is “a cornucopia of the history of food”.
To enhance the evocative power of each suitcase, the artist Antoni Miralda relies on the musical support of original compositions by Pablo Salinas, which seek to immerse spectators in a journey through Spain’s musical diversity and influences. Visitors will be able to interact with the exhibition, answering questions relating to food through a series of words appearing on the suitcases. (AC/E press-release)
Expo 2015 S.p.A. Via Rovello, 2 - I-20121 Milan Italy
Image: Arroz. Antoni Miralda
11 april – 25 october 2015
The Catalan visual artist Xavier G-Solís will be showing his work at a retrospective put on by the International Shoe Museum at Romans-sur-Isère, a France. The exhibitionwill be inaugurated on 11 April in the presence of the artist and will remain open to the public until 25 October this year. The exhibition aims to take a fresh look at the shoe, transforming it so that we can discover its more aesthetic, poetic, playful and critical side.
After graduating in Philosophy from Barcelona University, Xavier G-Solís(b. Barcelona 1962) moved to the Canary Islands to study sculpture techniques at the Las Palmas Art School, a city that has housed many exhibitions of his. G-Solís is a contemporary artist working in many fields; he has explored sculpture, graphic art, the performing arts, photography and audiovisuals. He has spent much of his career working around the concept of “used shoe”, which he considers a symbol of the history of modern man that reflects the influence of the object on our interaction with other people and with nature. (Musee International de la Chaussure press-release)
Musée International de la Chaussure. Portail Roger Vivier – rue Bistour l 26100 Romans sur Isère
Image: Xavier G-Solís
PARIS. Oriol Nogues, Carlos Pazos, Álvaro Laiz y Emilio López Menchero “Chercher le garçon” Mac/Val Musée d’art contemporain du Val de Marne
7 march - 30 august, 2015
The exhibition is the first major part of the MAC/VAL 10th anniversary exhibition programme. 'Chercher le garçon' is a multidisciplinary exhibition which focuses on contemporary ideas and definitions of masculinity. To answer these questions the curator Frank Lamy has selected over a hundred male artists who deal with representations of gender and the male self in their work. Curator. Frank Lamy (Mac/Val Musée press-release)
Mac/Val Musée d’art contemporain du Val de Marne. Place de la Libération, 94400 Vitry-sur-Seine.
Image: Allegories du Grand Théâtre du Monde 2008. Oriol Nogues
9 april - 23 August 2015
On Wednesday April 8 2015 at 7pm HangarBicocca will open “Double Bind & Around”, the first solo exhibition in Italy dedicated to Juan Muñoz, curated by Vicente Todolí. The artist, who died in 2001, was one of the leading exponents of European sculpture of the last two decades of the 20th century. On the occasion of the exhibition, HangarBicocca is showing his most important work, Double Bind, which was made in 2001 for the Turbine Hall at Tate Modern in London and never exhibited to the public afterwards. The exhibition also includes some of his most significant works, including The Wasteland and Many Times, making this an important opportunity to grasp the work of a great artist who reinterpreted the tradition of classic sculpture on the basis of 20th century avant-gardes. Mainly known for his sculptures in papier maché, resin and bronze, Juan Muñoz often took an interest in writing and in sound art, creating audio pieces and compositions for the radio.
The art of Juan Muñoz (1953-2001) reintroduces human figure at the center of architectonical and sculptural space. Puppets, acrobats, ventriloquists, dwarfs and ballerinas are but some of the characters that inhabit his works, alongside anonymous orient-looking figures, whose presence recalls ambiguous and contradictive scenarios. Many museums have dedicated great retrospective exhibitions of his works. These include the Hirshhorn Museum & Sculpture Garden, Washington DC (2001), the Museum of Contemporary Art, Los Angeles (2002), The Art Institute of Chicago (2002), the Contemporary Arts Museum, Houston (2003), the Musée de Grenoble, Grenoble (2007), Tate Modern, London (2008) and the Museo Nacional Centro de Arte Reina Sofía, Madrid (2009). (Hangar Bicocca press release)
Fondazione HangarBicocca. Via Chiese 2, 20126. Milan. It.
13 february – 06 september 2015
The Tattoo exhibition is dedicated to old traditions and new stories. It takes a look at the vibrant, innovative and multifaceted tattoo culture, with a focus on artistic, artisanal and culture-specific issues. International exhibits from diverse perspectives are displayed and current debates considered. This is the first time that an exhibition has brought together such a broad range of references, presenting the phenomenon of the tattoo with a particular focus on art and design, since these enduring pictures, words and symbols inspire artists and designers. The theme of the exhibition is therefore the reciprocal influence of art, traditional and lived tattoo art and visual design
Art is Dangerous, Pablo & Ruth 2010 by Enrique Marty (*1969, Spanien) Oil paint on latex on polyurethane, human hair, textiles, metal, 155 x 90 x 53.5 cm/143 x 60 x 35 cm, loan: Deweer Gallery, Otegem, Belgium Real portraits are always the starting point for Enrique Marty’s tragicomic sculptures. The tattoos of “Pablo & Ruth” in the “Art is Dangerous” series refl ect the iconography of the tattoo motifs in Japanese yakuza which the artist has explored in detail and incorporated into his work. His grotesque fi gures also make reference to early sculptural traditions such as those used in the quaint waxworks exhibitions of the 19th century. He builds on these themes and develops an original sculptural world. Ironic inversions and humour are essential strategies which he uses as an effective weapon. “Art is dangerous”: protest or parody? An allegory of the market system? Can art be dangerous? Or should it be? What role does the art of tattooing play? (MKG press-release)
MKG. Museum für Kunst und Gewerbe Hamburg. Steintorplatz. 20099 Hamburg
Image: Pablo&Ruth 2010. Enrique Marty
16 february - 13 march, 2015
Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.
In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.
Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.
Image: Embajada de España en Tokio.
20 december 2014 – 7 february 2015
The exhibition draws its name from the seminal book by the German Romantic painter Philipp Otto Runge and celebrates the expressive potentiality of colour through the works of four international female artists. The works featured in The Colour Sphere demonstrate each of the artists’ diverse and unique relationship with colour within their contemporary abstract art practice.
Maya Hayuk (Baltimore 1969) lives and works in Brooklyn, New York. She started her artistic career with massively scaled murals recalling a multitude of references, such as mandalas, pop culture and the Mexican muralist movement. From the hypnotizing murals to the smaller works on canvas or paper, Hayuk’s practice is characterised by a vibrant colour palette, geometric abstraction and elaborate patterns.
Nuria Mora (Madrid 1974) lives and works in Madrid. Mora became well known for her urban interventions that pop up on walls and take over advertisement stands around the world. She seamlessly integrates colourful, angular patterns and nature inspired illustrations with their surrounding environment to reassert aesthetic values and to create a new appreciation of the space around us.
Anna Taratiel (Barcelona 1982) lives and works in Amsterdam. With a background in graphic design and mural paintings Taratiel, previously knows as Ovni, developed a style dominated by colour and geometry. Her newest body of works consists of paintings on canvas, drawings and assemblages of found materials, such as tape. The smooth and clear-cut qualities of the recycled pieces of tape invigorate the graphicness of her work.
Clélia Zida (Paris 1980) lives and works in Amsterdam. Zida is an interdisciplinary artist with a background in hand lettering, textile based works and filmmaking, who graduated cum laude from the Rietveld Art Academy in 2005. Her most recent works consist of abstract geometrical drawings with repetitive grid structures and seemingly identical patterns. (Mini galerie press release)
Image: Nuria Mora
Mini Galerie. Kinkerstraat 12A. 1053 DT Amsterdam