Spanish contemporary art worldwide
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28 may – 27 june, 2015
Santiago Sierra is one of the most prominent artists internationally often addressing structures of power that operate in our everyday existence. Sierra’s work intervenes into these structures exposing situations of exploitation and marginalisation, famously hiring underprivileged individuals who, in exchange for money, are willing to undertake pointless or unpleasant tasks. Sierra’s work never repeats reality, but challenges it exposing its intrinsic mechanisms.
The essence of the work is often in the tension generated and sustained between the event or its documentation and the spectator, who is exposed to what can be described as the formal and poetic articulation of the voice of all those who are normally marginalised or disenfranchised.
The artist was born in 1966 in Madrid and he is one of the best-known artists of the international artistic scene. He has shown his work in important museums and institutions as MoMA PS1, New York; Reykjavik Art Museum; ARTIUM, Vitoria-Gasteiz; Museo MADRE, Naples; 50° Venice Biennale; Tate Modern, London. Recently he has conducted the traveling project “No, Global Tour” which has run around the world, from Italy to Japan, through Europe and America. Last year he has participated in I Kochi-Muziris Biennale, India.
The exhibition will show the Trilogy “Pigs Eating Peninsulas.” These images are the result of a series of performances which begun in 2012 in Hamburg, where the pigs had “devoured” the Hellenic Peninsula; then in Luca, the Italic Peninsula; and finally in Milan, the Iberian Peninsula. Sierra is using a clear metaphor to denounce that the European financial entities are literally eating real territories.
Sierra will also create a new piece titled ” Athens Stray Dogs Project” during his residency in Athens and that will take place in the public sphere of the city centre. During Sierra’s residency his film entitled “NO, GLOBAL TOUR” will be shown at Mikrocosmos Cinema. (Kappatos press-release)
Kappatos Gallery, 12 Athinas st. Monastiraki. Athens 10554 Greece
Image: Saniago Sierra
15 may – 20 june, 2015
On Friday, May 15th, Creative Time and Central Park Conservancy unveils Drifting in Daylight, a dreamy springtime pathway of art winding through the world’s most iconic park.
Drifting in Daylight includes performative, participatory, and perceptual work by artists Spencer Finch, Alicia Framis, Nina Katchadourian, Ragnar Kjartansson, Marc Bamuthi Joseph, David Levine, Karyn Olivier, and Lauri Stallings + glo.
As the centerpiece of Central Park Conservancy’s 35th Anniversary celebration, this free public exhibition aims to draw visitors into the park’s beautiful north end, much of which has been expertly restored by the Conservancy. The six-weekend show will tempt visitors to transcend their busy lives, losing themselves along a playful trail of sensory experiences. AC/E press-release)
Central Park. New York
Image: 'Cartas al cielo', Alicia Framis, Central Park. Photo Fernando Sancho
15 may – 21 june, 2015
Ventana244 presents "Torched & Scorched" a multi-media installation assembled with interactive and traditional formats including painting, sculpture and sound.
Drive away from Brooklyn, past the skyscrapers of Manhattan, past the swamps, factories, farms and parking lots of New Jersey and Pennsylvania to the highways and suburbs of Virginia, over into Tennessee, crossing the Mississippi via Memphis into Arkansas, and then cross the flats of Oklahoma going on to the expanses of West Texas. If you travel this far, the sky opens up. You see the sun and moon beat down on the earth with punishing, bright light. Keep going west, and you find yourself in the mountain-ringed Tularosa Basin among the gypsum crystal dunes of the White Sands National Monument of New Mexico. This landscape is where our age, the nuclear age and natural history commingled in a flash.
Two thousand miles east in Brooklyn, Ventana244 presents "Torched & Scorched" opening on May 15 featuring a collaboration by Ana Busto, Yifan Hu, MTAA and Raphaele Shirley. "Torched & Scorched" integrates a visual and audio environment with conversations about the emotional weight of the landscape that today is a tourist attraction open to the public twice a year; a place where, for a few dollars, people can buy a chunk of irradiated earth that was melted to glass by the blasts of 60 years ago.
Using combustion as a primary working process, Ana Busto approaches core materials of iron, clay, bronze, wood, sand, glass, cardboard and stone as theaters for transformation. For "Torched & Scorched" she presents elements of a down-on-the-heels park: landscapes painted, cast glass, and ceramic and wood. In Busto’s work, stones look like animals or animals turned to stone. Shapes appear and speak from electronic driven voices. (Ventana 244 press-release)
Ventana 244 Gallery. 244 N 6th Street, Brooklyn, NY 11211
Image: Ventana 244 gallery
HAVANA. María La Ribot, Cuqui Jerez, María Jerez and Esperanza Collado “Between the idea and experience” 12th Havana Biennial
22 May - 22 June, 2015
The 12th Havana Biennial is structured around the theme of ‘Between the idea and experience’ and takes a look at contemporary art from the most dynamic, multidisciplinary and process-based artists.
In order to explore paths different to those characteristic of mega-exhibitions, the 12th biennial is designed as a decentralised event that takes place all over the city in everyday spaces and circumstances that have not played a role in previous editions. It is therefore interested in practices involving cross-disciplinary and intermediary creative processes that give rise to investigative and educational collaboration, emphasising the idea of the city as an active social laboratory.
Collective perception is transformed into the challenges and uncertainties generated by experience, where new cultural horizons open up and other ways of socialising and interconnection are created. The projects presented at Havana influence its inhabitants, either because they take part in devising and executing them or because the works are a living social laboratory. The idea is for the various layers of the urban fabric – universities, research centres and everything that makes integration possible – to be used as a site and material for working with. Spanish curators: Christian Domínguez and Alicia Chillida. (AC/E press-release)
Image: Esperanza Collado
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
5 may – 17 july, 2015
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists – Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba – have been selected for the show. (I. Cervantes press-release)
Instituto Cervantes. Via Argenteria Nuova, 33. 90133 Palermo
Image: Córdoba Soledad “Un lugar secreto” 2007
5 may – 13 june, 2015
In order to reach the American Dream in "El Norte," thousands of undocumented migrants from Central America climb onboard "La Bestia," a freight train that travels from southern Mexico to the US-Mexican border. For a current exhibit on view at Centro Cultural Recoleta the Spanish photographer Isabel Muñoz recently boarded the train alongside the desperate stowaways to capture their stories on film.
Isabel Muñoz (Barcelona 1951) Spanish photographer who has featured in contemporary photographic field for its technical (using platinotype and large format), like its subject: the body, eroticism, dance, rural tribes and urban and children, among others; establishing, through his eyes, a social commitment. He has won various awards and most notably Bartolomé Ros Award for his entire career in PhotoEspaña 2009, the Gold Medal in Fine Arts 2009 and obtaining two-time World Press Photo and the National Award Unicef Spain 2010 at the Advocacy and Social Mobilization and COVET Foundation award. His work is in collections of the National Museum Centro de Arte Reina Sofía, Photo Colectania, Fundación Canal Madrid, Maison Européenne de la Photographie and New Museum of Contemporary Art in New York. (CCES press-release)
Centro Cultural de España, Santiago de Chile Av. Providencia 927.
Image: Isabel Muñoz
CHONGQING. “I International Photography & Video Biennale” Chongqing Changjiang Museum of Contemporary Art
26 april – 26 july, 2015
The first edition of Changjiang International Photography & Video Biennale is organized by Chongqing Changjiang Museum of Contemporary Art (CCMCA) which will open on April 26, 2015 and last for three months. We are fortunate to invite Alejandro Castellote (Spain), Francois Hebel (France) and Wang Qingsong (China) to be the chief curators for this Biennale.
The Biennale will explore the theme of “Real/Unreal” and deliberate on if photography and video can accurately document the past, interpret the reality during this fast-paced transformation epoch and enlighten us for future vision. Photography was the major invention in the 19th century. Because of its accurate quality of documenting the reality, it exerted an influential impact against the then popular classic painting, hence perturbing the tradition of classic painting arena. However, as a matter of fact, simply because of the invention of photography, painting itself launched its own revolution which accelerated the outcome of impressionism and cubism for the artistic development in the recent era.
Spanish artists: Alejandro Marote, Ana Galán, David Jiménez, Julián Barón, Mikel Bastida y Valentín Vallhonrat.
Chongqing Changjiang Museum of Contemporary Art
Image: I International Photography & Video Biennale
30 may – 21 june, 2015
On Thursday, May 30th, a group of artists will open the season with a medley of exhibitions for the Main Galleries, Sculpture Garden and Carriage House. In celebration, the gallery will have five solo shows (sculpture, painting, drawing, photography and mixed media/installation).
Sculpture Garden“My work recreates the architectural space of the whole or a particular section of the build space according to a subjective perception of this environment.
This non-permanent house-like constructions are made of wood, plywood, metal and sometimes are painted.
Beginning with a room, or part of it, I choose a point within the space to stand and rebuild the room with the perspective deformations that you have only from that point. From there, another room appears, and while it may resemble the original (same number of windows, doors, walls…) it is also quite deformed. Windows are misshapen, walls are skewed, and there may be very few, if any, vertical or horizontal lines. The replicated room feels simultaneously familiar and strange, as it claims an entirely new space.
This installation is based in several images that I have taken from the different homes I live in New York since I arrived from Spain in 1996.”
Carriage House, Ground Floor “For the last several years I have been taking photographs from tall buildings in every city that I happen to visit. Taking in the large view of t he city with hundreds of photos. And only now I have decided to produce the pieces. Lots of work each one but worth it!” Isidro Blasco, 2015 (John Davis press-release)
John Davis Gallery. 362 1/2 Warren Street. Hudson, New York 12534
Images: Isidro Blasco
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
may 15 – june 18, 2015
Y GALLERY is pleased to present “There is Only One Catch and that is Catch 22”, a group show curated by Blanca de la Torre. It will be the first exhibition at Y Gallery's new space on the 5th Floor of 319 Grand Street, NY 10002, an iconic building on the Lower East Side. This exhibition features the work of seventeen international artists, and will be comprised of drawing, photography, video, installation, sculpture and mixed media works by: Artemio, Greta Alfaro, Alberto Borea, Juanli Carrión, Danilo Correale, Chueca, Leonardo Herrera, Christian Jankowsky, Enrique Jezik, Ximena Labra, Antonio Vega Macotela, Detext (Raúl Martínez), Kate Newby, Alejandra Prieto, Wilfredo Prieto, Avelino Salas and Joaquín Segura Participation in the present moment implies the tacit adherence to a cult of certain contradictions. This is a world of crossed messages, symbolic traffic and sudden transformations in which it becomes clear that there is no idea of "sense," beyond that which is present in the multiple nature of this concept. This is an exhibition that takes this basic problem as a point of departure. Catch 22 is a logic trap initially suggested by Joseph Heller in his eponymous novel published in 1961. Set during World War II, the novel develops this idea in close relation to the operating area of military bureaucracy, strict and absurd at the same time. The term later became part of the English vocabulary because of its accuracy to refer to certain unsolvable puzzles in which the only way out is denied by an inherent fact of the problem itself. Furthermore this impossible scenario appeals broadly to current circumstances such as arbitrary political decisions, militarism, and absurd bureaucracies worldwide. The artists included in this exhibition provide works that connect to different explorations of what is considered a biconditional tautology. The works outline different vanishing points, either referring to military and political connotations of this construct; or to that section of invisibility of certain processes or social situations, as well as the efforts to maintain that invisibility. On the other hand, the technique chosen by each artist plays a key role in representing this paradox by operating as a dialectical device that allows us to enter the circuit where the intractable political liability inherent to the material sets its own speech and takes us into the eternal dilemma of the concept before or after its formal resolution. Thus, the works venture into a double connection with the Catch-22: the conceptual approach of them, together with the hoop stress and the disorder between the material and the concept represented, which also canceled its value in use and intensifies the fetish of merchandise. (Y gallery press-release)
Y Gallery New York.319 Grand St 5th floor. New York
Image: Y gallery. “There is Only One Catch and that is Catch 22”
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
april 16 – may 23, 2015
"When Elena del Rivero sews a letter she is carrying out an etymological operation, as text comes from texture and textile, hence textual. The depth of this relationship goes beyond the verbal and contaminates the whole semantic field. Thread, stretcher, loom, needle and awl. ... all have their correspondence in writing: discourse, page, study, pencil or quill." (Jose Maria Parreño)
The exhibition explores the recurring motif of the dishcloth throughout the past 15 years of her practice. Elena del Rivero's work is rooted in estrangement and recollection. Studio practice and domestic life are intrinsically intertwined. Attention to detail coexists with a feeling of neglect and abandonment. Repetitive markings, words that don’t carry any meaning, and the reusing of destroyed materials are a constant in her process. Many of her aesthetic gestures are simple, even minimal, but their generative intent is expressive and autobiographical.
The title of the show, Letter from Home: a rendez-vous, with its Duchampian resonance, refers to one of del Rivero's most significant bodies of work. Over the years, she has written/drawn more than four thousand Letters, including: Letter to the Mother (1993); Letters from the Bride (1997); Unfinished Letter to a Young Daughter (1998-99). The Letters point to the social archetypes most commonly assigned to women. They "seek correspondence with an invisible audience sometimes figured as an absent mother, lover, or friend". For del Rivero, the acts of sewing, drawing, writing and repairing are equivalent. She sews the fragile remittance of meaning and turns mending into an art form.
Moreover, four of del Rivero's most recent works in oil on primed canvas will be on view. The majestic fall of these last Dishcloths is a counterpoint to the delicate intricacy of the paper ones. The giant canvases, hanging from one nail in the corner, just like a dishcloth in a kitchen are monuments to domesticity and its monstrosity. They are painted with the traditional pattern of a European dishcloth made with stitch-like brushstrokes, followed by staining and altering the surface with dirt from the studio floor or coffee from the breakfast table.
A suite of six watercolors on ledger paper, where traditional dishcloth patterns playfully mingle with triangles and rectangles drawn with thread, use a vocabulary running through many of her paintings and drawings. The work bears the tool of its making, with the needles left over hanging from a thread. From handmade paper the size of bed linens or banquet cloths, to pocket-sized diary pages, sheet music, silver or gold embossed, paper, in many forms, has always played a major role in her work.
Del Rivero’s work has been shown in many major institutions in the United States and internationally, including: The Reina Sofía, Madrid (1998); The Drawing Center, New York (2001); Institut Valenciá d’Art Modern (IVAM),Valencia, Spain (2006); Museo Patio Herreriano, Valladolid (2007); The Corcoran Gallery of Art, Washington, DC (2008); La Conservera, Murcia, Spain (2010) and The New Museum, New York (2011), among others. Her work is included in the collections of the Museum of Modern Art, New York; Yale University Art Gallery, New Haven, CT; Fogg Art Museum, Cambridge, MA; National Gallery of Art, Washington DC; Baltimore Art Museum, Baltimore MD, Colby College Museum of Art, Waterville, ME; Pollock Gallery at Southern Methodist University, Dallas, TX; Birmingham Museum of Art, Birmingham, Alabama and The Reina Sofía Museum in Madrid, among others. (Josée Bienvenu press-release)
Josée Bienvenu Gallery. 529 West 20th Street(between 10th & 11th Avenues)
New York, NY 10011
Image: Elena del Rivero
10 april - 30 may, 015
Daniel Rodríguez Castro introduces his exhibition "Common" at Instituto Cervantes. His work draws on individual personality and how it comes into conflict with the group or collective. The artist uses the traits that identify and make every person unique in a society that tends to equate everything, ignoring individualities and classifying them in organizational structures.
Rodríguez achieves this feeling of uniformity and organization of various individualities with flat surface, grey and blue colours. In addition, the use of grid formats like borders or aerial views provide the idea of order and equality.
Rodríguez´s work can bring about an innocent view of colours, elements or characters that becomes cynical with the awareness of the social aspects dealt with. (I. Cervantes press-release)
Instituto Cervantes - Sala de Exposiciones. Lincoln House, Lincoln Place2 Dublin
Image: Daniel Rodríguez Castro
22 May - 12 July, 2015
AC/E is collaborating on this project with the Kunsthaus Baselland to support the activities of the Spanish artist Lara Almarcegui, who has been invited to hold an exhibition at the Kunsthaus featuring part of her work as a retrospective and also including new work in a complex, very physical installation designed as a voyage of discovery.
The Almarcegui exhibition shows her works distributed throughout the rooms and architecture of the Kunsthaus in the manner of a tour. One of the most important installations occupies the whole main bay of the Kunsthaus and is the result of the artist’s very thorough research on Basel and Kunsthaus that questions the gallery’s relationship with the material world and with available resources. With this installation, Almarcegui sets out to raise the audience’s awareness of materials reclaimed from construction debris.
The exhibition is accompanied by a monograph on the artist, published by Christoph Merian, which will be launched to coincide with ART Basel. The monograph includes articles about Almarcegui’s work, an interview with Ines Goldbach, director of Kunsthaus Baselland, and a careful selection of photographs of the artist’s works. Kunsthaus Baselland is a leading contemporary art institution not only in the Basel region but also internationally. Its main purpose is to promote the art of young artists who normally produce new works specifically to be shown at the Kunsthaus. . (AC/E press-release)
Kunsthaus Baselland , St. Jakob-Strasse 170. 4132 Muttenz/Basel
Image: Lara Almarcegui
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
30 april – 20 june, 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)
Centro Cultural de España Juan de Salazar, 745 Nuestra Señora Santa María de la Asunción, Paraguay
Image: Crítica de la razón migrante.CCE. Juan de Salazar.
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
02 may – 27 june, 2015
At the center of Juan Uslé’s exhibition “Mar de Aral” are new, large-format works. Since the end of the 1990s, the Spanish artist has been working, in no particular order, on the series Soñé que revelabas (“I dreamed that you appeared”), which represents the largest coherent group of works within his diverse oeuvre. In it, Uslés poetic emotional conceptualism comes to light, as the artist not only inquires into the structure of the painterly process within abstraction, but simultaneously allows the subjective experience and feeling to flow into it.
In predominantly black-and-white paintings, which always are created at night, Uslé works with extremely reduced painterly means. Color and ductus are limited to the slightest and the tension of the works results from minimal changes in tonal value and contrasting horizontal layers, slightly differing in brushstrokes. On always vertical canvases, bright streaks of color create highlights on the grey, vibrating chord. Each painting develops from the permanent repetition of a brushstroke, which from line to line fills the surface and provides a distinct transparent planarity. Every mark of the brush is charged with an existential corporeality, as the artist rhythmically transfers his heartbeat onto the canvas.
“Uslé has taken the brush imprint that represents nothing but itself – an invocation of the great historic longing in painting for the absolute absence of mimetic reference, for pictures that do not imitate anything – and turned it into a sort of painterly cardiogram, a work that reflects and responds to the history of painting and may at once be read as a self-portrait in a very elemental sense," Stephan Berg explains in the catalogue for Uslé's exhibition at the Kunstmuseum Bonn in 2014.
Juan Uslé was born in 1954 in Santander, Spain. In recent years he has developed to be one of the most important artists in the international art world. His paintings and photographs have been shown in countless American and European exhibitions. He has had shows in museums such as the Reina Sofia (2003), the SMAK in Geneva (2004), and the Irish Museum of Modern Art in Dublin (2004). In 2005 he participated in the 51st Biennale in Venice. In Germany, his works were presented at the documenta IX and recently in a retrospective of the Morsbroich Museum in Leverkusen. The group of works Soñé que revelabas was extensively exhibited in 2014 at the Kunstmuseum Bonn and Centro Galego de Arte Contemporánea in Santiago de Compostela. Numerous catalogues were published about him and in 2002 he won the Spanish national prize for art. He lives and works in New York and Saro in the North of Spain. (Galerie Thomas Schulte press-release)
Galerie Thomas Schulte. Charlottenstr. 24. D–10117 Berlin
Image: Juan Uslé. Al Clarear, 2014
25 April - 31 May 2015
“While I sleep or read, my paintings that lie on the floor dry slowly because of the humidity of the island. The time they take to dry is very important. The work may be finished but at times it’s like a puddle, everything can change in an instant.
I have been scuba diving for a very long time. When I work on large paintings on the floor, it’s as if I were free diving. I immerse. I make the right moves or at least I try. I hold my breath, I counterbalance the pressure… Then I come out blowing sea water through the snorkel…or as if…
This would be the tempo of my paintings; the successive minutes of holding my breath.
One might find similarities with other artists. Like with Seurat, the prolonged smear of a Conté pencil or the Morse writing brush, almost noiseless, held at 25° over the rough grain paper: tap-tap….taptaptap…tap…; or with Van Gogh the rhythm of trains arriving at a station in the provinces or in the suburbs, chugga-chugga-chugga-chugga.
Tarataratara tarara; with Picasso, long sentences with abrupt endings: clapping and heel stomping like in the Seguiriyas….” Miquel Barceló
Renown for the diversity of his work, Barceló’s oeuvre ranges from monumental terracotta murals for the chapel of Saint Peter inside the Cathedral of Palma de Mallorca to a performance piece/living sculpture with the French Serbian-born choreographer Josef Nadj. In 2008 he created the ceiling painting for Chamber XX of the Human Rights and Alliance of Civilizations, at the United Nations offices in Geneva, covering the 1500m2 ellipsoidal dome with 35 tons of paint with pigments from all corners of the globe creating multi-coloured stalactite forms.
Deeply influenced by poetry, in 2004 he showed over 300 drawings at the Musée du Louvre illustrating Dante’s Divine Comedy. In 2009 he represented Spain at the 53rd Venice Biennale. In addition, retrospectives have been organized at renowned institutions, such as the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid and the Museo Rufino Tamayo, Mexico. His work is included in international public and private collections around the world. In Spring 2016, Barceló will have a major exhibition at the Musée Picasso as well as at the Bibliothèque Nationale de France François Mitterand, both in Paris. (Thaddaeus Ropac press-release)
Miquel Barceló (b. 1957) was born in Felanitx, Majorca and divides his time between Majorca, Paris, and Mali.
Galerie Thaddaeus Ropac, 7rue Debelleyme. Fr. 75003. Paris.
Image: L'inassèchement, Miquel Barceló
TORONTO. “The Spanish National Photography Prize: Connections and Confrontations” Edward Day Gallery
01 – 30 may, 2015
The exhibition, curated by Carmen de la Guerra and Javier Díez, becomes an anthology of the history of Spanish photography of the last sixty years that generates innovative links among the works of different artists. When viewing the exhibition as a whole, we can observe the development of individual artists, which is consistent with the transformation of Spanish society of the fifties to the present day; in a documentary sense, this can be observed in every photography exhibition. Featuring the works of Gabriel Cualladó, Cristina García Rodero, Humberto Rivas, Joan Fontcuberta, Alberto García-Alix, Chema Madoz, Toni Catany, Joan Colom, Carlos Pérez Siquier, Ramón Masats, Ouka Leele, Pablo Pérez-Mínguez, Manuel Vilariño, Bleda y Rosa.
Organized by the Ministry of Education, Culture and Sports of Spain, and Artendencias. Supported and coordinated by the Embassy of Spain and the Spain-USA Foundation. (Edward Day press-release)
Edward Day Gallery, 952 Queen St. West (entrance through courtyard), Toronto
Image credit: La Gata, 2001, Alberto García-Alix.
16 april – 16 may, 2015
The directors of Marlborough Gallery are pleased to announce an exhibition of photographs by the Spanish-born painter and sculptor, Manuel Franquelo (b. 1953 Málaga. Spain)
This is the artist’s first exhibition at Marlborough Gallery in New York. Things in a Room is comprised of six new photographs featuring still-life arrangements on shelves, tables and radiators. These hyper-real photographs are the result of a unique and highly refined photographic process of Franquelo’s own creation. The artist designed, built and programmed a Lucida 3D laser scanner in order to capture the multiple relief surfaces of a composition in a single photographic image. Franquelo’s final composite photographs are printed onto the surface of aluminum panels which are coated with gesso using a large-format digital printer, developed by the artist, and designed to print onto non-traditional, rigid materials. The aluminum panels are then sealed with wax at the completion of the printing.
The resulting images are a meditation on the quotidian details of the artist’s studio; they focus on the tools and spaces commonly used in the creation of a work of art. As Adam Lowe states in the catalogue essay: (Marlborough press-release)
Marlborough Gallery,Inc.40 West 57th Street.New York, NY 10019
Image: Manuel Franquelo
23 april – 5 july, 2015
As a pendant to the exhibition Simple Forms: Contemplating Beauty at the Mori Art Museum, the Forum invites viewers to consider the many manifestations of that simplest, fundamental motif: line. Listening to the Lines presents a collection of items of all kinds, exploring the rich variety and universality of line.
Omnipresent in nature, line is also common to drawing, calligraphy, music, cartography and geography. A central motif in art, science and everyday life, line features in all cultures, as a means of representation (defining form), or support, even as an object of study in its own right. At the Forum, the exhibition Listening to the Lines offers a selection of items featuring pre-existing lines in their natural state – a fertile imaginative source – together with works highlighting the gradual appearance of their own trace.
The intriguing striations on stones collected by Roger Caillois, a trompe-l’œil landscape work by Xu Bing, ephemeral drawings executed in nature by Akiko and Masako Takada, or structural motifs by Carsten Nicolai, based on mathematical formulae, are presented in dialogue with works by Asako Tokitsu, Niele Toroni and Ignacio Uriarte. A linear bookshelf specially created by the Japanese architecture duo Atelier Bow-Wow offers a bibliography of essays and catalogues for public consultation, extending beyond the scope of the works on show.
Just as Simple Forms: Contemplating Beauty stresses the rich diversity and fascination of minimalist simplicity across historical periods and cultures, so Listening to the Lines invites us to apprehend line in all its evident simplicity, fragility and potential complexity. Visitors are invited, quite literally to ‘listen’ to the lines and to experiment with the scenarios they offer. (Fondation Hermes press-release)
Fondation Hermès, Le Forum, Tokyo, Japan. 5-4-1, Ginza, Chuo-ku, Tokyo 104-0061
Image: Ignacio Uriarte
16 april – 12 june, 2015
Luis Gordillo (1934, Seville, Spain) is one of the most singular figures of representational abstract art. His work explores the meaning and the link between the world of the thought, the world of experience, and the world of esthetic expression. With a long solid career behind him, Luis Gordillo is a consecrated artist that has been awarded with multiple prizes and recognitions. Among them, in 2007 he was awarded with the Velázquez Prize of Plastic Arts. In 2007 a retrospective exhibition (1959-2007) was shown at the Museo Nacional Centro de Arte Reina Sofia. His work forms part of the collections of; Caixa Forum, the Andalusian Center of Contemporary Art, the collection of Patio Herreriano, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Museum of Spanish Abstract Art in Cuenca, the Museum of Contemporary Art of Barcelona (MACBA), the Museum of Fine Arts of Bilbao, and of many other important museum and international collections. He has also been honored in 2008 with the Orden de Caballero de las Artes y las Letras de Francia by the French Ministry of Culture and Communication. . (Luis Adelantado press-release)
Galería Luis Adelantado: Laguna de Términos 260, Anáhuac Mariano Escobedo, Miguel Hidalgo, 11310 Cd de México, D.F., México
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
16 abril - 31 mayo de 2015
Alfredo García Revuelta was born in 1961 in Madrid, Spain. He describes himself as an artist at heart, a citizen of the world and inveterate traveller.
The artist cleverly resolves material problems with the plastic and creates ironic and caricatured figures in his works. His post-cubist approach, combined together with influences from Spanish cartoons, play ironically with classical ideal forms and ideologies. It is these characteristics of the works that invite the audience to experience Revuelta’s creative and yet sarcastic world through the themes and visual details.
“Walk Backwards with the Front View” is a solo show that gathers the artist’s latest sculptural works and creates a significant journey through an extensive period of his career. The artist emphasizes creative originality throughout his works by constantly leaving behind what is already known to work, and makes his own path to move on. The variety of his works gives the impression of an artistic traveller, resisting the temptation to ‘settle down’ into an artistic niche. This not only brings a constant change to the theme of the series, but also, a variety of materials used, from the most traditional to the most modern. The artist’s fear of repeating himself makes the works uniquely difficult to classify.
The artist says: “I keep my eyes and ears open but not too much, because the world I’m creating is being built back to the fragile and brief trends imposed by the market” and expresses that he not only knows the dangers of being an outsider, but also the immense benefits of being oneself; someone trying hard not to be polluted. He claims that, little by little, he started to give shape to a very personal world which is constantly evolving, and has grown along with him to the present day. (art350 press release)
Art350, Bağdat Caddesi No:350. 34738 Erenköy, Istanbul, Turkey
Image:Albert Einstein, 2014. Alfredo García Revuelta
BOSTON. Alejandra Carles Tolra “The Gun Show” Flash Forward Festival. Fort Point Arts Community Gallery
24 april – 24 may, 2015
The Gun Show” brings together photographs of significant visual merit marked by the artists’ inclusion of guns, whether deliberately or incidentally. The intention of this group exhibition is not to say ‘guns are good’ or ‘guns are bad,’ but rather to point out the presence of firearms in our visual and verbal vocabularies and consider their influence on the collective unconscious.
The 13 New England photographers in The Gun Show are not directly engaged in the study of guns, gun culture, or violence. In the context of this show, removed from the artists’ intended series and stories, we look at pictures of guns as pictures about guns.
Alejandra Carles-Tolra is a Spanish photographer from Barcelona, Spain, living in the US East Coast. Her work examines the relationship between individual and group identity, and how the latter shapes the former. Questions regarding what defines it, the role the surroundings play, and the threshold between individual and group identity drive and inform her work as an artist. She received a BA in Sociology from the University of Barcelona and an MFA in Photography from Massachusetts College of Art and Design.
Her work has been published and exhibited internationally, most recently at CNN, Photo Center NW in Seattle, Valid Foto BCN Gallery in Barcelona, and The New York Photo Festival. She has received several awards and mentions, such as LensCulture’s 21 New & Emerging Photographers and Descubrimientos PhotoEspaña 2013. She was a winner of the Biennal D’Art Jove at the Fine Arts Academy of Sabadell in Barcelona. She has taught photography at The University of New Hampshire, Bryant University, and Massachusetts College of Art and Design, among other institutions.
Artists: Roswell Angier, Karl Baden, Claire Beckett, Bill Burke, Alejandra Carles-Tolra, Jim Dow, Jennifer Garza-Cuen, Cig Harvey, Brian Kaplan, Forest Kelley, Camilo Ramirez, Dayna Rochell, Brian Ulrich. (Flash Forward Fest. Press-release)
Fort Point Arts Community Gallery, 300 Summer Street. Boston, MA 02210
Image: Powers Sleeping (from the series Fall In), 2012 by Alejandra Carles-Tolra
STUTTGART. Mario Santamaria, Luis Guerra “The Act & The Tracer” Württem Bergischer Kunst Verein Stuttgart
26 march - 24 may, 2015
“The Act & the Tracer" is an exhibition produced by Mario Santamaria and Luis Guerra, both visual artists based in Barcelona, living and working in Stuttgart as stipendiaries of a new exchange studentship between Catalonia and Baden-Württemberg, based on a cooperation between Württembergischer Kunstverein Stuttgart, Kunststiftung Baden-Württemberg, HANGAR Centro de Arte and Goethe Institute Barcelona.
Mario Santamaria bases his practice in the study of the phenomenon of the contemporary observer. Starting from a specific historical event, Santamaria researches about the contradictions of the transparency, visibility and access system that the technological rhetoric seems to have consolidated at the beginning of the 21st century. In this exhibition, he articulates a series of items in relation to the incident occurred on December 11, 2009, when the owning company of GeoEye1, considered the best provider of satellite imagery at that time, recognized an irregularity in the satellite antenna affecting their data sent to earth.
Luis Guerra presents a sub-set from a larger project called Anarchistory of Action (2014-2017). He conceives his practice as an ongoing process in which the creative event and the ephemeral instant of its manifestation, sometimes, are more important than the possible trace. As such, his works may have not been documented or may just exist under a subtle memory, a tale, or even as a whisper. The Act (2015) works within that condition of the inexistent, a low degree of appearance, an abysmal deed without reason and without justification. (WKV press-release)
Württem Bergischer Kunst Verein Stuttgart. Schlossplatz 2. D-70173 Stuttgart
Image: Mario Santamaría, "Palace of Versailles", Video, 1:18 Min., 2013
21 march - 21 june, 2015
The exhibition that will put on in Tianjin brings together a careful selection of over one hundred works that illustrate the key moments in his remarkable artistic career, works that are at once representative of the different formal and conceptual approaches and of the varied techniques that he used: sculpture, drawing, painting and graphic work. The show is curated by Cyril Boisson and Judit Subirachs-Burgaya.
The exhibition begins with sculptures that still show the influence of his Noucentista predecessors. Then come various works representative of the Expressionist phase, by which time it can be claimed the artist had configured a style of his own that was to lead to very personal abstract work. The exhibition also includes numerous pieces that fall within the so-called ‘new figure work’, a phase full of symbolic elements, in which the analysis of dualities and oppositions was consolidated. From the later years there is a series of metaphysical works, often with architectural references that confer great expressive power on the ties established between the three-dimensional elements and the allegorical components. Contrasting styles and juxtapositions of materials and models define his personality, so much so that the play of dualism – figurative-abstract, form-symbol, innovation-repetition, positive-negative, painting-sculpture – becomes the badge that distinguishes the work of one of the greatest exponents of Catalan sculpture in the second half of the twentieth century. (I.Ramon Llull press-release)
Tianjin Art Museum, Hexi District Pingjiang cultural center in Tianjin Tianjin Museum of Fine Arts
Image: The Stairway of Intellection, 2007. Josep Mª Subirachs
WASHINGTON. Janire Nájera “Moving Forward, Looking Back: Journeys Across the Old Spanish Trail” Former Residence of the Ambassadors of Spain
30 april – 29 june, 2015
Moving Forward, Looking Back: Journeys Across the Old Spanish Trail started in March 2014 with a road trip across the Southwest of the Spanish photojournalist Janire Nájera.
She and her assistant Matt Wright followed the footsteps of trader Antonio Armijo, who opened the route of the Old Spanish Trail between the states of New Mexico and California in the 19th century.
During her trip, Janire met and interviewed Spanish descendants to analyze how the traditions of the first settlers have merged with local cultures influencing the creation and identity of today's pueblos and cities, revealing some traces of Spanish intangible heritage that remains across these states.
Nájera has captured her experience along the route in a daily log, a book and a photography exhibition that will travel across the U.S. and that premieres at the Former Residence of the Ambassadors of Spain in Washington, This project is supported by Spain arts & culture. D.C. (spainculture press-release)
Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, D.C. 20009
Image: Janire Nájera
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
24 march – 8 june, 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 São Paulo. Rua Álvares Penteado, 112 - CentroCEP: São Paulo (SP)
Image: Pablo Ruiz Picasso. Seated Woman Resting on Elbows 1939. Museo Nacional Centro de Arte Reina Sofía
10 april – 24 may, 2015
The Spanish-British artist José Manuel Ciria (Manchester, 1960) can be seen as one of the most remarkable artists of this century and internationally successful in the contemporary art world. He succeeded to find the perfect balance between figuration and abstraction. Ciria has a well-balanced feeling for color and composition and found the perfect interaction between the two concepts.
His deep intellectual curiosity, his demanding working methods and the breadth of his vision of the discipline of painting are a continuous element of his work. Ciria maintains a direct dialogue with the classical tradition, but is always looking for new supports for his expressions.
His work is featured in the collections of the most important museums including the Museum Reina Sofia in Madrid, the Moscow Museum of Modern Art and the Albertina Museum Vienna. Under the auspices of the MoMA New York filmmaker Artur Balder made a documentary about him: Ciria pronounced Thiria. (Alicia Winters press-release)
Alicia Winters Gallery, Walstraat 60. 6811 BD Arnhem.
Image: Looking Eye I (2012) José Manuel Ciria
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.
01 April - 19 July 2015
Artist, renowned professor and architectural preservationist Jorge Otero-Pailos contributes an ambitious, site-specific installation entitled The Ethics of Dust: Trajan’s Column to the Victoria and Albert Museum, All This Belongs To You. The Ethics of Dust - a reference to the Victorian art critic John Ruskin’s book The Ethics of the Dust- will interact with the largest object in the Museum, an imposing 98-foot tall cast of the iconic Roman artefact, Trajan’s Column.
The Ethics of Dust explores the modern-day conundrum on how to address pollution, conservation and the preservation of the world’s most precious artefacts. In an attempt to preserve our national treasures for the next generations, Otero-Pailos is, in effect, not only paying homage to humanity’s ancient past, but also immortalizing the threats to our collective history by preserving the pollution and dust that impinge on it.
Jorge Otero-Pailos (b. 1971) works at the intersection of art, architecture and preservation. His work has been exhibited in major museums, festivals, galleries and foundations; notably, Manifesta7, the 53rd Venice Art Biennial, The Keller Gallery at MIT, the Storefront for Art and Architecture and the Victoria & Albert Museum. In 2009, he was listed as one of 10 young Spanish artists to watch in Architectural Digest and featured that same year in the BBC TV’s documentary Ugly Beauty alongside Damien Hirst, Anish Kapoor, Carl Andre, and Yoko Ono. He has received awards from major art, architecture and preservation organizations including the Kress Foundation, the Graham Foundation, the Fitch Foundation, and the Canadian Center for Architecture, and in 2012 the UNESCO Eminent Professional Award. He is a member of the Academy of Arts and Sciences of Puerto Rico. Otero-Pailos studied architecture at Cornell University and holds a PhD from MIT. He is Associate Professor of Historic Preservation at Columbia University’s Graduate School of Architecture in New York. He is the founder and editor of the journal, Future Anterior (Victoria and Albert Museum press-release)
Victoria and Albert Museum, Cromwell Rd. SW/. London.UK.
Image: Jorge Otero Pailos, 2015
15 abril – 14 june, 2017
The quest to subvert the logic of the museum through the construction of mobile devices has a long tradition. Since Marcel Duchamp’s Boîte-en-valise(1941), many artists have tried to move the field of aesthetic experience beyond the limits of the museum. In recent years, museums have co-opted this strategy with devices intended to make art “portable.” Instead of extending the linear feet of the museum’s walls, the devices in This Is Not a Museum make nomadic exhibitions as a platform for direct participation. This exhibition showcases more than 50 of these projects from various cities around the globe.
Artists representing This Is Not a Museum: Portable and Lurking/Esto no es un museo. Artefactos móviles al acecho - Call for Projects; Washington, D.C. include: Calder Brannock, Lisa Bulawsky, Michael Dax Iacovone & Michael Blasenstein, Caitlin Cass, Billy Friebele and Joe Reinsel. Curator:Martí Perán. (CCE Miami press-release)
Production:Centre d’Arts Contemporànies de Vic (España) Acción Cultural Española (AC/E) Centro Cultural de España en México.
Centro Cultural Sao Paulo. Rua Vergueiro 1000. Paraíso São Paulo
Image: “Esto no es un museo. Artefactos móviles al acecho”
11 april – 5 july, 2015
With this exhibition MACBA, with the collaboration of AC/E, investigates the potential of photography as a tool for re-reading recent history through themes that invite us to reflect on our immediate surroundings. Nitrate is the central axis of the exhibition in the Museum, which also includes projects carried out by Xavier Ribas in the last decade. With Nitrate, the exhibition by Xavier Ribas (Barcelona 1960) presents a project that exposes the political geography of the Atacama Desert and the history of the extraction of this mineral. Through a series of works, including photographic polyptychs, texts and videos, Ribas unfolds an investigation in which photography becomes an object of reflection rather than a mere documentary support. By inspecting sites, artefacts and images, the project traces the route of nitrate, a traditional component of fertilisers and explosives, in the genealogical line of the exploitation and appropriation of non-renewable resources that define the process of globalisation. The work shows the mineral in its natural state, its processing in the oficinas (depots) of the Atacama Desert, the transporting of the product for its prospective sale, and its symbolic value in the mansions of London and its surroundings. Other projects by Ribas featured in the exhibition include the series Geografías concretas (Concrete Geographies), since 2003, and Santuario (Sanctuary), 1998–2002, dedicated to the analysis of places whose uses and meanings are highly vulnerable and controversial. These are enclaves in Ribas’ trajectory that reveal his ongoing interest in the representation of human geography, a concern that has led him to conceive photography as a register of absences. . (AC/E press-release)
The Bluecoat, School Lane. Liverpool. United Kingdom
Organized: MACBA, AC Española, Museo Universidad de Navarra y the bluecoat.
Image: Javier Ribas
2 april – 29 may, 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda
29 march– 24 may, 2015
It is easier to imagine the end of the world than the end of the current order of capitalism. – Fredric Jameson BANK presents The BANK Show, Vive le Capital an exhibition that explores, celebrates, and critiques the omnipresent power of global finance through its site-specific venue, the former Bank Union building in Shanghai’s historic Bund district (est. 1925). In the past, political ideology and religious conviction shaped the conduits of power, but as the world accelerates into the 21st century the fate of human sustenance is more and more dependent on the ebb and flow of capital. Over the past decade the divide between the haves and have nots, global south and north, have become less tenuous while national identity and borders have become more tenuous. Through this exhibition we aim to flush out some perspectives from artists and others that examine the momentous and intimate experiences with multi-national capitalism: its virtues and vices, catches and loopholes, what it renders visible or precarious along a discursive discourse from Marx to Piketty. At the outset of the 20th century BANK’s home was at the epicenter of global commerce. Shanghai played host to banks from throughout Europe and the United States as an outpost for Asian manufacturing and trade. Shanghai’s Bund essentially incubated what we know today as modern market globalization. Taking BANK’s distinct location and historic context as a departure point The BANK Show considers creative practices as impressed in the world of global capital and finance, rather than reducing them to vapid gestures of political correctness or over-simplifying dichotomies of morality. MABSOCIETY is a curatorial/consultancy office founded by Mathieu Borysevicz and based in Shanghai. BANK is MABSOCIETY’s curatorial studio. (Bank 1F press-release)
Bank 1F,59 Xianggang Road,Huangpu District, Shanghai
Image: Javier Viver
KÖLN. Pablo Milicua and Yolanda Tabanera “Risikofreude. Objekts, installations and works on paper” 100 Kubik Gallery
20 march – 23 may, 2015
Yolanda Tabanera (*1965, Madrid) and Pablo Milicua (*1960, Bilbao) deal in their works with the imponderability of the art in its becoming and reception.
The objects and installations of Yolanda Tabanera reflect her interest in materiality, volume and the texture of surfaces. Materials such as glass, esparto grass, leather and ceramics express originality and naturalness.
Pablo Milicuas collages seem exuberant and can’t be perceived by the eye at first glance. He celebrates in his works the accumulation of the trivial, his curiosity in and the combination of many different subjects and the pleasure of a mythical nature.
Both artists celebrate in their works the pleasure of the unknown and the art itself, which includes always the desire to take risks. (100 kubik press-release)
100 Kubik gallery, Mohren Str. 21. 50670 Köln
Image: Pablo Milicua. Collage
29 march – 24 may, 2014
In Reinterpretada Reinterpreted, Enrique Marty (b. 1969, Salamanca) re-interprets for Deweer Gallery the exhibition he made a few months ago for the Museo Lázaro Galdiano in Madrid. Enrique Marty is the first of a series of Spanish artists who were invited by curator Rafael Doctor to “work” with the collection of the museum. Many of the works Marty created for Madrid now will be on view in Otegem, among others a series of 120 watercolours. On the occasion of the exhibition Deweer Gallery will publish the book Enrique Marty – Reinterpretada Reinterpreted, that illustrates each of these watercolours. (Deweer gallery press-release)
Deweer Gallery. Tiegemstraat 6A. 8553 Otegem. Belgium
Image: Enrique Marty, Revealed Outdoor Scene 4, 2014
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
22 march – 28 june, 2015
This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró’s work.
The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist’s ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other —a principal feature of this exhibition.
The paintings and sculptures in the exhibition plumb the process of making art, part of Miró’s concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued.
Joan Miró: Instinct & Imagination is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía. This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities. It is presented at the Denver Art Museum with the generous support of donors to the Annual Fund Leadership Campaign and the citizens who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine, CBS4 and The Denver Post. (Denver Art Museum Press-release)
Denver Art Museum. 100 W 14th Ave Pkwy. Denver, CO 80204
Image. Joan Miró,Woman, Bird and Star (Homage to Picasso)
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.
BRUSSELS. Alberto García Alix “Faces, Now. European Portrait Photography since 1990” BOZAR, Centre for fine Arts
18 february – 17 may, 2015
Ever since the invention of photography portraits have become commonplace. In the 1990s photographers rediscovered the portraiture genre. Since the fall of the Wall they have used photography to question the identity and place of the individual in the digitalised and globalised world. What do the face, pose, clothing and backdrop tell us about the person portrayed? FACES NOW exhibits the works of 31 renowned European photographers, including the likes of Alberto García Alix, Tina Barney, Anton Corbijn and Stephan Vanfleteren.
Curator: Frits Gierstberg. Participating artists : Tina Barney, Sergey Bratkov, Koos Breukel, Clegg & Guttmann, Anton Corbijn,Christian Courrèges, Denis Darzacq, Luc Delahaye, Rineke Dijkstra, Jitka Hanzlová, Konstantinos Ignatiadis, Alberto García-Alix, Stratos Kalafatis, Boris Michailov, Nikos Markou, Hellen van Meene, Jorge Molder, Lucia Nimcova, Adam Panczuk, Dita Pepe, Anders Petersen, Paola De Pietri, Jorma Puranen, Thomas Ruff, Clare Strand, Beat Streuli, Thomas Struth, Juergen Teller, Ari Versluis & Ellie Uyttenbroek, Stephan Vanfleteren, Manfred Willmann. (Bozar press-release)
Centre for fine Arts, Rue Ravenstein 23. 1000 Bruxelles
Image: Alberto García Alix. “Mi lado femenino 2002”
february 24 - June 7, 2015
The Davis presents the world premiere of What Does History Know of Nail Biting?, the latest multi-channel video work from acclaimed Spanish artist Francesc Torres (b.Barcelona 1948). Examining the extraordinary history of the Abraham Lincoln Brigade, a group of American volunteers who went to fight for the Republican side against fascism during the Spanish Civil War (1936-9), the work juxtaposes recently recovered archival footage of these soldiers and their battles with recent documentation of the sites of major military encounters during the Spanish Civil War. Curated by Michael Maizels, Mellon Curator of New Media Art, with generous support from the Kathryn Wasserman Davis '28 Fund for World Cultures and Leadership. (Davis Museum press – release)
Davis Museum. Wellesley College, 106 Central Street. Wellesley, MA 02481-8203
Image: Francesc Torres. Film Still from What Does History Know of Nail Biting? (2014).
16 january – 16 july 2015
The Mysteries of Columbus is created by Mr. Gabarron in 2006. The work is inspired by the famous explorer and navigator, Christopher Columbus, and his journal. To pay the tribute to human spirit of adventure and the discovery of America, Mr. Gabarron created ten symbolic pieces. Their rounded forms and clear lines suggest the natural lives of mankind and primitivism. The works are also heavily filled with blocks of different colors, which well represents the Indian culture in America.
However to the artist, the meaning of this group of sculptures is much beyond than this. Coming from Murcia, Mr. Gabarron wants to express his reflection on the role of art in our lives, as well as the coexistence and the development of human values through this works.
Such pursuing guided him to the space of public art. His strong commitment has led him to multiple public art projects for different sites and cities. During the creation process, he has been constantly seeking balances among elements of art and urban space: the balance between the closeness with the viewers and improvement of the environment where their daily lives evolve; the balance between humanity and efficient urban planning; the balance between modern metropolitan centers and the culture anchored within it. The Mysteries of Columbus is the answer to those how-to-balance questions. The sculptures play with the monotony urban environment with its most varied forms and colors. Mr. Gabarron also leveraged on his experience in painting and extended the color beyond the boarders of facets and softened the sharpness of angles. By doing so, he redefined surfaces of the sculptures and created more possibilities. The open and free color scheme and form invite the viewers to make a small parenthesis in his or her daily routines and to explore the meaning of the work. No matter what conclusions they draw from them, the process already brings changes to their lives and breaks the walls of intransigence and intolerance. (Gabarrón foundation press-release)
China Art Museum, Pudong, Shanghai. China
Image: Cristóbal Gabarrón
31. January 2015 - 25. May 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.
Loans come from the Successió Miró, the Fundació Joan Miró in Barcelona, the Fundació Pilar i Joan Miró a Mallorca and museums in Europe and America.
In collaboration with the Kunstsammlung Nordrhein-Westfalen. The exhibition is under the joint patronage of Mateo Isern Estela, Mayor of Palma de Mallorca, and State Secretary Wolfgang Schmidt, Commissioner of the Free and Hanseatic City of Hamburg to the European Union. The exhibition is sponsered by ExxonMobil, Bankhaus Lampe and Lampe Asset Management.(Bucerius kunst forum press-release)
Bucerius Kunst Forum gGmbH. Rathausmarkt 2. D-20095 Hamburg
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965, Privatsammlung als Dauerleihgabe in der Fundació Pilar i Joan Miró a Mallorca, © Successió Miró / VG Bild-Kunst, Bonn 2015
15 january – 21 may 2015
Jaume Plensa was born in Barcelona in 1955, and shares his residence between Paris and Barcelona. Between his first exhibition in his hometown in 1980 and today, he has been living and working in Germany, Belgium, England, France and the US. Also, teaching at the École Nationale des Beaux-Arts in Paris, giving lectures at a wide array of universities and art institutions, currently as professor at the School of the Art Institute of Chicago.
His sculptural work has, with time, undergone several changes, but always dealing with humanity, body and soul, in mostly figurative expressions. Even when the body is physically absent, it is implied; by gongs ready to be struck, empty houses or cells waiting to be occupied, or text required to be read. Whether made out of steel, glass, bronze, and alabaster or by light, vibration or sound, his ideas and associations are always brought forward. Plensa believes sculptures to be an extraordinary vehicle for accessing emotions and thoughts. His work asks questions and sets up situations that encourage us to think and think again, to talk with one another, to be silent and meditative, to touch, and experience togetherness. The artist is keen to encourage communication and understanding with others and ourselves, producing work with the hope of reconnecting us with our own souls. For Plensa, life is the key concern and thus art is merely a consequence of it. Still it possesses an enormous capacity to touch people deeply, to introduce beauty into any situation, and to celebrate human potential.
A significant part of Plensa´s production is set in the context of permanent public sculpture. “The Crown Fountain” in Chicago´s Millennium Park is one of his most well known works. In 2005 he finished “Breathing”, which was installed in the new BBC building in London, and in 2007 he made an impressive public project for the Place Masséna in Nice. The huge woman’s head, “Dream”, for St Helens in Liverpool was inaugurated in 2009. He is currently working on several new public projects as “Wishing Well” for the Bow Calgary in Canada, “Mirror” for Rice University in Houston, and “Together” for Chichester Cathedral in UK. Plensa´s work has been exhibited in numerous galleries and museums in Europe, USA and Japan; Fundació Joan Miró in Barcelona, Galerie Nationale du Jeu de Paume in Paris, Henry Moore Sculpture Trust in Halifax, Malmö Konsthall, Museum Moderner Kunst Stiftung Ludwig in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, BALTIC The Centre for Contemporary Art in Gateshead, Musée des Beaux-Arts in Caen, The Nasher Sculpture Center in Dallas, Picasso Museum in Antibes, Galerie Lelong in Paris and New York, and The Yorkshire Sculpture Park to mention a few. (Andersson/Sandström press-release)
Andersson/Sandström Gallery, Hudiksvallsgatan, 6. 113 30 Stockholm
Image: Sanna Dream 2014. Jaume Plensa