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Spanish contemporary art worldwide

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DALLAS. Picasso “Dream and lie of Franco: The Spanish civil war” Meadows Museum

2 april – 2 july, 2017

This exhibition commemorates the anniversary of Picasso’s great painting by showcasing a pair of prints in the Meadows collection that was transformed by the very same events that inspired “Guernica.”

June of 2017 will mark eighty years since the production of Guernica by Pablo Picasso (1881-1973), made in response to the horrific events of the Spanish Civil War (1936-1939). In January of 1937, Picasso began work on a set of prints titled The Dream and Lie of Franco. The prints were made in support of the Spanish Republican government, caught in a grisly civil war with the conservative Nationalist party headed by Francisco Franco (1892-1975). These prints were the first expressly political artworks of Picasso’s career, designed to satirize Franco and delegitimize his cause.

But the bombing of the small town of Guernica on April 26, 1937, would have a radical impact on Picasso’s project. This event interrupted the execution of the second plate and immediately inspired Guernica, among his most ambitious and celebrated works; Picasso returned to his print series only after the painting was completed.

The Meadows collection possesses the only near-complete set of proofs of these prints in the United States. These proofs, which signpost the stages of Picasso’s working process from start to finish, before and after the bombing of Guernica, reveal the visible effects of this event on Picasso’s art in response to the Spanish Civil War. The final prints will be exhibited alongside these proofs as a means of dramatizing the impact of the historical moment that this exhibition commemorates on their production and, ultimately, on their final form.

Picasso’s Dream and Lie of Franco were made during a period that witnessed a burst of creative work on paper in the form of posters, cartoons, postcards, and satirical illustrations. The Meadows Museum is in possession of a set of posters from this period that are exemplary of the thematic and visual-cultural context from which The Dream and Lie of Franco emerged. (Meadows Museum press-release)

Meadows Museum, 5900 Bishop Blvd., Dallas, TX 75205

https://meadowsmuseumdallas.org

Image: Picasso “Dream and lie of Franco: The Spanish civil war”

LONDON. Quintina Valero “Clouded Lands” Rich Mix Mezzanine Gallery

6  - 28 april, 2017

As part of the commemoration of the 30th anniversary of the Chernobyl Disaster, the art collective Food of War presents a programme of visual arts, food and performance.

In 2015, the Food of War artists decided to travel to Ukraine to reflect on the impact of the Chernobyl accident for people and the environment. They interviewed doctors, scientists, nuclear plant workers and victims of Chernobyl. In their research they found that radiation has a huge impact on people’s health, food sources and the ecosystem.

Clouded Lands exposes those findings through photography, installation, painting, gastroperformance, sculpture and films with the purpose of building bridges between European countries affected by the radioactive cloud.

Food of War artists Quintina Valero, Omar Castañeda, Hernan Barros, Simone Mattar, Zinaida Lihacheva and Carolina Muñoz have worked with European artists to create an art-touring exhibition that reflects on the implications of the Chernobyl’s accident in people and the environment.

Spanish artist Quintina Valero is documentary photographer from Spain. After a career in finance she moved to London in 2001 where she studied Photojournalism at the London College of Communication. Her documentary work focuses on human rights and humanitarian crisis. She has documented nomadic lives that included Bedouins, travellers and gypsies for several years. Her passion to learn about their identity and culture took her to the Balkans, Jordan, France, Spain and England, documenting their traditions, festivities and rituals. From 2014 she is documenting the situation of migrants in Europe. (Rich Mix press-release)

http://quintinavalero.photoshelter.com

Rich Mix, Mezzanine Gallery,35 - 47 Bethnal Green Road . London, E1 6LA United Kingdom

Image: Quintina Valero

BEOGRAD. Rubén Salgado Escudero “Solar Portraits” Instituto Cervantes

8 april – 30 june, 2017

Rubén Salgado Escudero is a photographer / videographer born in Madrid, Spain. He lived in the United States throughout his teenage years, and graduated from the Savannah College of Art and Design. He subsequently moved to Berlin, Germany, where he worked as a 3D character animator in the video game industry.

Ten years later, he decided to quit his job and move to Myanmar, following his passion for photography. Since then he has worked in projects in many areas of Asia, Africa and Latin America. 

Rubén is a member of 'The Photo Society' by contributing National Geographic (US) and his photography has been exhibited in more than a dozen countries across the world.

Rubén is also very passionate about sharing knowledge and experience to other photographers. He has taken part in educational workshops internationally including New York, Tokio, and Yangon. He is also very keen in giving feedback and has participated in portfolio reviews at various photography festivals including Les Rencontres d'Arles and the Angkor Photo Festival. (I.Cervantes press-release)

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

http://www.rubensalgado.com   http://belgrado.cervantes.es

Image: Rubén Salgado Escudero

 

 

WORDLESS DIALOGUES. Wordless Dialogue 07 Eva Diez / Diana Coca

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 07 Eva Diez / Diana Coca

Dialogue 07 Eva Diez

Dialogue 06. Diana Coca

Eva Díez is an artist whose work can be described as “photopoetic” because of the clear lyrical intentionality of her photographs. In them she plays with the symbolism of light and the aesthetics of ruin to give way to a reflection on the immemorial image of the home. Her training in film and contemporary photography defines her work, all her production manifests a certain scenographic character. In her work, references to poetic reverie are frequent, taking into account the symbology of the home as a plastic metaphor of our unconscious, a stimulus for memory and imagination.

Diana Coca. Palma de Mallorca, 1977. Lives and works between Madrid and Beijing. Diana Coca graduated in Fine Arts, with the speciality of Photography, from the University of Brighton (2003) and in Philosophy from the Universitat de les Illes Balears (2009). In 2004 she won the photography scholarship of the MAE, Spanish Ministry of Foreign Affairs, for her artistic production in the Real Academia de España en Roma. She completed her training by participating in the following residency programmes: Aula de Danza Estrella Casero run by the Universidad de Alcalá de Henares and La Casa Encendida, Madrid (2007), International Center of Photography of New York, Matadero scholarship Madrid (2008), Programa de Residencias Artísticas para Creadores Iberoamericanos en Oaxaca (Artist Residency Programme for Ibero American Creators in Oaxaca), Mexico, by AECID, FONCA and CONCULTA (2009), and Three Shadows Photography Art Centre in Beijing (2010).
 The destruction and construction of reality or the control exercised by all the attributes that contribute to characterising the female body (make-up, high heels…) are recurrent themes in her work, dealt with from the symbiosis between the performance, video and photography. Through narrative sequences we find her semi-nude, fragmented body conceived as object and subject at the same time, as she uses herself as the territory for experimentation and subversion, with the desire of transforming the tension of what is concealed and placing emphasis on the slavery of human beings arising from the technological dependence of present-day society. http://www.dianacoca.com
As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 07 Eva Diez. Dialogue 06. Dialogue 05. Diana Coca

quepintamosenelmundo.com

St.GALLEN. Ignacio Evangelista “After Schengen - European Borders” Architektur Forum Ostschweiz

3 – 30 april, 2017

The "After Schengen“ series shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service, allowing us to gaze into the past from the present. It causes many reflections, especially in a moment that EU project it is severely discussed.
These places that prior the Schengen treaty, delimited territories and in which the traveler had to stop and show his documents, currently appear as abandoned places, located in a space-time limbo, out of use and out of the time for which they were designed, as these states have opened their borders to the free movement of people.
Border crossings have a function of geographical boundaries, but also a coercive role, since they prevent the free passage of people between one and another state. So, they are places that, along with a cartographic dimension, are provided with historical, economic and political reminiscences.
These old border crossing points are slowly disappearing; some are renovated and reconverted to new uses, some are destroyed for vandals, and some other just fall down due to the passing of time. So, after some few years there will be no possibility to look at this strong signs and symbols of the recent European history. (Architektur Forum Ostschweiz press-release)

Architektur Forum Ostschweiz. Davidstrasse 40. Postfach. 9004 St.Gallen. Switzerland

http://a-f-o.ch/grenzen-after-schengen  http://ignacioevangelista.com

Image: After Schengen, Ignacio Evangelista

BASEL. Itziar Okariz “Solo Show” Kunsthaus Baselland

31 march – 16 july, 2017

First solo show of the outstanding Spanish artist in Switzerland within the period of the ART BASEL FAIR which garantees a broad perception of the show. The show will be as well the first overview of her work and will contain drawings, films/videos, sound pieces and performances.   Itziar Okariz (b. 1965, ES, lives in Bilbao) has long been among the most important international performance artists who engage with themes of gender and language particularly, and who in so doing investigate the meaning of word and text in relation to their own bodies. Her works have achieved broad recognition after live performances at the Guggenheim Museum Bilbao and the Museo Nacional Centro de Arte Reina Sofía in Madrid, amongst others, as well as in the streets of New York, a metropolis where she spent many years. The solo exhibition at the Kunsthaus Baselland – which is the first showing of her work in Switzerland and the first ever survey of her work – will give special insight into Itziar Okariz’ multifaceted creation, including live performances and larger sound works. The exhibition will subsequently travel to CA2M. Centro de Arte Dos de Mayo in Madrid and the Tabakalera. Centro Internacional de Cultura Contemporánea in San Sebastián. A comprehensive catalogue of Okariz’ work will be produced in collaboration in 2018. (AC/E press-release)

Kunsthaus Baselland . St. Jakob-Strasse 170. 4132 Basel/ Muttenz. Schweiz

http://kunsthausbaselland.ch/en  

Image: Itziar Okariz. Irrintzi Repetition (Mute). 2009

PARIS. Dora García “ Écrits” Michel Rein Gallery

25 march – 13 may, 2017

Michel Rein is proud to present Écrits, George Steiner could not read a book without a pencil in his hand. In an interview in Spanish newspaper EL PAIS he joked about it, when answering the question of the significance of Jewish culture in his work: "A Jew is a man who, when reading a book, he does so with a pencil in his hand because he is certain he can write again the same book, much better" An expert in writing books again, Jorge Luis Borges, manifested that such a quality (reading as re-writing) is not exclusive of Jewish readers. Borges's argument is that Argentine and South American readers, like Jewish or Irish, have a special relationship with Western tradition (reading) because although being undeniably part of it, they also feel strangers, peripheral, marginal to it, and therefore not bound to it by devotion: they can write on that tradition, they can re-write it, for them that tradition is not sacred, rather the contrary.

In this exhibition, “Écrits" I continue a research that took me from Joyce (The Joycean Society, 2013) to Freud/Lacan (The Sinthome Score, 2015) and from there… to Argentinian author Oscar Masotta (1930-1979), reader, writer, happenista (the Argentinian 60s version of performance artist) and introducer of the work of Jacques Lacan in the Spanish speaking world (the famous Lacano-americanos). Oscar Masotta is the figure binding together a large film and performance project, "Segunda Vez" (to be finished in 2018), of which we première in the exhibition the first chapter, "Segunda vez" (Second time around) - a short movie inspired by Cortázar's short story of the same title ¬– one of the subtlest narratives of the political and social climate in Argentina in the years 1976-1983. This first chapter provides the two main themes of the exhibition: the idea of repetition as central to art, politics and psychoanalysis, and the idea of the subject as an elastic entity, a diaphragm, moving in relation to the others.

Dora Garcia (born in 1965 lives and works in Barcelona) is currently exhibited at Villa d’Arson, Nice, France (Go Canny!, 10 february – 30 april 2017). She is also the co-director of the Laboratoires d’Aubervilliers since 2013. Her works are represented in a lot of private collections and international institutions : Fundacion La Caixa, Barcelona, Spain / Hanry Art Foundation, Seattle, USA / Kadist Foundation, Paris, France / MACBA, Barcelona, Spain / CNAP, Paris, France / San Francisco MoMa, San Francisco, USA / FRAC Ile-de-France, Paris, France. She was exhibited worldwide over the past decade, including the Centre d’arts visuels, Montreal, Canada / Punkt Ø, Moss, Norway / MAC Grand Hornu, Hornu, Belgium / MUSAC, León, Spain / MUDAM, Luxembourg / Tate Modern, London, UK / MACBA Chapel, Barcelona, Spain and the FRAC Île-de-France, Paris, France. She represented Spain at the 54th Venice Biennale in 2011. (Michel Rein press-release)

Michel Rein Paris. 42 rue de Turenne. 75003 Paris

http://michelrein.com  http://doragarcia.net

Image: Dora García

LONDON. David Ferrando Giraut “ The Accursed Stare” Tenderpixel Gallery

22 march – 22 april, 2017

David Ferrando Giraut’s practice mainly includes video, sound and installation. His latest projects have focused on the hybridisation of natural elements, technology and sociopolitical organisation.
For his first solo exhibition at Tenderpixel, he presents two interconnected projects which spring from his ongoing research on humans’ relation with images throughout history. Using the tensions between representation and represented reality as a cognitive tool, the show highlights how capital colonises aesthetic experience.
The Accursed Stare is a new, 35-minute digital animation piece, placed between an audiovisual essay, an anthropological examination and a psychedelic animation. It revolves around the reflections of an art historian in a not too distant future, as she explores different aspects of the image from its birth in the Paleolithic through Ancient Greece and the Enlightenment, to the rise of conceptual art in the 1960s and its heritage of distrust towards aesthetic quality in ‘post- conceptual art’. Finally, the work brings to light today’s cult of individualism through consumerism.
The project draws on George Bataille’s theory of general economy to consider the evolution of the image and its use. Bataille contends that the main problems we face as a species derive not from shortage, but from an excess of cosmic energy, which we must unlock: it is either 'spent luxuriously' on the arts, non-procreative sexuality or sumptuous moments; or, if we try to make it profitable, it will derive in a sort of violence which pose a threat to the foundations of the society from which it springs.
CATOPTROPHILIA (2013) is a 3D animation structured around the encounter between two objects, belonging to distant time periods, but connected through their complex set of symbolic functions: an Egyptian hand mirror from the New Kingdom (XV. century BC) dedicated to Hathor, goddess of beauty, and the iPhone 4 Elite, released by Apple, California, in 2011. The piece revolves around how the human tendency to create images has always depended on mineral resources, and the social systems that arise from the processes around it.
Finally, each of the projects comprises respectively a series of light boxes and prints, which will also form part of the installation at the gallery.
David Ferrando Giraut (b 1978, Negreira ES) lives and works in Gijón ES and London UK. He holds a MA Fine Art from Goldsmiths College, London UK (2008). He participated at the LUX Associate Programme, London UK in 2010-2011. 
Recent selected solo exhibitions include Notes for a Genealogy of the Mineral Image, Centro Párraga, Murcia ES (2016); Vortex, ARTBO Solo Projects, Bogotá CO (2015); Pantalla CCCB – A Month an Artist, CCCB, Barcelona ES(2015); Notes for a Genealogy of the Mineral Image, Galería Bacelos, Madrid ES (2015); Speech Prosthetsis, LABoral Centro de Arte y Creación Industrial, Gijón ES (2014); Catoptrophilia, The Green Parrot, Barcelona ES and 55 Sydenham Rd, Sydney AU (both 2014); MF Suite, ARCO Galería Bacelos, Madrid ES (2013); Cristalino, Galería Bacelos, Madrid and Vigo ES (2012); The Fantasist, MACUF, A Coruña ES . (2011); Journeys End in Lovers Meetings, 10/12 – Or Nothing, Brussels BE (2011) and Galería Visor, Valencia ES (2010). (Tenderpixel press-release)

Tenderpixel. 8 Cecil Court. London WC2N 4HE

http://www.tenderpixel.com  http://sites.3vases.com/davidferrandogiraut

Image: David Ferrando Giraut . The Accursed Stare. Digital animation with quadraphonic sound. 35 mins.

WORDLESS DIALOGUES. Wordless Dialogue 06. Diana Coca / Berta Jayo

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 06. Diana Coca / Berta Jayo

Dialogue 06. Diana Coca

Dialogue 05. Berta Jayo

Diana Coca. Palma de Mallorca, 1977. Lives and works between Madrid and Beijing. Diana Coca graduated in Fine Arts, with the speciality of Photography, from the University of Brighton (2003) and in Philosophy from the Universitat de les Illes Balears (2009). In 2004 she won the photography scholarship of the MAE, Spanish Ministry of Foreign Affairs, for her artistic production in the Real Academia de España en Roma. She completed her training by participating in the following residency programmes: Aula de Danza Estrella Casero run by the Universidad de Alcalá de Henares and La Casa Encendida, Madrid (2007), International Center of Photography of New York, Matadero scholarship Madrid (2008), Programa de Residencias Artísticas para Creadores Iberoamericanos en Oaxaca (Artist Residency Programme for Ibero American Creators in Oaxaca), Mexico, by AECID, FONCA and CONCULTA (2009), and Three Shadows Photography Art Centre in Beijing (2010).
 The destruction and construction of reality or the control exercised by all the attributes that contribute to characterising the female body (make-up, high heels…) are recurrent themes in her work, dealt with from the symbiosis between the performance, video and photography. Through narrative sequences we find her semi-nude, fragmented body conceived as object and subject at the same time, as she uses herself as the territory for experimentation and subversion, with the desire of transforming the tension of what is concealed and placing emphasis on the slavery of human beings arising from the technological dependence of present-day society. http://www.dianacoca.com
Berta Jayo born in Santander, Spain, in 1971, she studied B.A. Honours Degree Fine Art at the University of Bilbao, Spain and she has done her Postgraduate and MA Fine Art at Chelsea College of Art and Design in London. She has participated on many programs as ISCP (International studio and Curational Program) New York.
She is a nonconformist, critical and continuously evolving talented creator whose clearest language is conceptual art developed on a large variety of media. Her clear and concise ideas encourage reflection, which is also disturbing and provoking our intellect. Her original, power-charged projects awakening our anesthetised and banal existence to offer us their far from stereotypical visions of life.  
Her work has been exhibited in many countries and it has been shown at International Art Fairs such as ARCO Madrid, SWAB Barcelona, FRIEZE London, PULSE New York, Art BASEL Switzerland, at International Festivals as Video Screen Festival in Berlín or New Media Festival HACS Miami, at public spaces or Museums as MAM RD, MAS, The Chill Concept Museum Miami, CAC Málaga, Bronx Museum NYC, Reina Sofía, Tate Modern, Guggenheim Bilbao, MoMa, Louvre París. Other relevant exhibitions are: 'Exquisite Doll Kit' México itinerating, 'Artists from XX and XXI century', itinerating, Sala Robayera, 'Ellas' Madrid, itinerating, Void + Tokio, Japan. http://www.bertajayo.com

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 06 Diana Coca . Dialogue 05. Berta Jayo

quepintamosenelmundo.com 

CHICAGO. Almudena Rodriguez “Pygmalion Effect” Pagoda Red Gallery

until 15 april, 2017

This year, PAGODA RED welcomes a new artist to the gallery. Having lived in Spain, Mexico and the United States, Almudena Rodriguez (Madrid 1969) shares our fascination with the cross-cultural pollination of ideas. In particular, she points to Mexico’s “complexity and contradictions” as “an endless source of stimuli.” In her paintings, religious iconography, European mass media and classical figures populate “a world in which self-perception is determined by movies and publicity.”

Characters from comics, as those from mythology of the past, are our idols of today—references of our time. My characters find themselves in a world in which self-perception is determined by movies and publicity, as hidden economic interests, instead of being determined by art or thinking. From an attitude of irony, sarcasm and jeer, my intention is to reflect on this absurdity.

In a series titled “Pygmalion Effect,” Rodriguez explores the popular psychological idea that greater expectations lead to better performance, questioning how an artist can influence the viewer’s perception. The mixed media on fabric work “Efecto Pigmalion IX” layers images and messages ranging from a seductive silhouette to a child’s book illustration, asking the viewer to stretch their understanding of style, meaning and perception.

In my paintings the canvas and the white cloth disappear. Materials are sewn together—artificially forming a kind of map on which I re-arrange what I have experienced and observed: my own vision.

At times, Rodriguez’ visual vocabulary reaches beyond pop culture references into classical Italian art history. Part of a series reinterpreting the work of 17th-century Baroque painter Artemisia Gentileschi, “Yo Tambien Soy Pintura” explores the history of pictorial language, linking modernity to tradition. The work combines acrylic, aniline, ink and embroidered thread on amate paper. (Pagoda Red press-release)

Pagoda Red Gallery. 400 N Morgan . Chicago, IL. 60642

https://www.pagodared.com

Image: “Efecto Pigmalion XIV” by Almudena Rodriguez

CANTERBURY. Miren Doiz “Art Education in the Age of Metrics” Herbert Read Gallery

10 march – 9 april, 2017

Four artists ask the question: ‘Are metrics (the standards by which efficiency, performance, and progress are measured) useful or relevant within the context of art education? We are all aware that a “data culture” dominates formal education, and that numbers define our relati on to teaching institutions. Although this is a reality that permeates the entire educational system, nowhere can the tensions provoked by this model be more clearly felt than in art education.

Participating artists are Miren Doiz, Simon Merrifield, Redmond Entwistle, Steven Cottingham, and contributions by UCA students.

For this show, Spanish artist Miren Doiz has created a new work, a site-specific installation in the gallery using recycled objects and materials, as well as words and ideas that reflect the introduction of an “entrepreneurship culture” to the university.  Art Education in the Age of Metrics has been curated by Emma Brasó. (Herbert Read Gallery press-release)

Herbert Read Gallery. UCA Canterbury. New Dover Road . Canterbury . Kent. UK

http://www.uca.ac.uk/galleries/herbert-read-gallery  

Image: Miren Doiz installation “Art Education in the Age of Metrics”. Herbert Read Gallery

LONDON. Manuel Franquelo “Things in a room: an ethnography of the insignificant” Michael Hoppen Gallery

march 7 – april 12, 2017

“Things in a room: an ethnography of the insignificant” is the Spanish artist Manuel Franquelo’s first solo show in the United Kingdom, and consisting of six large-scale photographic pieces from his last work in progress.

The pieces from this series, produced through techniques borrowed from scientific photography and endowed with an uncanny hyperreal presence, are an inquiry into the things that have accumulated, over the years, in the nooks and crannies of a space inhabited by the artist.

In this project, Franquelo articulates his interest in time, memory, the subconscious, and what the French writer Georges Perec (1936-82) grouped under the category of the ‘infra-ordinary’, that is: everything that, because of its obviousness and insignificance, remains hidden beneath the normal threshold of perception.

Manuel Franquelo (Malaga 1953) studied engineering and fine arts at the Complutense University of Madrid. He began his career by painting, for a period of ten years, a set of ten exquisite and enigmatic hyperrealist still-lifes. In the 1990s he became interested in projects that utilize practices taken from engineering and scientific imagery. His work is process oriented, multidisciplinary in nature and diametrically opposed to an art based on specific media.

“The interpretation of the world through the insignificant and the everyday has always been a recurring theme in my practice,” says Manuel Franquelo. “For three years, starting in October 2012, I created a photographic inventory of the things in the room where I habitually work: a bottle of 650 mg Ibuprofen that I had bought the winter before, the 3.75-meter-long curtain dividing the space in two, marbles, eyelashes, remains of insects, the grey door on which there are usually some papers held up with magnets, fragments of pills, and an endless assemblage of other things. My intention is that the photographs of this series be timeless rather than decisive moments in time. They are life-size digital images that embody legitimate pretentions to truth, highlighting the complexity and full scale of what is represented. Things in a Room is an account of the objects that my own existence accumulated over a period of about 30 years.”( Michael Hoppen Gallery press-release)

Michael Hoppen Gallery. 3 Jubilee Pl, Chelsea. London SW3 3TD. United Kingdom
www.michaelhoppengallery.com

Image: Manuel Franquelo 

WORDLESS DIALOGUES.- Dialogue 04: Bego Antón / Beatriz Moreno

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 04: Bego Antón / Beatriz Moreno

Dialogue 04. Bego Antón

Dialogue 03. Beatriz Moreno

Bego Anton was born in Bilbao, in 1983. She studied journalism at the University of the Basque Country and specialized in documentary photography in Barcelona. Her photographic work usually explores the contradictory relationships humans have with nature and animals. She also shows particular interest in the small groups that seem strange to a part of society.

Her work has been published in en Lens Blog del New York Time, National Geographic, Esquiere, Le Monde, CNN Photos, The British Journal of Photography, Stand Quarterly and Pretty Good Summer, among others. She has exhibited in the FotoWeek DC, Guggenheim Museum in Bilbao,in PhotoEspaña 2014 as part of P2P Contemporary Practice in Spanish Photography, Begira Photo Festival and in Post-‐Arte, part of Festival Miradas de Mujeres. She has been chosen as a participant in the Joop Swart Masterclass of World Press Photo 2014. http://begoanton.com/

Beatriz Moreno.(Toledo, 1971) La obra de Beatriz Moreno, original narradora que ‘moldea’ las imágenes con inusual intensidad dramática, contiene una poética íntima no exenta de tenso lirismo donde la luz emerge a borbotones para conformar un universo de plenitud plástica. Insinúa el nihilismo y la destrucción pero apunta hacia la redención a través de una impresionante conjunción de luces y sombras. En la actualidad Beatriz Moreno reside en Niza. http://beatriz-moreno.format.com

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 04 Bego Antón / Dialogue 03 Beatriz Moreno

quepintamosenelmundo.com

 

BARCELONA. Picasso “Portraits” Museu Picasso

17 march – 25 june, 2017

The exhibition will contain paintings, sculptures, drawings and prints from all periods of the artist’s long career. It is being curated by Elizabeth Cowling, Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.

When still only in his early teens, Picasso made self-portraits and portraits of members of his family that reveal a precocious gift for suggesting character and mood as well as catching a likeness. Caricature, which enjoyed great popularity in the late nineteenth century, served as an outlet for his satirical humour and also encouraged bold experiments with distortion, exaggeration and symbolism – a trend reinforced by his discovery of El Greco and anti-naturalistic avant-garde styles, and his growing inclination to work from memory, sometimes aided by photographs, rather than the posing model. By the time he settled in Paris in 1904 Picasso had produced a large body of portraits of remarkable conceptual and emotional variety. Because he almost invariably depicted people in his intimate circle, he was free from the usual obligations and constraints of the artist working to commission and did not hesitate to exploit the full range of his innovative styles and techniques. But even when at his most transgressive and expressionistic, he continued to make exquisite drawings from life in a classic, naturalistic style. Dramatic shifts in mode and style are indeed a recurrent feature of his prolific portraiture of the women in his life..

For all his restless originality, Picasso remained in constant, searching dialogue with the art of the past, habitually using traditional formats and poses (bust, half-length, full-face, three-quarter view, and so on), and embedding subtle allusions to old-master portraits that had some bearing on his vision of his subject’s physical type, personality and relationship to him. In later life, Picasso thought of favourite predecessors as intimate friends-cum-collaborators; he did not scruple to caricature them or to indulge in fantasies about their sex lives that mirrored his own obsession with the interplay between eroticism and creativity. His late suites of ‘variations’ after Velázquez’s Las Meninas and Rembrandt’s The Prodigal Son – also represented in our exhibition – allowed him to probe imaginatively supreme masterpieces that involved self-portraiture, and to ruminate on the complex psychological relationship of artist and sitter, his purposes as a portraitist, and the viability of portraiture within the supposedly hostile environment of contemporary art.  (Museu Picasso press-release)

Fundació Museu Picasso de Barcelona. c/ Montcada 15-23. 08003 Barcelona

http://www.bcn.cat/museupicasso/es

Image: Retrato de Olga Picasso. Picasso 1923

 

MADRID. Ana Juan “Drawing on the other” Museo ABC

16 march – 18 june, 2017

The interactive exhibition Ana Juan. Drawing on the other side, brings us into the creative universe of this internationally reknown illustrator. In the show, the visitor discovers the creative processes of two completely different editorial projects illustrated by Ana Juan (Valencia, 1961): The Turn of The Screw and Snowhite.

The visitor will have two roles: as a reader he will see all the illustrations of the books, but as a gamer he will enjoy the interactive part of the show, entitled: Erthaland, Snowhite’s Secret Tale. It is an interactive graphic adventure created by UNIT Experimental (Universidad  Politécnica de Valencia). The visitor can immerse in this adventure, and go on a virtual visit to the House of Hawthorn where Snowhite lives with her stepmother. Using tablets and glasses the Museum is turned into the scene of a videogame. Augmented reality and a recreated animation enrich the exhibition revealing new points of view and many details of the works on ink and pencil by Ana Juan.

The app. of Ana Juan. Drawing on the other side is now available for tablets smartphones IOS and Android for free in the following links.
iOS: https://itunes.apple.com/es/app/ana-juan-dibujando-al-otro-lado/id1055669610?mt=8
Android: https://play.google.com/store/apps/details?hl=es-419&id=com.unit.anajuandibuja(Museo ABC press-release)

MUSEO ABC. Amaniel 29-31. 28015 Madrid

http://museo.abc.es    http://anajuan.net

Image: Ana Juan. Ilustración (Snowhite)

VIENNA. Carmen Calvo “Register Of Human Experience” Mario Mauroner Contemporary Art

17 march – 15 may, 2017

Carmen Calvo´s work is unpredictable. The complex work of the Spanish artist (*1950 Valencia) is an accurate mirror of our world. There is no need for a special main topic as long as every new day is full of private tragedies and disasters, which increase to enormous extent for every single one of us.

Carmen Calvo creates a surreal panopticon and she carries the inconsistency of our daily life to the extreme. For this she uses articles of daily use, used toys or household goods as work material. No difference whether in her painintigs or drawings, sculptures, installations or photography her work is always a process of unmasking. A process which forces the viewer to take a close look at those daily catastrophes and perversions which are normally under the pledge of secrecy. Carmen Calvos work challenges the viewer through subversive power as she focus on varied strategies of oppression such as violence against women, sexual abuse, destruction of childhood, crime, hatred, pain, blood and death. Beeing torned between concern and fascination every viewer is forced to become emotionally engaged.

Carmen Calvos work manifests itself through a dramatic presence which makes it impossible to just consume it. As chosen form changes over time, the continuity of content remains. Carmen Calvos effort to attack encrusted systems and her need to make hidden visible is explained by her biography. She grew up in Valenica the epicentre of the antifascist fight against the perfect symbiosis of the Spanish ultra-catholic, fundamental patriarchal society and the flourishing Franco-Regime. This new generation of artists defined their dogma, that art must always be understood as a social and aesthetic commitment.

Against this background it is of particular importance that Carmen Calvo was the first (!) women who representated Spain at Venice Biennale in 1997. 1999 Mario Mauroner Contemporary Art presented Carmen Calvos work for the first time in Austria.

A large retrospective of Carmen Calvos work was shown at Museo Nacional Centro de Arte Reina Sofia Madrid in 2002. 2013 she received th "Premio Nacional de Artes Plásticas". 2016/2017 „Sala Alcalá 31de Madrid“ presented "Carmen Calvo: Todo Procede De La Sinrazón (1969-2016). Main works of this exhibition are now shown at our gallery in Vienna. (MAM press-release)

Mario Mauroner Contemporary Art. Weihburggasse 26. Vienna. Austria

http://www.carmencalvo.es  http://www.galerie-mam.com

Image: Carmen Calvo

WORDLESS DIALOGUES 03. Beatriz Moreno/ Marta Soul

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 03 Beatriz Moreno / Marta Soul

Diálogo sin Palabras 03. Beatriz Moreno

Diálogo sin Palabras 02. Marta Soul

Beatriz Moreno.(Toledo, 1971) La obra de Beatriz Moreno, original narradora que ‘moldea’ las imágenes con inusual intensidad dramática, contiene una poética íntima no exenta de tenso lirismo donde la luz emerge a borbotones para conformar un universo de plenitud plástica. Insinúa el nihilismo y la destrucción pero apunta hacia la redención a través de una impresionante conjunción de luces y sombras. En la actualidad Beatriz Moreno reside en Niza. http://beatriz-moreno.format.com

Marta SoulI was born in Madrid, were I grew up. One day I had to face a tough decision: my life profession. People asked me to decide myself, so I run a kind of draw. I made a list with several choices: nursing, fashion design, handcrafter, old Greek, writer, etc. I closed my eyes and randomly dropped my finger on the sheet and guess what I pointed at… photographer! I never had to think about it again. In turn, I started to think about social roles, emotions, physical appearance, and to re-think many life decisions of people!

In my artwork, I produce visual reflections on the interaction between cultural topics like aesthetics of the self (appearances), emotions (and their relation with values) and behaviour (patterns of interaction). Photography has allowed me to construct images raising questions about current stereotypes on issues like immigration, consumerism, or romantic love. My pictures often include characters portrayed on backgrounds with a particular social narrative. I play with the appearance of these characters (for instance, the aesthetics of a successful life) to reflect upon issues like the achievement of wills or the expression of unsatisfied desires in the consumerist society. My images are produced through a complex process but, in any case, my relationship with people is essential to the final result.Marta Soul

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides. Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Dialogue Method: As Moderator of the coloquial, today, March the 6th I will send an image to Alejandra Carles-Tolra (Nº: 01). which will mark the beginning of theWordless Dialogue.

Image: 03. Beatriz Moreno / 02 Marta Soul

quepintamosenelmundo.com

BARCELONA. Santi Moix “The Brooklyn Navy Yard” Carles Taché Gallery

2 march – 17 june, 2017

Santi Moix’s works have long been characterized by their accumulation of saturated biomorphic forms that are simultaneously figurative, narrative and abstract. In this vein, these new canvases mark a continuation of his signaure collaged aesthetic. Moix works quite rapidly, exploring inspirations, ideas, and stories through a mass of studies in watercolor on paper pinned to the walls of his studio in Brooklyn’s Navy Yard. In a recent essay on the artist, contemporary art critic and curator Luca Beatrice cited what comes of this process as “generous, eclectic, no-holds-barred, pure energy,” and it is these energized studio materials that now serve as the basis for new compositions. Here, Moix returns to the central themes in his oeuvre, evoking plant and animal life by sifting through the breadth of studies and trial works on paper then collaging them onto large canvas backdrops. The result is an intricate, ethereal world that is Moix’s own.

Santi Moix was born in Barcelona in 1960. Recent solo exhibitions include “Brooklyn Studio,” M77 Gallery, Milon, Italy; “Santi Moix on Huckleberry Finn: Watercolors and Wall Dryawings,” Paul Kasmin Gallery, New York; and “Las Aventuras de Huckleberry Finn,” Centro Cultural Fundación Cïrculo de Lectores, Barcelona, Spain. In 2013 he was commissioned for a 200-foot mural at Prada’s SoHo Epicenter. His work is included in numerous private and public collections including the Brooklyn Museum, New York and Museo de arte Moderna de Sao Paulo, Brazil. Moix lives and works in Brooklyn, New York. (Carles Taché press-release)

Galeria Carles Taché. Carrer de Mèxic, 19 (pasaje interior). 08004 Barcelona

http://www.carlestache.com  

Image: Santi Moix

PARIS. “Picasso Primitif” Musée du Quai Branly

28 marzo - 23 julio, 2017

¿Cuál fue el vínculo de Picasso con el arte no occidental? Abordado en varias ocasiones, el tema fue, sin embargo, eludido durante mucho tiempo por el artista. Análisis de una relación construida sobre la admiración, el respeto y el temor

«¿El arte negro? Nunca oí hablar de él. » Con esta y otras provocativas respuestas, el pintor, escultor y dibujante andaluz de esforzó por negar su relación con el arte extraeuropeo. Sin embargo, como lo demuestra su colección personal, el arte de África, de Oceanía, de América y de Asia siempre lo acompañó en sus muchos talleres. Lo demuestran los documentos, cartas, objetos y fotografías reunidas en la primera parte de la exposición, trazando en un recorrido cronológico, los intereses y curiosidades del artista frente a la creación no occidental.

En una segunda parte más conceptual, Picasso Primitivo propone una comparación entre las obras del Andaluz y las de artistas no occidentales, apoyándose más en una antropología del arte que en la constatación de relaciones estéticas. La comparación resultante revela los cuestionamientos similares a los cuales debieron responder los artistas (las problemáticas de la desnudez, de la sexualidad, de las pulsiones o de la pérdida) mediante soluciones plásticas paralelas (la deformación o la desestructuración de los cuerpos, por ejemplo). En este sentido, lo primitivo no se percibe como un estado de no-desarrollo, sino como un acceso a las capas más profundas, íntimas y fundadoras de lo humano. Exposición organizada por el musée du quai Branly - Jacques Chirac, en colaboración con el Musée national Picasso-Paris.(Musée du Quai Branly press-release)

Musée du Quai Branly - Jacques Chirac. 37 Quai Branly. 75007 Paris

http://www.quaibranly.fr

Imagen: affiche exposition “Picasso Primitif” Musée du Quai Branly

LONDON. Carlota Juncosa “CRASHES AND CAGES” The Roommates London

5 march – 4 june, 2017

I met Carlota Juncosa years before she was introduced to me. I used to live in a mountain, in Vallvidriera (Barcelona) and to get home I had to take the cable car, a kind of big lift that moves on tracks, and where you get to know the faces of all usual passengers. One of these passengers was, obviously, Carlota. But she wasn’t a usual passenger; I saw her 3 or 4 times at the most. But enough to remember her face. When years later she was officially introduced to me, we both had the sensation of having met in a dream or something similar. It took us a while to get to the Vallvidriera cable car point, and then we understood everything. With all this drag I want to say (besides I liked Carlota when I was a teenager) she’s always had a special aura, quite mysterious. Carlota is hard to classify. Androgynous. Graceful and standard at the same time. She seems foreigner and local. She looks like the girl that has to play the boy in a theatre play. And I think all of these are reflected in her drawings. Characters who are apparently aggressive, full of hate, rotten to the core… but nice people actually, with the gossips and worries of any ordinary person. Common people.
Characters who seem to have been drawn by a girl who doesn’t already know if she’s happy or angry with the world that surrounds her.
This is all what Carlota’s art transmits, and also that she’s a tall drink of water.Text by: Xavi Daura, cofounder of Venga Monjas next to Esteban Navarro, is a writer, actor and dreamer, known for Museo Coconut (2010), Don Pepe Popi (2012) and V/H/S Viral (2014).

The Roommates is an art exhibition project that takes place  in a private room in a shared house located in Hackney (E5).The artists are invited to show their work in the room taking into consideration that a person lives there.(artistsarewellcome press-release)

To visit  Roommates London write to: This email address is being protected from spambots. You need JavaScript enabled to view it.

http://www.artistsarewelcome.com  http://www.carlotajuncosa.com.es

Image: Violencia de genero #8M. Carlota Juncosa

HONG KONG. Miguel Vallinas Prieto “New Perspectives” Van Rensburg Galleries

3 march – 25 april, 2017

Van Rensburg galleries have the plesure to present the collective exhibition "New Perspectives" in which the photographer from Madrid Miguel Vallinas Prieto participates

Commercial and Industrial Photographer Miguel Vallinas Prieto studied at Valladolid Institute Gregorio Fernández, Diego Marín Aguilera in Burgos Institute, and the School of Training and Technical Image EFTI Madrid, Spain. He is dedicated in his professional work to Television, Industrial and Advertising Photography. It is in this sphere where he labors with large format cameras and lighting on big scenes and stages, gaining him versatile experience for his personal work. Photography is his medium of choice and his photographs always have a message, with strong individual styling and sensitivity to space. Miguel uses personal issues that arouse interest beyond mere contemplation, and intends to seek the reflection of this in his image making. He never takes his camera with him - preferring to observe what's around him in detail and recreate the photograph himself, reflecting on his observations. His work is a search for beauty understood through his eyes.

He is passionate and loves painting and this sensitivity shows in his photography. His subject matter includes nature, cityscape, contemporary architecture, and portraiture. Miguel uses locations that are often in close vicinity and people he knows for his portraiture. Spending a lot of time on postproduction of each image, this adds another rich layer of character and personality to his work, setting it apart from catering to the purely commercial aspect of photography. Miguel’s collection "Second Skins" is making his name well known worldwide. “Second Skins” is presented as a continuation of an earlier collection entitled “Skins”. These two series of works with various links in common, are both composed of several portraits of people within which he aims to investigate the internal aspects of mankind. With “Skins”, his attention was on the same person playing different trades or professions – exploring his idea of people and their identity at a certain time of their life, with the intent to reflect on the choice of the individual. With “Second Skins” Miguel focuses on different aspects to try to understand the inner reality of a man. It is a different investigation of animal and human behaviour, exploring the intersection where human and animal characteristics and personality meet. With each image, this series seek to isolate the character, ignoring any context and references to bring out the individual personality in the combination of head and body. “Second Skins” is more than a response to the first series, it powerfully plays with words suggesting individual options, possibilities, and ultimately individual choice. (Van Rensburg press-release)

Van Rensburg Galleries. Lee hung Street, Chai Wan, Hong Kong

https://www.vanrensburg-galleries.com  https://www.miguelvallinas.com

Image: “Second Skins” Miguel Vallinas Prieto

BERLIN. Eduard Bigas, “The best of all possible worlds” Galerie Kuchling

23 march – 6 may 2017

Galerie Kuchling is delighted to present the new exhibition from Eduard Bigas, ‘The best of all possible worlds’. In his third exhibition with the Gallery for Fresh Art, and the first exhibition at the gallery’s new location in the Karl-Marx-Allee, the Catalan artist presents his work from the last two years, in which he almost exclusively devotes himself to painting. In large-format oil paintings, multi-part compositions and pictorial drawings, Bigas balances with masterly ease on the enthralling line between graphic alignment and daring colour dynamic, between figurative and abstract forms, between objective and fantastic visual worlds. Eduard Bigas was born in Palafrugell (Girona), Spain. He lives and works in Berlin. (Galerie Kuchling press-release)

Galerie Kuchling. Inh. Robert Kuchling. Karl-Marx-Allee 123. 10243 Berlin

http://galerie-kuchling.de    http://www.eduardbigas.com

Image: Spirit Garden. 201. Eduard Bigas

MEXICO.Elena Lavellés, Artur Silva and Elizabeth Webb “Transaction Boundaries” Centro Cultural de España

17 march - 28 may, 2017

Transaction Boundaries features the work of artists Elena Lavellés, Artur Silva and Elizabeth Webb. The artists’ collaborative installation of video, photographs, objects and text examines how religious and economic systems in Cuba have impacted the nation’s culture both historically and presently. Using Santeria (a religion born from the blending of West African traditions and Catholicism) as a reference, the artists look at how this and other forms of syncretism have been and can be used to subvert power relations and ensure cultural survival.

The recent reopening of U.S. diplomatic relations with Cuba in August 2015 provides an interesting framework for the project.

Lavellés, Silva, and Webb currently live and work in Los Angeles.

From Madrid, Lavellés is a visual artist with an MFA from the California Institute of the Arts (CalArts). She has shown work in Singapore, Argentina, Spain, Mexico and the U.S. She has received several grants, fellowships and residency awards in Mexico, Spain and Singapore. (CCEMX press-release)

Centro Cultural de España en México. Pasaje cultural Guatemala 18- Donceles 97. Colonia Centro Delegación Cuauhtémoc, 06010 México, D.F

http://elenalavelles.com   http://ccemx.org   http://artursilva.com

Image: Elena Nalavelles 

LONDON. Oscar Tusquets Blanca “The London Art Biennale: Grand Benidorm”. Chelsea Old Town Hall

29th march – 2nd april, 2017

Renowned architect and artist Oscar Tusquets Blanca has been selected as part of the London Art Biennale. The Biennale is going to take place at the Chelsea Old Town Hall. Created by Gagliardi Art & Partners in conjunction with the Chiancano Art Museum, it focuses on painting, sculpture, applied and digital art. The London Art Biennale shows a combination of cultures, ideas, artworks and artists from all over the world without a principal theme.

Oscar Tusquets Blanca’s  “Gran Benidorm” is a series of paintings that explores the architecture, history and character of the city, Europe’s leading tourist destination with a vibrant ferocity. ‘Gran Benidorm’ is not only a homage to a thriving vacation metropolis but a testament to the vision and empathy of a modern day master.
Oscar Tusquets works are going to be shown at the Biennale from Wednesday 29th March to Sunday 2nd April. At the same time, Room One, that represents Tusquets in London, will display more images of “Grand Benidorm”

Born in Barcelona in 1941, Tusquets graduated as an architect from Escuela Tècnica Superior de Arquitectura de Barcelona in 1965, and went on to design a number of notable buildings including several exhibition halls in the Musées des Arts Décoratifs at the Louvre, Paris, and most recently, the Toledo metro station in Naples.(London Biennale press-release)

Chelsea Old Town Hall King's Road . , SW10 0TX. London. U.K

http://www.londonbiennale.co.uk     http://www.tusquets.com

http://www.roomone.gallery

Image: Oscar Tusquets.

PARIS. Picasso “Olga Picasso” National Picasso Museum

march 21 – september 3, 2017

Olga Khokhlova was born to a colonel in 1891, in Nijin, a Ukrainian town located within the Russian Empire. In 1912, she entered the prestigious and innovative Russian Ballet directed by Serge Diaghilev. It was in Rome, spring 1917, where she met Pablo Picasso while he was producing, at the invitation of Jean Cocteau, the decorations and costumes of the ballet Parade (music by Erik Satie, theme by Jean Cocteau, choreography by Léonide Massine). On July 12, 1918, the couple married in an Orthodox Church on rue Daru, with Jean Cocteau, Max Jacob, and Guillaume Apollinaire as witnesses.

As the perfect model during Picasso’s classical period, Olga was first portrayed by thin, elegant lines marked by the influence of Ingres. Synonymous with a certain return to figuration, Olga is often represented as melancholic, sitting, reading or writing, no doubt an allusion to the correspondence she maintained with her family that lived during a tragic moment in history. In fact, at the same period, in contrast to the couple’s social ascent and the accruing artistic recognition of Picasso’s works, the Russian Empire, critically affected by World War I, suffered a huge economic and food crisis while losing more than two million soldiers on the war front. Olga’s family also suffered a tragedy, which was reflected in the letters she received: the family’s social stature was lost, her father disappeared, and finally, correspondence with her family was progressively interrupted. After the birth of their first child, Paul, on February 4, 1921, Olga became the inspiration for numerous maternity scenes, compositions bathed in innocent softness. The familial scenes and portraits of a young boy show a serene happiness that blossom in timeless forms. These forms correspond to Picasso’s new attention to antiquity and the renaissance discovered in Italy, which was reactivated by the family’s summer stay in Fontainebleau in 1921.

Olga’s figure transforms, however, after Picasso’s encounter with Marie-Thérèse Walter, a young, seventeen-year-old woman who would become his mistress. In 1929, in the painting Le Grand nu au fauteuil rouge, Olga is nothing but pain and sorrow. Her form is flaccid with violent expression and translates the nature of the couple’s profound crisis. The spouses finally separate for good in 1935, a year the artist temporarily stops creating paintings, but stay married until Olga’s death in 1955.

Scheduled for spring 2017 at the National Picasso Museum in Paris, the exposition revisits these shared years. It attempts to understand the execution of Picasso’s major artworks by recreating his artistic production filtered through a social and political history.

Through a rich selection of paintings, drawings, written and photographic  archives, the exhibition will extend to two museum floors comprising around 760 m². Curators: Emilia Philippot, Joachim Pissarro, Bernard Ruiz-Picasso.(Musée Picasso-press-release)

 Musée National Picasso. 5 rue de Thorigny 75003 Paris

http://www.museepicassoparis.fr

Image: Olga Picasso. Musée Picasso Paris

LONDON. Fran Meana “Future Archaeologies” SCAN Project Room

8 march – 8 april, 2017

SCAN (Spanish Contemporary Art Network) is pleased to present Future Archaeologies, the first solo project by Fran Meanain the UK.

Future Archaeologies unearths the work of the chimeric architect Joaquín Vaquero Palacios and his pioneering designs for the Salime, Selviella and Proaza hydroelectric plants. Built between 1954 and 1965, these brutalist landmarks are covered with geometric shapes and symbols representing energy and its transformation processes.

In spite of the architect’s innovative spirit, these buildings symptomatically embody the conflict between utopian dreams of a convivial relationship with nature and the prevalence of a paradigm where industrial technology is used to dominate, exploit and deplete the environment.

Using a combination of digital and physical media, this ongoing archive explores the role of work and industry as mediators between nature and society, right when the sector’s ongoing privatization and the emergence of a “sun tax” in Spain have ignited the debate on energy management.

Fran Meanaworks with sculpture, video and installation. His projects investigate how matter is affected by different structures of industry. He graduated from the MFA in Fine Art Piet Zwart Institute, Rotterdam in 2012. This is his first solo presentation in the UK.

Recent exhibitions and projects include: Future Archaeologies, Laboral, Gijón, ES (2016), 1.000 Horsepower, Can Trinxet, Hospitalet, ES (2016), Labour, Motion and Machinery, TENT, Rotterdam, NL (2015), Go with the Flow, SixtyEight, Copenhagen, DK (2015), Machines for Hardrock, Avalanche, London, UK (2015), Percussive Hunter, Akbank Sanat, Istanbul, TR (2015), Feel the Discourse, Guest Projects, London, UK (2015) and Reasoning Well with Badly Drawn Figures, Nogueras Blanchard, Madrid, ES (2014).

Future Archaeologies is the winning project of the Premio LABjoven_Los Bragales, called jointly by la Colección Los Bragales and LABoral Centro de Arte. This exhibition is produced in collaboration with Colección Los Bragales, LABoral Centro de Arte and supported by Acción Cultural Española (AC/E). Thanks to EDP for allowing access to their archives and power plants.(SCAN press-release)

SCAN Project Room. 13-19 Herald Street. London E2 6JT

http://franmeana.com  http://www.scan-arte.com

Image: Fran Meana. Arqueologías del futuro

MILAN. Santiago Sierra “Mea Culpa” PAC. Padiglione D'Arte Contemporanea

29 march - 04 june 2017

Installation, photography, video and performance for the first retrospective in Italy of the contemporary Spanish artist Santiago Sierra

PAC hosts the contemporary Spanish artist’s first retrospective in Italy. His work focuses on the structural violence commanded by the political and economic system, a type of violence we try our best to ignore and that Sierra insists on showing us under a magnifying glass. He fiercely attacks the unjust distribution of wealth and inhuman work conditions in our society, but most of all, he criticizes the positive image of work that dominates our culture. curated by Diego Sileo e Lutz Henke.

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

PAC. Padiglione D'Arte Contemporanea. 14, via Palestro in Milan

http://www.pacmilano.it   http://santiago-sierra.com

Image: Santiago Sierra

LISBON. Jordi Colomer “Utopia/Dystopia: X-Ville” MAAT Museum of Art, Architecture and Technology

22 march –21 august, 2017

Utopia/Dystopia will be the first ‘manifesto exhibition’ in MAAT’s new building. It encourages a debate between over 50 artists – some of whom have never been exhibited in Portugal – who have been contributing with unique perspectives on the title subject since the beginning of the 1970s. Spread across three of MAAT’s exhibition spaces, it will gather works by architects such as Andreas Angelidakis, Aldo Rossi, Archigram, Archzoom, Didier Faustino, åyr and Pedro Bandeira, as well as artists such as Cao Fei, Wolfgang Tillmans, Ângela Ferreira, Diogo Evangelista, Jordi Colomer and Kader Attia.

Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these.

Some of the more recent work do research on the many facets of utopia or dystopia and its relationship with fiction and history; At L' avenir (2010), we follow a  group of pioneers in a free interpretation of the Phalanstery project of Charles Fourier. Prohibido cantar / No Singing (2012 ) superimposes imaginary cities and unrealized projects . Here the founding of a city,  evokes  the failed mega - projects of  casino-citiy in Spain (  Gran Scala,  Eurovegas ) and at same time the City of Mahagonny described by Bertoltd Brecht in the moment that Las Vegas began. La Soupe Americaine / The American Soup on the provisional postwar shelters  (Normandy , 2013 ) or The Svartlamon Parade ( Trondheim , Norway, 2014 ) incorporate archive footage  to place the present in a critical position (MAAT press-release)

MAAT Museu de Arte, Arquitetura e Tecnologia, Av. Brasília, Central Tejo, 1300-598 Lisboa

http://www.jordicolomer.com  https://www.maat.pt

Image: “X-Ville”. Jordi Colomer

NEW YORK. Bubi Canal “Foam Talent” Red Hook Labs

31 march – 16 april, 2017

Red Hook Labs proudly presents Foam Talent, a group exhibition bringing together 24 innovative image makers under the age of 35. This is the first time that Foam has brought its selection of Foam Talents to the United States. The exhibition will take place during the 37th edition of The Photography Show (presented by AIPAD).

Every year Foam organizes the Foam Talent Call to identify young and international talents. From a total of 1494 submissions from 75 different countries across 6 continents, 24 photographers were selected to be featured in the annual Foam Magazine Talent Issue. The exhibition Foam Talent, developed with work from the latest Talent Issue, brings together the work of an international young generation of artists. With each portfolio the selected artists prove to have very distinct and unique visions within a variety of genres. Within this exhibition Foam presents its views on the current state of photography and creates a platform that introduces emerging talents in the international world of photography.

With work by: Sofia Ayarzagoitia (MX), Juno Calypso (UK), Bubi Canal (ES/US), Paolo Ciregia (IT), Sam Contis (US), Jack Davison (UK), Nicolo Degiorgis (IT), Katinka Goldberg (SE/NO), Andrea Grützner (DE), Samuel Gratacap (FR), Maxime Guyon (FR), Felicity Hammond (UK), Alexandra Hunts (UA/NL), Taejoong Kim (KR), Nico Krijno (ZA), Leo Maguire (UK), Stefanie Moshammer (AT), Andrés Felipe Orjuela (CO), Antonio Ottomanelli (IT), Daan Paans (NL), Louise Parker (US), Andrejs Strokins (LV), Ilona Szwarc (PL/US) and Daisuke Yokota (JP).

With more than 100 photographs, varying from reinterpretations of advertorial photography to socially engaged series, conceptual photojournalism and several photo-objects, the exhibition showcases a new generation of inspiring photographers who deploy their skills to address topics ranging from urgent political events to playful reflections on the nature and history of the photographic medium.

Bubi Canal is a Spanish-born, New York-based artist. His work combines various media and artistic methods, including photography, video, and installation, and deals with recurring themes of love, dreams and magic. Working mostly in a primary color palette, he uses found objects and multiple materials to create his own universe of the imagination (Red Hook Labs. Press-release)

Red Hook Labs. 133-135 Imlay Street. Brooklyn, New York 11231

https://redhooklabs.com   http://bubicanal.com

Image: Bubi Canal. Beautiful Mystery, 2015. 

METZ. Beatriz Alonso “The Shyness of the Crowns” FRAC Lorraine

17 march - 04 june, 2017

Outbursts of solidarity, spontaneous mobilizations, and virtual micro-communities springing to life: now is the time to rethink the collective. Beatriz Alonso, the winner of the 2016 MARCO/49 Nord 6 Est/SFKM Award reminds us about the urgent need to reinvent oneself, to collectively imagine alternative forms of ‘living together’. Starting with ‘crown shyness’— a phenomenon observed in tree canopies— the Spanish curator uses this group exhibition to suggest artistic pathways leading to new participatory scenarios. Let’s enrich each other by respecting others and their differences.

Trees come together in the canopy to protect the ecosystem. They maintain common harmony even while preserving their individuality thanks to ‘crown shyness’. Transposed into our present societies, these interstices represent a space full of potential. This exhibition draws inspiration from this natural intelligence, as well as its limitations, to envision new modes of cohabitation. Beatriz Alonso invites us to explore alterity and reflect together on a society where everyone would have their place… without ever denying conflict, instability, or fragility. Participatory performances (Jiří Kovanda, Amalia Pica, Marta Fernández Calvo), exchange of popular lore (Lara Almarcegui, Jeremy Deller), invisible resistance (Cecilia Vicuña, Kader Attia), encounters with communities (Alex Reynolds, Dora García), shared intimate moments (Rita Ponce de León, Helena Almeida)… are a boarding call to a journey of otherness. A poetic and eminently intuitive approach to nature.

By participating in workshops, meetings, experiments, and other «round-the-world tables», you too are part in the collective. Get involved with 49 Nord 6 Est and help create a new future! Coproduction: 49 Nord 6 Est, MARCO Museo de Arte Contemporánea de Vigo et SFKM-Sogn og Fjordane Kunstmuseum. (FRAC Lorraine press-release)

FRAC Lorraine. 49 Nord 6 Est – Fonds régional d’art contemporain de Lorraine
1 bis, rue des Trinitaires. F-57000 Metz

http://www.fraclorraine.org  http://alonsobeatriz.com

Image: “La timidez de la copa de los árboles”  FRAC Lorraine

MIDDLESBROUGH. Daniela Ortiz “ABC of Racist Europe” MIMA. Middlesbrough Institute of Modern Art

4 march – 4 june, 2017

Middlesbrough Institute of Modern Art is a museum in England pursuing a civic agenda, aiming to have a social function and to repurpose art as a tool. It works with artists who explore use value, activism, community building, and citizenry. It is organising an exhibition with Barcelona-based artist Daniela Ortiz. The show includes new works, commissioned or produced for the occasion.  Daniela Ortiz addresses in her exhibition nationality, colonialism, race and class to look at the politics of citizenship. In her recent projects, she has drawn on her own experience as an immigrant to examine national and international migratory control systems. In Middlesbrough, Ortiz has led workshops with people seeking asylum, particularly single mothers and their pre-school children, to deal with some of the issues they face, from racism to perceptions around the ‘refugee crisis’. The exhibition gives a platform to these concerns, and the featured pieces include a children’s book that challenges stereotypes associated with migration as well as documents, recordings of lectures, films and paintings depicting scenic views of border territories. Daniela Ortiz (b. Peru, 1985) investigates how race, class, nationality, gender, and ethnicity relate to colonial histories and contemporary migration, particularly considering the connection between power structures, identity, Eurocentric narratives, and subalternity. Her projects address the articulation of hegemonic laws, ethics, ideologies, and moralities with personal subjectivity and collective consciousness, and take the form of lectures, photographs, and installations. She often uses herself as subject matter or collaborates with people in her works, regularly employing tactics associated with activism. Her practice seeks to provoke transformation, focusing on the use value of art. (AC/E press-release)

Middlesbrough Institute of Modern Art. Centre Square. Middlesbrough. UK
http://www.visitmima.com   http://daniela-ortiz.com

Image: Daniela Ortíz

IKOMA. Berta Sesé “The Chemistry of Ether” Gallery Ind

4 april – 7 may, 2017

The series ‘Química de l’Ether’ (The Chemistry of Ether), by Berta Sesé, is a display of ethereal lights and colours, a plastic interpretation of the vibratory dance of chemical elements in harmony with cosmic forces

The painting of Berta Sesé encourages contemplation and meditation due to its deep, free colours and the search for a state of total equilibrium. The main feature of her work is equilibrium. The visual harmony suggests to the observer a calm and peaceful place, like a force of attraction from the back of the painting towards our inner psyche.

Berta Sesé (Barcelona, 1980) moved to Paris in 2002, where she worked as a fashion designer for 12 years. In 2014 she decided to devote herself completely to art. Her work alternates between painting and photography, two forms of expression that she takes to be complementary and unbounded. The two practices are linked by the theme dealt with: the search for the infinitely small and the infinitely large, the idea of quantum and fractal mathematics, energy and spirituality, light and colour, the focus on the cosmic, and the mystery of symbolic order. (Ind press-release)

Gallery Ind. 108 SAKURA HOUSE,12-22 Yamazaki-cho Ikoma. Nara 6300252 Japan

https://bsese-art.com   https://www.gallery-ind.com

Image:Berta Sesé « O8 He2 » Acrylic painting on canvas. 100cm x 100cm. Photographic reproductions by © Greg Gonzalez

LONDON. Pablo Genovés “Tides” St Paul’s Cathedral

1st march - 30 april, 2017

Pablo Genovés, a Spanish artist based in Berlin, has been selected by St Paul’s to create a series of works on the theme of water. The commission is part of an international collaboration that will see work inspired by water on display in cathedrals around the world in 2017.

Water brings life and death, rebirth and harvest, flooding and drought, as it ebbs and flows across our planet. Fundamental to the rituals of all religions and symbolic of life itself it is a more than fitting theme for St Pauls. Genovésis very much an artist of our anthropocene age where human activity is seen as the dominant influence on climate and the environment, forces which then have a dramatic effect on human life and movement in an increasingly worrying spiral. His work dramatises this uncertain world. Transition and change over time are the broader themes of his large photographic collages, often made with historical imagery, what he calls “rescued pictures”. Genoves melds these found images with his own photographs to create a strange universe hovering outside time, encouraging us to look again. Baroque libraries, churches and palaces are possessed to the point of destruction by elemental forces. Chambers that once echoed with prayer, song and debate are now laid waste to the silent roar of cloud, wind and sea. We are forced to remember Shelley's instruction to “look upon my works ye mighty and despair”.
In this specially commissioned series for St Paul's Genovés works with Wren’s neoclassical masterpiece rather than his signature Baroque, which in previous work has provided a metaphor for decadence and hubris. However the clean lines and harmonious order of musically repeating arches and spheres provide the perfect counterpoint to the cacophony of nature’s chaos as it swells and rises in the familiar interiors. Formal contrasts are drawn between the vertical structured architecture and the amorphous horizontal bodies of water and mist. Two great forces, order and chaos, trapped together on the work’s surface, destined to battle by definition.

In “Altar” marble angels seem to scurry upward to escape the rising water, perching on the domed altar canopy like an unfortunate family waiting for rescue from flood, a carved wooden filial floats in the middle ground like an untethered buoy.

In “Dome” small white cumulus, straight out of Tiepolo, vainly rise upward looking for escape from the dark shadow of a closing eye that ominously echoes the circle of the famous dome.
In “Nave” the lights of the church are still burning above the water level; about to be engulfed, they are evidence of a very recent human exodus.

All this destruction of culture by nature should be terrifying, and it is, but the beauty of Wren’s extraordinary monument to God’s Glory and human hope, and the dynamism of the theme: great masses of tidal energy, make the images exciting, even uplifting. They rouse us like a great swelling symphonic last movement that is about to end in a series of thunderous chords…. followed by silence.
It is a credit to the enlightened management of Saint Paul's that an artist who deals with such troubling ideas, symbolised by the destruction of the very building that commissioned the work, should be invited to present his work. Humanity abandoned by God to the elemental forces? Perhaps he is waiting in the wings, about to appear Deus ex machina to part the waters and lead us to safety. It is true that Genovés’ work shares the obscure and extravagant imagery of the book of Revelations whose most simple message can be understood as: God will prevail. So maybe the choice is not so strange. (Metalocus press-release)

The Chapter House, St Paul's Churchyard, London, . EC4M 8AD

http://www.pablogenoves.com  https://www.stpauls.co.uk

Image: Pablo Genovés

MANCHESTER. “Contemporarte: Visiones de la Andalucía contemporánea” Instituto Cervantes

8th march – 8th april, 2017

Contemporarte" comes to Manchester to give you the possibility to admire the most recent photography created in Andalusia: contemporary images with different aesthetics to allow you to value the visual wealth in young creators’ works. Contemporarte is an artistic creation competition organised by the University of Huelva (Spain) jointly with the other public universities in Andalusia, in a common frame called Proyecto Atalaya.
The programme, financed by the Andalusian government, seeks to promote the work of universities on promoting culture, artists and arts programmes on-line, and it works as an observatory of the arts in Andalusia.Born in 2009, the initiative Comtemporarte awards contemporary photography works by authors within the Andalusian university community, who do not receive a standard award, instead they fix a price for their work and judges decide whether the piece deserves to be acquire or not. This way, artists introduce themselves to the standard procedures in the Arts market, and learn to value their own work attending to real world criteria. (I. Cervantes press-release)

Instituto Cervantes. 326-330 Deansgate, Campfield Avenue Arcade. M3 4FN Mánchester Lancashire

http://culturauhu.wixsite.com/contemporarte  http://manchester.cervantes.es

Imagen: Reconstrucción II. Mª José Macías Barmejo. Universidad de Málaga

PARIS. Cristobal Balenciaga “Balenciaga, l'oeuvre au noir” Musée Bourdelle

march 8th - july 16th 2017

The  Palais Galliera is paying homage to the couturier Cristobal Balenciaga (1865-1972) with an extra-mural exhibition at the Musée Bourdelle entitled : Balenciaga, l'oeuvre au noir. The exhibition resonates with the black tones of an alchemist of haute couture : variations of black repeated in over a hundred of pieces from the Galliera collections and the archives of Maison Balenciaga. This exhibition opens the Palais Galliera’s Spanish season, which will continue with Costumes espagnols entre ombre et lumière (‘Spanish costumes from dark to bright’) at the Maison Victor Hugo (21 June - 24 September 2017) and will finish with Mariano Fortuny at the Palais Galliera (4 October 2017 - 7 January 2018).

The Palais Galliera pays a tribute to Cristóbal Balenciaga (1895 – 1972), the most “Couture” of Couturiers, with an exhibition at the Musée Bourdelle entitled “Balenciaga, l'oeuvre au noir”.

The exhibition resounds with a black harmony of an Haute Couture alchemist. Black motivated Balenciaga : the backbone of his work was inspired by the folklore and traditions of his Spanish childhood. Black was this exceptionally skilled tailor's preference. Black was a monastic influence on the master, about whom Dior once said: “Clothes were his religion”. Balenciaga saw black as a vibrant matter whether it be opaque or transparent, matt or shiny - a dazzling interplay of light, that owes as much to the luxurious quality of the fabrics as to the apparent simplicity of the cut. Every piece is magnificent, from day clothes to cocktail dresses and sumptuous evening outfits lined in silk taffeta, edged with fringes, decorated with satin ribbons, jet beads, sequins… more than hundred couture variations of black are the treasures of the Galliera collections and the Maison Balenciaga's archives.

The exhibition is located in the Musée Bourdelle where the sculptures mirror the pure sculptural effect of Cristobal Balenciaga's stunning creations. Curator : Véronique Belloir, (Palais Galliera press-release)

Musée Bourdelle. 18, rue Antoine Bourdelle. 75015 Paris

http://www.palaisgalliera.paris.fr http://www.bourdelle.paris.fr

Image: Balenciaga, Black crepe dress, 1964 (back view). Collection Palais Galliera - © E. Emo et A. Llaurency / Galliera / Roger-Viollet

STOCKHOLM. Joan Miró “The Poetry of Everyday Life” Prince Eugen’s Waldemarsudde Museum

february 11 – june 4 2017

This spring, an extensive exhibition with works by Spanish Surrealist Joan Miró (1893 – 1983), one of the most noted artists of the 20th century, will be shown. The comprehensive presentation will feature poetical and visionary paintings, sculpture, drawings and textile works, all chosen with the aim to show the artist’s creative process. The exhibition offers a unique opportunity to study how the artist was inspired by everyday objects in his work. Miró’s social commitment is expressed through his notable original posters and in the experimental video, in which Miró is seen creating street art in Barcelona in the late 1960s.

The exhibition has been made in collaboration with Fundació Joan Miró in Barcelona and the art gallery Kristianstads konsthall. Read more about Fundació Joan Miró in Barcelona (Prince Eugen’s Waldemarsudde Museum press-release)

Prince Eugen’s Waldemarsudde Museum. Prins Eugens väg 6, Djurgården, Stockholm

https://www.waldemarsudde.se

Image: Joan Miró, The first spark of day II, 1966. Akryl och olja på duk. 146 x 114 cm. Fundació Joan Miró, Barcelona. © Successió Miró, 2017

BARCELONA. Democracia “ORDER. ACT III. Dinner at The Dorchester” Galería ADN

9 february – 10 may 2017

Dinner at The Dorchester is the third and final act of an opera project by DEMOCRACIA, called ORDER, which consists of three actions carried out in different spaces (both public and private). ADN Gallery welcomes this latest act in the fifth exhibition of the collective in its exhibition space.

DEMOCRACIA. Work team formed in Madrid (Spain) by Pablo España and Iván López. The decision to work as a group springs from the intention of engaging in an artistic practice centred on discussion and the clash of ideas and forms of action. The fact of working in a group in itself establishes an interest in intervening in the social sphere, by means of ideas of commitment to the real. The projects reflect a concern with the progressive setting of scenes of social life; visible, in the increasing importance of the image, and also in the gradual incorporation of the simulacrum in the different realms of daily life, such as politics, technology, and culture.

Also Democracia works in publishing (they are directors of Nolens Volens magazine) and curatorial projects (No Futuro, Madrid Abierto 2008, Creador de Dueños, Useful Art). They were founders and part of El Perro group (1989-2006). (adn press-release)

adn galería. C. Enric Granados, 49. 08008 Barcelona

http://www.adngaleria.com   http://www.democracia.com.es

Image: Democracia

QUÉBEC. Pilar Albarracín “The Art of Joy. Manif d'art 8 The Québec City” Musée National des beaux-arts

18 february – 14 may, 2017

Alexia Fabre, the Director and Chief Curator of MAC VAL (Musée d’art contemporain du Val de Marne in France), has been chosen to pilot the 8th edition of the biennial, which will be held in the winter of 2017. 

The Art of Joy, in tune with current international trends, is this edition's theme. The title of a work by Goliarda Sapienza, The Art of Joy is a coming-of-age novel whose heroine makes happiness and self-discovery her sole mission in life. This highly charged and open-ended theme will allow the event to explore the notion of joy not in pure illustrations of the concept, but rather in the expression of its multiple facets. Through existing or new works, it will pursue and ponder this search for a specific relationship with the world, past and present, and everything underpinning it. What will result is a tension between joy and its opposite, between its radiant side and its reverse, darker side.

Between the ultimate gathering of 17 international, canadian and Québec artists at the MNBAQ for the 8th Québec City we can found the spanish artist Pilar Albarracín. Born in Seville, Spain. Lives and works in both Madrid and Seville, Spain.

Pilar Albarracín trained at the University of Seville. Her work has been presented in numerous solo exhibitions the world over, in particular in Spain, France, Argentina, the United States and Japan. She has also participated in several group exhibitions and international artistic events, including the Venice Biennale (2005), the Biennale d’art et de culture de São Tomé et Principe (2008) and the Busan Biennale (2014). Her works are found in private and public collections, including those of the Musée d’art moderne de la Ville de Paris in France, and the Castile-León Museum of Contemporary Art and the Málaga Centre of Contemporary Art in Spain. ( MNBAQ press-release)

Musée National des beaux-arts. National Battlefields Park Québec City QC Canada

http://www.pilaralbarracin.com     https://www.mnbaq.org

Image: Pilar Albarracín. Sevilla febrero 2017 

BARCELONA. Jordi Alcaraz “Esborradís” Museo Can Framis

23 january - 11 june, 2017

Jordi Alcaraz (Calella, Barcelona 1963) is a creator at the intersection between visual poetry and conceptual projection, whose work consists of a metaphorical approach to the object. Alcaraz experiments with fragile materials imbued with a certain lyricism – water, glass, mirrors and books – to create bonds of tension between them, while constructing a discourse associated with volume, language and time. His output, which transcends limits between disciplines, is a paean to the unfinished work and art as fiction.

The trajectory of Alcaráz’s recognition has been particularly impressive in recent years. His works have been the subject of numerous solo and group exhibitions in Belgium, Germany, Italy, Canada, Switzerland, and Spain in galleries and museums, and featured in international art fairs throughout the U.S. and Europe. Currently, his work is included in Nuage at the Musée Reattu de Arles, France. (Can Framis press-release)

Museu Can Framis. Carrer de Roc Boronat, 116-126, 08018 Barcelona

http://www.fundaciovilacasas.com   http://jordialcaraz.com

Image: Jordi Alcaraz 

MEGÈVE. Isabel Muñoz “Mythologies” CT Gallery

3 february – 30 april 2017

“Mythologies” is the second part of a retrospective of the work of Spanish photographer Isabel Muñoz.

 Born in Barcelona in 1951, Isabel Munoz is an internationally renowned photographer whose work is focused on the sensuality of the human form. As a small child, she wanted to become invisible in order to observe without being seen, and so from a young age she decided to become a photographer. Her work is widely admired and has won numerous prizes and distinctions, including the 2016 Spanish National Photography Prize, awarded by the Spanish Ministry of Culture. Isabel Munoz’s photographs appear in many important public collections, including the Maison Européenne de la Photographie (Paris) and the New Museum of Contemporary Art (New York).

Following her shows about dance and bodies in movement, Isabel Muñoz presents us with her examination on the subjects of the origins and transformations of the founding of Man.

On the frontier of anthropology, she captured the skin grain in the very ancestral marbles of baroque Rome, where a drape, a fragment of a wing, sends us back to our founding myths. She confronts civilizations photographing different ethnic groups in Africa, their body paintings as landscapes or trees of life forever drawn onto their skin. She confronts the idea of death, fundamental in our evolution, capturing the sensuality of the ballet of bullfight:

“A picture is not over until you’ve shared it with someone.” I.M.  (CT press-release)

CT Gallery. 112, rue Saint-François. 74120 Megève. France

 https://ct-gallery.com http://www.isabelmunoz.es

Image:  Isabel Muñoz. Série Etíopia, 2002

BARCELONA. Oriol Vilanova "Sunday" Fundació Antoni Tápies

5 february – 28 may 2017

The exhibition "Sunday" will transform the Fundació Antoni Tàpies into a museum of all the periods and geographical locations that tourists have shared through a format as modest as the postcard.
In this project for the Fundació Antoni Tàpies, Oriol Vilanova deploys a conjunctural system that will bring to light the almost totality of a miscellaneous collection. Whilst the artist has proposed a series of motives that he has discerned in more or less operative sections the undiscerning purchases of every Sunday. On this occasion, he submits the accumulated mass of postal letters to a lack of distinction that threatens to undo the more than one hundred categories he had given himself to arrange this fascinating set of images.(Fundació Antoni Tàpies press-release)

Fundació Antoni Tàpies . Aragó 255 . 08007 Barcelona

http://www.fundaciotapies.org   http://www.oriol-vilanova.com

Image: Oriol Vilanova

 

 

MADRID. “Generación 2017” La Casa Encendida

03 february - 16 april 2017

Once again, La Casa Encendida is pleased to present an exhibition featuring the winners of Generaciones, a competition for artists under age thirty-five that evolves each year to showcase the latest projects on the young contemporary scene.

This year, a jury consisting of Tolo Cañellas, independent curator, Maribel López, Commercial Manager and Head of Curated Programmes at ARCOMadrid, and Laurence Sillars, Chief Curator at BALTIC (United Kingdom), reviewed the proposals submitted by 600 candidates and selected ten projects to receive a cash prize of 10,000 euros each. Today Generaciones has become a landmark initiative in the Spanish art community, and more than 15,000 artists have participated in the competition over the last sixteen years.

The ten winning artists and projects are as follows: Rosana Antolí (Alcoy, Alicante, 1981), F= P.e / 1; Fito Conesa (Cartagena, Murcia, 1980), Non Unísono; David Crespo (León, 1984), El Juego de la Hiena; June Crespo (Pamplona, 1982), S/H Fuerzas Felices; Diego Delas (Aranda de Duero, Burgos, 1983), 20000 toneladas de mármol; Carlos Fernández-Pello (Madrid, 1985), Marco de referencia. O tres modelos para apreciar el discurso como forma; Marian Garrido (Avilés, Asturias, 1984), Souvenirs of Future Nostalgia; Blanca Gracia (Madrid, 1989), Acmé en dos variaciones; Rubén Grilo (Lugo, 1981), Noone, Allness, and Lorenzo Sandoval (Madrid, 1980), Shadowwriting (Talbot/Babbage). The show, curated by Ignacio Cabrero, offers a panoramic overview of the youngest Spanish art scene. . (La Casa Encendida press-release)

http://www.lacasaencendida.es

La Casa Encendida Ronda de Valencia, 2. 28012 Madrid

Image: Blanca Gracia. Acmé en dos variaciones, 2017. Fotograma del vídeo

 

KÓLN. Gerard Fernández “Recent artworks” 100 Kubik Galerie

february 3rd - april 7th 2017

The expressive artworks of painter Gerard Fernández (*1977, Barcelona), who will expose in 100 kubik gallery for the first time, enter a dialogue with Carlos Albert’s sculptures. The luminosity of the colours, the clear composition and a conciliatory play of lines turn each painting into a spectacular experience.(100 kubik press-release)

100 kubik - raum für spanische kunst. Mohren Str. 21.50670 Köln

http://www.100kubik.de   https://www.gerardfernandezrico.com

Image: Gerard Fernández. Balance and other obsessions 059

 

 

ANTWERP “Braakland: Photography & Resistance. A New Generation of Spanish Photographers ” Fotomuseum FOMU

17 february - 04 june 2017

Braakland is an open festival on photography organized by FOMU that prioritizes the dialogue between artists and the public. This spring, Braakland hosts an exhibition to introduce the contemporary Spanish photography scene. Despite the lack of financial means, this new generation of Spanish photographers proves to be remarkably innovative in finding ways to breathe life into their ideas and projects, with the book as a favored means of distribution.Seven photographers form the heart of this experimental exhibition, presenting recent or ongoing series. From the metaphorical images of Ricardo Cases, the political manifestos of Julián Barón up to the Baroque-like tableau’s by Jesús Monterde all provide a committed and personal view of the Spanish society with all its malfunctions. Curators: Nicolás Combarro & Fannie Escoulen. Artists: Julián Barón, Ricardo Cases, Jon Cazenave, David Hornillos, Jesús Monterde, Óscar Monzón, Antonio Xoubanova. (FOMU press-release)

 FOMU - Fotomuseum provincie Antwerpen. Waalsekaai 47. 2000 Antwerpen

http://www.fotomuseum.be

Image:Karma © Óscar Monzón

NEW YORK. Isidro Blasco “Brooklyn Landscape” The Gallery@1GAP, Richard Meier On Prospect Park

19 january  - 5 may, 2017

The Gallery@1GAP is pleased to present Rob Stephenson, Susan Hamburger, Kathryn Lynch, and Isidro Blasco in an exhibition about the contemporary Brooklyn landscape. In keeping with 19th Century art critic John Ruskin’s concept of “truth to nature”, the following artists are a heterogeneous group not inclined to romanticize Brooklyn, but rather present the city’s landscape as a place where visual harmony comes together only every so often. Ruskin emphasized the connection between art, society, and nature, in particular he championed painting directly from life rather than developing works in an invented studio setting, seeking art that seemed to be free of any rules of composition. Some of his writings predate the green movement by valuing land preservation and architectural harmony. He believed that architecture should be left to age, free of restoration, so as to display its inevitable changing form, an aesthetic he based on a kind of material truth.

Isidro Blasco’s (b. Madrid. Spain, 1962 ) photo constructions present landscapes as small, wall based photo maquettes supported by light but complex wooden armatures. His pieces read as precious, almost sentimental memories of a moment in time and space, perhaps the kind most passers-by would dismiss. Blasco’s images are pieced together through soft, asymmetrical seams, creating a somewhat precarious or vulnerable architecture. The collaged photographs range from street life to specific subway lines, presenting an ephemeral moment in time. The work is playful and in that sense very accessible, yet it gets at the truth of the urban topography.(The Gallery@1GAP press-release)

The Gallery@1GAP, Richard Meier On Prospect Park One Grand Army Plaza, Brooklyn

http://spenceprojects.com     http://isidroblasco.com

Image: Isidro Blasco

LEEDS. Dora García “These books were alive; they spoke to me” The Tetley

3 february - 23 april 2017

These books were alive; they spoke to me! is an exhibition of printed matter and performance works by Barcelona based artist Dora García. Her first institutional solo show in the UK, this exhibition will also coincide with the 20th annual Leeds International Contemporary Artists’ Book Fair taking place at The Tetley in March 2017.

García’s show will provide a retrospective look at her career-long production of book editions, book sculptures, and other printed matter, and the ongoing connection within her practice to the broader tropes of popular literature, theatre and film. For These books were alive; they spoke to me!, García will stage a new iteration of several ongoing performance works stemming from texts written by the artist, by others following the protocols given by the artist, or utilising and responding to iconic literary texts such as James Joyce’s Finnegans Wake.

‘These books were alive; they spoke to me,’ is a quote from François Truffaut’s 1966 dystopic cult film Fahrenheit 451 (based on Ray Bradbury’s novel of the same name). This literary reference opens up a framework for the exhibition and expanded programme, which features books about performance, and performances about books.( The Tetley press-release)

The Tetley, Hunslet Road, Leeds, LS10 U.K

http://thetetley.org    http://www.doragarcia.net

Image: The Tetley

KÖLN. Carlos Albert “Recent artworks” 100 Kubik Galerie

february 3rd - april 7th 2017

In 2017 100 kubik is going to present recent artworks of the sculptor Carlos Albert (*1978, Madrid) again. His sculptures made of corten-steel or forged iron show dynamic compositions containing linear as well as space embracing rhythms. This time there will also be exposed large-format artworks, which originally have been created for outdoor spaces

Emanating from the pure Spanish tradition Carlos Albert shows us with his youth and energy that he has preserved himself the ambition to dominate the material, to bend the iron, to fight with the fire and to create sculptures full of life and sentiment with his own finger mark.
His art works are like drawings in space, embracing the blankness and expressing a feeling of freedom. (100 kubik press-release)

100 kubik - raum für spanische kunst. Mohren Str. 21.50670 Köln

http://www.100kubik.de    http://www.carlosalbertescultor.com

Image: Carlos Albert

BERLIN. Manolo Gómez “Cachebache” Galerie Kaidikhas

24 january – 1 april, 2017

Although for the most part abstract, the works of the autodidact Manolo Gómez visualise his attitude towards life and his milieu in a singular way. At times, says the artist, they show what it means to be a gitano. By means of contemporary resources, such as waveforms, abstract expression and dynamically flung paint, they seek to expressthe ancient emotions of the culture of theSpanish gitanos – for example, the inexplicablestate of duende that connects audience and artistin flamenco.

With good reason, Gómez’s works have been compared with the quejío, the specialised song form of cante fl amenco, which is reminiscent of a shriek. Although it is a product of a traditional culture, the concept of duende, with its emphasis on the active integration of the audience into the artwork, approaches the postmodern concept of the reader/receiver as author. In contrast to contemporaries who work figuratively, and who often illustrate flamenco performances in a decorative fashion, and hence run the risk of offering only a pale imitation of this serious culture, Gómez takes his own purified path, one that initially encountered misunderstanding, but which establishes an original form of access to abstraction, one that goes beyond classical modernism.

With his work Gómez succeeds in liberating flamenco from seemingly familiar forms of appearance. He endows this independent and serious culture with a convincing, lucid form, and renewed flamenco in the context of contemporary art. (Galerie Kaidikhas press-release)

GALERIE KAIDIKHAS GmbH & Co. KG. Aufbau Haus at Moritzplatz. Prinzenstr. 84 I. Aufgang 2. 10969 Berlin

kaidikhas.com

Image: Manolo Gómez Romero. Cachebache 

MUNICH. Carlos Collado “A station towards Múnich” Instituto Cervantes

31 january – 7 april, 2017

This work-in-progress defines itself as museological research and sheds light on the everyday reality and more remarkable moments in the life of a work of art. Since november of 2016, the Kunsthalle München presents a major exhibition on the Spanish Siglo de Oro. For the show, the ensemble of saints in Road to Calvary left Spain for the first time, accompanied by a camera. The artist’s images depict several phases in the life of the sculpture: from the museum in Valladolid, through the Easter processions and journey to Germany, to a museum visitor observing the work in Munich, offering a rare look behind the scenes. What appreciation do the statues experience when their life as a work of art and religious object in continuous liturgical use is made visible through photography and video, unusual media for Baroque sculptures? Collado’s images, presented in the Instituto Cervantes to accompany the major exhibition at the Kunsthalle München, expand our view of the work of art and its world, giving expression to today’s perception and use of a centuries-old object. (Instituto Cervantespress-release)

Instituto Cervantes. Alfons-Goppel-Strasse 7. D-80539 Múnich Baviera (ALEMANIA)

http://carloscollado.photoshelter.com  http://munich.cervantes.es

Image: Carlos Collado

BARCELONA. Alicia Framis “Room for Forbidden Books” Blueproject Foundation

20 january – 14 may 2017

The Blueproject Foundation presents “Room for Forbidden Books”, the new solo show by Alicia Framis in Il Salotto from January 20th to May 14th 2017. The main space of the Foundation, completely renovated for the occasion, hosts this installation that belongs to Banc Sabadell’s collection and that is unseen in Spain.

Room for Forbidden Books is part of the “Forbidden Rooms” series, a recent series of rooms – rooms of yell and oblivion, rooms for protesting or developing dissident ideas, where the Catalan artist Alicia Framis keeps questioning the social and human environment, through the alienation devices and other coercion media. Framis proposes a room for forbidden books, a library of books which have been censored or whose authors have suffered, or continue suffering, from difficulties with the judicial or politic power. In the most serious cases, they would have to face prison, torture or death.  

This room for forbidden books becomes a study and reflection place where everyone can evaluate the damage of censorship that these books once suffered from, being nowadays considered as masterpieces and part of the world’s cultural heritage. It is obvious how censorship superposed through time and indifferently on works with the most different contents, from Voltaire’s Candide to Giordano Bruno’s writings, and from Nabokov’s Lolita to Simone de Beauvoir’s The Second Sex.

Room for Forbidden Books creates an opportunity for people to reflect on the situations and contexts in which the nearly 200 books on display were banned at different points in history. Despite being censored, nowadays these books are widely read and appreciated, many of them considered classics. Becoming aware of this, another layer is added to the work: the relationships established among the readers. What happens between the people sitting in this space, reading these books, is what is most important. You are invited to enter these rooms, to confront what is forbidden, what is secret, what is possible.

The room is just an excuse to start a dialogue. Room for Forbidden Books has been shown at Picasso Museum, France, Annet Gelink Gallery, Amsterdam and has been selected to show at Art Basel – Parcours, 2015.

Alicia Framis (Barcelona, Spain, 1967) lives and works in Amsterdam. Alicia Framis is a multi-disciplinary artist whose work blends architecture, design, fashion and performance. Her work is project based and focuses on different aspects of human existence within contemporary urban society. Born in Barcelona, Framis studied in the Fine Arts School, Barcelona University and in École de Beaux Arts, Paris. She also completed a master in the Institut d’Hautes Etudes, Paris; and another one in the Rijksakademie Van Beelde Kunstende, Amsterdam. She has become known around the world for her performances and actions, such as Loneliness in the City (1999-2000), The Secret Strike Films (2003-2006); an installation accessible to women only, Minibar, at the 2nd Berlin Biennial in 2001; and Anti_dog (2002-2003), realized to represent Holland in the Dutch pavilion at the 50th Venice Biennial in 2003. Recent solo shows include Reading Together at Annet Gelink Gallery, Amsterdam (2014) and Framis in Progress at MMK Arnhem; Galerie I'm TaxisPalais, Innsbruck (2013); Museum of Contemporary Art in Leon; and Centre Contemporary Art Brugge (2014). (Blueproject press-release)

Blueproject Foundation Carrer Princesa 57 - 08003 Barcelona

http://www.aliciaframis.com   http://www.blueprojectfoundation.org

Image: " Room for Forbidden Books” Alicia Framis

AUBERVILLIERS. Paloma Polo “Classes de Lutte” Les Laboratoires d'Aubervilliers

01 january - 30 june 2017

For her project at Les Laboratoires d’Aubervilliers, Paloma Polo is committed to an investigation into the history of political struggles shaping the Parisian Northern periphery. Aubervilliers sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Far from engaging in a nostalgic detour, she pursues personal narrations and social configurations in light of the present reality of Aubervilliers, the city of France that hosts the highest percentage of migrants.
Aubervilliers, Saint Denis and the Parisian Banlieue Rouge at large sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Hundreds of them lived a ghostly existence, many with counterfeited identifications and some completely clandestine, as they strived in the shadows for the organisation of a movement in Spain to democratically assail a brutally repressive and violent system. The Spanish “economic” migrants of the so-called “Petite Espagne” of Saint Denis and Aubervilliers were also progressively organized.
This underground movement, orchestrated from the periphery of Paris by the Spanish Communist Party, barely left material traces but, most importantly, is scarcely traceable in a national history that has been written by way of a systematic erasure of the exploits that paved the way for what, unfortunately, shifted to a delusive “democratic aperture” in the aftermath of the dictatorship.
Polo is plunging into a dormant memory that has primarily survived through oral transmission and has been sustained by militants that have almost entirely passed away. It is not arbitrary that there is no comprehensive critical recollection, compilation or repository of this decisive historical dimension. Only very few autobiographies attest to these episodes.
Paloma Polo’s proposition is to devise and stage a narrative, a script, pertaining to the emergence of matter for thought in the people, in humane forms of socialization that are on the fringe, bearing the disdain of past recollections, but nonetheless shrouding our being in the world nowadays. The investigative stage, which will encompass a myriad of materials, ideas and conversations, is to constitute the core and the basis for her subsequent artistic gestures and outputs.
Together with her research partner, the art historian and theorist Oscar Fernandez, Polo will conduct archival research, an investigation into personal collections and materials and, most importantly, an interlocution with a series of individuals that are to become central to this project. These interlocutions occur by way of affinities that forge personal relations.
This activity will consolidate in a ”Research Centre” that will centralise, compile, order, coordinate and digitalise the scarce and scatter information on the subject (personal files and archives, histories and photographs, interviews and conversations, books, documents from different archives and other images, films, footage or projects that have been developed, etc). Polo will create a particular and distinct display and method to make these narrations intelligible and available for public consultation and for it to acquire broad visibility and outreach. She will work in partnership with other political, cultural, educational and research institutions. This “Research Centre” (tentative title) will have long-term progress and continuity and will ultimately hosted and regularly updated in a website specifically created for it. An itinerant platform of such “Research Centre” will be created to facilitate its presentation during the two solo exhibitions Polo will have in 2018 : at Centro de Arte Dos de Mayo- CA2M and at the Contemporary art museum – MARCO in Vigo, and other subsequent presentations. (AC/E press-release)

Les Laboratoires d'Aubervilliers . 41, rue Lécuyer. 93300 Aubervilliers

http://www.leslaboratoires.org/    http://palomapolo.com

Image “Unrest” Paloma Polo

MINNEAPOLIS. Santiago Ramón y Cajal “The Beautiful Brain” Weisman Art Museum

28 january – 21 may 2017

Santiago Ramón y Cajal, considered the father of modern neuroscience, was also an exceptional artist. He drew the brain in a way that provided a clarity exceeding that achieved by photographs. Combining scientific and artistic skills to produce drawings with extraordinary scientific and aesthetic qualities, his theory that the brain is composed of individual cells rather than a tangled single web is the basis of neuroscience today. This traveling exhibition of Cajal’s original drawings was organized by the Weisman Art Museum in collaboration with Drs. Eric NewmanAlfonso Araque, and Janet Dubinsky, neuroscientists at the University of Minnesota and leaders in the field of neuroscience. Dr. Araque was formerly at the Instituto Cajal in Madrid, where Cajal worked and where his drawings are housed.

The exhibit is organized in collaboration with Ricardo Martinez Murillo, neuroscientist and curator of the Cajal Legacy at the Cajal Institute (CSIC) in Spain. Eighty of Cajal’s drawings, many appearing for the first time in the United States, will be accompanied by a selection of contemporary visualizations of the brain, photographs, historic books, and scientific tools. After the debut at WAM, the exhibition will travel to university galleries and museums throughout the United States and Canada. (WAM press-release)

Weisman Art Museum. 333 East River Road, University of Minnesota.  Minneapolis

http://wam.umn.edu

Image: Santiago Ramón y Cajal “The Beautiful Brain”

KUALA LUMPUR. Santiago Sierra “The Trap” Afterwork. ILHAM Gallery

18 december 2016 – 16 april 2017

The Spanish artist Santiago Sierra participates in the group exhibition Afterwork, curated by Inti Guerrero, with his artwork The Trap

Afterwork is a major group exhibition exploring issues of class, race, labour, and migration in the region and beyond, as well as their corresponding aesthetics and histories. The exhibition is presented in collaboration with Para Site, a leading contemporary art centre in Hong Kong and one of the oldest and most active independent art institutions in Asia. Afterwork premiered in Para Site, Hong Kong in March 2016 and is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim.

Migrant domestic workers are Hong Kong’s largest minority group and one of the most visible components of the city's society. Migrant workers in construction, agriculture, and services, alongside domestic workers also represent a significant social group in Malaysia and other countries in the region. In most of these places, migrant workers’ legal and symbolic status are matters of constant negotiation, reflecting the many complexities behind the continuing nation building processes of our times.  The stories of migrant workers in Hong Kong, Malaysia, and elsewhere are crucial narratives that need to be told alongside the growing affluence of many of these societies in the past decades, together with the stories of struggle of what is considered the ‘local’ working class and of other historically disadvantaged groups, and on the backdrop of the different historical waves of migration that have shaped so much of our world.
Afterwork includes the work of artists of different practices, contexts, and generations. Several artists navigate directly the main thematic map of the exhibition; others chose a more personal approach, looking at the presence of domestic workers in households, the public sphere, and the artists' lives. Another group of artists create abstract and poetic landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes.

In addition to the exhibition, Para Site is publishing Afterwork Readings/Babasahin Matapos ang Trabaho/Bacaan Selepas Kerja/工餘, an anthology of migrant and domestic worker literature conceived in collaboration with KUNCI Cultural Studies Centre in Yogyakarta, Indonesia. This major volume about and by migrant workers contains short stories, poems, and excerpts from novels and plays, written by classical literary figures of the region, established contemporary authors, as well as domestic workers. It is printed in four different languages (Bahasa Indonesia, Chinese, English, and Tagalog), with the hope of creating a platform to facilitate the encounter and exchange through literature between the different migrant worker communities. It also aims to bring together the most relevant and important texts on this issue written in our region over the past century, as well as to promote the work of the most promising writers from among the domestic workers community.

Afterwork  is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim

ARTISTS: Abdoulaye Konaté, Alfredo Jaar, Beatrix Pang, Brian Gothong Tan, Daniela Ortiz, Eisa Jocson, Elvis Yip Kin Bon, Fan Ho, Gan Chin Lee, Cheng Yee Man (Gum), Harun Farocki, Hit Man Gurung, I Gusti Ayu Kadek, I GAK Murniasih, Imelda Cajipe Endaya,Jao Chia-En, Jean-François Boclé, Joyce Lung Yuet Ching, KUNCI Cultural, Studies Center, Köken Ergun, Lai Loong Sung, Larry Feign, Liliana Angulo, Maria Taniguchi, Melati Suryodarmo, Miljohn Ruperto, Pangrok Sulap, Poklong Anading, Ryan Villamael, Santiago Sierra, Sakarin Krue-On, Sharon Chin, Sun Yuan & Peng Yu
Taring Padi, Xyza Cruz Bacani (ILHAM Gallery press-release)

ILHAM  Gallery. LEVELS 3 & 5, ILHAM TOWER. NO 8, JALAN BINJAI. 50450 KUALA LUMPUR

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

La trampa: https://www.youtube.com/watch?v=1dd2RhZGcmk

Image: La Trampa. Santiago Sierra

 

KOCHI. “Javier Pérez: Kochi-Muziris Biennale“

12 december 2016  – 29 march 2017

Javier Pérez was born in Bilbao in 1968. His works are characterised by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Pérez reveals his inquiries an d reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism.

Pérez´ view is focused on the fascniating features of the human body that couldn´t be more contradictory:human skin is extremely sensitive and fragile, however at the same time it has the strength to control the body´s powerful mass, the fine and complex network of blood vessels providing the entire organism with essential substances. In the tradition of Borges, the mortality and metamorphosis of the body are central to his works.
The use of materials such as latex, artificial resin, glas, steel, animal hair or plant parts underlines the contradictory positions of stability/fragility, inside/outside, attraction/rejection

His work has been exhibited in several galleries and museums, among them: Centre Pompidou, Paris; Museo Guggenheim Bilbao; Pala is de Tokyo, Paris; Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofí a, Madrid; Chapelle du Centre de La Vieille Charité, Marseille; Kunsthalle Wien; Musée d ’ Art Moderne de la Ville de Paris; ARTIUM, Centro – Museo Vasco de Arte Contemporáneo, Vitoria; Carré d ’ Art – Musée d ’ art contemporain, Nimes; Musée d ’ Art Moderne et Contemporain de Strasbourg; and, Musée des Beaux – Arts de Rouen. Javier Pérez lives and works in Barcelona, Spain.(Kochi Biennale press-release)

Kochi Biennale Foundation. 1/1903, Kunnumpuram. Fort Kochi PO. Kerala 682001
India

http://kochimuzirisbiennale.org   http://javierperez.es

Image: Javier Pérez. Vida Latente

LOS ANGELES. “Picasso and Rivera: Conversations across time” County Museum of Art

december 04 — may 07, 2017

The exhibition presents moments of intersection in the formation of modernism art both in Europe and Latin America.

Pablo Picasso and Diego Rivera were contemporaries, erstwhile competitors, equally ambitious and prolific as artists, internationally famous, and well aware of their larger-than-life personalities. Picasso and Rivera: Conversations Across Time asks how these towering figures of the twentieth century engaged with their respective ancient Mediterranean and Pre-Columbian worlds.

The exhibition compares their artistic trajectories beginning with their similar academic training to their shared investment in Cubism and their return to an engagement with antiquity from the 1920s through the 1950s. By placing 150 paintings, etchings, and watercolors in dialogue with each other and with singular ancient objects, Picasso and Rivera: Conversations Across Time aims to advance the understanding of Picasso and Rivera’s practice, particularly in how their contributions were deeply influenced by the forms, myths, and structures of the arts of antiquity. (LACMA press-release)

Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 

http://www.lacma.org

Image: Pablo Picasso, Student with Newspaper (L’etudiant au journal), 1913–14. Los Angeles County Museum of Art

ALBURQUERQUE. Daniel Garcia Antón and Edgar Melo “Back to Barataria” Instituto Cervantes

03 december 2016 – 31 march 2017

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

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

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

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

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

Instituto Cervantes. 1701 4th Street SW. 87102 Albuquerque Nuevo México (ESTADOS UNIDOS)

http://dangarant.com   http://albuquerque.cervantes.es

Image: “Sancho Panza Rd” Daniel García Antón

LINZ. Cristina Lucas “What kind of world do we really live in? OK Centrum

1 december 2016 – 30 april 2017

The Spanish artist Cristina Lucas radically and critically questions today’s lived reality, creating an intensive and simultaneously highly aesthetic engagement with our world.
Lucas makes democracy, globalization and the mechanisms of power the content of her works. She attentively analyzes fundamental structures in politics and business, revealing the contradictions that exist between official historiography, real history and collective memory.
The exhibition in OK shows sixteen works and is her first major retrospective in the German-speaking region. She establishes a direct relationship to the present with an impressive filmic cartography of all aerial bombardments with civil victims, which she has painstakingly researched around the world and realized with three-channel technology. Cristina Lucas, born 1973 in Jaén /ES, lives and works in Madrid.
In collaboration with MUDAM LUXEMBOURG, a catalogue will be published. Curator: Genoveva Rückert.(OK Centrum press-release)

OK Offenes Kulturhaus Upper Austria. OK-Platz 1, 4020 Linz

http://www.ok-centrum.at/?q=en

Image: Naked in the Museum, Prado 2014. Cristina Lucas

LONDON. Andrés Jaque and Ana López “Fear and Love: Reactions to a complex world” The Design Museum Kensington

24 november 2016 – 23 april 2017

'Fear and Love: Reactions to a complex world' is an exhibition of the new Design Museum in London. It consists of a series of eleven major new commissions by some of the most innovative practitioners in design and architecture. Each commission is intended to be a powerful statement about the potential of design today. The ambition is for this to be a landmark exhibition presenting cutting-edge positions that define our time. The practitioners include London-based fashion designer Hussein Chalayan, the architecture practice OMA, founded by Rem Koolhaas, the artistic director of Muji, Kenya Hara, and the Spanish –with the support of AC/E– Andrés Jaque and Ana López. The eleven installations explore a spectrum of issues that define our time – from protecting the environment to network culture and sentient robots. The exhibition asserts that design is deeply connected not just to commerce and culture but to urgent underlying issues – issues that inspire fear and love. This is a bold, multidisciplinary exhibition that aims to capture the mood of the present and establish the Design Museum as the home of design debate. . (AC/E press-release)

The Design Museum Kensington. 224 - 238 Kensington High Street. London

https://designmuseum.org/exhibitions/future-exhibitions/fear-and-love    http://andresjaque.net

Image: 'Fear and Love: Reactions to a complex world' The Design Museum Kensington

 

BARCELONA. Antoni Miralda “Madeinusa” MACBA

22 october 2016 – 9 april 2017

With a career spanning five decades, Antoni Miralda (Terrassa, Spain, 1942) has turned something as universal as food into a creative universe. Having moved to Paris in 1962, Miralda pioneered a type of artistic practice that centred on the collective rituals that celebrate the ceremonial act of eating by using colour and its symbolism. The critic Pierre Restany valued his individual work, as well as his collaborations with artists such as Daniel Spoerri, Joan Rabascall, Dorothée Selz and Jaume Xifra. In 1972 Miralda moved to New York where he initiated a series of participative projects based on the fusion of cultures and their popular manifestations. As Umberto Eco wrote in 1985: ‘Miralda wanders the world recreating the old ritual of celebration.’
Miralda has developed a method based on participation and on the ritual and ceremony related to gastronomy. Employing a non-conformist language, baroque and full of humour, that celebrates the senses and brings art close to life; he undertakes an ethnological exploration of human behaviour in his work.
The exhibition MIRALDA MADEINUSA brings together all the projects of the artist linked to the United States. Curated by Vicent Todolí and produced by MACBA, the exhibition will run from 21 October 2016 to April 2017 in Barcelona. In close collaboration with the artist and his archive, it will document for the first time and in a comprehensive manner the fourteen projects made by Miralda in the United States from the mid-seventies to the late nineties. The most significant installations will be reconstructed showing sculptures, drawings, photographs, visual recordings, sketches and other material. This will highlight the complexity of his projects and the collective nature of the artist’s methodology

Among the most representative works are Breadline (1977), a monumental line of bread presented at the Contemporary Arts Museum, Houston; Wheat & Steak (1981), a food parade along the streets of Kansas City, an exhibition at the Nelson-Atkins Museum and a special event at the Board of Trade of this city; El Internacional Tapas Bar & Restaurant (1984–86), a social and artistic experiment made with the restauranteur Montse Guillén in New York’s TriBeCa; and Honeymoon Project (1986–92), a symbolic wedding between the Statue of Liberty in New York and the Columbus Monument in Barcelona, performed in several locations. The exhibition will also include the large installation belonging to the MACBA Collection, Santa Comida (Holy Food), 1984–89, based on the legacy of Afro-Caribbean culture in America today. Curator: Vicent Todolí. (Macba press-release)

MACBA. Museo d´art contemporani de Barcelona. Plaça dels Àngels, 1, 08001, Barcelona, España

http://www.macba.cat

Image:Antoni Miralda. MACBA

LUXEMBOURG. Cristina Lucas “Trading Transcendence” Mudam Luxembourg

08 october 2016 – 14 may 2017

Taking up the entire lower level of the museum, her exhibition will be organised around the ideas of capitalism and globalisation at the beginning of the 19th century, including the video installation Philosophical Capitalism (2014-2016). This major work takes the form of ten projections of interviews carried out by Cristina Lucas, in which she asks her interviewees about the philosophical ideas that relate to their various professional fields. For example, what does the concept of Beauty represent to a cosmetic surgeon, or that of Space to an estate agent, or that of Truth to a public notary? By inserting these philosophical questions into a journalistic interview, the artist skilfully grasps the relationships that exist between a concept and an economic activity, as well as the way in which the capitalist system, using companies as intermediaries, colonises the objects of our thoughts and thus influences the way in which we apprehend the world.

Wishing to anchor her work in a local context, the artist decided to pursue this project – which was originally conceived in 2014 for the Matadero arts centre (Madrid) – in Luxembourg, carrying out five new interviews here with an architect, a journalist, a lawyer, a watchmaker and a politician.

In addition to this important video installation, the public will be able to encounter new works specially conceived for the exhibition at Mudam. As a way of bringing to light the consequences of capitalism for our vision of the world, Cristina Lucas will present an environment that questions our perception of time, and an installation about the tendency of the capitalist system to transform everything, right down to the set of chemical elements known so far, into merchandise governed by the law of supply and demand. (Mudam Luxembourg press-release)

Mudam Luxembourg. Musée d’Art Moderne Grand-Duc Jean. 3, Park Dräi Eechelen. L-1499 Luxembourg-Kirchberghttp://www.mudam.lu

Image: Cristina Lucas, Philosophical Capitalism, 2014 © Photo : Cristina Lucas

PORTO. Joan Miró “Materiality and Metamorphosis” Serralves Villa

30 september, 2016 – 4 june, 2017

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

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

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

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

Casa de Serralves, Rua de Serralves 1052, Porto

http://www.serralves.pt

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

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

until 1st may 2017

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

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

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

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

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

Sculpture in the City. St. Mary Axe Gherkin

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

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

 

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

29 october -13 dicembre, 2013

"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. The images are captured in an international destination, in this 3rd edition, the city of New York. This time, the theme proposed was "Ausias March in New York” whose purpose was to promote indigenous cultural values ​​on a tumultuous cultural moment.The jury: Francesc Vera, Roman de la Calle and Tomás Llorens. (I. Cervantes press-release)

Instituto Cervantes. Alfons-Goppel-Strasse 7.D-80539 Múnich Baviera. (ALEMANIA)

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

Image: Jaime Belda

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