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Spanish contemporary art worldwide

 

LONDON. “Balenciaga: Shaping Fashion” Victoria and Albert Museum

27 may – 18 february, 2018

Known as 'The Master' of haute couture, Cristóbal Balenciaga was one of the most innovative and influential fashion designers of the last century. His exquisite craftsmanship and pioneering use of fabrics revolutionised the female silhouette, setting the tone for modern fashion.

Balenciaga: Shaping Fashion is the first UK exhibition to explore the work and legacy of the Spanish couturier, showcasing over 100 garments and hats crafted by Balenciaga, his protégés and contemporary designers working in the same innovative way today. It examines Balenciaga's work from the 1950s and 1960s – arguably the most creative period of his career – when he dressed some of the most renowned women of the age and became revered by his contemporaries, including Christian Dior and Coco Chanel.

The exhibition features examples of Balenciaga's revolutionary shapes from this period – the tunic, sack, baby doll and shift dresses – all of which remain style staples today. Other highlights include ensembles made by Balenciaga for Hollywood actress Ava Gardner, dresses and hats belonging to socialite and 1960s fashion icon Gloria Guinness, and pieces worn by one of the world's wealthiest women, Mona von Bismarck, who commissioned everything from ball-gowns to gardening shorts from the couturier.

The second part of the exhibition explores the lasting impact of Balenciaga, tracing his influence through the work of over 30 fashion designers across the last 50 years. Pieces designed by Balenciaga's former apprentices André Courrèges and Emanuel Ungaro demonstrate a signature minimalist aesthetic, recently revived by Phoebe Philo for Celine and in the strong lines of J.W. Anderson. Balenciaga's perfectionism and attention to detail are reflected in the work of Hubert de Givenchy and Erdem. His pattern cutting and explorations with volume can be seen in the work of Molly Goddard and Demna Gvasalia, while his creative use of new materials is referenced in the work of former Balenciaga creative director Nicolas Ghesquière.

The V&A has the largest collection of Balenciaga in the UK, initiated in the 1970s by the photographer Cecil Beaton, Balenciaga's longstanding friend. Balenciaga: Shaping Fashion marks the centenary of the opening of Balenciaga's first fashion house in San Sebastian, Spain, and the 80th anniversary of the opening of his famous fashion house in Paris (V&A press-release)

Victoria and Albert Museum. Cromwell Road, London SW7 2RL

https://www.vam.ac.uk

Image: Spiral silk hat, Balenciaga for Eisa, 1962, Spain. Museum no. T.146-1998. © Victoria and Albert Museum, London

LONDON. Santiago Sierra “THE NAMES OF THOSE KILLED IN THE SYRIAN CONFLICT” Lisson Gallery

25 – 27 may, 2017

With a duration of eight days, THE NAMES OF THOSE KILLED IN THE SYRIAN CONFLICT, BETWEEN 15th OF MARCH 2011 AND 31st OF DECEMBER 2016, a new performance by Santiago Sierra, will follow an East to West path, beginning at the Centre for Contemporary Art in Tel Aviv, Israel, continuing to Wiener Festwochen in Vienna, Austria and Lisson Gallery in London, and concluding in Buenos Aires during the Performance Biennale BP.17.

The performance, co-produced by CCA Tel Aviv, Wiener Festwochen, Lisson Gallery and BP.17, is based on the research carried out by GICS (Grupo de Investigación sobre el Conflicto en Siria) led by Professor of Sociology of the Middle East at the University of Buenos Aires, Pedro Brieger.

At Lisson Gallery London, the performance will start on Thursday 25 May 2017 at 2.00pm and end on Saturday 27 May at 2.00pm. It will be live-streamed in its entirety, from beginning to end, on the gallery's YouTube channel and the artist’s website.

In London, the event is additionally supported by the Instituto Cervantes of London

Santiago Sierra (b. Madrid, 1966) lives and works in Madrid. 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(Lisson press-release)

Lisson Gallery, 67 Lisson Street . London . NW1

 http://bit.ly/ssierra  http://www.lissongallery.com

Image: Santiago Sierra “Los nombres de los muertos en el conflicto sirio” 

KANSAS CITY. “Chillida: Rhythm-Time-Silence” Nelson-Atkins Museum of Art

5 may – 10 december, 2017

The Nelson-Atkins Museum of Art presents seven large-scale sculptures by acclaimed Spanish sculptor Eduardo Chillida in the museum’s Donald J. Hall Sculpture Park and Theis Park.

This seven-month installation of seven monumental sculptures by Basque artist Eduardo Chilled is divided in two locations: the museum’s Donald J. Hall Sculpture Park hosts 3 sculptures, and Theis Park, which is just south of the museum, receives 4 pieces.

“Chillida’s massive and abstract steel sculptures perform the most human of gestures,” said Jan Schall, Sanders Sosland Curator of Modern Art. “Arms embrace space, rise in exuberant praise to the sky, and form arcs of passage. And their deep, ruddy color sings against the green of grass and trees.”

Eduardo Chillida (1924–2002) is one of the most important sculptors of the 20th century. His investigations of mass and form, structural organization, and spatial relationships are rooted in his early training as an architect. While his roughly hewn stone sculptures pay homage to ancient sculptural traditions, his welded corten steel sculptures, with their dark, rusty patinas, embrace the possibilities of modern construction materials. (The Nelson-Atkins Museum press-release)

Donald J. Hall Sculpture Park & Theis Park, The Nelson-Atkins Museum of Art, 4525 Oak Street, Kansas City, Missouri 64111

https://www.nelson-atkins.org

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

AZORES. Muntadas, Alicia Framis, Bestué & Vives, Ignacio Uriarte “TIEMPO LÍQUIDO” Arquipélago. Contemporary Art Center

29 april – 30 july, 2017

Liquid Time is the first large exhibition exclusively focused on video in the Arquipélago — Contemporary Art Center. The show presents works by fourteen international artists that reflect upon and question this “liquid time,” an expression coined by the sociologist Zygmunt Bauman (1925–2016), who died recently. Bauman has theorized upon the change from a “solid” to a “liquid” Modernity, in which everything is fluid and where forms and conventions become temporary, short-lived, and obsolete. A highly digitized and continually changing contemporary world where nothing remains and everything is permanently changed by a never-ending flux of information. A landscape dominated by globalization, by temporality, in which inequality has replaced our welfare society.

The exhibition comprises fourteen videos that reflect different decades of our changing society, tracing a journey through the turn of the century we have experienced in our lives.

The 1980s were characterized by a rise in the tensions of the Cold War under the growing shade of the nuclear threat, and by the laying out of the foundations for a neoliberal economy. This period is represented by two iconic works: the famous film by Peter Fischli & David Weiss, a continuous chain of casual relations between various objects, and Bruce Nauman’s piece, that shows us how a simple prank can degenerate into a spiral of violence. The 1990s were marked by the fall of communism and by the influence of technology, culture, and music in our society. Muntadaspresents an analysis of the gesture as a symbol of power, while Doug Aitken choreographs the isolation of the youth in the big cities.

The first decade of the new century is defined by the “war against terrorism,” by the economic crisis, by the rise of Latin America, and by the generalization of the internet, of mobile phones and computer games, which have brought radical changes to our social relations. Throughout this decade, we will witness a boom in the use of audiovisuals among the newest generations of artists, which are here represented by Alicia Framis, who carries out a secret strike inside a bank; Bestué & Vives, with domestic actions that question the way we perceive our lives; Ignacio Uriarte, who, between order and disorder, confronts us with all the possibilities of an archive; Douglas Gordon and his image depicting the fragility of an elephant, the symbol of memory, playing dead and getting up; Cory Archangel, who creates one of his first Self-Playing games using a hacked PlayStation; Nuno Cera and the symbolic assassination of one of the most iconic buildings of Modernism and of its values; and Rui Toscano, with his recreation of the growth and rise of the main Brazilian cities in the format of a sound-animation.

In our present decade, still carrying the brunt of the economic crisis, we witness the political and social transformations rocking the Arab countries, we see the European Union plunge deeper into its crisis, all this while new technologies keep introducing dramatic changes into our society, culture, and labor relations. In this context,João Onofre offers us a metaphor of the loneliness of the contemporary individual, while André Romão reminds us of the failures of our historical past.

All the artworks in the show belong to one of these two collections, from Spain and Portugal: the collection CAL CEGO. Colección de arte contemporáneo, Barcelona, which was created by Roser Figueras and Josep Inglada, who started collecting art in 2006 under the advice of Montse Badía; and the collection of Maria and Armando Cabral, who started collecting Portuguese and international art in 2006. Carolina Grau (Arquipélago press-release)

Arquipélago / Centro de Artes Contemporâneas. Rua Adolfo Coutinho de Medeiros s/n. 9600 - 516 Ribeira Grande. São Miguel – Açores

http://arquipelagocentrodeartes.azores.gov.pt/en

Image: Tempo Liquido. Arquipélago / Centro de Artes Contemporâneas

NEW YORK. Santiago Calatrava “Recent Works” Marlborough Gallery

16 may – 17 june, 2’17

Santiago Calatrava’s broad oeuvre includes drawings, paintings, ceramics and sculpture in addition to his celebrated architecture and engineering projects. Viewed as a complex whole, Calatrava’s works express a unified aesthetic anchored in the artist’s continuing exploration of the relationship between the origins of creativity and the evolutionary structure of the natural world. In the words of Professor Kosme de Barañano, the artist is “interested in the unraveling of forms in space, in the tension that defines time in sculpture.” Flight, both as a gravity-defying feat and as a metaphor for freedom and the power of humanity, is a prevailing concern for Calatrava. His creations begin with drawings—often a bird beginning to soar or a dancing form embarking on a leap—and the resulting sculptures are elegantly abstracted records of a kind of magical movement. His sculptures twist the air around them and convey a graceful permanence. Works in the exhibition include bronze and steel forms, several of which are perched atop oak pedestals. S 106 A (2017) is a precisely curved bronze sculpture that simultaneously brings to mind phases of the moon, a bird at rest and a human profile. S 241 A (2015), a unique steel piece standing over eight feet tall, with its steel, cantilevered arcs, is striking in both structure and effect. A polished bronze work entitled S 244 B (2014) stands atop a tapered oak column and depending upon one’s vantage point, evokes fingers, a fluttering wing, golden locks of hair or a wisp of smoke.

Calatrava has won numerous awards including la Medalla de Oro al mérito en las Bellas Artes, Ministry of Culture, Grenada, Spain, 1996; Officier de l’Ordre des Arts et des Lettres, Republic of France, Paris, France, 1998; The Sir Misha Black Medal, The Royal College of Art, London, United Kingdom, 2002; Leonardo da Vinci Medal, SEFI, Brussels, Belgium, 2002; AIA Gold Medal, American Institute of Architects, Washington, D.C., 2005; and most recently the Lifetime Achievement Award, LEAF International, London, United Kingdom, 2016. Calatrava’s artwork has been  exhibited at The Metropolitan Museum of Art in New York (2005), The State Hermitage Museum in St. Petersburg (2012) and the Vatican Museum in Rome (2013). His work is part of a number of international public collections including Museum of Modern Art, New York, NY and The Metropolitan Museum of Art, New York, NY. His many international architectural projects include, most recently, the World Trade Center Transportation Hub in New York, NY; Greenwich Peninsula in London, United Kingdom and The Tower at Dubai Creek Harbour in Dubai, United Arab Emirates which, once completed, will be taller than the current tallest building in the world, the Burj Khalifa in Dubai. (Marlborough Gallery press-release)

Marlborough Gallery.40 West 57th Street. New York, NY 10019

http://www.marlboroughgallery.com

Image: Santiago Calatrava. S 178 A, 2011. bronze

 

FRANKFURT. Lurdes R. Basolí. “ Danube Revisited. The Inge Morath Truck Project” Fotografie Forum Frankfurt

until 28 may 2017

Nine women, eight countries, one river: The Fotografie Forum Frankfurt presents DANUBE REVISITED. THE INGE MORATH TRUCK PROJECT, a photographic road trip through Europe. This exhibition produced by Fundación Telefonica, shows over 100 works from the photographers Olivia Arthur (GB), Lurdes R. Basolí (Spain), Kathryn Cook (USA/Switzerland), Jessica Dimmock (USA), Claudia Guadarrama (MEX), Claire Martin (AUS), Emily Schiffer (USA), Ami Vitale (USA) and Inge Morath (AT/USA). Eight of these are winners of the Inge Morath Award, a prize annually awarded by the Magnum Foundation and the Inge Morath Foundation for promising young female photographers. Additionally, original photographs from Inge Morath (1932–2002) are on loan from Fotohof, Salzburg.

In the summer of 2014, the eight young women struck out along the Danube on a photographic journey: they followed the flow of the waterway from its source in the Black Forest to its outlet into the Black Sea. 34 days, 2800 kilometers, 19 cities. En route in a caravan with a Truck converted into a gallery, they documented the people, the nature and life along the river in diverse picture languages; documentary, conceptual, interactive and abstract.

As the first female member of Magnum Photos, Austrian born Inge Morath stands as a pioneer in female documentary photography. For her own work as a photo journalist she made trips worldwide and repeatedly along the Danube. In 2016, Celina Lunsford curated DANUBE REVISITED. THE INGE MORATH TRUCK PROJECT for Fundatión Telefónica Madrid from the results of the photographic road trip. Starting on the 25th of February, the exhibition will begin in Frankfurt and can be seen as an hommage to Inge Morath. An exhibition by Fundación Telefónica, Madrid. We would also like to thank Fotohof Salzburg who kindly provided Inge Morath’s original photographs.(FFF press-release)

Fotografie Forum Frankfurt. Braubachstrasse 30–32, 60311 Frankfurt am Main, 2nd and 3rd floor

http://www.fffrankfurt.orghttp://danuberevisited.com

Image: Lurdes R. Basolí

BIRMINGHAM. AL. Gema Álava “kill switch” MAUS Contemporary

may 5 - july 29, 2017

A kill switch invite us to reflect on loss, displacement, and hope.

A kill switch, also known as an emergency stop or e-stop, is a safety mechanism used to shut off a device or machinery in an emergency situation in which it cannot be shut down in the usual manner. Unlike a normal shut-down switch/procedure, which shuts down all systems in an orderly fashion and turns the machine off without damaging it, a kill switch is designed and configured to completely and as quickly as possible abort the operation (even if this damages equipment) and be operable in a manner that is quick and simple (so that even a panicking operator with impaired executive function or a bystander can activate it). Kill switches are usually designed so as to be obvious even to an untrained operator or a bystander.

Artists: Gema Álava, Graham Fagen, Suso Fandiño, Misha Bies Golas, Travis Somerville, Melissa Vandenberg

 Gema Álava (b. 1973 Madrid, Spain) lives and works in New York City. Her work, in the form of installation, drawing, photography and art projects, deals with what she calls "contradictory truths", and the capacity to "create a maximum by reversing a minimum.” Alava's art projects, in the form of dialogues, verbal descriptions, rumors and random encounters, explore notions of trust and intimacy, and use language as a medium to investigate the interconnections that exist between public, private, educational and interpretative aspects of art. In 2012 she was appointed Cultural Adviser to the World Council of Peoples for the United Nations, (WCPUN). (Maus Contemporary press-release)

Maus Contemporary. 2411 Second Avenue North. Birmingham, ALABAMA.  35203

http://mauscontemporary.com

http://gemaalava.com

Image: Gema Álava. “Tell me the truth”

VENICE. “Ciutat de vacances” Museo del Palazzo Grimani. 57 Biennale di Venezia

10 may-  9 august, 2017

“Ciutat de vacances” is a project that unites the forces of the three institutions and will take shape in Venice, as a place where the results of the research and production work carried out at Es Baluard and Arts Santa Mònica will be made visible. And these institutions are joined frorm Alicante by the museum MACA, and from Italy by the IED, for pedagogical training for design of a fake-ephemeral prototype of tourist information point and a research group.
Our aim in developing this tourist information point is to be able to continue testing and analysing in real time the phenomenon of the flows of planetary displacement and their relationship to the cities that currently experience the maximum intensity of a fundamental type of tourism – art tourism, during the most important Biennale in the world, that of Venice.
This project has the support of Acción Cultural Española (Spain’s public agency for cultural action, AC/E, and the Vice-President and Regional Minister for Innovation, Research and Tourism of the Balearic Islands (Agència de Turisme de les Illes Balears - ATB). With the collaboration of Mallorca Hotel Business Federation (FEHM) and Polo Museale Veneto, as well as other public and private entities.
The exhibition content will be shown in the Museum of the Palazzo Grimani of Polo Museale Veneto (in Venice) from 10th May 2017.Inauguration: 10th May at 6 pm.
Ciutat de vacances: tourist information point at the Palazzo Grimani is being developed by the pupils of the IED – Istituto Europeo di Design (Venice) and will be located at the access point on the first floor of the palace.
In it, the works developed since 2016 by the following collectives and artists will be presented: Juan Aizpitarte, Ángela Bonadies, Domènec, Idensitat (Ramon Parramon and Gaspar Maza), Left Hand Rotation, Ángel Marcos, Neus Marroig, Marc Morell, Ana A. Ochoa, Irene Pittatore, Marina Planas and Arxiu Planas, Miguel Trillo. General management and curatorship: Nekane Aramburu. (Es baluard press-release)

Museo del Palazzo Grimani del Polo Museale del Veneto (Venecia)

http://artssantamonica.gencat.cat/ca/detall/Ciutat-de-vacances

 Image: Ängel Marcos. “End of Season”

KRAKOW. Ronda Bautista “Have a nice parking” Krakow Photo Fringe. Instituto Cervantes

19 may -  18 june, 2017

Have a nice parking is a series of photographs taking during urban walks in Cracow by the Spanish artist Ronda Bautista.

The photos show compositions of objects found on the sidewalks of Cracow. Ronda Bautista about her project: 'Some time ago I began in a disciplined way to accumulate and archive this material, interested in its elements individually and by the totality of the structures of these random and anonymous compositions, created by the citizens themselves for different purposes in the public space'.

Some of the themes of reflection proposed by this series are: Selective look, decontextualization, irony, the city as a support for ideas or arbitrary messages, ephemeral anonymous 'sculptures' that appear and disappear, compositions between order and chaos, fragmented memory, repetitive walks... (I. Cervantes press-release)

Instituto Cervantes ul. Kanonicza 12. 31-002 CRACOVIA (POLONIA)

Imagen: Ronda Bautista

http://www.rondabautista.es   http://cracovia.cervantes.es

VENICE. Antoni Abad “La Venezia che non si vede” Catalonia in the 57 Biennale di Venezia. Cantieri Navali de Castello

13 may -  26 november, 2017

La Venezia che non si vede / Unveiling the Unseen by Antoni Abad, curated by Mery Cuesta and Roc Parés. The project is being presented at the Cantieri Navali de Castello It is a sensorial interpretation of the city of canals, created in collaboration with people who are blind or visually impaired, a collective who uses their senses in a different and unique way. Through the shared exchange of both the experiences and difficulties of their daily lives, less obvious urban forms are revealed, allowing for a new map of public space to be drawn up that is usable by everyone.  

Antoni Abad works with digital communities where mobile phones take on an important role as means of social communication. He is creating a locative sound map of Venice using the BlindWiki app - an app created for people who are blind, but usable by anyone with a smartphone. Impressions of any part of the city can be registered and published using the app and can be listened to at any moment. A true citizens' network that improves the services to the community, and that is becoming an international network to share experiences, stories and thoughts about all that is not visible.

The Catalan project for the Biennale Arte 2017 is a proposal to civil society: that research on collective intelligence seeks universal accessibility and suggest alternative ways to occupy public spaces, both physical and digital.

In order to shed more light on the BlindWiki project, Abad also directed a documentary produced by Daniele Zoco, with subtitles in Italian and English as well as an audio description in italian and english, which will be projected in the exhibition space.

The project also includes the publication of a tactile comic with haut-relief designs by Max (who is the cartoonist Francesc Capdevila, winner of the 2007 National Award for Comic in Spain). The drawings were created in collaboration with the participants who are blind, under the direction of Mery Cuesta, co-curator. Produced by Institut Ramón Llull. (I.Ramón Llull press-release)

Evento Collaterale della 57. Esposizione Internazionale d’Arte – La Biennale di Venezia. Cantieri Navali de Castello 

http://blind.wiki   http://www.llull.cat http://www.labiennale.org

Image: Ovvero *Venecia, Italia 2017-05-05 15:36:06 #cultura.  BlindWiki.

PARIS. Esther Ferrer, Daniela Ortiz & Xose Quiroga "Tous, des sangs-melés". MACVAL, Vitry-sur-Seine

21 april – 03 september, 2017

The group show entitled “Tous, des sang-mêlés” (“All, mixed-bloods”) around the universal and burning issue of cultural identity. This original proposal echoes previous curatorial projects conducted by the MAC VAL over the last few years.

In tune with the current world affairs, this exhibition explores the notion of cultural identity through various artistic visions and experiences: what is our common denominator? How do we build a shared culture in spite of more and more diverse/opposite origins? Those are some of the current global issues. Under the co-patronage of French historian Lucien Febvre and his book We are all mixed-bloods: a manual on the history of the French civilization (1950), and that of Stuart Hall, founding father of Cultural Studies, this exhibition highlights the fictional dimension of the concept of cultural identity. 

Through the voice of about sixty international artists and around one hundred artworks, the exhibition investigates the topics of cultural, national and sexual identities. They all revolve around the notion of being, yet some are obvious, others bring up –often passionate, always political- debates, and others call up memories of the past, sensitivity, experiences, and existence itself, from survival instinct to the notion of living together. (MA VAL press-release)

MAC VAL - Musée d’art contemporain du Val-de-Marne. Place de la Libération
CS10022 . 94407 Vitry-sur-Seine. Paris.  http://www.macval.fr  

Image: Esther Ferrer

HONG KONG. Joan Cornellá “A Hong Kong Themed Solo Exhibition” Gallery 27

6 – 21 may, 2017

Joan Cornellà has taken a month-long stay in Hong Kong during the whole of January 2017. During this time he has been navigating and investigating the city by partying (hard) and working (soft), trying to absorb and digest its essence. This tenure has given him a chance to explore and reflect about Hong Kong. In line with the naïve (.) and satirical nature of his works, Cornellà unveils the carpet covering the city so as to allow us to see what is underneath, he sheds light to the shit, all inundated with the artist’s unique disquieting humour.
Gallery 27 and Factotum Productions are pleased to jointly present this solo exhibition from 6th to 21st of May 2017 by the Barcelona-born cartoonist. It is the artist’s 2nd exhibition in Hong Kong since his massively-successful debut show last year, and for the first time he is presenting a series of new works inspired by the city.
By taking part in this exhibition as exhibition partner, Gallery 27 brings along the expertise of organising local and regional art and design exhibitions for this project, by providing comprehensive support from curatorial advice to event operations and merchandise production.
A total number of 38 of yet un-exhibited works will be presented at the show, alongside a totally unseen set of limited edition prints and a series of his latest merchandise items, all available for purchase during the 3-week exhibition. Founder of Gallery 27, Alan Chan 陳幼堅will be co-developing an object-based exhibit with the artist specially for the Hong Kong exhibition.
Joan Cornellà Vázquez (born 11 January 1981, Barcelona) is a cartoonist and illustrator famous for his unsettling, surreal humor and black humorous comic strips as well as artwork.
Cornellà’s work has often been described as disturbing or flat-out offensive. Through simplistic visual language, he is able to use satire to comment on the sinister and often bleak side of human nature through a myriad of unconventional scenarios. Everything from our unnatural connection to social media and masturbatory selfie culture to political topics such as abortion, addiction and gender issues - no subject is off limits. Cornellà’s work revels in its absurdity and impropriety.
Upon first glance, Cornellà’s work seems light-hearted and playful, his figures all share a generic blank smile and bright cheery color palette (akin to 1950’s advertising or Airline safety pamphlets) Upon further inspection however, the overwhelming morbidness and unnerving nature shines through with unparalleled force. Black comedy, at it’s core, is about satirizing subjects that are traditionally prohibited, things that are seen as too sacred or off limits. Cornellà pokes fun at such topics and cuts to their core with gags and minimal visual clues, illustrating scenes of cannibalism, infanticide, deification, murder, suicide and amputation (used most frequently). While some feel affronted by his work, many connect over it, laughing and feeling bad for laughing all at the same time.
Thought-provoking, honest and incredibly entertaining, Cornellà's work is truly sincere and holds real potency in its message, even when disguised through blatant humor. In the artist’s own words: “I think we all laugh at misery. We must start from the idea that when we laugh, we laugh at someone or something. With empathy or not, there is always some degree of cruelty. In spite of that, I am aware that if one of my cartoons happened in real life I would not laugh at all”. (Factorum press-release)

Space 27.Tung Chong Factory Building. 653-659 King’s Road, Quarry Bay
Hong Kong

http://factotum-productions.com  http://www.joancornella.net

Image: Joan Cornellá

VENICE. Jordi Colomer “Únete! Join us!” Pabellón de España. 57ª Bienal de Venecia

13 may  – 26  november, 2017

"Viva, arte, viva" is the title chosen by Chrisine Macel for this edition of the Biennial with the aim of giving artists a leading role in the invention of their own universes and the injection of vitality in the world in which we live. The central axis of the Biennale is the responsibility of artists in a convulsive world like the present from a positive and innovative perspective. Innovation is represented not only by a selection of young artists, but also in an interest to rediscover those who are unknown to the general public for different reasons, because their time was not adequate to value them, because they died too early to develop a recognized career or because their work is within geographically less represented international areas such as Latin America, Asia, the Middle East, Eastern Europe or Russia. Each week, during the six months of the exhibition, artists and the public participate in an open table (Tavola aperta) where they can eat together and discuss the artist's practice.
The Spanish artist Jordi Colomer presents in the pavilion his exhibition project "Ciudad de bolsillo", curated by Manuel Segade. It is a "installation of installations" composed of a series of videos, sculptures and the space itself understood as a total but provisional architecture. The installation is organized from the central space with natural light, with the presence of models, prototypes, scale reproductions of these movements, which also incorporate objects used in actions recorded in video and that rhythm the ensemble of the pavilion.
In their totality they form a vision at different scales of a fragment of city susceptible of displacement and in precarious balance. The models will be made with painted tin modules and will be permanently shaken by high-powered fans, as in the continuous vibration of an excited city.
In the perimeter rooms a tour is organized that the viewer will be free to move in one direction or another. These spaces are articulated as a progression of sequences from two elements: projection screens with videos and a set of stands for viewing. Both the screens and the stands are structured in serial combinations that configure changing environments, from almost individual viewing to the large room with multiple screens of different sizes and steps to modular heights that will allow to offer diverse points of view. . (AC/E press-release)

Giardini La Biennale di Venezia

http://www.labiennale.org  http://www.jordicolomer.com

Image: L´avenir.  Jordi Colomer

 

BERLIN. Rubén Grilo “I am, etc.” Future Gallery

29 april – 17 June, 2017

Rubén Grilo approaches the field of ideas through a mentality bordering on industrial production. The project presents artistic materials that aren't exactly finished pieces, display systems that could be artworks, and mass-produced consumer images full of human error and gesture.

Rubén Grilo explores the industrial world. What if the point of departure is art? What happens when industrial objects cease to be industrial? Grilo presents oblique perspectives that contain critical potential. The production of three-dimensional models based on human gesture and error, the definition of impossible products, and the questioning of the conceptual aims of each element are some of the core themes that underpin this project

Ruben Grilo (Lugo 1981), lives and works in Berlin. Selected solo exhibitions include ‘Solo’, Nogueras Blanchard, Madrid (2017); ‘Proof of Concept’, Union Pacific, London (2016); ‘Rubén Grilo’, Fundació Joan Miró – Espai13, Barcelona (2015); ‘Mit eigener Hand’, Kunstverein Hildesheim (2014); ‘Drawings of Alien Control’, V4ULT, Berlin (2013); ‘The Need for Speed’, CIRCA Projects, Newcastle upon Tyne (2013); ‘Bioscope’ Wilfried Lentz, Rotterdam (2012); ‘They’re Not All Funny, but They’re in a Row’ 1646 (La Haya) o ‘PowerPoint Karaoke’, MARCO, Vigo (2011). He has also participated in group shows at la Casa Encendida, Madrid (2017), el Künstlerhaus Halle für Künst & Medien, Graz (2015); Galerie Martin van Zomeren, Amsterdam (2013); Tatjana Pieters, Ghent (2012); CSS Bard, New York (2011); CGAC, Santiago de Compostela (2009), amongst others.

Grilo has been a resident artist at Rijksakademie van Beeldende Kunsten, Amsterdam (2011-2013) and Gasworks, London (2015), and he has received the Fundación Botín grant, Santander (2013), the ARCO prize from Comunidad de Madrid (2016), and Generación 2017 prize. (Future gallery press-release)

Future Gallery, Schöneberger Ufer  5910785 Berlin. Germany

http://futuregallery.org   http://www.rubengrilo.net

 

Image: Rubén Grilo

 

BARCELONA. Verónica Losantos “screen memories” Centro de Fotografía y Medios Documentales

5 may – 30 june, 2017

Birthdays, visits from relatives, baptisms, first day at school, holiday trips, last day at school—photo albums canonize special family events to collective narratives and visualize individual life stories. They are an affirmation of one’s own origins, important props for memories and breathe new life into long-forgotten incidents. However, what happens when a crucial protagonist is missing from this narrative—one’s own father? How does his absence influence one’s own childhood memories? Can one create the absent photographs of him in retrospect? And can one revive memories through visual reenactment? Verónica Losantos has no photos from the time she shared with her father and the absence of these photographs prompts her to fill the gaps in her memory herself. With her artistic appropriation, reconstruction and association of the past, Verónica Losantos reveals the fleetingness and lack of definition inherent in the act of remembering.

Verónica Losantos, born 1984, studied audiovisual communication and media at the University of Burgos and photo design at the Lette Verein in Berlin. In 2013 she won the 2nd prize of the Close Up! photography competition held by C/O Berlin. Her works have been exhibited in Freies Museum Berlin, the gallery World in a Room, the Contact Photography Festival in Toronto and in the gallery f5,6 in Munich. She is currently working as a freelance photographer in the field of education at the Society for Humanistic Photography. Verónica Losantos lives in Berlin. (CFD press-release)

CFD. Centro de Fotografía y Medios Documentales. C/Fontrodona, 31 - 08004, Barcelona

http://cfdbarcelona.com    http://www.veronicalosantos.com

Image: Verónica Losantos

LONDON. Elena García de la Fuente “Solo Show” The Last Supper Gallery

6  - 28 may. 2017.

Elena García de la Fuente’s paintings explore certain codes of behaviour inside the museum in a playful manner. When visiting an exhibition she becomes a voyeur looking for interesting scenes that catch her attention and takes photos of people without them noticing. She later uses these photos as source material for her paintings, which make reference at how we look and interact with the world around us, touching themes such as the way we look at art through modern technology. The paintings also reflect spaces of quietness and stillness that hold a poetic element, inviting us to meditate and create our own narrative.

The artist says: “I’m fascinated by the parallelism created between the moment the viewer faces my paintings and the scenes represented, realising they have become part of the work and that they’re probably being observed by an audience.”(Last Supper press-release)

The Last Supper Gallery. 42 Webbs Road . London, SW11 6SF United Kingdom + Google Map

http://the-lastsupper.com  http://elenagf.com

Image: Elena García de la Fuente

NEW YORK. Lluis Lleó “Morpho's Nest” Cadmium House, Park Avenue

01 may – 31 july, 2017

The sculptures, five carved and painted blocks of sandstone from the Spanish province of Girona, that Lluis Lleó displays in the renowned Park Avenue are, on one hand, the shelter and safeguard of the fragile, delicate and fleeting, and on the other hand, the symbol of a place where the dreams that we all have can nest. Lleó’s dream is to prevent painting from dying, to take it out of the studio, to have it soak in rain and dry in the sun, let the spring breeze caress it and make it come to life. 

From 5th  to 9th may the exhibition Celebrating Lluís Lleó

showcases a series of work made in the past months, centered around the Park Avenue installation, which are being shown for the first time. They include big format paper, paintings, drawings and sketches, models and some diaries the artist wrote in to help define the work, resulting in a piece that searches for a consensus between elements that would seem opposite to each other: lyricism and forcefulness, order and chaos, presence and transparence, tradition and vanguard. Don’t miss this opportunity to meet the artist in the Gallery of the Instituto Cervantes! . (I. Cervantes press-release)

Cadmium House, Park Avenue. Avda. Park Avenue. 10017 Nueva York

http://lluislleo.com    http://nyork.cervantes.es

Image: Lluis Lleó

 

BERLIN. “Antoni Tàpies, Jordi Alcaraz , Gino Rubert” Galerie Michael Haas

april 28 - june 03, 2017 

The paintings by Tàpies, Alcaraz and Rubert in the extensive exhibition opening in the Galerie Michael Haas and Kunst Lager Haas show evident contrasts but also, after a second look, of some commonalities as well. The works of the two younger artists refer in form and content to the paintings of Antoni Tàpies. The surrealism of Tàpies’ early pictures can be seen in the pictorial worlds of Gino Rubert, while the specific way of working with different materials is just as central to the sculptural pictures of Jordi Alcaraz as it is for Tàpies. The play with the perception and (de-) construction of reality is common to all three artists.

Antoni Tàpies, who was born in 1923 in Barcelona and died there in 2012, is considered the most important representative of Spanish Informalism. He mixes sand, cement, marble dust and glue in his paintings. He scratches off the paint and reapplies it until the surface resembles rough brick. In his lifetime Tàpies intensively studied Far Eastern philosophies. In his search for expression he integrated individual letters, signs, crosses, as well as material objects or items of clothing. Antoni Tàpies’ collages and murals seem secretive, meditative. He described himself not as an abstract artist but as a realist who seeks to make reality comprehensible in his works.

Jordi Alcaraz, born in 1963 in Catalonian Calella and still living there, likewise uses free forms in his collages to convey the complex and various possibilities of perceiving reality.  He works in images, words and various materials, particularly glass, mirrors, metal, stone, wood and paint, as well as books that deal with these materials and phenomena. His graphical process gives rise to voluminous works that claim the space around them, in which metal lines form relations with other materials. The reflections, subtle shadings, contrasts between dark and light, smooth and rough surfaces, and transparency and solidity that thus emerge enter into dialogue with one another, determine each other reciprocally, and are consciously left fragmentary. The works can be considered paintings, and yet they retain qualities of sculpture. Alcaraz’s works are a study of three-dimensionality, in which the dialogue between the surface and the interior of objects has become a running theme.

The artist Gino Rubert, born 1969 in Mexico to Spanish parents and living in Barcelona, is above all a painter. He also works in the media of drawing, video and installation and writes stories. His pictorial world shows modern people – young women and usually a man in the form of the artist – and the many baffling and complex circumstances they find themselves caught up in, alone or with others.  The artist does not spare the viewer, who gets drawn into the small and large dramas in Rubert’s canvasses through a play of gazes and becomes a voyeur. The themes Rubert treats in his dream-like scenes under the surface of a realistic painting style are emotions and fears, desires, dependencies and conflicts. Like Tàpies and Alcaraz, he also uses the technique of collage: He brings reality palpably in his pictures in the form of photos or textiles. These real but oddly foreign additions shift the pictures into surreality. And this brings us back again to Tàpies and his 1950 painting “Caballeros presentes” from his earlier surrealist phase. (Galerie Michael Haas press-release)

Galerie Michael Haas. Niebuhrstraße 5. 10629 Berlin

http://www.galeriemichaelhaas.de  http://ginorubert.comhttp://jordialcaraz.com

Image: Gino Rubert. Los amantes (The Lovers)The Lovers. 2015

NEW YORK. “Muntadas: Projects/Proposals” Kent Fine Art

may 05 — june 23, 2017

The work of Antoni Muntadas addresses the social and political power encoded in contemporary media.

Muntadas: Projects/Proposals presents a way of creating and working. The exhibition sets out to demonstrate, with several of fully realized works, his commitment to the creation of models on which he has articulated independently of trends and fashions in techniques and media over more than forty years.

Also presented here is Muntadas’ original version of Emisión/Recepción made in Madrid at a moment when Franco’s control over the media left Spain with but one TV station. All locations and all viewership was confined to the same exact broadcast at all times. Presented as a double projection of synchronized 35mm slides on Kodak carousel projectors, the installation in 1974 was one of his most significant early projects. The cycle of early works presented here end with his signature work, Dialogo (1980).

The gallery presentation also includes two more recent projects which highlight the interpretative quality of meaning through language –Words, Words…– and through a more cinematic themed film project presented at the 72nd Venice Festival of Cinema in 2015 entitled Dérive Veneziane.  (Kent Fine Art press-release)

Kent Fine Art LLC 210 Eleventh Avenue — 2nd Floor. New York, NY 10001

http://www.kentfineart.net

Image: Diálogo 1980. Antoni Muntadas

NEW YORK. Calder/Miró “Constellations” Pace Gallery and Acquavella Galleries

20 april - 26 may, 2017

Pace Gallery and Acquavella Galleriesare pleased to announce Calder/Miró: Constellations," featuring the Constellations series of Alexander Calder and Joan Miró, respectively. The distinct yet complementary presentations illuminate the startling affinities between the two artists, who at the time the series were created, were separated by the Atlantic during World War II and unable to communicate.  

 Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series—neither of which were actually named "Constellations" by the artists themselves. (Acquavella Gallery press-release)

Miró “Constellations”. Acquavella Gallery. 18 East 79th St., Nueva York

Calder “Constellations”. Pace Gallery, 32 East 57th Street

Image:  Joan Miró. Chiffres et constellations amoureux d’une femme (Ciphers and Constellations in Love with a Woman) June 12, 1941. Photo: The Art Institute of Chicago /Art Resource, NY. Art © 2017 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

 

LEIGH ON SEA. Jordi Ruiz Cirera “The United Soya Republic” Francesca Maffeo Gallery

22 april – 3 june, 2017

The United Soya Republic presents a journey through the heartlands of the Southern Cone’s agribusiness; it is a portrayal of the changes to the landscape and socio-economic tissue brought about by intensive farming and the exportation of produce in Argentina and Paraguay.

Jordi Ruiz Cirera has spent three years traveling through South America to give soy and the uncharismatic workings of agriculture a face. The consequences of growing and farming soy are something which this artist has sensitively recorded throughout this series. Working closely with the farmers, labourers, landowners and their families he has been able to see up close how the pesticides, the deforestation and migration of farmers has impacted these communities.

Jordi Ruiz Cirera (b. Barcelona 1984) is an award winning documentary photographer from Barcelona. Currently based in London he combines personal long-term projects with editorial, NGO and corporate assignments for a broad range of international clients. 
In recent years his work has been internationally exhibited and awarded, including recipent of the Magnum Emergency Fund Grant, the Deutsche Bank Award for Photography, the AOP Student Photographer of the Year, the POYi, the Lucie Awards, or the Taylor-Wessing Photographic Portrait Prize at the National Portrait Gallery in London. In 2014 he published his first monograph, Los Menonos, with independent publishing house Editions du LIC. He holds a degree in Design, and an MA in Photojournalism and Documentary Photography from the London College of Communication. (Francesca Maffeo press-release)

Francesca Maffeo Gallery, 284 Leigh rd. Leigh on Sea, Essex

 francescamaffeogallery.com   www.jordiruizcirera.com

Image: Jordi Ruiz Cirera

SYDNEY. Isidro Blasco “Structures and Passages” Dominik Mersch Gallery

27 april – 27 may, 2017

Blasco combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. Using digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist’s personal New York cityscape.

His work often references the realm of private or domestic space. Isidro Blasco normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that Blasco orchestrates risk comparison with the actual streetscapes or rooms he’s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. Blasco’s three-dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognisable and entirely new.

Blasco uses digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments. He combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience.

Isidro Blasco is held in the collections of The Museum of Modern Art in New York, The Whitney Museum of American Art, The Chicago Institute of Contemporary Art, The Baltimore Museum of Art and many International Museums. . (Dominik Mersch  press-release)

http://www.dominikmerschgallery.com  http://isidroblasco.com

Dominik Mersch Gallery. 1/75 McLachlan Avenue, Rushcutters Bay Sydney NSW 2011, Australia.

Image: Isidro Blasco

WORDLESS DIALOGUES. 10. Alejandra López Zaballa / Irene Cruz

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.

Wordless Dialogue 10. Alejandra López Zaballa / Irene Cruz

Dialogue 10. Alejandra López Zaballa

Dialogue 10. Irene Cruz

Alejandra López Zaballa (Madrid, 1974) is a professional photographer, specialised in documentary photography, portrait and visual story telling. She starts her projects with a concept, a strategy that takes her to travel to those places where she can explore deeper the subjects she wishes to communicate and express through photography.

She studied photography at the London School of Photography and at the ICP, and she feels fortunate to have great mentors including Mary Ellen Mark, Peter Turnley and Karl Grobl. with whom she developed projects in places like NYC, Oaxaca, The Philippines, Cambodia, Havana, Lisbon and many more. In 2011, Alejandra created ¨Bangkok Soul, Photography Journeys”, a photography tours business that offers visual and cultural experiences to professional photographers and travellers in Thailand. She has lived in 9 countries, visited more than 60, speaks 4 languages and her life has been a constant journey since she was fourteen. Her passion for people and other cultures is captured by her lenses.

She currently works in Mexico City where she exhibits, teaches photography and works in different visual projects. Her work has been exhibited many times in Mexico City, NYC, London, Madrid and Bangkok. It has received some international awards like the single image third prize of Lensculture Exposure Awards and Photo Árbol third prize of Blipoint in 2016. In 2015 her project "The Beginning and the End" was chosen to be presented at Visionados PhotoEspaña.  http://www.alejandra-photography.com

Irene Cruzwas born in Madrid, Spain, in 1987. She graduated in Advertising and Public Relations and Audiovisual Communication from the Complutense University of Madrid, has a Masters degree in photography school EFTI specializing in Conceptual Photography and Artistic Creation. The light is indeed a significant element of the work of Irene Cruz, leading her to explore and experiment with it in countries of northern Europe. This young artist is creating a turning point in the world of photography. His work is has a remarkable personality with a style that has already become unmistakable for everyone today. Irene Cruz has participated in over 200 exhibitions, art fairs and festivals around the world and has won numerous awards, among them the First Prize in Photography Contest Iberdrola, and Second Prize Competition Photography of the AENA Foundation in 2014. http://www.irenecruz.com

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.

“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.

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

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

Image: Dialogue 10. Alejandra López Zaballa / Irene Cruz

quepintamosenelmundo.com

 

 

BARCELONA. Mabel Palacín “The missing link” angels gallery

04 april -  09 june, 2017

àngels barcelona presents “The missing link”, the last project by Mabel Palacín and her second solo show at the gallery, with which she continues her investigation on the relation that we currently maintain with images, the way they function and how they relate to the reality in which we inhabit; Or what is also known as "the cinematization of society in everyday life".(àngels barcelona press-release)

àngels barcelona. c/ Pintor Fortuny, 27 - 08001 Barcelona, Spain

http://angelsbarcelona.com

Image: àngels barcelona

BRUSSELS. Pep Agut, Elena Bajo, Oriol Vilanova “Modus Operandi” Société d´électricité

15 april – 15 julio, 2017

The exhibition Modus Operandi activates a well-known strategy from conceptual art using instructions and explores art by delegation. The artwork imagined by the artist is presented in form of a written or verbal statement to be executed by others. The instructions take form with advised experts such as the curator him or herself and his or her assistant, usually in dialogue with the artist. The instruction can be transmitted through: 'cards' as with the 'event scores' of the artist George Brecht or as in Lucy Lippard's 1969-74 'numbers' exhibition series ; 'Certificates' for Sol Lewitt's 'instructions' or Laurence Weiner's 'statements'; 'definitions / methods' for Claude Rutault; or in form of instructions communicated by telephone as in the mythical 'Art by Telephone' exhibition of 1969 and its recent 'Recalled' versions. Thus the artwork already exists in form of a description, and a collection of instructions makes it possible to constitute an exhibition.

This exhibition by Société explores this dematerialisation of art and their activation around historic and current works. The show further put into perspective a type of conceptual art in connection with algorithmic art, a parallel that took already place in 1970 during the 'Software' exhibition, and as Sol LeWitt explains in Paragraphs on Conceptual Art (1967) ‘When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art...the artist would select the basic form and rules that would govern the solution of the problem.’
 The art by instruction nevertheless approaches the principle of a music score which needs each time a new interpretation. Here the work only exists through its  transmission, its execution and the documentation of its reactivation. But the instructions of conceptual artists deliberately leave room for the subjectivity of the person who realizes the final work. Consequently the process contains several stages, including a dialogue necessary for the interpretation, which tends to an experience close to the format of the workshop and the performance for those who activate it and give it body. This "performative" aspect generates a variation of executions according to each context, since the work is replayed according to its constraints, the actual references and the choices of those who follow them. Even if they literally follow the instructions and are in exchange with the artist, if the principle is fixed, the work varies slightly and gains significance at each iteration. Curator: Gregory Lang. Between participants the Spanish artists: Pep Agut, Elena Bajo and Oriol Vilanova.( Société d´électricité press-release)

Société d´électricité. 106 Rue Vanderstichelen, 1080 Brussels

https://www.societe-d-electricite.com

Image: Modus Operandi. Société d´électricité

WASHINGTON. The Thirteenth Spanish Biennial of Architecture and Urbanism. XIII BEAU “ALTERNATIVES” Former Residence of the Ambassadors of Spain

april 06 — june 04, 2017

The exhibition of the XIII BEAU is an opportunity to disclose Spanish interventions in terms of heritage, urbanism, landscape and city, as well as investigations carried out in the field of architecture and urbanism of the past two years.

The exhibition, entitled ALTERNATIVAS/ALTERNATIVES features 22 jury-selected projects completed between January 1, 2013 through December 31, 2015 by contemporary Spanish architects. The installation, which also includes an additional 20 shortlisted works, presents large-scale image displays and audiovisual commentary about the winning projects, as well as drawing reproductions and architectural models.

Many of the works presented, under the categories of Heritage, Planning and Innovation, employ sustainable practices and rely on local materials. The projects –which vary from small-scale works, such as residential homes, to mid-size interventions, such as schools and public parks– showcase the ability of Spain’s architects to formulate innovative solutions with both a limited budget and modest resources.

The XIII BEAU’s selection showcases a breadth of talent from across Spain, not just its biggest cities. It also highlights some of the country’s practices on the rise. In addition to projects by studios such as Arquitectura-G and H Arquitectes, much of the work included in ALTERNATIVAS/ALTERNATIVES represents Spain’s up-and-coming architects and studios such as Abalo Alonso Arquitectos, Victor López Cotelo, Olalquiaga Arquitectos and more.

Recently the Spanish Pavilion at the 2016 Venice Biennale won the Golden Lion Prize, the highest honor given at the Biennale. Seventy percent of that award-winning exhibition will be on view as part of ALTERNATIVAS/ALTERNATIVES. (XIII BEAU press-release)

Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009

http://www.bienalesdearquitectura.es

Image: Casa Chao, CreuseCarrasco. Photo by Héctor Santos-Díez.

KÖLN. Ignacio Llamas “Desolaciones” 100 Kubik Gallery

april 28th - june 16th 2017

Llamas realized his first individual exhibition in the beginning of the 1990s and since then constantly presents his work in different galleries, museums and artspaces throughout Europe, North- and Southamerica. Also, he regularly takes part in national and international contemporary art fairs.
2002 he moves from the plane on to the space. His white rooms reflecting great intimacy are getting vividly stimulated by trees, silence and a matting light, which depicts the idea of human transcendency through its shadows. Light and space portray the main focuses of his work.
Since 2009 he concerns himself with photographies of his self-created architectural spaces by maintaining his own artistic approaches. Meanwhile, his white spaces slowly changed into grey. The results of this development show the expansion of his own spaces which is also accompanied by the settlement of nearby spaces. (100 kubik press-release)

GALERIE 100 KUBIK. Raum für spanische kunst. Mohren Str. 21. 50670 Köln

http://www.100kubik.de   http://www.ignaciollamas.es

Image: Ignacio Llamas. Soledades XIV. Digital print, cotton paper 2015

MADRID. “Pity and Terror. Picasso’s Path to Guernica” Museo Nacional Centro de Arte Reina Sofía

5 april – 4 september, 2017

When in early 1937 Pablo was asked to produce a painting for the Spanish Pavilion, he told the Republic's delegates that he was not sure he could do the kind of picture they wanted. The world of his art had been till then essentially intimate and personal, bound by the walls and windows of a room; he had almost never spoken to the public realm, still less to political events; since 1925 his art had often steered close, claustrophobically, to nightmare or monstrosity. Yet the painting he eventually did for the Republic spoke grandly to the new realities of war. And the scene of suffering and disorientation he showed us has lived on, as an emblem of the modern condition, for eight decades. Guernica has become our culture's tragic scene.

Are there continuities between Guernica and the strange, often agonized vision of humanity that Picasso had set forth over the preceding decade? How did Picasso’s distinctive set of concerns, which at moments seem dark to the point of despair, inform his final picture of women and animals in pain?

One writer said of Guernica that in it the world had been “changed into a furnished room, where all of us, gesticulating, wait for death”. Since 1937, generations of viewers across the globe have found the painting's image of terror indispensable – maybe even cathartic. This exhibition asks why. It is clear that Guernica 's epic, compassionate treatment of violence moves beyond the dangerous fascination with the subject that had characterized much of Picasso's work during the late 1920s and early 1930s. But would Guernica have been possible without that previous fixation? Isn't violence very often “fascinating” as well as repellent? How does an artist represent it without falling under its spell? What is involved – psychologically, aesthetically – in giving Terror public form? (Museo Reina Sofía press-release)

 Museo Nacional Centro de Arte Reina Sofia . C/ Santa Isabel, 52 . 28012. Madrid

http://www.museoreinasofia.es

Image: Pablo Picasso. Guernica, 1937. Museo Nacional Centro de Arte Reina Sofía. Madrid

WORDLESS DIALOGUES. 09 Irene Cruz / Gisela Ráfols

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.

Wordless Dialogue 09 Irene Cruz / Gisela Ráfols

Dialogue 09 Irene Cruz

Dialogue 08 Gisela Rafols

Irene Cruz was born in Madrid, Spain, in 1987. She graduated in Advertising and Public Relations and Audiovisual Communication from the Complutense University of Madrid, has a Masters degree in photography school EFTI specializing in Conceptual Photography and Artistic Creation. The light is indeed a significant element of the work of Irene Cruz, leading her to explore and experiment with it in countries of northern Europe. This young artist is creating a turning point in the world of photography. His work is has a remarkable personality with a style that has already become unmistakable for everyone today. Irene Cruz has participated in over 200 exhibitions, art fairs and festivals around the world and has won numerous awards, among them the First Prize in Photography Contest Iberdrola, and Second Prize Competition Photography of the AENA Foundation in 2014. http://www.irenecruz.com

Gisela Ràfols (Vilafranca del Penedès, Barcelona, 1.984) Graduate in Photography. “Centre de la Imatge i la Tecnologia Multimedia (CITM)”. Universitat Politècnica de Catalunya, Terrassa. Spain.

Grant Erasmus  University College Falmouth. England. In her series “Alter Ego” was the turning point, where the artist freed us from the black background so to step into a more real status. Natural colors and the absolute presence of female anatomy. This is a true work, where we reflect on the conflict deep in ourselves, the struggle within, the eternal fight that one can feel towards oneself, like the fight the artist has with his artwork, a love – hate that so many times gives meaning to life and meaning to the being of the artwork.It was at this point where the bird flapped her wings to fly East until she landed in Beijing, in the artist village called Songzhuang where she continued to fly, now with different experiences and sensations. http://giselarafols.com/

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.

 “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.

Artists:.- 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 09. Irene Cruz. 08 Gisela Ráfols

quepintamosenelmundo.com

WORDLESS DIALOGUES. 08 Gisela Ráfols / Eva Diez

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.

Wordless Dialogue 08 Gisela Ráfols / Eva Diez

Dialogue 08 Gisela Ráfols

Dialogue 07 Eva Diez

Gisela Ràfols (Vilafranca del Penedès, Barcelona, 1.984) Graduate in Photography. “Centre de la Imatge i la Tecnologia Multimedia (CITM)”. Universitat Politècnica de Catalunya, Terrassa. Spain.

Grant Erasmus  University College Falmouth. England. In her series “Alter Ego” was the turning point, where the artist freed us from the black background so to step into a more real status. Natural colors and the absolute presence of female anatomy. This is a true work, where we reflect on the conflict deep in ourselves, the struggle within, the eternal fight that one can feel towards oneself, like the fight the artist has with his artwork, a love – hate that so many times gives meaning to life and meaning to the being of the artwork.It was at this point where the bird flapped her wings to fly East until she landed in Beijing, in the artist village called Songzhuang where she continued to fly, now with different experiences and sensations. http://giselarafols.com/

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. http://evadiez.es

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.

 “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.

Artists:.- 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 08. Gisela Ráfols / Eva Diez

quepintamosenelmundo.com

ATHENS. Daniel García Andujar, Mattín Artiach, Roger Bernat and the collective El Niño de Elche "Documenta 14"

8 april – 16 july, 2017

The Documenta exhibition is one of the largest exhibitions of contemporary art in the world celebrated since 1955 every five years in the German city of Kassel during 100 days. For the first time in its history, this edition of Documenta is celebrated in two venues, the second is Athens under the title Documenta 14: Learn from Athens. This fourteenth edition begins in April 2017 in Athens and then opens on June 10 in Kassel. In this way, coincide, in parallel, a month in both cities. The co-organization of the 14th edition of Documenta between Kassel and Athens is a proposal by Adam Szymczyk, artistic director of the fair, who explained that the purpose of this decision is "to reflect the current situation in Europe and to highlight the palpable tensions between the north and the south. " Szymczyk considers that the choice of Greece is detached from the conflicts between the Mediterranean country and Germany and that its focal point is its geographical location and migration. "What interests me about Athens is that it is a metropolis that connects with others across the sea. It borders Turkey, has a large influx of immigrants from Asia and Africa. Athens is a gateway or a border that reaches many people who can have visibility, "said Szymczyk. With this initiative Documenta leaves for a year its role of permanent host to become a guest of Athens. The artistic direction is in charge of the curator and writer Marina Fokidis, founder and artistic director of Kunsthalle Athena. In this edition the artistic director of Documenta, Adam Szymczyk has invited a group of Spanish artists to participate with the support of AC/E: Daniel García Andujar, Mattín Artiach, Roger Bernat and the collective "El Niño de Elche" formed by Israel Galván, Pedro José González Romero and Francisco Molina. (AC/E press-release)

http://www.documenta14.de

Image: Documenta 14 Athens

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”

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. 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

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

WORDLESS DIALOGUES. 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 

WORDLESS DIALOGUES 05. Berta Jayo / Bego Antón

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.

Wordless Dialogue 05 Berta Jayo / Bego Antón 

Dialogue 05 Berta Jayo

Diálogue 04 Bego Antón

Berta Jayoborn 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

Bego Antonwas 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/

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.

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.

“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.

Artists:.- Alejandra Carles-Tolrá.-  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 05 Berta Jayo. 04 Bego Antón

quepintamosenelmundo.com

WORDLESS DIALOGUES. 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 was born in 1971 in Toledo, a picturesque Spanish city steeped in artistic heritage. Interested in visual arts since an early age, she studied Graphic Design and Illustration at the Fine-Arts School of Toledo. Her artistic career in photography dates back to 1990. Her work has been shown in numerous solo and group exhibitions such us: 70 ans de l’UMAM (Fondation de l'Union Méditerranéenne pour l'Art Moderne, France); 30 Festival Photo de Mouans-Sartoux (France), Instituto Cervantes in: Chicago (EE.UU), Albuquerque (New Mexico), Rome (Italy), Naples (Italy), Palermo (Italia), Tetuan (Morocco), Rabat (Morocco), Fez (Morocco), Casablanca (Morocco), Tanger (Morocco); The Spanish Embassy in Washington DC (EE.UU); Salon de la Photo Paris 2013 (France), Festival Voies Off 2010 (Arles, France), Discoveries PhotoEspaña 2009 (Madrid), Blanca Berlin Gallery (Madrid), Contemporary Art Fair Estampa (Madrid).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)

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 was born in 1971 in Toledo, a picturesque Spanish city steeped in artistic heritage. Interested in visual arts since an early age, she studied Graphic Design and Illustration at the Fine-Arts School of Toledo. Her artistic career in photography dates back to 1990. Her work has been shown in numerous solo and group exhibitions such us: 70 ans de l’UMAM (Fondation de l'Union Méditerranéenne pour l'Art Moderne, France); 30 Festival Photo de Mouans-Sartoux (France), Instituto Cervantes in: Chicago (EE.UU), Albuquerque (New Mexico), Rome (Italy), Naples (Italy), Palermo (Italia), Tetuan (Morocco), Rabat (Morocco), Fez (Morocco), Casablanca (Morocco), Tanger (Morocco); The Spanish Embassy in Washington DC (EE.UU); Salon de la Photo Paris 2013 (France), Festival Voies Off 2010 (Arles, France), Discoveries PhotoEspaña 2009 (Madrid), Blanca Berlin Gallery (Madrid), Contemporary Art Fair Estampa (Madrid).. 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

WORDLESS DIALOGUES 02 Marta Soul / Alejandra Carles -Torlá

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 02: Marta Soul / Alejandra Carles - Torlá

Wordless Dialogues 02. Marta Soul

Wordless Dialogues 01. Alejandra Carles-Toldrá

Marta Soul: "I 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"

Alejandra Carles-Toldrá: Alejandra Carles-Tolra is a photographer and educator from Barcelona currently based in London. Her work has been published and exhibited internationally, most recently at Vice, The Huffington Post, Gup Magazine, World Photography Organization, The Independent, Circulation(s) Festival in Paris, and Getty Images Gallery in London. She is a 2017 Jerwood Visual Arts / Photoworks awardee. She has taught photography at The University of New Hampshire and Massachusetts College of Art and Design, among other institutions, and she currently collaborates with nonprofit organizations as an art workshop facilitator using art and education to empower vulnerable communities.

Wordless Dialogues

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. 

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

Image: 01. Alejandra Carles-Tolrá. 02. Marta Soul

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

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 

WORDLESS DIALOGUES 01 Alejandra Carles Tolrá / QPM Blanca Mora

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.

Wordless Dialogue 01 Alejandra Carles Tolrá / QPM. Blanca Mora

Dialogue 01. Alejandra Carles Tolrá

Dialogue 00. QPM Blanca Mora

Alejandra Carles-Tolrá is a photographer and educator from Barcelona currently based in London. Her work has been published and exhibited internationally, most recently at Vice, The Huffington Post, Gup Magazine, World Photography Organization, The Independent, Circulation(s) Festival in Paris, and Getty Images Gallery in London. She is a 2017 Jerwood Visual Arts / Photoworks awardee. 

She has taught photography at The University of New Hampshire and Massachusetts College of Art and Design, among other institutions, and she currently collaborates with nonprofit organizations as an art workshop facilitator using art and education to empower vulnerable communities http://www.alejandractr.com

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.

“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.

Artists:.- 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 01. Alejandra Carles Tolrá / QPM Blanca Mora

quepintamosenelmundo.com

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

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

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

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

1st march - 30 august, 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

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. 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 

ATHENS. Natalia Marin “Women in Action” Exile Room

9 – 26 february 2017

Exile Room is exclusively staffed by women who have worked in every aspect of the film industry, from festivals to production. Yet, although film technology is changing at lightning speed, one thing remains the same: the industry is dominated by men. This year, Exile Room is organizing a series of screenings and workshops to encourage young women to try their hand at filmmaking and we want as many female voices to join the discussion as possible. Experimental documentary filmmaker and professor Natalia Marin is 1/3 of the film collective "Los Hijos", who live and work in Madrid. Her work combines observational documentary, avant garde and video art. Natalia Marin will teach a masterclass on Experimental Documentary and Self Expression, focusing on women's issues, as she takes a closer look at the equality of the sexes within the filmmaking landscape. The masterclass will be combined with a full "Los Hijos" retrospective prior to her arrival. Screenings: February 9, 2017 "Los Hijos Retrospective" 2009. El sol en el sol del membrillo (14') 2010. Ya viene, aguanta, riégueme, mátame (8') 2010. Los materiales (70') 2011. Circo (70') 2012. Tarde de verano (6') 2012. Evacuación (2') 2013. Enero, 2012 (o la Apoteosis de Isabel, La Católica) (18') 2014. Árboles (63') 2015. Karaoke, España (6') (AC/E press-release)

Exile Room. Athinas 12, Athina 105 51, Greece

http://www.exileroom.gr

Image: Natalia Marin. Exile Room

 

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

 

 

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

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 

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

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”

SYDNEY. Libia Castro and Ólafur Ólafsson “You Imagine What You Desire” Biennale of Sydney

21 march – 9 june, 2014

The19th Biennale of Sydney: You Imagine What You Desire, under the artistic direction of Juliana Engberg celebrates in 2014 its 19th edition, is an evocation celebrating the artistic imagination as a spirited describing and exploration of the world through metaphor and poesis. You Imagine What You Desire seeks splendour and rapture in works that remain true to a greater, even sublime visuality. 
AC/E collaborates with the Biennial supporting the project presented by the Spanish artist Libia Castro in collaboration witb the artist Olafur Olafson

Solo exhibitions of Libia Castro and Ólafur Ólafsson’s work include ‘Asymmetry’, TENT, Rotterdam (2013); ‘Under Deconstruction’, National Gallery of Iceland, Reykjavik (2012); ‘Libia Castro & Ólafur Ólafsson: Tu país no existe’, Centro Andaluz de Arte Contemporáneo, Seville (2011–12) and ‘Libia Castro & Ólafur Ólafsson: Recent Works’, Künstlerhaus Bethanien, Berlin (2008). They have also participated in prestigious international group exhibitions, including 7th Liverpool Biennial (2012); 5th Nordic Biennial of Contemporary Art, Moss (2009); and Manifesta 7, Rovereto (2008). In 2011, Castro and Ólafsson represented Iceland at the 54th Venice Biennale

Image: Libia Castro and Ólafur Ólafsson, Bosbolobosboco #4, 2004, audio sculpture, Courtesy the artists. Photograph: Job Janssen and Jan Adriaans (AC/E press-release)

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