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Spanish contemporary art worldwide


MADRID. David Bestué “ROSI AMOR” Museo Nacional Centro de Arte Reina Sofía

until 26 february, 2018

In recent years, David Bestué (Barcelona, 1980) has realised a series of sculpture projects which critically review certain historical events and aesthetic/formal developments characterising last century’s avant-garde movements in the fields of art, architecture and literature.   

For the exhibition ROSI AMOR, put together specifically for the Fissures programme, the artist sets forth a material and formal investigation, drawing inspiration from the Madrid districts of Las Tablas and Vallecas, and the nearby El Escorial Monastery. Each of these places bears associations with different sculpture techniques, identified, in turn, in the aesthetics of business, the popular and the historical.     

Moreover, an accompanying exhibition leaflet features a conversation between the artist and María Salgado, the poet whose work also retrieves the past. 

David Bestué has held solo exhibitions at García Galería, Madrid, and Barcelona’s La Capella, and has exhibited at renowned international events such as the Venice Biennale (with Marc Vives) in 2009 and Gasworks, London, in 2010. (MNCARS press-release)

Museo Nacional Centro de Arte Reina Sofía. Edificio Sabatini: Planta 1 y Sala de bóvedas

Image: David Bestué, Motor de sangre sobre banco de arena y vasos de hueso y mármol, 2017. Resina, arena, harina de sangre, y polvo de mármol y hueso. Medidas variables

MADRID. Esther Ferrer “All Variations Are Valid, Including this One “ Palacio de Velázquez

26 october 2017 – 25 february 2018

Esther Ferrer (San Sebastián, 1937), a pioneer and one of the foremost representatives of performance art in Spain, began participating in the activities of the Zaj group — with Walter Marchetti, Ramon Barce and Juan Hidalgo — in 1967. From that point on, she brought action art to the fore in her artistic practice, although from 1970 she did return to visual art by way of reworked photographs, installations, pictures based on the series of prime numbers or Pi, objects, and so on. These pieces most notably include the series Autorretratos (Self-Portraits), in progress since 1981, Números primos (Prime Numbers), carried out with different spatial-temporary formats, and Juguetes educativos (Educational Toys), from the 1980s, her work adhering to the Minimalist and Conceptual Art initiated in the 1960s, with Stéphane Mallarmé, Georges Perec, John Cage and Fluxus the points of reference, along with aspects of feminism from the time.

Ferrer gives repetition and chance the capacity to enhance her work, generating manifold variations which lead on to otherness and unpredictability. The exhibition Todas las variaciones son válidas, incluida esta (All Variations Are Valid, Including this One), presented by the Museo Reina Sofía, addresses these issues and reflects upon other key aspects in her artistic practice, for instance the visibility of the creative process in time and space and the mobilisation and transformation of the body. As it enhances and experiments with the idea of continuity and the performance side of Ferrer’s work, the show activates certain pieces and a non-chronological discourse which facilitates unexpected connections and changing approaches to her oeuvre. The selection of works includes performances and installations, and a series of visual projects — preparatory works and finished series, and documents from her main actions (photographs and videos).

Running alongside Ferrer’s artistic practice is her significant theoretical work, developed in both her journalistic collaborations for wide-ranging publications and in courses and lectures given at European and American universities. The exhibition’s accompanying catalogue features a selection of these texts.

Esther Ferrer has, throughout her extensive career, participated in a number of Action Art festivals and has exhibited her work in different museums, in addition to gaining recognition in different contexts: in 1999 she was one of Spain’s representatives at the Venice Biennale; in 2008 she was awarded the Premio Nacional de Artes Plásticas; in 2012 she won the Premio Gure Artea del Gobierno Vasco, and in 2014 the Premio MAV (Women in the Visual Arts), the Premio Marie Claire de l’Art Contemporain and Premio Velázquez de Artes Plásticas.Organized: Museo Nacional Centro de Arte Reina Sofía. Curators: Mar Villaespesa and Laurence Rassel. (MNCARS press-release)

Palacio de Velázquez. Parque del Retiro, Paseo Venezuela, 2, 28001 Madrid

Image: Esther Ferrer, Biografía para una exposición, 1982. Collage. Fotografía y tinta sobre papel. 32,5 x 24 cm. Cortesía de la artista

MADRID. Conxita Herreo “The city in vignettes” CentroCentro Cibeles

until 1st october 2017

The series 'The city in vignettes', which every three months features a writer who uses their own particular style and graphic narrative to explore the buildings, people and stories that inhabit Madrid, currently has its spotlight on Barcelona creative Conxita Herrero. She draws, makes fanzines and writes poems and songs. She's worked for 'VICE' and 'El País Tentaciones', and was a team member on the CITI project (2015) of the Sala de Arte Joven de Madrid, where she created three murals. Last April, the publisher Apa-Apa cómics released 'Gran bola de helado' ('Big scoop of ice cream'), her first graphic novel. (CentroCentro press-release)

CentroCentro. Plaza de Cibeles, 1. 28014 Madrid

Image: Conxita Herrero. La Ciudad en Viñetas