10 february 2018
As part of the Living Together Performance Series, The Maggic Banquet, a participatory food-performance by the internationally acclaimed Miami and Barcelona-based artist Antoni Miralda, will celebrate our city’s diverse cultural heritage by tracing the culinary history of Maggi, the ubiquitous and universal seasoning brand. Presenting dishes from the kitchens of Miami’s various ethnic groups—all made with Maggi—in an altar-like buffet, Miralda explores the commodification and globalization of food and tradition. Accompanied by music, a special beverage, and a zine published with recipes in English, Spanish, and Creole, The Maggic Banquet will turn the terrace of EXILE Books into a food-for-thought artwork.
Born in Terrassa in the province of Barcelona, Spain, Antoni Miralda has been using food as his art medium since the late 1960s. He often creates public and ritual events centered in popular culture and traditions, especially culinary ones. The Honeymoon Project(1986–92), was an international series of ceremonial and participatory actions at multiple sites that imagined the wedding of New York's Statue of Liberty with the Columbus Monument in Barcelona, two diametrically opposite icons of freedom and conquest. Since 1971 Miralda has lived and worked in the U.S., and since 1993 has spent much of his time in New York and Miami, where he started FoodCultura, a project that includes archives and collections, and that produces exhibitions and events around the world which explore the subjects of food diversity and its relation to culture. He was the subject of major retrospectives at the Reina Sofia Museum in Madrid in 2010 and the MACBA in Barcelona in 2016.(mdc press-release)
Exile Books. 5900 NW 2nd Avenue, Miami
Image: Antoni Miralda's Movable Feast in New York, 1974
15 november- 31 december, 2017
Created by the Spanish collaborative mmmm…, the Meeting Bowls are social places for gathering, getting to know people, and fostering dialogue in small groups. Stop by to hang with friends, have lunch, conduct a meeting or simply relax. This space is for you, so enjoy! The playful urban furniture will be installed the Design District of Art Basel Miami, co-organized by the Spanish Cultural Center in Miami (CCE Miami). (AC/E press-release)
Miami Beach Convention Center. 1901 Convention Center Drive. Miami Beach, FL 33139
Image. mmm…. Meeting Bowls
2 november – 15 december, 2017
Beatriz Ruibal (Pontevedra, Spain 1966) is a visual artist and filmmaker. She has earned a place of distinction among the artists of her generation thanks to the intimate quality of her work and her attention to everyday details, inviting spectators to sink into an introspective moment of stillness. Comprising various thematic groups of photographs and four audiovisual productions, the different series in Beatriz Ruibal: What Might Have Been. And Never Was reflect on Ruibal’s career-long aesthetic research into the impossibility of recreating—with crystal clarity, no gaps and no contamination—the affective memory that shapes us. In this show the artist does inventory with different photo and video series, asserting the utility of memory and nostalgia as defence mechanisms in a fragmented, globalised world.
The poetic facet of Beatriz Ruibal’s artistic career reached a memorable milestone with her project Madre [Mother], shown in the Official Section of PhE 2014, an exploration of the absence of her own mother, Carmen, who died in April 2010. The entire project, consisting of various photographic sub-series and two audiovisual pieces, is an implicit, poetic portrait of Ruibal’s mother pieced together from photographs of some of Carmen’s personal effects and her domestic environment. Those pictures, which Ruibal began to take in September of that same year, offer a thought-provoking meditation on the fundamental connection between photograph and memento.
Another element in this inventory is Skyline Memory, desvanecidos en el aire [Skyline Memory, Vanish in the Air], a film that won awards at several international festivals. Offering a poetic perspective and positing skyscrapers as warehouses of memory, the narratives in this refined film revolve around different authors who draw on their emotional and poetic recollections to write about a Madrid skyscraper, questioning and inventing fictions about life and time in a never-ending process of construction and collapse.
Beatriz Ruibal: What Might Have Been. And Never Was also includes part of the project completed during her residency at the Royal Academy of Spain in Rome in 2017. ROMA 1974 [ROME 1974] is a documentary short that explores the archaeology of memory. Some years ago Ruibal inherited a number of old, never-released Super 8 movies containing testimony of immense historical and personal value about an important arts community in the Roman neighbourhood of Trastevere, a popular gathering place for prominent personalities of the Italian and international cultural scene in the 1970s, including her aunt and uncle. Roma 1974 strikes up a dialogue with this audiovisual footage on a journey of investigation and personal discovery through the streets, workshops, studios and other places frequented by that community. While shooting Roma 1974, Ruibal began to work on several new photography series and other audiovisual pieces inspired by the notes in a journal she started upon arriving in Rome. The appropriation of faded stills from that inherited footage and the presence of fractures in the montage of a photographic record, defying the criteria of objectivity so prevalent in contemporary photography, are well-suited to an adventure about the need to recreate the fragility of a memory that is disrupted at every turn. (CCE press-release)
Centro Cultural Español. 1490 Biscayne Blvd Miami, Florida US.
Image: Beatriz Ruibal“What Might Have Been. And Never Was”
7 september – 30 october, 2017
Goaltending proposes to understand the production of contemporary art, defined by mediating elements which interfere in the works perception, proposing a reading of current art beyond the artists’ initial intentions and to some extent of their procedural relationships.
The project is debated between two divergent conceptual aspects, from one side to emphasize how the curatorial practice, as a mediating gesture inside the aesthetic processes, converges heterogeneity and similarities, implicit in the discourses and practices of the current art; and by other side, to point the Works in their particularity, defined by their contextual relationship goals.
In this sense, it´s interesting to emphasize the coexistence of artists who belong not only to physically distant latitudes, such as Spain, Cuba and the United States, but also to generational, thematic and generic distance. And how, through dissimilar weft, the selection of works get to contrasts different nuances within painting, photography, sculpture, installation and video art, sketching out a point of view marked by the fragmentation and plurality of tendencies that constitute the idea of the current art.
From the curatorial action it´s proposed a rereading of the works beyond the intentions of the artists, pointing out different meanings, marked by a diversity of points of view, generated by the theier spaces of social circulation.
On the other hand, the exhibition highlights its own contradictions by questioning the curatorial discourse in favor of works, that is, approaching an accumulation of different narratives where the most important could be the works themselves, breaking the hierarchies between the artists’ point of view and the look of the viewer.
The exhibition tries to underline two different areas from where to understand the practice of contemporary art:
One is the aesthetic process as a structural relationships system, in which different readings converge, where the works and their concepts are consequences of different frames and negotiations.
And on the other hand, an aesthetic approach that highlights the specific value of works through subjective linkages, which fracture the correspondence between the intentions of the artists, the works and the way in which these can be perceived by the public.
Artists: Paula Rubio Infante, Waldo Díaz Balart , Eugénio Ampudia,
Eugénio Merino, Ruben Martín de Lucas, Juan Francísco Casas, Yunior Mariño , Marina Vargas, Manuel Franquello, Grupo DEMOCRACIA , Ángela Valella, Juan Pablo Ballester, Lisbet Fernández, Marcos Valella, Ernesto Capdevila, José Bedia, Yeny Casanueva, Alejandro González (Procesual press-release)
Centro Cultural Español. 1490 Biscayne Boulevard Miami, FL
Image: “Noli me tangere” Marina Vargas
june 8th – july 28 2017
CCEMiami in collaboration with Spain & Arts Culture present the exhibition “A Myriad of Voices”, showcasing a small sample of the work done by former Revelation PHotoEspaña award winners David Jiménez, Isabel Flores, Paco Gómez, Lucía Arjona, the NOPHOTO group, Germán Gómez, Carlos Sanva, Carlos Irijalba and Aleix Plademunt.
The Revelation Award, one of the most influential awards granted annually by PHotoEspaña, Madrid’s international photography and visual arts festival, recognizes Spanish photographers under 35 for outstanding work the previous year. Since its inception in 1998, this award has contributed to the development of the chosen artists, many of whom have gone on to build successful careers achieving worldwide recognition.
A Myriad of Voices is curated by Oliva María Rubio, artistic director of the Contemporary Art Center La Fábrica, that organizes the competition.
A shared feature of the selected photographs is the author’s intent to go beyond the work itself, expanding the vision and spectrum of the “merely photographic.” The artists work in series, sometimes dedicating several years to one project. Although some photographers focus on capturing reality while others base themselves in fiction, each one helps us to reflect on the issues that affect our world today, such as: landscape manipulation, the degradation of the urban environment, the representation of territory, gender problems, memory, and identity.
Likewise we find that many of these authors tend to work on interdisciplinary themes. Some, such as Isabel Flores and Germán Gómez, explore several techniques and mediums while others utilize images in movement, actions and performances as in the case of Carlos Irijalba. The body of work presented in this exhibition reflects the incredible richness, diversity and creativity in modern photography. (CCE Miami press-release)
CCE Miami1490 Biscayne Blvd, Miami, Florida 33132
Image: Aleix Plademunt
january 12 - march 01, 2017
Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (mythopia), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream. She allows a perceptual interpretation of a different kind.
Many of Guerrero’s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.
There’s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations. In the process of making the artwork, Guerrero reveals a binding ritual. The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.
Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system. Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states. As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.
Her most vivid construction would be derived from a varying “mythopia.” The result is formed with features that may be confrontational or bacchanal. Parts of it may be supposed to urge identification or resist it. In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas. (CCEMiami press-release)
Centro Cultural Español de Cooperación Iberoamericana. 1490 Biscayne Blvd, Miami, FL 33132
Image: Susana Guerrero
15 october – 6 november, 2016
Enrique Baeza creates word portraits; a new way to portray people. Words can describe a person as accurately as a painting or a picture, even more so. Enrique believes in the power of words and believes that every person harbours an inner and beautiful idea, which can emerge through words. Through a sophisticated method of sessions based on active listening, Baeza works with the biography of the subject and free association techniques, playing with the unexpected and with several images intimately linked to the person. The result is a sentence that represents the person. A non-transferable idea that rules his/her world. A sort of unique, personal statement that reflects the inner potential and has a meaning in that particular instant.
Enrique Baeza (Barcelona, 1972) experiments with the boundaries of personal and mass communication. And he does so in a context in which the language, itself limited, has become a useless tool. He uses resources of propaganda, poetry, street art and television to deliver messages, both in the public and private space, wielding a challenge. He is interested in vindicating a new kind of language to serve as an alternative to poor communication codes, mutilated, ideologically led and obsolete. So, he creates slogans which use paradox to deploy their own meaning, messages that flaunt their own condition of unfinished objects inducing the receptor to probe multiple interpretations and to construct meanings from different ontological categories, ranging from the most mundane to the more abstract. His project has already covered more than 40 cities in five continents. (Fu Art press-release)
FU art Gallery. 8373 NE 2nd Ave / Little Haiti Miami, FL 33138
Image: Enrique Baeza
19 - 28 october 2016
Rufina Santana artist degree in Fine Arts from the University of Barcelona. She resides and carries out her work as an artist from the Canary Islands (Spain) to the international territory, a fact that influences the development of her work. Throughout her prolific career she has participated in many artistic and literary courses and experiences, as well as workshops of artists as Lucio Muñoz and Rafael Canogar. In 1990 she makes an interesting performance entitled “Alphabet for an Island”, which is the start of her reflection on the nature of the original garden. Later, she develops her idea in the collective project “Hesperides: The interior garden (2001)” and individual exhibitions “Archaeology of the Garden” and “Cartographies of the Garden” exhibited in art centers of Lanzarote, Fuerteventura, Gran Canaria, Tenerife, Senegal, France and Japan, which poses a further step in this meditation, creating a geography of lost paradises in memory through a group of paintings and sculptural pieces dominated by the symbolic elements.
Following this way of Art and Nature, she creates “Garden of both sides” a project that celebrates the life and art with Dr. Maasaki Hatsumi, Japanese artist who has received top honors as “Living Treasure” to be guardian the tradition of their culture.
Another important idea in her work is the myth and Greco-Latin tradition, once again placing his speech from the insular experience, a place of special importance in the connections between Europe and the rest of the world. The island, as a microcosm ideal paradise, is a place surrounded by an uncertain sea, which brings about new cultures and traditions that enrich both on the island who awaits the traveler as it arrives.
In the realization of this idea, she generates two other projects, “Oceanics Blues” and “Cartographies of Water”. In this case, Santana deploys her expertise and her reflection on the myths related to water, with large format works dominated by the blue as the mural “Oceanic Blue” (2007) located in the Hotel Balneario Blancafort in Barcelona or “The Hero’s journey” performed for the exhibition” Cartographies of Water ” which takes place at the Frost Art Museum in Miami in 2015.
She works specifically Canaries landscape in the “Canarias, Intimate Landscape” (2010-2011), a project sponsored by the Canary Islands Government in developing a series of paintings on different landscapes of the islands through significant use of color and a technique that converges figurative and abstract style. (CCEMiami press-release)
CCEMiami 1490 Biscayne Boulevard Miami
Imagen: Rufina Santana
september 1– october 16, 2016
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators.
The exhibition #the_color_of_optimism features 67 works by artists Ricardo Cavolo, Littleisdrawing, Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen, María Simavilla.
This show aims to promote a generation of young artists whose works can be regularly seen in national and international publications and who have the support that the internet provides to make their work public. (AECID press-release)
Centro Cultural Español. 1490 Biscayne Boulevard Miami,
Image. Sonia Pulido “Hop hop”
14 april – 29 july, 2016
Hushed Writing is a book that cannot be read in the conventional way: only a graphic interpretation is possible. This act of deliberately separating form from content has transformed the graphic structure of the book into its narrative.
The project is made entirely from materials found on the beach. Using them, Pepe Gimeno has created evocative approximations of different forms of writing, ancient hieroglyphics, binary alphabets and a number of other motifs, managing to convert fragments of stone, sticks, plastic bottle tops, parts of toys, shells, cigarette butts and broken glass into messages replete with expressiveness and enormous poetic force.
The exhibition of the book can be approached in two different ways: firstly, by a sequential and orderly reading of the collection of powerful images portrayed in the book, and secondly, by a direct and detailed observation of the objects that make up these surprising and original pieces of work.
Pepe Gimeno (b. Valencia 1951) is a Spanish graphic designer and typographer with an extensive professional career. From his studio in Valencia he has developed a large number of projects across the whole range of graphic design. He has won numerous international awards, amongst them the Certificate of Excellence in Type Design from the TDC in 2001 for his font FFPepe. He has worked for the Office of the President of the Government of Spain, Las Cortes Valencianas (the Valencian Regional Government), the Roca Company and the United Nations Food and Agriculture Organization (FAO).
In addition to his professional activities, since 2002 he has been developing and expanding upon his creative expression with new formal projects based on waste materials; a fascinating personal venture which, in terms of concept and form, is positioned between experimental graphics and works of art. (TDC press-release)
CCE MIAMI.1490 Biscayne Boulevard Miami,
Imagen: Pepe Gimeno. The Type Directors Club
Instituto Cervantes de Chicago. 31 W. Ohio,Chicago, IL 60654
Image: Pepe Gimeno. The Type Directors Club
14 march – 3 may, 2016
The works selected by curator Carolina López and include films by directors such as Segundo de Chomón, Josep Escobar, Francisco Macián, José Luis Moro, Jordi Amorós, Tomàs Bases, Raúl García, Juan Pablo Etcheverry, Isabel Herguera, Javier Mariscal, Anna Solanas, Marc Riba, Alberto Vázquez, Pedro Rivero, Izibene Oñederra, Nicolai Troshinsky and Rocío Álvarez, among many more. The project has involved the collaboration of Filmoteca de Catalunya, Filmoteca Española and Movierecord, as well as a number of companies and organisations.
Some of the least known and most fascinating films in this cycle are: Garbancito de la Mancha (Arturo Moreno, 1945), the first feature-length animated film made in colour in Europe; black-and-white advertisements from the 30s by Catalan cartoonists such as Serra i Massana and Ferran; La Edad de Piedra (Gabriel Blanco, 1965), with cartoons by Chumy Chúmez; the commercials of the Moro and Estela studios; and a short film made by Frederic Amat for the occasion. (AC/E press-release)
Centro Cultural Español. 1490 Biscayne Boulevard Miami
Image: Minotauromaquia: Pablo en el Laberinto. Juan Pablo Etcheverry, 2004
4 – 27 february, 2016
Fernando Cuétara (Madrid 1969). Self taught Artist who Has managed to create his own personal pictorial language based on the study and passion for the arts and his inexhaustible curiosity engine to look, feel and transmit. Harmony, in every sense of the word, is the great protagonist of Fernando’s latest work. Through it, he gradually evolves towards the equilibrium of the human spirit with a strong and particular new aesthetic code, in which the viewer can sense a universal magnetic essence based on simplicity and the most absolute harmony. (CCCEMiami press-release)
CCEMiami. 1490 Biscayne Boulevard Miami
Image: Fernando Cuétara
september 12 - december 13, 2015
Hailing from the Canary Islands, Rufina Santana has been profoundly influenced by her homeland. Formed from rugged volcanic rock, replete with rare flora, and surrounded by the ocean, the islands have shaped her visual vocabulary. For Santana, art and nature are inseparable and the way in which they intersect informs the scope of her work.
In collaboration with the Steven J. Green School of International and Public Affairs FIU, the Spanish Mediterranean Studies Program and the Delegation of the Government of the Canary Islands in Miami. Additional has been provided by by TotalBank. (Frost Art Museum press-release)
The Patricia & Phillip Frost Art Museum. Florida International University, odesto Maidique Campus. 10975 SW 17th Street. Miami, FL 33199
Image: Rufina Santana
6 – 27 february
Emili Armengol is a multifaceted artist trained within the iron foundry. He has a solid career of more than 40 years working with iron, steel, bronze and wood. The contrast between empty space and mass, characterizes his work; the concept of movement and balance makes it unique. His style is of great strength and is the result of his sense of space and its relation to size and human scale.
This collection addresses the emphasis in Armengol’s work between the utilisation of space that stone and bronze generate in their milieu, creating a personal discourse between space and the breadth of form that reside in every sculpture whether small scale or monumental.(Nina Torres press-release)
Nina Torres Fine Art. 1800 N Bayshore Drive, Suite CP1. Miami, FL
Image: Emili Armengol