Spanish contemporary art worldwide
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8 september – 16 october, 2015
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba – have been selected for the show. (I. Cervantes press-release)
(I. Cervantes press-release)
Instituto Cervantes. Piazza Navona, 91. 00186 Roma
Imagen: Soledad Córdoba “Un lugar secreto” 2007
VENICE. Spain Identity / Modernity “Imago Mundi. Luciano Benetton Collection. Map of New Art“ Fondazione Giorgio Cini
1 september – 1 november, 2015
Inspirations, interpretations, trends: 200 works by established artists and emerging talents in a collection whose protagonist is the new creative identity of Spain. Different artistic languages draw on a wealth of styles and techniques (figurative, hyper-realistic, abstract, conceptual, collage, photography), shapes (some artists go beyond the two-dimensional with almost sculptural works) and an extreme variety of themes (internal conflicts, landscapes, faces and glances, the economic crisis). A glowing crucible of ancient and very modern cultures, intimate –always sincere- emotions, at the heart of which lie man and his existence, History and the histories of every day. (Imagomundiart press-release)
Image: Idea 1219. Eugenio Ampudia, 2014
The Giorgio Cini Foundation is located on the Island of San Giorgio Maggiore, Venice, across the Canal from St. Mark’s square and Palazzo Ducale
LONDON. Mari Chordá, Eulàlia Grau, Joan Rabascall and Isabel Oliver “The World Goes Pop” Tate Modern
17 September 2015 – 24 January 2016
Tate Modern tells a global story of pop art, breaking new ground along the way, and revealing a different side to the artistic and cultural phenomenon. From Latin America to Asia, and from Europe to the Middle East, this explosive exhibition connects the dots between art produced around the world during the 1960s and 1970s, showing how different cultures and countries responded to the movement.
The exhibition includes works by spanish artists Mari Chordá, Eulàlia Grau, Joan Rabascall and Isabel Oliver
Politics, the body, domestic revolution, consumption, public protest, and folk – all will be explored and laid bare in eye-popping Technicolor and across many media, from canvas to car bonnets and pinball machines. The exhibition will reveal how pop was never just a celebration of western consumer culture, but was often a subversive international. Curator: Jessica Morgan. (Tate Modern press-release)
Tate Modern - The Eyal Ofer Galleries, Level 3. Bankside, London SE1 9TG
Image: Eulalia Grau. Pànic(Etnografia) 1973
september 10 – october 31, 2015
Haines Gallery is pleased to present Silent Faces, a carefully curated selection of celebrated artist Jaume Plensa’s recent sculptures and works on paper. This is Plensa’s first solo exhibition on the West Coast.
In the main gallery, the artist has assembled several of his extraordinary works in bronze: the dreaming faces of young women, each in a powerful state of repose. Rather than looking back at the viewer, sculptures such as Laura in Huesca (2014) look inward, fostering an atmosphere of introspection that invites visitors to do the same. Like so many of the great pieces of literature, poetry, and philosophy that Plensa cites as his sources of inspiration, these artworks derive their strength from a series of dialectical turns. The two largest works, each nearly eight feet high, evoke the temples of ancient empires, but retain a distinctively contemporary sensibility. Monumental in scale and cast in a material whose hallmark is endurance, the sculptures possess a surprisingly ephemeral quality, a tribute to Plensa’s ability to capture a fleeting moment that finds each of his subjects resting on the threshold of womanhood. With their deliberately roughened edges standing in sharp contrast to their smooth features, two additional sculptures, Rui Rui’s Dream and Sanna’s Dream (both 2014), seem to have emerged from an archeological excavation, but simultaneously appear weightless, as if in the process of materializing. Like the four smaller sculptural portraits on view—and all of Plensa’s best work—there is a universal quality to the highly individualized objects presented in Silent Faces. The result is an exhibition space filled not with mass, but with energy. Silent Faces has been organized in cooperation with Galerie Lelong, New York.
Jaume Plensa is one of the world’s foremost sculptors. Over the past 25 years, the artist has produced a rich body of work in the studio and the public realm. By combining conventional sculptural materials (glass, steel, bronze, aluminum) with more unconventional media (water, light, sound, video), and frequently incorporating text, Plensa creates hybrid works of intricate energy and psychology. The winner of many national and international awards, Jaume Plensa has had solo exhibitions at the Yorkshire Sculpture Park, West Bretton, UK; Nasher Sculpture Center, Dallas; Institut Valencia d’Art Modern, Spain; the Musée Picasso, Antibes, France; Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan; Museo Reina Sofia, Madrid, and Galerie National du Jeu de Paume, Paris among many others. Plensa lives and works in Barcelona (Haines Gallery press-release)
Haines Gallery, 49 Geary Stree, fith floor, San Francisco. CA
Image: Laura in Huesca, 2014
KÖLN. Victor Dolz, Jordi Fulla, Salustiano, Dino Valls, Jorge Villalba “The secret worls of pictures” 100 Kubik Gallery
4 september – 31 october, 2015
The exhibition brings together the works of five artists: Dino Valls (*1959, Zaragoza), Salustiano (*1965, Sevilla), Victor Dolz (*1945, Begur), Jordi Fulla (*1967, Barcelona), Jorge Villalba (*1975, Alicante).
Their works demand a deeper look from the viewer to see beyond what is apparent at first glance. In the pictures is a hidden intensity, a new world, which reveals another semantic level behind the actual presentation. The content of the piercing looks, mysterious gestures, strange cabinets of wonder and poetic landscapes can often only be perceive and classified at second or third glance.
"Die geheime Welt der Bilder" invites the viewer to confront himselfe and make an accurate study of the pictures. Perhaps he can unravel one of its hidden secrets ... (100 Kubik press-release)
100 Kubik galerie. Mohren Str. 21. 50670 Köln
Image: Dino Valls
04 - 25 September 2015
For several years now Anaut has had a passion for Baroque Chamber music, notably string instruments, and such composers as Haendel, Telemann or Corelli, and he has used this as his source of inspiration for his abstract painting.
The works presented here in the Zambezi One Gallery, are part of his latest output. There is a strong emphasis on the Blue Line, hence titles such as “Blue Line Harmony”. Anaut sees the blue line as the melody, the musical melody, and the other pictorial elements represent the music, musical notes and annotations.
His work flows like reading a musical score. He is an intuitive painter, a painter who listens to the sound of the Baroque and from there finds the gestures, colours and the indomitable energy of his creativity.
Anaut’s approach and interpretation of his subject matter, is totally personal and subjective, he does not deny that, he is expressing his emotions and hopefully stimulating ours. As Anton Castro the Spanish art critic and journalist has cited “Felix Anaut looks and finds, Felix Anaut stimulates his emotions and stimulates ours. Lightens our retina with sounds and movement, makes us follow behind the chimera, and he does it as he is: irrepressible and soft at the same time, deep and heartbreaking....an artist who through abstraction makes a pentagram of symbols.”
It is painting about painting; colour, texture, balance and harmony, and dare I say it, beauty. But also about emotion, sensitivity, energy, ambiguity and versatility, a visual journey relating to how we perceive things. (Zambezi One press-release)
Zambezi One galerie d'Art. 1 Quai Buzon 32100 Condom France
Image: Felix Anaut
LINZ. Pablo Valbuena, Néstor Lizalde, Félix Luque, Íñigo Bilbao “Ars Electronica Festival 2015. Naked verity”
3 – 7 september, 2015
Ars Electronica is a benchmark organisation in Europe with a track record of more than 30 years and extensive experience in all the art disciplines linked to the new media and digital culture. Its permanent base is the Ars Electronica Center – Museum der Zukunft (Museo del Futuro), whose mission is to bring together audiences and artistic creations based on interactive art, net art, virtual reality and other forms connected with the new media.
Its annual festival Ars Electronica. Festival für Kunst, Technologie und Gesellschaft (Festival for Art, Technology and Society) is an open meeting of international experts in the arts and sciences with a wide audience from different backgrounds and with diverse interests.
For the 2015 edition of the Festival Ars Electronica, AC/E is collaborating on the presentation of three unpublished projects by Spanish artists Pablo Valbuena, Néstor Lizalde and the duo formed by Félix Luque and Íñigo Bilbao. The avenues explored by each of these artists hold an active dialogue with different disciplines such as sculpture, audio-visual forms and architecture, always generating this dialogue through implementation and processes linked to the new media and digital technology.
The festival was established on 18 September 1979 in order to address the growing digital revolution and explore its significance in the fields of culture, technology and society. Within a few years it has become one of the most important international festivals with art, symposia, exhibitions, performances, interventions and concerts, which are held not only in conference halls and at exhibitions but also in dialogue with other landmark places in the city such as the harbour, the convent and the industrial estate. Hundreds of artists, theoreticians and technologists from all over the world have taken part in the festivals. Some 550 journalists and bloggers report annually on this event, which is enjoyed by some 35,000 visitors. (AC Española press-release)
Ars Electronica Linz GmbH. Ars-Electronica-Straße 1. 4040 Linz. Austria
Image: Naked verity, 2015
02 - 20 September 2015
Halcyon Gallery is proud to present an exhibition of new work by the London based artist Ernesto Cánovas. Building upon the themes and techniques explored in previous solo collections including An American Trilogy and Turneresque (both 2014), the current exhibition, Overlapping View sees the artist once again reflect upon the complex connection between past and present visual practice, but also begin to extend and develop the relationship between photography, painting and human memory. Utilising a range of source materials from found imagery, film stills and the internet, the new works featured in this exhibition raise narratives and juxtapositions regarding the history of the painted canvas and the photographic medium as visual document. Working in the space between abstraction and the figurative, Cánovas creates a new parallel of visual intimacy, an ‘Overlapping View’ which asks us to challenge our own assumptions of fact and fiction.
Ernesto Cánovas was selected for The New Contemporaries Exhibition in Edinburgh and was awarded The Stevenson Award for Painting in 2010. He recently exhibited at Saatchi Gallery and Channel 4′s New Sensations 2011 and received the Premio Ora 2013 arts award. In June 2014, Cánovas’ work was featured at the Royal Scottish Academy as part of Generation 14. (Halcyon gallery press-release)
Halcyon Gallery, 144-146 New Bond St, London W1S 1SN,
Image: Ernesto Cánovas
17 july – 5 september, 2015
The boys the girls and the political brings together 10 international artists and articulates a group dynamic built upon multifaceted working methods, collaboration and an interest in material transformation. A curatorial investigation into approach and thinking within the practice of these artists is given precedence over the presentation of autonomous objects, the exhibition becoming a platform to highlight the agency of cultural production and artistic labour. The exhibition allows room for research-led practices to present themselves in an openly discursive way and positions itself as an enquiry into the performative aspects inherent within many of the artists’ practices.
The exhibition features new works of performance, film, painting and sculpture and points towards a way of working informed by the vernacular of technological landscapes and an openness to collaborative exchange. Establishing a discourse that asks questions about the dissemination of information and the use of language as artistic material, The boys the girls and the political encourages a fluid and immersive reading of the way in which these artists work.
Beatriz Olabarrieta’s installations incorporate screens of looping video and sculptural furniture in free-flowing environments. Artists: Am Nuden Da, Lucy Beech and Edward Thomasson, Elaine Cameron-Weir, George Henry Longly, Jesper List Thomsen, Beatriz Olabarrieta, Ben Schumacher, Richard Sides, Cally Spooner and Alice Theobald
Curated by Hana Noorali and Lynton Talbot (Lisson gallery press-release)
Lisson Gallery. 27 & 52 Bell Street, London NW1 5DA
Image: Beatriz Olabarrieta, Diagonal Z Jeans, 2014, video still
19 august – 20 november, 2015
University of Richmond Museums opens two Pierre Daura exhibitions August 19
Pierre Daura (1896–1976) was a highly prolific and versatile Catalan-American artist who co-founded the important abstract artists’ group Cercle et Carré (Circle and Square) in Paris in 1929. In 1930, he moved to Saint Cirq-Lapopie, France, with his wife, Louise Heron Blair of Richmond, Virginia. In 1937, Daura fought for the Spanish Republican Army in the Spanish Civil War. He and his family moved to Virginia in 1939, where he passed away in 1976.
Pierre Daura (1896-1976): Picturing Attachments focuses on Daura’s portraits of his family throughout his career. Deeply meaningful images that represent events in Daura’s life and constitute a visual autobiography of the artist. Throughout his career, the Catalan-American painter Pierre Daura created numerous works inspired by his personal relationships. Raised in Barcelona, Daura first studied as a teenager with Pablo Picasso’s father José Ruiz y Blasco. After moving to Paris in 1914, he entered the studio of Emile Bernard. Paris was also where he met and, in 1928, married an American, Louise Heron Blair (1905-1972); their daughter Martha was born in 1930. This exhibition is the first one to examine Daura’s focus on their family life.
Daura stands out for the many ways in which he used his relationship with his wife and daughter to fuel his creative expression. Daura processed events—his courtship and marriage to Louise, Martha’s birth, their daily life in Saint-Cirq-Lapopie in southwestern France and later in the United States, his thoughts of them during his service in the Spanish Civil War, and Louise’s illness and death—through deeply personal images that are among his most beautiful, original, and moving works.
The Artist’s Line: Drawings by Pierre Daura from the Collection is on view in the Harnett Print Study Center, August 19 through November 20, 2015. The exhibition focuses on the evolution of the artist’s techniques and style of drawing over his lifetime. Daura’s works on paper are mostly comprised of studies of his wife Louise and daughter Martha, sketches of the landscape of Saint-Cirq-Lapopie, France, and etchings in response to the Spanish Civil War. The richness of his art reflects the diverse experiences of his life. Selected from a major gift of more than 228 works of art to the Joel and Lila Harnett Print Study Center from the artist’s daughter, Martha Randolph Daura, the exhibition of drawings highlights the major themes of Daura’s long career as an artist.
The exhibition was organized by the University of Richmond Museums and co-curated by Richard Waller, Executive Director, University Museums, and Sequioa Roscoe, ’16, University of Richmond, 2015 Harnett Summer Research Fellow, and 2015-2016 curatorial assistant, University Museums. The exhibition is made possible in part with funds from the Louis S. Booth Arts Fund. (Ramon Llull press-release)
Indiana University Art Museum. 1133 E 7th St, Bloomington, IN 47405
Image: 'Daura with Cane and Family' (Pierre Daura, 1971)
1 august – 23 september, 2015
The exhibition is dedicated to a Spanish sculptor Julio González (1876-1942, b. Barcelona) who has been most respected as the father of all iron sculpture of the 20th century. His abstract forged and welded open-form constructions in iron made a definitive impact on the development of contemporary sculpture. It is known that in 1920s the collaboration with Picasso, an old Spanish friend, especially brought out the innate talent of González and encouraged to devote himself wholeheartedly to sculpture.
Comprised of approximately a hundred pieces from the collections of the IVAM and Philippe Grimminger, the exhibition illuminates the artistic career of González for the first time in Japan. (Iwate Art Museum press-release)
Iwate Art Museum, 12-3, Matsuhaba, Motomiya, Morioka, Iwate 020-0866 Japan
Image: IVAM. Julio González. Daphné. 1937
15 august – 12 september, 2015
Spanish photographer Victor Enrich has used digital manipulation to splice together two buildings – the Storefront for Art & Architecture gallery in New York and the Spanish Republic Pavilion from the 1937 Paris Expo.
Enrich, a fine arts photographer who has recently begun to specialise in digital art, was one of 30 artists and architects invited by Storefront to create a work for its annual drawing show.
The exhibition is entitled Measure, so Enrich has developed a fictional scenario where the New York gallery becomes the basis of a new unit of measuring.
Enrich searched through architectural history for other buildings with the same size and proportions, and stumbled across the pavilion created by Catalan architect Josep Lluis Sert for the 1937 Expo.
This building, known as the Spanish Republic Pavilion, was dismantled after the Expo was over, but a replica was built in Barcelona to tie in with the Olympic Games of 1992. Today it functions as a public library.
Enrich used digital modelling to combine the two buildings – creating an impossible hybrid structure connected by a single column. While the pavilion looks largely unchanged, the Storefront gallery has been reorganised so that its ground-level facade is now at the top.
This shopfront, which features large geometric panels that pivot from the facade, was designed by New York artist Vito Acconci and architect Steven Holl in 1993. In Enrich's image, the panels have all been pivoted open. (Storefront press-release)
Storefront for Art and Architecture. 97 Kenmare Street, New York, NY 10012
Image: Victor Enrich
01 august – 18 october, 2015
Between the late eighties and early nineties, Antoni Abad (Lleida, 1956) focused on the development of mobile sculptures that, accompanied by photographic sequences, already inquired into the possibilities of the expanded and moving image. After a period as artist-in-residence at The Banff Centre for the Arts (Alberta, Canada), he began working with the videographic medium, without renouncing to the spatial and architectural concerns of his earlier work, as we can see in the piece Últimos deseos (Latest Wishes), 1995, which was presented in 1999 at the Venice Biennale curated by Harald Szeemann. In 1996, following an invitation from Roc Parés for the platform ‘MACBA online’, a project initiated by the Universitat Pompeu Fabra and MACBA, Abad made Sisyphus, a video installation that reinterprets the classic myth and that also unfolds into a new version for the web: his first foray into the Internet. In 1997 he made a further video installation, Natural Sciences, which investigated users’ reactions of empathy and repulsion.
Since then Antoni Abad has focused on digital media, making proposals as emblematic as Z (2001–3), a work that anticipates the use of social networks, where users interact with each other by downloading to their computers a virtual fly allowing for collective and simultaneous interaction. The Z project was presented at MACBA in 2002 and received the Ciutat de Barcelona 2003 award in the Multimedia category.
Based on the above-mentioned investigations, megafone.netpioneers the exploration of other possible social and communicative uses for mobile phone technologies, which were in wide use at the end of the last century.(Pinacoteca do Estado press-release)
Pinacoteca do Estado de São Paulo
Praça da Luz, 2 - 11 3324-1000 | Lg. General Osório, 66 - 11 3335-4990
Image: Antoni Abad. megafone.net
21 july – 5 september, 2015
This exhibition’s approach follows the clear, concise criteria of its curators, Carolina Bustamante and Francisco Godoy, whose insurgent voices stem from a biographically-specific position of empathy with the subjects and issues addressed within Madrid’s Casa Encendida. Their empathetic position gives a different perspective to the generally pejorative use of the term "sudacas" or "South American migrants" and adds to the power of their critique. Placing the focus on the Spanish State, one of whose cultural institutions is sponsoring the exhibition, they attempt to create a "means of uncovering and pointing out the window dressing behind the inconsistency between migration policies and economic policies, which continue to perpetuate the logic of colonial ideologies".
Artists: Laura Ribero, Ana Álvarez-Errecalde, María Galindo/Mujeres Creando, Rogelio López Cuenca, Magdalena Correa, Lucía Egaña Rojas, Runo Lagomarsino, Daniela Ortiz, Xose Quiroga, Miguel Benlloch, Guillermo Gómez-Peña, Paula Heredia, Coco Fusco, Juan Pablo Ballester, Konstanze Schmitt, Stephan Dillemuth, Territorio Doméstico, Francesc Torres, Eduardo Otero, Fernando Debas Dujant, Xatart a.s. y Jean Laurent Minier. (Aecid press-release)
Entro Cultural de España. 655 Calle de la Colonia Palmira, Tegucigalpa, Honduras
Image: Crítica de la razón migrante
ATRI. STILLS OF PEACE “Italy and Spain: a search for the meaning of the contemporary” Museo Capitolare / Cathedral Crypt
30 july – 13 september, 2015
Cultural dialogue between Italy and Spain, the summer of Atri dedicated to Claudio Acquaviva d'Aragone. After the homage to Pakistan, this year we celebrate Spain in Atri, to honor the sixteenth-century anniversary from the death of the famous Claudio Acquaviva, with the project STILLS OF PEACE and Everyday Life, promoted by the Festival. A contemporary art exhibition, a film festival named CineEspaña and a series of meetings about literature, poetry and music will cheer the Museo Capitolare, the Cathedral Cloister and the beautiful city theatre from the 30th July to the 14th September.
Contemporary art exhibition curated by Antonio Zimarino and Marta Michelacci. Artists: Soledad Córdoba, Ignacio Llamas, Olga Simón, Fernando Sordo , Anna Talens, Marco Appicciafuoco, Jacopo Casadei , Michele Giangrande , Valentina Perazzini, Gino Sabatini Odoardi. (Still of peace press-release)
Museo Capitolare / Cathedral Crypt, Atri. Italia
Image: Olga Simón “ Lágrimas” 2015
10 july – 29 september, 2015
Ángel Marcos exhibits “The White Glance” series at Ostrale´15, Dresden, Germany
Handle with care – the plea that seems to grow ever more urgent in our relationship with the environment, fellow human beings and not least of with ourselves – has long been present in the world of visual arts and will unite more than 200 artists from across the world this year at the 9th edition of OSTRALE in Dresden’s Ostragehege.
Ángel Marcos is one of Spain’s most prestigious artists. He began his career with the series Paisajes (Landscapes) (1997) and Los bienaventurados (The Blessed) (1997), linked to the rural environment in which he spent his childhood. The first contains a strong autobiographical content, while the second is a critique of the exclusion and vindication of the weak. This is a constant theme in Macros’ work, as is his interest in leading to reflection through his images with works that go beyond aesthetic content and deal with some of the defining issues of our time. (OSTRALE press-release)
OSTRALE, Centre for Contemporary Art. Messering 8, 01067 Dresden, Germany
Image: Ángel Marcos. The White Glance 5
TRENTO. Avelino Sala “Be-diversity. A mental attitude on differences, beyond biodiversity” MUSE, Science Museum
18 july – 30 september, 2015
“To safeguard the future of the planet and the right of future generations everywhere to live healthy and fulfilling lives. This is the great development challenge of the 21st century. Understanding the links between environmental sustainability and equity is critical if we are to expand human freedoms for current and future generations.” This is the incipit of the Milan Charter, the document made in the months leading to Expo, which lists the rights and obligations that citizens can subscribe to look for solving the problem of food and malnutrition in some parts of the world. A collective manifesto – therefore – which seeks to sensitize people on the main topic of Expo, Feeding the Planet, Energy for Life. Even the Muse of Trento embraces this challenge, moving, in the months of Expo Milano 2015, among several layers of investigation, science, art, technology, with attention to the interweaving between the local and global elements of the debate.
The artist’s contribution by Stefano Cagol, for the first time working as curator, fits into these reflections and comes into the spaces of MUSE for put in contact a corpus of works by established international artists, selected for their skill to face topics such as biodiversity, sustainability, ecology, food and the future of the planet.
Avelino Sala (1972) lives and works in Barcelona. Is artist, curator and editor.
His work as an artist has led him to question the cultural and social reality from a late romantic perspective, with a continuous explore the social imaginary and trying to put finger in the sore to check the power of art as experimentation spaces capable of recreating new worlds.
His work has been presented in various exhibitions, national and international, highlighting among the latest, at Puma Pungo Museum in Cuenca, Laboral Art Center in Gijón, NCCA in Moscow, Matadero in Madrid, Royal Academy of Spain in Rome, National Museum of Art Sofia, 10th Bienal de la Habana, A Foundation in London, Tina B in Prague, Chelsea Art Museum in New York. (MUSE press-release)
Artists: Wim Delvoye (BE), Christian Jankowski (DE), Giancarlo Norese (IT), Khaled Ramadan (LBN), Oliver Ressler (AT), Avelino Sala (ES), Åsa Sonjasdotter (SE)
MUSE – Museo delle Scienze – Corso del Lavoro e della Scienza, 3 – 38123 Trento
27 june – 15 november, 2015
“The Silence of Thought” is a selection of works that speak "of the body, the soul and the word", and one that will serve as an overview of his work. The sculptor is particularly famous for his sculptures of giant heads and people sitting in the foetal position. Plensa encourages visitors to "enjoy and have fun" because, thanks to the "intimate spaces and cosy human scale" of the museum and the use of light and shadows, they can fully understand his sculptural universe. The exhibition consists of three creative installations, each with their own room, and five monumental faces of alabaster and bronze.
Installations: 'Silhouettes' (2011-2012) is comprised of 16 steel silhouettes that float in space, suspended from the ceiling by banners with sayings and featuring verses from poems of Plensa's choice. One of them reads: "One thought fills immensity", a verse from William Blake that the artist cites as a source of inspiration for his work. The life-sized silhouettes are blended into those of the people in the room, who circulate freely among the figures and sentences. 'Talking continents' (2013) constitutes 19 elements formed by letters from different alphabets, welded together to form transparent boulders on which the human silhouettes sit. The fixtures are meant to represent a silent dialogue between planets, universes and the men who frequent them without ever coming in contact with each other. The poetic imagination of these floating islands is that all humanity, regardless of language, is somehow connected. Here, visitors can again move between the pieces.
The last of the creations at the gallery is a monumental installation, 'Air, Water, Void' (2014): a sculpture of three sitting men – made of colour-changing luminous resin – covering their mouths with their hands who seem to be having a mute conversation. The calm that comes from this encounter is an invitation to perceive the silent language and its mysteries. The exhibition also includes five monumental faces made from 2014 to 2015 of either basalt or bronze. Inspired by the faces of real people that have attracted Plensa's attention for their beauty or their personality, like Lou or Sanaa, the artist strives for universality by depicting them in their most pure and simple expressions. Their closed eyes invite dreams and meditation. The density of their presence fills the other, transparent and aerial installations, encouraging visitors to immerse themselves in a deep sleep. (Musée d´art Moderne press-release)
Musée d'art moderne de Céret. 8, Bd Maréchal Joffre . 66400 Céret - France
Image : Air, Water, Void. Jaume Plensa
23 july – 25 october, 2015
Born in 1958, Valladolid. Eugenio Ampudia lives and works in Madrid, Spain. The basis of Eugenio Ampudia’s work is his abandonment of the manufacture-making of the object in order to shape-show the idea. The artist takes a special interest in the processes and connections that his work establishes with the viewer. The spectator creates the art work and the artist wants him/her to interact. “Dialogues” is an exhibition of Eugenio Ampudia´s videoart that analyze the juxtaposition and the coexistence of the different cultures in historical harmony and balance. Eugenio Ampudia meditates about the dimension of the public and the private space, historical memory, conflicts and harmony. His works have been exhibited internationally in places such as ZKM, Karlsruhe, Germany, Jordan National Gallery of Fine Arts, Amman, Jordan; Museo Carrillo Gil, Mexico, Boston Center for the Arts, Boston (MA), United States, Ayala Museum, Manila , Philippines and Singapore Biennials as the Havana Biennial the End of the World. And art collections like MNCARS, MUSAC, ARTIUM, IVAM, La Caixa, (CONARTE press-release)
Centro de las Artes. Parque Fundidora. Av. Fundidora y Adolfo Prieto S/N, Col. Obrera
Image: Eugenio Ampudia.
10 july – 5 september, 2015
The exhibition reflects the contradictions of the activity produced in the past two decades, the works of the highest architectural quality and now in a difficult process of transformation and adaptation to the new economic and cultural needs. The exhibition includes videos of the 15 winning projects, is organized by the Spanish Ministry of Public Works. (AECID press-release)
Centro Cultural España | Rincón 629 Montevideo, Uruguay
Image: “XII BEAU” NOTE
july 02 – september 11, 2015
The exhibited works result from decades of applied photographic research and visits to the United States to observe, first-hand, original works by photography pioneers. Selected portraits and landscapes use wet collodion, an early form of photographic emulsion. A glass plate or sensitized metal is exposed directly to sunlight with a chemical solution that enables rapid production of unrepeatable images, a procedure invented by Frederick Scott Archer in 1856 with the tintype patent.
To Salom, “the liturgy of the process is long and tedious but always requires precision chemistry,” but with an unpredictable outcome due to the many variables involved in the “state and purity of chemicals, water quality and composition, temperature and humidity, exposure to light, level of UV light, and other contingencies.” With excellent tonal range and absence of grain, ambrotypes and tintypes are noted for their aesthetic subtlety and their practical durability. In contrast to the infinite multiplication of digital images, in tune with current trends’ revaluation of the first photographic and cinematographic techniques, Ictum Olim III: Ambrotypes and Tintypes provides an opportunity to observe the purity of pioneering photography techniques.
Miquel Salom was born in Mallorca, Spain in 1951. When he was 14 years old, his father placed a Kodak Brownie Fiesta camera in his hands to take a photograph, and in that moment he felt a “strange vibration” when looking through the viewer. Salom has ever since dedicated himself to photography. He has traveled to more than 50 countries honing his craft, and has committed himself to sparking popular interest in the arts and to encouraging people to use photography for self-examination. Miquel Salom now divides his time living in both Mallorca and New York City. (OAS/AMA press-release)
OAS | AMA F Street Gallery 1889 F Street, NW, Washington DC 20006
Image: Miquel Salom
12 june - 04 september, 2015
French artist Eltono (1975) worked in Madrid for the last decade, then in Beijing for four years and now lives in southern France. Flâneur, stubborn walker and chronic observer, for years Eltono has used public space as support, studio and inspiration source. His sensitivity to what is happening around him and his knowledge of the nature of the street – its whims and its unpredictability – are his main tools when generating works.
He has worked in the street of more than ninety cities and has shown his works in many world-renowned galleries and museums, including the Tate Modern, the Somerset House, Fundacion Miro and Artium Museum. Over the last twelve years, the development of Eltono’s work in galleries has focused on finding solutions to address the problems of showing public art in private indoor spaces. (I. Cervantes press-release)
Instituto Cervantes - Salle d expositions / Sala de Exposiciones. 7, Rue Quentin Bauchart. 75008 París
NEW YORK. Andrés Jaque “COSMOS” MoMA PS1 23 june – 7 september, 2015 The Spanish architect is the winner of the MoMA PS1 Young Architects Program (YAP) in New York. Now in its 16th edition, the Young Architects Program at MoMA and MoMA PS1 has been commi
23 june – 7 september, 2015
The Spanish architect is the winner of the MoMA PS1 Young Architects Program (YAP) in New York.
Now in its 16th edition, the Young Architects Program at MoMA and MoMA PS1 has been committed to offering emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation at MoMA PS1 that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. Andrés Jaque, drawn from among five finalists, will design a temporary urban landscape for the 2015 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
The winning project, COSMO opens at MoMA PS1 in Long Island City in late June. This year’s unique construction, COSMO, will be a moveable artifact, made out of customized irrigation components, to make visible and enjoyable the so-far hidden urbanism of pipes we live by. An assemblage of ecosystems, based on advanced eliminating suspended particles and nitrates, balancing the PH, and increasing the level of dissolved oxygen. It takes four days for the 3,000 gallons of water to become purified, then the cycle continues with the same body of water, becoming more purified with every cycle.
Andrés Jaque addresses the statistic put forth by the United Nations, estimating that by 2025 two thirds of the global population will live in countries that lack sufficient water. COSMO is designed as both an offline and an online prototype. Its purpose is to trigger awareness, and to be easily reproduced all around the world, giving people access to drinking water, and to a dialogue about it. But above all, COSMO will be a party-artifact moving in whatever direction the party happens to take it. (MoMA press-release)
MoMA PS1, 22-25 Jackson Avenue, Long Island City, NY 11101
Image: COSMOS, Andrés Jaque
19 june - 17 december, 2015
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service, allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed.
"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, between animate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Stiftung-mercator press-release)
Mercator Centre Berlin Neue Promenade 6. 10178 Berlin
Imagen: After Schengen, Ignacio Evangelista
6 june – 21 september, 2015
Built out of waste materials, the 95sqm canopy promotes cycling and allows 500,000 visitors to chill out under NY's biggest bouquet.
Izaskun Chinchilla Architects is an architectural Spanish office, winner of the City of Dreams Competition 2015. The first non american winner in the history.
Their winning design takes inspiration from nature to create an innovative and flexible solution that directly engages with local communities and familiar materials. Flower structures such as those found in hydrangeas have the ability to respond to the natural environment, growing and morphing to remain in balance with nature. They believe architecture must adopt a similar responsiveness, adapting to uncertain budgets, social change and ecological dynamics naturally, beautifully and intuitively.
The proposal is intended as a sheltered gathering place for people to meet, learn about the arts programs on the island, engage with performances or lectures, and the historic context of Governors Island.
This project will be fully funded through a Kickstarter campaign so if you want to enjoy the pavilion this summer please help them to make it happen. (Figment project press-release)
Trust for Governors Island. 10 South Street. Slip 7. New York, NY 10004
Image: Organic Growth Pavilion by Izaskun Chinchilla Architects, Madrid/London
24 june - 7 september, 2015
The exhibition Picasso and Spanish Modernity, made up of a selection of works from the Museo Nacional Centro de Arte Reina Sofía Collection, represents multiple approaches to the plastic and poetic foundations of Pablo Picasso and other Spanish artists, whose contributions were most decisive in the creation of Modern Art. Not only is there a consideration of Picasso’s influence on Modern Art in Spain, but also, primarily, it aims to show the most original and important characteristics in the artistic sensibility with which the artist and other Spanish creators contributed to the international arts scene. As a result, the exhibition refers to the role of Picasso as both artist and myth, putting forward the idea of variation as an element that distinguishes his concept of modernity, embarking on a journey through the way he approached the transfer of meanings, figures and symbols from the representation of monstrosity and tragedy, arriving at the realisation of Guernica.
The exhibition, always based on Picasso, in addition to his relationships with Juan Gris, Joan Miró, Julio González, Salvador Dalí, Óscar Domínguez and Antoni Tàpies, considers, on one side, the singular – and relatively unknown – Spanish contribution to the art of the constructed form, both specific and analytical, while on the other, the new lyricism represented by the painting of signs, surfaces and sculpture understood as “drawing in space”.
Moreover, it analyses the distinctive dialectics of Spanish creation between realism and super-realism, delving deeper into another creative register, into the powerful relationship between nature and culture as an expression of identity, established by artists rooted in their places of origin or vernaculars. The exhibit concludes with an approach to the way Spanish artists foresaw the shift towards another notion of modernity through a chronological and aesthetic opening that moved in the direction of the present.
Some of these ways of understanding and assembling contributions to Spanish plastic modernity are considered for the first time in an exhibition and are the result of studies and work to comprehend and recover carried out in recent decades. Thus, the exhibition constitutes an attempt to reconsider Modern Art by approaching it with originality and from unconventional points of view. Organized by: Museo Nacional Centro de Arte Reina Sofía, Banco do Brasil. Curator: Eugenio Carmona. (MN.Reina Sofia press –release)
Centro Cultural Banco do Brasil Rio de Janeiro, Rua Primeiro de Março, 66 CentroCEP: 20010-000 / Rio de Janeiro (RJ)
Image: Pablo Ruiz Picasso. Seated Woman Resting on Elbows 1939. Museo Nacional Centro de Arte Reina Sofía
24 june - 13 september, 15
This summer new works by some of the promising names from the Belgian art scene will be on display in the Centre for Fine Arts. Of the 250 dossiers submitted, an international jury selected ten artists, all of whom work in Belgium and are under 35 years of age. In September the jury meets to reveal the winners of the Young Belgian Art Prize. Since 1950 this is the very highest distinction for young artistic talent in Belgium. The finalists are in competition for three prizes. During the exhibition you can vote for your favourite artist via www.youngbelgianartprize.com - this will increase his/her chances of winning the ING Public Prize.
Selected artists: Hamza Halloubi, Katrin Kamrau, G. Küng, Lola Lasurt, Hana Miletic, Max Pinckers / Michiel Burger, Emmanuelle Quertain, Emmanuel Van der Auwera, Hannelore Van Dijck, Floris Vanhoof.
Lola Lasurt (Barcelona 1983) “My work comes from graphical material that testify a period of time that correspond at that of my previous generation, thus a temporal space that I have never occupied. I work with displaced time aspects, those which make us appeal to the past at present when it becomes difficult to embrace. I work with the time just before I was born and with the paradoxes of an epoch that was to suppose lots of changes. It is about having a concrete and stable case to study. I vindicate personal historical time working from my own family's albums where referents operate as narrative structures. I also work with concrete editions that were instructions dictated by hegemonic culture. I work with the last layer of things which deal with appearances in two different ways; it can be even through a phenomenon of recognition or, on the contrary, through a phenomenon of strangeness unable to approach the rare in familiar terms. Taken all together, it marks a return to the past that establishes a dialogue between our current beliefs as a collective which are still in a state of confusion posing questions about what it is that makes up now our identity” (Bozar press-release)
Rue Ravenstein 23, 1000 Ville de Bruxelles, Belgium
Image: Lola Lasurt
25 June - 18 October 2015
Serpentine reveals today designs for the 15th annual Pavilion. The render by Madrid-based architects selgascano shows an amorphous, double-skinned, polygonal structure consisting of pane als of a translucent, multi-coloured fabric membrane (ETFE) woven through and wrapped like webbing. Visitors will be able to enter and exit the Pavilion at a number of different points, passing through a ‘secret corridor’ between the outer and inner layer of the structure and into the Pavilion’s brilliant, stained glass-effect interior.
Serpentine Galleries Director, Julia Peyton-Jones and Co-Director Hans Ulrich Obrist said: ‘We are proud to work with selgascano in this, the 15th year of a commission unique in the western world that continues to showcase some of the boldest and innovative designs in contemporary architecture internationally. In keeping with their reputation for playful designs and bold use of colour, selgascano’s structure will be an extraordinary chrysalis-like structure, as organic as the surrounding gardens. We can’t wait to go inside to experience the light diffused through the coloured panels like stained glass windows. It will be a place for people to meet, to have coffee and to experience the live events we put on throughout the summer.’
Since the commission was launched in 2000 by Director Julia Peyton-Jones, the annual Serpentine Pavilion, unique in terms of its conception, delivery and funding model, has been designed by some of the world's greatest architects, including Zaha Hadid, Oscar Niemeyer, Rem Koolhaas and Cecil Balmond, Frank Gehry and Jean Nouvel. Projects have ranged from SANAA’s floating, aluminium cloud in 2009 to Peter Zumthor’s zen-like garden enclosure in 2011 to Smiljan Radić’s shell-like structure in 2014. In keeping with the criteria of the commission, this will be the first built structure in England by selgascano.
The architects describe their design: “When the Serpentine invited us to design the Pavilion, we began to think about what the structure needed to provide and what materials should be used in a Royal Park in London. These questions, mixed with our own architectural interests and the knowledge that the design needs to connect with nature and feel part of the landscape, provided us with a concept based on pure visitor experience. We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, color and materials. We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it.
Each entrance allows for a specific journey through the space, characterised by colour, light and irregular shapes with surprising volumes. This is accomplished by creating a double-layered shell, made of opaque and translucent fluorine-based plastic (ETFE) in a variety of colours. At the heart of the Pavilion is anopen space for gathering as well as a café. We are also very much aware of the Pavilion’s anniversary in our design for the 15th annual commission. The structure therefore had to be, without resembling previous Pavilions, a tribute to them all and a homage to all the stories told within those designs.” (Serpentine Gallery press-release)
Serpentine Gallery, Kensington Gardens, London W2 3XA, United Kingdom
Image: SelgasCano, Serpentine Pavilion 2015
23 june – 12 september, 2015
Curated by SCAN (Spanish Contemporary Art Network)
In an image saturated age, digital media, internet, television, film, and video entertain, inform and surround us every waking hour. Hand-held technologies have made us not only incessant consumers but also constant maker/editors of images. The artistic value of the painted image has been in crisis for a century and, particularly in recent decades, painting has been relegated to the periphery of contemporary art discourse. Amidst numerous and expanding media and visual technology, what is the role of painting now?
SATURATION looks at the persistence of painting in contemporary artistic production. Coinciding with the 100th anniversary of Kazimir Malevich’s Black Square, SATURATION explores the range, methods and means of painting production today through the work of seventeen Spanish painters in three simultaneous London exhibitions.
FIGURE/GROUND at The Fitzrovia Gallery from 23 june until 31 july: ROSANA ANTOLÍ, ANA BARRIGA, GLORIA CEBALLOS, VICTORIA IRANZO, KEKE VILABELDA, RUTH MORÁN, PEPA PRIETO, SANTIAGO YDAÑEZ
Figure/Ground explores readings of narrative and sub-narrative in works on canvas, paper, acrylic, and concrete. Drawing on techniques from film and photography, painters re-assemble appropriated imagery to overlay and alter associations, spatial and narrative hierarchies and meaning. Cut-and-paste, collage, scale distortions, photographic transfers and animation and video become tools for destabilising painting conventions and introducing fluidity and ambiguity to the medium. What is foreground, what background? Is the viewer witness to the depicted event or a party to the act of witnessing itself? This reading of figuration elides such distinctions, offering both and neither.These borrowed images are neither stable nor stealable. The fact of paint on a ground stands for itself alone.
ADD SUBRACT DIVIDE at COPPERFIELD Gallery, 16th - July to 12th of September: GUILLERMO MORA, MARÍA ACUYO, LOIS PATIÑO, RUBÉN GUERRERO, SONIA NAVARRO, ALAIN URRUTIA
Add Subtract Divide sees artists revisit the abstract painting tradition with new media, processes and experimentation. Some works take physical issue with the discipline by disassembling or reconfiguring canvas and stretcher, preferencing material qualities over any notion of the picture plane. The historical reading of flatness in the language of Modernist geometric painting is investigated using trompe l’oeil and collage, flickering between picture plane and referent. Other works experiment with scale and non-traditional materials to re-position otherwise familiar forms, investing them with political or gender narratives; Geometric abstraction is reworked in stitched lines and layers of applied felt, transforming the medium and linking it to other traditions of making.
PERFORMED PAINTING at The RYDER Project 17th- July to 12th of September: ALAN SASTRE, VICKY USLÉ, FERRÁN GISBERT, ROSANA ANTOLÍ
Performed Painting explores the act and re-enactment of painting whether directly on the gallery wall or abstracted into video or film. Physical and visual limits are probed and tools or technologies deployed to extend the artist’s reach, expand the extent of a brushstroke or amplify the colour spectrum visible to the human eye. The image can resemble a movement-map for the eye to wander over and revisit, trailing the artist’s hand. This is action painting - or an idea of action painting we can no longer be certain (SCAN press-release)
The Fitzrovia Gallery, 139 Whitfield St, London, W1T 5EN
Galería Copperfield, 6 Copperfield Street,London SE1 0EP
The Ryder Projects, 19a Herald Street, London E2 6JT
Imagen: ‘Mitad tú, mitad yo (Pedro) Guillermo Mora-2015
19 june – 11 october, 2015
This summer, over 20 sculptures from international museums and private collections by the Spanish artist Joan Miró (1893-1983) will adorn the freely accessible gardens of the Rijksmuseum. Following Henry Moore and Alexander Calder, this is the third in a series of five open air exhibits that are made possible in part by the BankGiro Loterij.
Joan Miró was born April 20, 1893 in Barcelona. He died December 25, 1983 at Calamayor near Palma de Mallorca. A major figure of twentieth century art, Joan Miro assert throughout his life an absolute freedom avoiding any agreement - Cubist, Surrealist, Abstract - that could lock him up. For six decades, the Catalan artist author of a language of signs of great wealth, painter and poet, engraver prolific, sculptor, ceramicist, illustrator and designer of sets and costumes for stage, will invent his world.
At 14, he studied at the Art School of Llotja. From 1912 to 1915,he enrolled in art school anti-academic Francesc Gali and devoted himself entirely to painting. By the early 20s, he shared this year between Paris and Mont-Roig, near Tarragona, and often very quickly the Surrealist group. In a continuing effort to pictorial research, he realized, by 1929, its construction, three-dimensional works made â€‹â€‹with wood, iron, objects founded, cut and assembled to announce his sculptures.
In 1940 he began work in ceramics, in Barcelona, with his friend Llorens Artigas (many vases and plates enamelled). Then he made his first sculptures in bronze and terra cotta. Exhibited in major museums, two foundations open to the public now bear his name. (Rijksmuseum press release)
Rijksmuseum Amsterdam. Postbus 74888. 1070 DN Amsterdam . The Netherlands
Image: Joan Miró, 213 Personnage, 1970 © Maeght Fondation (detail)
8 june – 15 november, 2015
Santiago Calatrava´s exhibition will feature seven new monumental aluminum sculptures in red, black, and silver installed along the central median on Park Avenue between 52nd and 55th Streets in New York City. These works represent the artist’s continued exploration of expressive forms and structure abstracted from nature. In the artist’s own words, “their relation to the natural world suggests a link between man and nature, implying the sculptures are found objects in a human forest.”
Two of the works, S2 and S3, are complex tension compression structures wherein each element is held in place through the utilization of very fine, almost invisible cables. Calatrava’s intention is for the sculptures to “simply grow from the ground. Within each sculpture, an internal logic of autonomy delivers lyrical forms and implies a sense of elevation and spiritual uplifting.” Santiago Calatrava builds basswood models to evaluate the aesthetic and structural characteristics of each work before moving to full-scale metal sculptures. The largest of these, S1, is 40 feet across and approximately 20 feet tall. From the side, its rib-like structure appears as a thin arched line. When approached, the massive layered roof reveals its architectonic depth.
Santiago Calatrava’s work continues to shape and redefine the boundaries that have historically separated the visual arts, particularly sculpture, from architecture and engineering. This is evident in the artist’s broad oeuvre , which includes ceramics, drawings, paintings, sculpture, architecture and engineering projects. As a whole, these 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. (Marlborough Gallery press-release)
Marlborough Gallery.40 West 57th Street. New York, NY 10019
Image: S1, 2015, painted, welded aluminum plate. 396 x 168 x 216 in.
13 june - 27 september, 2015
With his imaginative motifs, Joan Miró (1893–1983) is one of the most popular twentieth century artists. He envisioned a dynamic art that makes its way into life. For him, painting meant creating his own, unique world. Instead of rendering reality, his work was characterized by a new emotional visual language. In February 1920, the 27-year-old Miró left his native city of Barcelona in a quest for inspiration and recognition in Paris. He moved into a studio on rue Blomet which became a gathering place for literary Paris. Miró, who loved to read, was greatly influenced by his friendship with such avant-garde writers as Tristan Tzara, Robert Desnos, Paul Éluard and Michel Leiris. Miró pushed the boundaries of painting and incorporated words to generate associations in many of his painting poems – a term that became the title of many of his works after 1925. The exhibition Miró. Painting as Poetry illustrates how Miró’s pictorial symbolism emerges from his playful treatment of words and images. In the same way that he was inspired by literary works, his own works inspired poets, including André Breton, spokesman of Surrealism. Miró and his literary friends worked on many joint projects together. In addition to around 50 paintings from all of his creative periods, the exhibition will show a representative selection from the more than 250 illustrated books that he designed. ( K20 GRABBEPLATZ press-release)
K20 GRABBEPLATZ. Kunstsammlung Nordrhein-Westfalen. Grabbeplatz 5. 40213 Düsseldorf
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965
may 22 - november 1, 2015
The upcoming exhibition at Cheekwood marks a rare opportunity for visitors to experience the spectacular work of Plensa in Nashville. This is the first time the artist’s work has been seen in such depth since his 2010 exhibition at the Nasher Sculpture Center in Dallas.
Plensa’s work in the United States include Crown Fountain in Chicago’s Millennium Park , and Echo, formerly on view in Madison Square Park in New York, now permanently sited at Olympic Sculpture Park at the Seattle Museum of Art. The recipient of many awards and accolades, Jaume Plensa was most recently awarded the 2012 prestigious National Visual Arts Award of Spain, the 2013 Velasquez Prize awarded by the Spanish Cultural Ministry, and Spain’s 2013 National Graphic Arts Prize. Nine large-scale outdoor sculptures, indoor installations and sculptures, and a selection of works on paper comprise this comprehensive exhibition, which will span the historic estate’s grounds, gardens and museum galleries for a uniquely engaging visitor experience. As a part of the exhibition, Jaume Plensa will create new works including a double sculpture entitled Soul of Words, which will be sited on the prominent color garden lawn. A monumental cast iron head, Laura with Bun, a 23 foot high cast iron portrait will grace the entrance of the grounds.
Plensa’s body of work is primarily inspired by the complexities of the human condition. He is known for the exploration of the tension between the interior and exterior life. The artist uses a variety of materials—from cast iron to steel and bronze to alabaster and synthetic resin—choosing the material which will best communicate his idea for the image. Plensa’s portraits are a radical reinterpretation of what is usually considered the domain of a more classical art.
Plensa is also involved with the transmission of language and culture. He often uses excerpts of texts from authors and poets whose writings are meaningful to him. The characters from many world alphabets are the physical elements that form a sculpture, making language as central to his work as human forms themselves. In this body of work, Plensa blurs the line of language, culture, belief system and physicality. The result is what is often described as work with a luminous beauty and grace, a sense of harmony, and supreme calm.
Plensa’s new sculptures are informed and inspired by Cheekwood’s landscape and essence. Specifically designed for Cheekwood’s exhibition, Awilda & Irma consists of a pair of monumental stainless steel mesh faces that will engage with each other as well as the landscape visible through them. Visitors to Cheekwood will see the U.S. premier of The Soul of Words I and II, a pair of white stainless steel seated figures formed from the symbols and letters from nine different alphabets.
In addition to the installation at Cheekwood, a portion of Jaume Plensa: Human Landscape will be presented at the Frist Center for the Visual Arts, located at 919 Broadway Avenue in downtown Nashville. One large-scale sculpture will be placed at the museum’s Demonbreun Street entrance, with three additional large-scale works on display June 5 through September 7, 2015 in the Gordon Contemporary Artists Project Gallery. (Cheekwood press-release)
Cheekwood Art Museum . 1200 Forrest Park Drive Nashville Tennessee
Image: Jaume Plensa, Paula, 2013
VENICE. Pepo Salazar, Cabello&Carceller and Francesc Ruiz “The subjects“ 56th Venice Biennale 2015. Spanish Pavilion
09 May - 22 November, 2015
The theme of the 56th Venice Biennale is All the World's Futures and it is curated by Okwui Enwezor. This year the Biennale proposes a project devoted to a fresh appraisal of the relationship of art and artists with the current state of things.
The Spanish Pavilion at the Biennale is organised by the AECID with the collaboration of AC/E and is curated by Martí Manen. Its project, entitled Los sujetos (The subjects), features works by the artists Pepo Salazar (Vitoria, 1972), Helena Cabello (Paris, 1963) & Ana Carceller (Madrid, 1964) and Francesc Ruiz (Barcelona, 1971). Los sujetos is intended to provide a very free view of Dalí through the works of the chosen creators. It is a direct dialogue that does not set out to illustrate the past from the present but shows a present that makes it possible to re-site creation, identity and a timeline from today’s perspective, from our current situation, from multiplicity.
The artistic team formed by Cabello y Carceller produce interdisciplinary works including video, stage design, photography, writing and musicals in order to question the prevailing means of representation and propose critical alternatives. Their artistic work based around the idea of multiple identity and their proposal linked to feminism and queer thought make up a critical approach to Dalí that reveals intimate layers and allows the public and private realms to be positioned at the same political level.
Pepo Salazar, who lives in Paris, also combines photographs, videos, installations and objects in his creations, manipulating the meaning of representation in order to introduce a critical viewpoint. Like Dalí, Pepo Salazar broadens the scope of artistic action by overstepping norms and through extensive knowledge of what working in art means.
Francesc Ruiz takes as a basis the language of comics, which he uses “as a tool for contemporary art interventions, just as I could use video or another material”. If Dalí fully embraces the media and understands how they function, Ruiz goes one step further and makes them the setting for a surreal narrative, for a spatial deconstruction towards sensual narrative fields. (AC/E press-release)
Spanish Pavilion, 56 Bienal de Venecia. Giardini della Biennale. Venecia
Image: Cabello/Carceller, Suite Rivolta. An Aesthetic Proposal for Action, 2011. HD Video. Elba Benitez Gallery
9 may – 22 november, 2015
Invited by the Biennale and with the support of AC/E, the Spanish artist Dora García is taking part with a performance project entitled The Sinthome Score based on a transcription of Jacques Lacan’s 23rd seminar Le Sinthome.
The artist was selected by Okwui Enwezor, curator of this 56th International Art Exhibition. Enwezor is an art critic, writer and publisher and director of the Munich Haus der Kunst since 2011, Okwui Enwezor has proposed as this year’s title All the World´s Futures.
All the World´s Futures is intended as a dramatisation of the exhibition space as a continuous live event that is constantly unfolding. It shows existing works but also invites artist to produce contributions specifically for the exhibition.
The Sinthome Score is a performance and installation.It allows a few different formats. In all of them there are two essential elements: the score and two performers.The score is made of text + drawings depicting sets of movements. The text is one of the transcriptions of the seminar XXIII of Jacques Lacan, “Le Sinthome”, “unofficially” translated into English (I have made previous to that an “unofficial” translation into German-‐). This text is divided into 10 chapters. For each of those ten chapters there is a set of movements, appearing at the beginning of the chapters.
There are two roles in the performance: reader and mover. Each chapter being read by the reader is accompanied by the corresponding set of movements performed by the mover, from chapter I to chapter X, from set of movements I to set of movements X. The ten sets of movements are formulated so as to be performed by any type of person, without previous training or rehearsal, of any age and physical condition. It is just enough to pick up a score and follow it. Idem for the reader-‐there is no concept of “reading well”; and the difficulties, and repetitions, when pronouncing certain French terms or technical words are welcome. Therefore, anyone is qualified to perform the Sinthome Score, either as reader or as mover. The performers can switch roles (reader-‐mover) when they wish, and they can agree on which chapter they prefer to start with. They determine the rhythm, cadence and speed of both reading and moving.
There are no rehearsals for this performance. There is a long meeting where the artist briefs the future performers and discusses with them the intention of the piece. The main point to understand is that they are not performing for an audience but for each other-‐therefore the performance is never triggered by the presence of the audience; it happens in relation to the two performers, they play for each other, unmindful of the audience.In the two occasions when The Sinthome Score has been presented, it has been as an installation and performance.
The performance happens within the installation or, if you prefer, the “set design” for the performance, consisting of: -‐A wallpaper, based on the diagrams of the score. -‐A group of photographs (of the type seen sometimes in dance academies) showing individual performers performing some of the movements of the score. Within this “set design”, the performance happens in a continuous way, for as long as the audience can enter the exhibition space, having the same duration as an exhibition, two or three months, six days a week… (AC/E press-release)
Pabellón de España, 56 Bienal de Venecia. Giardini della Biennale. Venecia
Image: Dora García
07 may – 22 november, 2015
On the occasion of the 56th International Art Exhibition of la Biennale di Venezia, one of Venice’s most celebrated landmarks, the Basilica of San Giorgio Maggiore, will host Together, a major exhibition of new works by Spanish artist Jaume Plensa. Plensa (Spain, b.1955) is one of the world’s foremost artists working in the public art space, with permanent works spanning the globe including the Crown Fountain (Chicago), Echo (Seattle), Breathing (London) and Roots (Tokyo). The exhibition is curated by Clare Lilley, Director of Programmes at Yorkshire Sculpture Park. The works in the exhibition all make their debut in San Giorgio and reflect the artist’s continued interest in a bodily relationship to space, scale, material and place.
For four hundred years the Basilica of San Giorgio Maggiore has been a place of worship, communication and meditation, where Palladio’s profound architecture creates a stilling and contemplative environment. Plensa’s response to this powerful space is Together; a conversation between two sculptures - hand, suspended beneath the cupola in the foreground of the altar, and head, sited in the nave. Placed on the dominant west-east axis of the building, the works set up a line of spiritual and intellectual discourse which evokes emotion and seeks to connect with his viewers on an intuitive level.
As a speaker of five languages alongside a nomadic life that takes him around the globe, Plensa’s work reflects a desire to break down barriers. Merging difference is a cornerstone of his work, and here it is further emphasized by the installation of meticulous drawings and a group of five alabaster portraits in the contiguous Officina dell'Arte Spirituale, located 300 meters from the entrance to the Basilica on the island’s northern edge. Plunged in darkness and lit to reveal their luminous opacity, the sculptures were carved using reformed scans of real girls; chosen because, like nomads, they have traveled, settled and traveled again. Chosen, too, because they are teenage girls on the cusp of leaving and arriving, whose potential – like that of all humanity – so deeply glows.
Clare Lilley, Curator, commented: “Plensa’s installations for the Isola di San Georgio Maggiore are testament to his acute understanding of space and scale. His sculptures do not impose themselves on these historic spaces; rather they capture and reflect the actual light and shadows within to communicate a metaphorical language. Both visually stunning and intimate, they draw our attention to a world where migration and difference challenge civilised behaviour; in this place, which for centuries has welcomed world travellers, Plensa’s work will connect people of many faiths and of no faith.”
In collaboration with the monks of the Abbazia di San Giorgio, as part of the cultural activities of the Benedicti Claustra Onlus, Together hopes to advance the Benedictine community’s efforts to develop a number of restoration projects of the monumental Palladian complex on San Giorgio Maggiore. Inspired by textual elements in the body of Plensa’s work, the project has contributed a significant donation to restore the Abbazia’s 15th and 16th Century illuminated manuscripts; prayer books previously too delicate for public view.
Dr. Carmelo Grasso, head of the Benedicti Claustra Onlus explains: “During the Plensa exhibition an 'Illuminated choral' of San Giorgio Maggiore Abbey, liturgical instrument of prayer and spiritual dialogue used by the monks for centuries for the daily Opus Dei and community prayer, will be placed on the lectern of badalone's choir behind the main altar. This is the contribution of the Benedictine Community to strengthen the sense of togetherness and the intellectual and spiritual dialogue between the hand, the head and those who wish to enter into a relationship with the artist's work and the great Palladian Basilica.” (Plensa press-release)
The Basilica of San Giorgio Maggiore and Officina dell'Arte Spirituale are located on the island of San Giorgio Maggiore across the waters of Bacino San Marco.
9 may - 22 november 2015
If today Raymond Williams were to decide on more entries for his celebrated text,Keywords, he surely would include, ‘Singularity’. The term refers to the moment when artificial intelligences will surpass human capacity and human control. In mathematics, singularity describes a point at which a given mathematical object is not defined or “well-behaved”, for example, infinite or not differentiable. Filmmaker Albert Serra will take this notion as a point of departure in his next film. Interested in how images act in diverse contexts, the project presents the audience with a filmic space investigating the range of “applications” the notion of singularity has. It designates a turning point in the way in which we relate to information, to “matter”, to images produced by machines, to representation, to the interplay between culture and nature. It actually names a new era where these dualisms are no longer contemporary. A machine-made cosmology, a capital of knowledge capable of altering our dreams, the image we have and will have about the world.
Albert Serra’s movie is broken down into several perspectives - ways of seeing, ways of narrating the world. His cinema makes the statement that being aware of the world is not simply a result of the mind’s existence, but rather it is the mind in action. Intellect is not an eye that observes us from some vague place within, but rather, the very fact of thinking. To link cinema with the singularity condition means to foster belief in the notion that thought, will and imagination are not made of the same substance as the world, objects and things, but of images, feelings and ideas. Nothing can happen beyond what is real, and what is real can only be grasped through language. This implies a revolution: since we cannot expect to find correlations between the world of ideas and the world of matter, our questions cannot hope to find answers, but rather to become sense-making operations. Like untangling a knot, solving a problem involves changing the order of what is known.
The exhibition is a site that offers both the artist and the curator an opportunity to address this question: how does the cinema-machine create a mind? Chus Martínez, curator. (I. Ramon Llull press-release)
Catalonia in Venice, Cantieri Navali (Via Castello 40). Venice
Image: Singularity. Institut Ramon Llull
1 may – 31 october, 2015
Antoni Miralda, one of the great figures in contemporary “food-art”, is the artist in charge of bringing to life the exhibition El Viaje del Sabor (The voyage of flavour); a poetic proposition designed to induce reflections about food and acting as an artistic link between Spain Pavilion and the theme of Expo Milano 2015: “Feeding the Planet. Eneilionrgy for Life”.
Materialised as a large, 5 by 4 metre suitcase-museum at the entrance of Spain Pavilion, this sculpture is an icon unto itself, as well as the starting point of the audiovisual exhibition El viaje del sabor, created by the multidisciplinary artist and representative of Food Cultura to connect with the theme of Expo Milano 2015:“Feeding the Planet. Energy for Life”.
After this first encounter, a series of real-sized suitcases will guide visitors towards the Pavilion, transforming the main access into a kind of airport where ideas and information about food move around constantly. Once inside, the exhibition invites visitors to join the journey of certain products through a series of video setups that can be watched separately or as a group. A delicate and generic journey through Spain which, according to the artist, is “a cornucopia of the history of food”.
To enhance the evocative power of each suitcase, the artist Antoni Miralda relies on the musical support of original compositions by Pablo Salinas, which seek to immerse spectators in a journey through Spain’s musical diversity and influences. Visitors will be able to interact with the exhibition, answering questions relating to food through a series of words appearing on the suitcases. (AC/E press-release)
Expo 2015 S.p.A. Via Rovello, 2 - I-20121 Milan Italy
Image: Arroz. Antoni Miralda
11 april – 25 october 2015
The Catalan visual artist Xavier G-Solís will be showing his work at a retrospective put on by the International Shoe Museum at Romans-sur-Isère, a France. The exhibitionwill be inaugurated on 11 April in the presence of the artist and will remain open to the public until 25 October this year. The exhibition aims to take a fresh look at the shoe, transforming it so that we can discover its more aesthetic, poetic, playful and critical side.
After graduating in Philosophy from Barcelona University, Xavier G-Solís(b. Barcelona 1962) moved to the Canary Islands to study sculpture techniques at the Las Palmas Art School, a city that has housed many exhibitions of his. G-Solís is a contemporary artist working in many fields; he has explored sculpture, graphic art, the performing arts, photography and audiovisuals. He has spent much of his career working around the concept of “used shoe”, which he considers a symbol of the history of modern man that reflects the influence of the object on our interaction with other people and with nature. (Musee International de la Chaussure press-release)
Musée International de la Chaussure. Portail Roger Vivier – rue Bistour l 26100 Romans sur Isère
Image: Xavier G-Solís
13 february – 06 september 2015
The Tattoo exhibition is dedicated to old traditions and new stories. It takes a look at the vibrant, innovative and multifaceted tattoo culture, with a focus on artistic, artisanal and culture-specific issues. International exhibits from diverse perspectives are displayed and current debates considered. This is the first time that an exhibition has brought together such a broad range of references, presenting the phenomenon of the tattoo with a particular focus on art and design, since these enduring pictures, words and symbols inspire artists and designers. The theme of the exhibition is therefore the reciprocal influence of art, traditional and lived tattoo art and visual design
Art is Dangerous, Pablo & Ruth 2010 by Enrique Marty (*1969, Spanien) Oil paint on latex on polyurethane, human hair, textiles, metal, 155 x 90 x 53.5 cm/143 x 60 x 35 cm, loan: Deweer Gallery, Otegem, Belgium Real portraits are always the starting point for Enrique Marty’s tragicomic sculptures. The tattoos of “Pablo & Ruth” in the “Art is Dangerous” series refl ect the iconography of the tattoo motifs in Japanese yakuza which the artist has explored in detail and incorporated into his work. His grotesque fi gures also make reference to early sculptural traditions such as those used in the quaint waxworks exhibitions of the 19th century. He builds on these themes and develops an original sculptural world. Ironic inversions and humour are essential strategies which he uses as an effective weapon. “Art is dangerous”: protest or parody? An allegory of the market system? Can art be dangerous? Or should it be? What role does the art of tattooing play? (MKG press-release)
MKG. Museum für Kunst und Gewerbe Hamburg. Steintorplatz. 20099 Hamburg
Image: Pablo&Ruth 2010. Enrique Marty
20 december 2014 – 7 february 2015
The exhibition draws its name from the seminal book by the German Romantic painter Philipp Otto Runge and celebrates the expressive potentiality of colour through the works of four international female artists. The works featured in The Colour Sphere demonstrate each of the artists’ diverse and unique relationship with colour within their contemporary abstract art practice.
Maya Hayuk (Baltimore 1969) lives and works in Brooklyn, New York. She started her artistic career with massively scaled murals recalling a multitude of references, such as mandalas, pop culture and the Mexican muralist movement. From the hypnotizing murals to the smaller works on canvas or paper, Hayuk’s practice is characterised by a vibrant colour palette, geometric abstraction and elaborate patterns.
Nuria Mora (Madrid 1974) lives and works in Madrid. Mora became well known for her urban interventions that pop up on walls and take over advertisement stands around the world. She seamlessly integrates colourful, angular patterns and nature inspired illustrations with their surrounding environment to reassert aesthetic values and to create a new appreciation of the space around us.
Anna Taratiel (Barcelona 1982) lives and works in Amsterdam. With a background in graphic design and mural paintings Taratiel, previously knows as Ovni, developed a style dominated by colour and geometry. Her newest body of works consists of paintings on canvas, drawings and assemblages of found materials, such as tape. The smooth and clear-cut qualities of the recycled pieces of tape invigorate the graphicness of her work.
Clélia Zida (Paris 1980) lives and works in Amsterdam. Zida is an interdisciplinary artist with a background in hand lettering, textile based works and filmmaking, who graduated cum laude from the Rietveld Art Academy in 2005. Her most recent works consist of abstract geometrical drawings with repetitive grid structures and seemingly identical patterns. (Mini galerie press release)
Image: Nuria Mora
Mini Galerie. Kinkerstraat 12A. 1053 DT Amsterdam