Spanish contemporary art worldwide
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until 12 december 2015
Of Mortgages and Marriages is a storyboard for a movie that was never made. It consists of a series of drawings, traced from sources such as maps, real estate brochures, mortgage advertisements, wedding pictures and family snapshots; research material from an investigation that the artists Iratxe Jaio and Klaas van Gorkum made into the large-scale urban expansion of a mid-sized city in the north of Spain. It is accompanied by two videos, Showroom and Helicopter, each using a different cinematographic technique to traverse the city and its symbolical spaces.
Central to the in Of Mortgages and Marriages is the notion of "home": the basic element of our built environment, and the stage where human relationships are given form. Its value is determined by more than utilitarian or material considerations, and includes fantasies of what it may represent in the future, and concepts of life, family and reproduction. But when urban planning takes its ideological component to be self-evident, and leaves the production of homes to the impulses of an overstrung market, this comes at a price: the rise of a socio-economic class that is defined and controlled by the going rate of its mortgages.
Of Mortgages and Marriages was realized in 2006, when the Spanish housing bubble was at its peak. Its premonition of impending crisis has since turned from science fiction into a historical reality.
Iratxe Jaio (Markina - Xemein, ES, 1976) & Klaas van Gorkum (Delft, NL, 1975) have worked together since 2001. Using documentation as their work methodology, they question social and political issues concerning the everyday. Solo exhibitions include The Margins of the Factory at ADN Platform in Barcelona (2014); Réinventer le Monde (Autour de l'Usine) at FRAC-Aquitaine in Bordeaux (2013); and Amikejo at MUSAC in León, Spain (2011). Group exhibitions include Life's Finest Values at Kunsthalle Exnergasse in Vienna; the Mardin Biennial in Turkey; What is to come has already arrived at Koldo Mitxelena Kulturunea in San Sebastian; The Value of Nothing at Tent, Rotterdam; and Stem terug at De Appel in Amsterdam. (Joey Ramone press-release)
JOEY RAMONE. Josephstraat 166. 3014 TX, Rotterdam
Image: Iratxe Jaio& Klaas van Gorkum
04 december 2015 - 16 january, 2016
Group show of new and collaborative work by Sarah Bayliss, María Angélica Madero, Ninna Bohn Pedersen and Belén Zahera, which takes as its starting point a manifesto that has created a structure within which the group of artists have begun to explore a collaborative practice.
Working from different countries, and following the idea of ‘play’, an ongoing series of tactics are generated to continually negotiate the terms of the project; tactics applied as interventions to trigger modes of doing, thinking, relating and acting upon, without ever solving a problem or achieving a goal. Instead, the project allows new methodologies and languages to take hold within the production of art works.
It includes new sculptural, video and text-based works, appropriated within the larger framework and moderated within the collective. The research will be comprised into a publication that sheds light on the processes, exchanges and conversations that give form to the project and the works in the exhibition. (AC/E press-release)
Space In Between. Unit 26 (2nd Floor). Regent Studios. 8 Andrews Road. London, E8
Image: Belen Zahera
NEW YORK. Fernando Sancho, Xavi Menós, Ana Nance, Sión Fuliana“New York, Just for The Brave” Instituto Cervantes
december 10 – january 06, 2016
Curated by writer Elvira Lindo, this exhibition analyzes Manhattan from the lens of four resident Spanish photographers in the Big Apple.
Four visions of a city that demands of its inhabitants an extreme level of courage, a city that exchanges bravery for liberty, a city of pioneers. Pioneers who renew themselves in successive migrations, change the nature of the city in waves and, at the same time, keep alive its recognizable character.
What would New York be without the brave ones who inhabit it? The four participating photographers take part in this collective desire to make a space for themselves in this urban landscape. There is no city in the world that so urgently requires a spirit of conquest. (I. Cervantes press-release)
Instituto Cervantes, 211 E 49th St, New York
Image: New York, Just for The Brave
3 december 2015 – 29 january, 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)
The Type Directors Club. 347 West 36th Street, New York, NY 10018
Image: Pepe Gimeno. The Type Directors Club
until 20 december, 2015
This exhibition marks the artist’s third solo show with the gallery, and with it, Elespe develops the insistent, lyrical universe he has built through his fifteen year painting practice, while also examining the nature of repetition and concentration through a series of autonomous drawings. The exhibition features the artist’s well-known paintings on aluminum along with new works on linen, wood panel, and paper. Meticulously encrusting and scrubbing oil paint on aluminum panels, Elespe creates paintings whose imagery is initially informed by his memories of domestic and studio life. These autobiographical motivations gradually merge with the artist’s imagination to become dreamlike, liminal scenes – figures in repose, an interior staircase – poised between memory and fantasy, the intimate and the universal, and the spiritual and the everyday. The material quality of aluminum is essential to these works in two contradictory ways: on one hand, the coruscating panel has an immateriality, suggesting a sacred object; on the other, it provides a durable, hard-edged substrate for paint to accumulate and be expunged.
Elespe’s treatment of surface extends to the drawings on view, where his scraping and layering is even more apparent. Meanwhile, paintings on coarse stretched linen, exhibited here for the first time in New York, have their own inherent structural woven texture. The recurrence of elements across the work evidences the artist’s habitual, almost monastic approach to art making, and it guides our own consideration of how repetition stimulates creativity.
By continuing to work on an intimate scale, Elespe imbues his paintings with a devotional quality and makes it impossible to look at more than one work at once. As a result, the exhibition as a whole requires an itinerant form of focused looking, whereby how we proceed through the show leads to the discovery of new connections and the construction of different narratives between the works.
Jeronimo Elespe was born 1975 in Madrid, where he currently lives and works. He was educated at Yale University, CT (MFA) and School of Visual Arts, NY (BFA). Recent solo shows include LABOR, Mexico City (2015); Ivorypress, Madrid (2014); and a solo museum exhibition CAC Centro de Arte Contemporaneo, Malaga, Spain (2012). Elespe’s work is included in the collections of the Carnegie Museum of Art, Pittsburgh and the Museo National Centro de Arte Reina Sofia, Madrid. (11R press-release)
11R is located at 195 Chrystie Street, NY, NY, 10002,
Image: Encinas Negras, 2014–2015. Mixed media on linen
04 – 31 december, 2015
The exhibition “Somewhere in the memory” from the CAFÉ project, presents a current vision of art in which the artists show works of different genres, done through contemporary technological means, giving shape to the projection of images in movement. With new technologies, artistic manifestations like drawing, painting, and other plastic expressions change into an animated form in a vital transformation of the creation of their own artistic genre.
Artists: Abigail Lazkoz, Avelino Sala, Curro González, Daniel García Andújar, Enrique Marty, Eugenio Ampudia, Isabel Herguera, Marina Núñez, Mercedes Gaspar, Ruth Gómez, Suso33 y Vicente Blanco. Curator: Cristina García-Lasuén. (Mostra Espanha press-release)
Círculo de Artes Plásticas de Coimbra. Rua Castro Matoso, 18 Coimbra. Portugal
Image: Vicente Blanco
01 december, 2015 – 30 january, 2016
PSJM is an artist duo founded in 2003 by Pablo San José (b. 1969, Spain) and Cynthia Viera (b. 1973, Spain). It is based in Berlin. The work of PSJM questions the economic reality with an interdisciplinary and critical practice emphasizing spectacular seduction techniques of late capitalism.
PSJM concentrate on creating paintings of various sizes and media including lacquered aluminium, oil on canvas or gouache, and ink on paper. In addition, the artist duo has expanded its creative work to sculptures, a book, and video publication focusing on economy and society.
Their work has been shown in numerous international exhibitions Beyond the Tropics within the context of the 56th Venice Biennale. Additionally PSJM has shown at PS1- MOMA; in collaboration with El Perro and Aitor Méndez / DIVA NY 07, Galería Blanca Soto; Pulse 08, Galería Espacio Líquido, Freies Museum, and Riflemaker Gallery.
In parallel to their visual research, carrying out an intense theoretical and literary activity. They have so far published the novel La Isla de Hidrógeno (Empatía, Madrid, 2010) and the books Neutralizados (PSJM eds., Empatía, Madrid, 2009) and Fuego Aamigo. Dialéctica del arte político en el capitalismo total (Cendeac, Murcia, 2015). PSJM works have been included in Art & Agenda: Political Art and Activism (Gestalten, Berlin) and in Younger than Jesus. Artist Directory. The essential handbook to the future of art published by the New Museum (Phaidon, NY). AC/E supports through the Mobility Programme artis Cynthia Viera in this project. . (AC/E press-release)
Image: PSJM, “The hydrogen Island”, 2010
until 12 december 2015
The new exhibition of the Spanish Artist and musician José Maria Cano in London features a series of encaustic paintings that has the Moon as the main subject. His paintings recreate the surface of the Moon by using molten paraffin wax that is applied over the canvas with a wax gun. Once this step is complete he gives it the form that he wants to recreate the surface of the satellite. The result of this process is an interesting recreation textures, lights and contrast.
José Maria Cano has produced other exhibitions previously, like The Wall Street 100 and La Tauromaquia, based on capitalism, wealth and power, and the art and ritual of bullfighting.
The Riflemaker Gallery. 79 Beak Street, Regent Street, London W1F
Image: “The Moon” Jose Mª Cano
20 november 20, 2015 – 9 january 9, 2016
Isabel Miquel Arques (b. Lleida Spain) is mostly a self-taught artist. Experimenting with all kinds of photography, from classical to pinhole cameras. Growing up in a very rich cultural environment but spartan way of living, shaped her way of seeing life and applying photography. This sobriety makes her to work with the strictly basic, camera and natural light. With Here be lions she tries to capture the many faces of desire on film.
HERE BE LIONS: The reading of Toon Tellegen’s book, “Letters to the Sleeping Beauty”, has greatly inspired this exhibition.The book covers the story of the prince deciding that the time has come to find the Sleeping Beauty and kiss her. He doesn’t know where she is to be found, what this voyage shall bring or what to expect from his journey as a whole. During the course of his one-year travel, he writes her daily letters.
The core of this exhibition aren’t fairy tales, not even “The Sleeping Beauty” herself, yet another kind of beauty that goes further than hundred years of sleep. The longing.In today’s world, which appears to be fed by the immediate and the imminent, the notion of ‘longing’ seems to be transferred into “The dictionary of forgotten words”.
Sad story.In my mind however, longing is this fascinating lengthy process filled with desire, exaltation, doubt, disappointment, contradiction, poetry and hope. It’s a pursuit. It’s a thought on the move and yet steady. Delighting, enlightening and dark all together.The uncertainty of this deep inside voyage has set the tone and therefore decided the title of this exhibition, which is to be named, “Here be lions”.
“Here be lions”, stands for unknown, unexplored territories in imitation of the medieval practice of putting dragons, lions or sea serpents in uncharted areas of the map.Those are our prince’s territories.
“Here be lions” holds twelve artworks, representing the twelve months within a peculiar year, without any seasons.
The work is a rather dark piece established in black and white narrative, which appears to be set in a somewhat anti-conventional fairy tale décor, where the individual who longs ‘the prince in this case- exudes awkwardness; as if there was something unnatural in longing. The images are not a statement, on the contrary. The door that leads to interpretation is wide open. (Ingrid Deuss Gallery press-release)
Ingrid Deuss Gallery | Provinciestraat 11, 2018 Antwerp, Belgium
Image: Isabel Miquel Arques
26 november, 2015 - 31 january, 2016
Rosell Meseguer is one of the artists selected by the Romanian National Museum of Contemporary Art to take part in the exhibition ‘The Dark Side of Nature’ along with other artists from Hungary, Belgium, Lithuania and Korea, among other countries. The Spanish visual artist is travelling to Bucharest with the aid of an AC/E Mobility grant before the exhibition opens to present her work at an artist talk coordinated by Anca Verona Mihulet, curator of the project at the National Museum of Contemporary Art of Bucharest. (I.Cervantes press-release)
MNAC. Palace of the Parliament wing E4, Izvor St. 2-4, Bucharest
Image: Rosell Meseguer
until 17 january, 2016
By setting up an illuminating dialogue between artworks and their historical context, this exhibition shows how the iconography of St George and the dragon has always been a powerful driver of the European imagination. A selection of works is on display (including paintings, sculptures, drawings and illuminated manuscripts) representing the saint in different forms, and the exhibition examines how St George and the dragon are identified today with various battles of humanity against hostile forces, but also and perhaps above all against humanity itself as it seeks to define its destiny.
The success of the cult of St George was considerable, and his fame spread throughout the Western world. He became the emblem of countries and regions in Europe such as England, Portugal, Catalonia and Aragon. A multi-faceted figure, St George was also the patron saint of corporations, of various orders and of many European cities which were placed under his protection. This success accounts for the multiple depictions to be found in the largest European collections, as well as frequent appearances in popular traditions, which still constitute an intangible heritage that is showcased in this exhibition. Four contemporary artists are invited to show how this myth has retained its meaning even today: David Claerbout, Giuseppe Penone, Luc Tuymans and Angel Vergara Santiago.
Angel Vergara (Mieres 1958) his work is a continued research into the power of the image. By means of performances, videos, installations and paintings he tests the limits of art and reality. He questions the way the contemporary image shapes our own reality. Every work is an attempt to break through the image and to make its impact come to the surface on an aesthetic as well as a socio-cultural and political level. Decontextualized images of reality are mediated by the artist and transformed into art. Vergara’s work is the result of a constant dialogue between the artist, the ever transforming reality and its image. He creates a kind of reality “in-between”. In this process the viewer is encouraged to question his way of perceiving the everyday and the way it is presented to him in an avalanche of images. Also, the position of the artist himself is questioned. How can he fill the gap between what is real and what is art? How can he make reality enter art and art enter back into reality? Commissaires : Laurent Busine et Manfred Sellink. (MAC press-release)
MAC's. Site du Grand-Hornu. Rue Sainte-Louise, 82. B-7301 grand Hornu.Mons. Belgique
Image: Angel Vergara's video work “Ascalon”
17 november - 13 december, 2015
Encounters represents an architectural installation created to discover, explore, and display the work of Spanish practice luis vidal + architects (LVA) —a celebration of their vision and main projects over the last ten years, including the soon-to-be-inaugurated Terminal 2 at London’s Heathrow Airport, scheduled to open in June 2014.
The exhibition was conceived to create a meditational space in which one may experience the architectural queries and needs of the 21st Century through the critical eye of unconventional architect, Luis Vidal. This is not an architectural exhibition as you have ever seen before. A “vertical garden” planted by hand: the installation (6,000 “flowers”, 80 projects, 18 cities) will take the viewer through a personal journey along the conceptual map of Luis Vidal and his collaborators.
About Luis Vidal: Luis Vidal (b. Madrid 1968) studied architecture at the University of Greenwich (London, UK) where he specialized mainly in airports and transport infrastructures and graduated with honors in 1994. In 1995, he was elected the youngest member of the Royal Institute of British Architects (RIBA).
Luis Vidal was project director of the new Terminal T4 for Madrid Barajas Airport, and co-author and director of the new Warsaw International Airport. He has also worked on an additional 24 airport projects. Vidal is the concept and lead architect of the new Terminal 2 at London Heathrow Airport. (F.C.Providencia press-release)
Fundación Cultural de Providencia. Nueva Providencia 1995.cl/
Image: Luís Vidal + arquitectos (LVA)
november 25, 2015 – march 30, 2016
The figurative paintings of the Spanish artist Paco Pomet (b. 1970) transform mostly anonymous graphic sources into examinations of history, memory, and the absurd. Elements of subversion, at times subtle, then flagrant, imbue his compositions – usually monochromatic landscapes and portraits – leaving the viewer both intrigued by their accuracy and technical mastery, yet puzzled by their iconology.
A native of Granada, Pomet is a mid-career artist with an international reach, a prolific artistic output, and one who is commanding increasing scholarly attention for his already impressive oeuvre. Charged with denotative and connotative meaning, his work pleases the eye while provoking the mind, making sometimes surprising statements. As the artist, he is the first cause, the one who transforms his concerns into an image, allowing the viewer to deductively and inductively translate that effect.
Pomet’s work is embedded in the contemporary visual culture of intensive production of images yet also goes against the current, vindicating the use of the imagination to challenge the commonly obsolete perception of reality. In his paintings, the artist distorts the meaning of the image he reproduces through different ways: by integrating an element – often humorous – that is out of context within the subject that is depicted; by deforming characteristics or physical extremities of the beings he portrays; by playing with scale; or by using bright, almost unreal, colors. The result is a hilarious if not shocking or mysterious composition that invites the viewer to search for meaning, a playful proposition that reflects Pomet’s ultimate interest in “nourishing an active naiveté for looking at everything anew,” far from conventions.
A prominent characteristic of Paco Pomet’s oeuvre is the almost tangible presence that the dimension of time commands in his paintings. The artist’s fascination with the technological revolution of the first half of the twentieth century, and the innovative spirit from which it arose, is translated in his work through the representation of inventions of this era, often infused with an anachronistic twist. Other recurring themes in Pomet’s oeuvre are his “grotesque” propositions; his incorporation of elements of Americana; compositions of non-sites; and the capturing of situations immediately preceding a fatal event.
Pomet’s oeuvre relates to the work of René Magritte (Belgian, 1898 – 1967) which bears enigmatic yet surreal elements. His painterly style is aligned with that of the postmodern artist Mark Tansey (American, b. 1949). Pomet also joins Gerhard Richter’s (German, b. 1932) interest in ‘photo-painting,’ naturalizing the illusionistic space and equalizing the oeuvre’s information through the blurring of its background. In Spain, his work shares with Ángel Mateo Charris’ oeuvre (b.1962) its inspiration in comics and Pop-Art, and with that of his former studio colleague, Santiago Ydáñez (b. 1969), its technical freshness. Paco Pomet is the first retrospective museum exhibition of the artist’s work in the U.S. (Artis-Naples press-release)
Artis-Naples. 5833 Pelican Bay Boulevard. Naples, Florida
Image: Paco Pomet. La Tierra Prometida, 2010
5 november, 2015 – 9 january, 2016
“The works in this exhibition are for the most part the result of my observation of nature in my immediate environment around my studio in the Sierra de Guadarrama,” according to Asensio. The exhibition consists of 14 sculptures in which Asensio uses geometry as a starting point to approach organic and natural themes via various materials, textures and colors.
With their twisting forms and references to nature, Asensio’s sculptures result from his fascination with “models and limitations of growth as seen in certain plants,” as well as his interest “in understanding the patterns of curvature followed by leaves when they dry, driven by the tension generated by their own structures.” Nature itself is the starting point, according to Asensi “I have worked with models of flowers and leaves that I scan digitally, from the simple structure of a leaf to more complex structures of fractal geometry.”
Asensio’s work displays clear references to that of sculptors such as Constantin Brancusi, Isamu Noguchi and Anish Kapoor, artists frequently associated with Asensio. As Francisco Calvo Serraller has written: “Asensio’s work is anchored in a higher degree of abstraction, primarily addressing spatial and geometric issues….Asensio is interested in the curvature of space via flat-surfaced objects, which is a greater challenge when working in stone than when working with cast materials (although he has also experimented with bronze and, more successfully, with stainless steel).”
Juan Asensio (Cuenca, 1959) is a self-taught artist whose artistic development took place in direct contact with artists such as Jorge Oteiza, Martín Chirino, Manolo Valdés and Juan Bordes. Among the awards he has received are first prize in the 20th Caja Madrid Fine Arts Competition and El Ojo Crítico Fine Arts Award from Radio Nacional, both in 1996, which was also the year of Asensio’s first exhibition at the Galería Elvira González. Asensio’s work is included in private collections in the United States, Brazil, Mexico and Europe, as well as in various collections in Spain. (Galería Elvira González press-release)
Galería Elvira González. General Castaños, 3 · 28004 MADRID
Image: S/T. Juan Asensio.
BERLIN. Montserrat de Pablo “Cámara Oscura, Work in Progress” Max Planck Institute for the History of Science
2 november – 31 december, 2015
The present exhibition “On the Camera Obscura, The obsession with capturing image” is based on her research on the camera obscura carried out at the MPIWG as a visiting scholar during the years 2013, 2014 and 2015.
Her doctoral thesis, “The history of the camera obscura, as prehistory of photography” (2014), is a monograph about the camera obscura which provides an overview of its evolution in the Western world. To provide a global overview she created a timeline, and as her work is also based on the selection and compilation of documentary sources, she has also created a database with illustrations related to the camera obscura.
To explore the possibilities of the camera obscura and understand its uses, she also worked with the “historical camera” at the MPIWG.
The idea of this exhibition is to show the whole process of the work. On the one side, the documentary section consists of the timeline expanded in space as a visual cartography, through a selection of the illustrations related to the camera obscura. It shows the interrelationships between key milestones and the brief data summarizing her story. In connection with this, the library displays a selection of the rare MPIWG books relating to the camera obscura. On the other side, Montserrat de Pablo presents photographs and drawings made with the Planck camera obscura, interior and exterior views, a set of variations on a theme, along with photographic portraits of the MPIWG staff as a “group portrait.”
A related exhibit: “Montserrat de Pablo, Cámara Oscura, Work in Progress” has being already shown at Cuenca (January, 2015) and Ciudad Real (May, 2015) University of Castilla-La Mancha, Spain. (MPIWG press-release)
Max Planck Institute for the History of Science . Boltzmannstraße 22, 14195 Berlin, Germany
Image: Montserrat de Pablo, Interior MPIWG I, 2014
20 november 2015 - 5 january 2016
multiverses in his Micro-Chrome series. Micro-Chrome series recreates a pictorial code that connects three elements: scale, colour and music. Rabadán’s paintings offer the audience the memory of nonexistent horizon with the conclusion that every landscape is a state of mind.
“Scale” - In the correct distance, the artwork manifests itself in its completion which covers the collection as a whole. When the spectator is close, each square is an abstract three-dimensional space which separates from the whole compilation.
“Colour” - Rabadán is interested in the nature of colour and he paints with oil, acrylic and spray to apply many colours at the same time in Micro-Chrome series. He believes colour is a language of painting and it is associated with harmony, melody and rhythm which leads to the last element.
“Music” - Each square is a note of musical composition and the whole work serves as a pictorial-sound code. Rabadán suggests that a ﬂat square is a music tone, a square with two colours is a semitone and those consist of more than two colours are “colour-noise”.
Rabadán was born in 1986 in Seville, Spain. He lived and worked in Istanbul, Turkey for 4 years before and now he is working between Seville and Istanbul. He has more than 10 solo and group exhibitions in Spain and Turkey and his works were included in more than 10 publications. This is the ﬁrst time for Armando Rabadán to showcase his collection in Asia-Paciﬁc region and we invite you to travel together in the dimensional multiverses. (AP Contemporary press-release)
AP Contemporary. 28 Tai Ping Shan Street, Sheung Wan, Hong Kong
Image: Armando Rabadán
1 – 30 november, 2015
Last October 31th was the opening, at Howze Honari, of my first solo exhibition in Tehran, Iran. ‘In the name of Hussein‘ is the result of the work I began on 2011 shooting in Yazd and Tehran the Shi’a religious ceremonies during sacred month of Moharram. An art display titled 'Muharram Exhibition' by the Spanish photographer Manolo Espaliú opened on November 1 at Iranian Photographers Center of Art Bureau.
Espaliú said that taking photos of Muharram ceremonies, particularly Ashura was not a difficult task, adding that Iranians are very keen on sharing the mourning ceremonies with those coming from other countries, IRNA wrote.
Ashura, the 10th day of the lunar month of Muharram, is the anniversary of the martyrdom of Imam Hussein (PBUH), the third Shia Imam.
"Interestingly, in Spain, people are not interested in explaining their mourning ceremonies to photographers," he noted.
Elaborating on the process of holding the exhibition, he said, "It was really interesting that an Islamic center in Iran holds exhibition for a foreigner who is not from Islamic culture.
"In fact, I was interested in Iran from years ago because my father worked here for a short period and explained Iran's history, society and religion to me."
Touching upon the present photo exhibition, he explained that it includes 37 photos mostly taken in Yazd Province during three consecutive years. (tehrantimes press-release)
Iranian Photographers Center of Art Bureau.
Image: Manolo Espaliú
30 november 2015 - 30 april 2016
Spanish designer Jaime Hayon (b. 1974) is one of the most acclaimed designers worldwide, and Time Magazine recently listed him as one of the 100 most relevant creators of our times.
Hayon's work is driven by an irresistible urge to create his own world where amusing, fantastic, and narrative elements combine with a keen eye for detail and finishing.
The exhibition will present the range of Hayon's work over the past ten years, from early works (2003) with which he took the world of design by storm when he created a dreamlike space comprising ceramic cactuses and strange animals, through the complex and intricate paintings and drawings that characterize him and include patterned portraits and drawings of animals and machine parts, to special projects he created for leading design companies such as Baccarat, Lladró, and Magis.The exhibition premiered at the Groninger Museum in Holland. (AC/E press-release)
Design Museum Holon. Pinhas Eilon St. 8 Holon, Israel
Image: Jaime Hayon. Green Chicken
27 november 2015 – 09 january 2016
The latest project of Keke Vilabelda (b. Valencia 1986) is based on a field research made by the artist around the Spanish Peninsula, where he traced and documented the vestiges left by the bursting of the real-estate bubble in his homeland.
Faithful to his artistic technic, Vilabelda extrapolates the results of this journey to the exhibition space, bringing closer to the public the silent testimony of the unfinished architecture that represent the frustrated dream of the speculators, and the impoverishment of a nation. Greed, luxury, trust, hope, failure, decadence, ruin… the artist recall in a powerful way the echoes of these contemporary fossils, building his works with the same raw materials used in the construction, trying to rescue their miserable beauty from oblivion. (Rodriguez gallery press-release)
Rodríguez Gallery. ul.Wodna 13/4. U1-782 Poznań, Poland
28 november 2015 – 31 january 2016
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. (Setagaya Art Museum press-release)
Setagaya Art Museum. 1 -2 kinuta koen, Setagaya- ku Tokio
Image: IVAM. Julio González. Daphné. 1937
VIENNA. Democracia, Teresa Estapé, Santiago Sierra and Jorge Galindo “Creating Common Good” Kunst Haus Wien
17 november – 10 january 2016
The decision to title the exhibition “Creating Common Good” was made before we could discern the tangible impact the global political situation would have on our lives, or gauge its momentum. As we see in the level of civic involvement and the failure of politicians to effectively manage crises, words matter more than deeds here. It is therefore all the more important that the exhibition approach the question of “Creating Common Good” from various artistic perspectives, tackling a range of topics from alternative microsystems to gentrification processes and direct affectedness a with regard to refugee migration, to criticism of state budgetary cuts to education and culture. How does art contribute to the public interest? What do artist-initiated projects achieve for the common good of our society? To what degree have agendas that originally fell to the jurisdiction of the politics shifted over to the art sector, to its discourse on the current “political landscape”?
The artists and collectives participating in this exhibition are not only calling for a greater sense of political responsibility; they are not advocating for human dignity, solidarity and justice alone. Instead, they bring in new criteria and questions pertaining to the creation and use of resources, suggest alternatives to the established order, and hold themselves to the ethical task of shaping society themselves.
With works by: Akram Al Halabi, Atelier Van Lieshout, Joseph Beuys, Bernhard Cella, Ramesch Daha, Democracia, Ines Doujak, Teresa Estapé, Peter Friedl, Leon Golub, Tamara Grcic, Gruppe Uno Wien, Markus Hiesleitner, Heidrun Holzfeind, Anna Jermolaewa, Folke Köbberling, Ernst Logar, Teresa Margolles, Adrian Melis, Lucy + Jorge Orta, Lisl Ponger, Pedro Reyes, Martha Rosler, Isa Rosenberger, Tim Sharp, Santiago Sierra and Jorge Galindo, Axel Stockburger, tat ort, Johanna Tinzl, transparadiso, Patricia K. Triki, Nasan Tur, Anna Witt, Ina Wudtke, Sislej Xhafa
Curated by Robert Punkenhofer and Ursula Maria Probst. (Kunst Haus Wien press- release)
Kunst Haus Wien. Museum Hundertwasser. Untere Weissgerberstraße 13, 1030 Vienna
Image: “Los Encargados” Santiago Sierra and Jorge Galindo, 2012
until 27 marzo 2016
Miserachs Barcelona presents an exciting journey through time, an adventure in which the phantasmagorical character of the photographs is sometimes pure archaeology and at other times the present day. In the exhibition the images of Barcelona, blanc i negre come alive, constantly changing like the continual transformative energy of the city and its people. As with the photobook, the exhibition Miserachs Barcelona presents urban experiences that are as fluid and instantaneous as the photos, forever incomplete and imperfect, yet retaining the ephemeral and resisting oblivion.
In September 1964 the photographer Xavier Miserachs, a native of Barcelona, published his major work, Barcelona, blanc i negre, a photobook bringing together nearly four hundred of his photographs. At the age of only 27, he was already a veteran photographer, a member of the Agrupació Fotogràfica de Catalunya (Photographic Association of Catalonia) since 1952, who had exhibited and won prizes as an amateur photographer. From 1961, Miserachs worked professionally in advertising, photojournalism and, above all, street photography, ‘the pleasure of wandering around trying to represent what to me seemed distinctive and significant about the place’.
In Miserachs Barcelona, the viewer encounters the photos of Barcelona, blanc i negre arranged in the form of large murals, shop-windows, enlargements and projections. It opens with a twilight panorama, both unreal and documentary, that refers to the distant horizons of the cinema. Next, you enter the city, recreated in a Meccano-like construction that evokes the style of exhibition displays during the years in which Miserachs prepared his photobook. It is a model that began in the lecture halls of the Bauhaus and reached its photographic zenith with the portable structures used for The Family of Man. Later, you can literally walk through the pages of Miserachs’ photobook and the crowded streets and squares of a Barcelona without tourists, thanks to large three-dimensional enlargements that transform the space into a stage design in which the viewer becomes an active participant. A further space is dominated by changing projections, in which the viewer is immersed in a past and present that constantly merge. Finally, Barcelona, blanc i negre is displayed on a screen in full detail. Here we also find copies of the photobook and the meandering itineraries followed by Miserachs during its preparation. Curator: Horacio Fernández. (MACBA press-release)
MACBA . Plaça dels Àngels, 1 . 08001 Barcelona
Image: "Festes de Gràcia, Barcelona", 1964
9 november 2015 – 10 january 2016
To construct the artworks in Heads Will Roll, de Esteban has mined a mass media that generates an incessant stream of imagery of war, violence, and disasters 24/7 into our homes, offices, public and private spaces. De Esteban merges and juxtaposes images, texts and found objects, to produce photomontages that present a cacophony of information that is at once dense with information yet visually legible.
The resulting artworks are stunningly rich, visually beautiful constructions, that at the same time reveal a world where violence, imagined or real, is always looming. The intention of the artist is for the viewer to be left almost totally out of balance, in a state of anxiety and unease. The exhibition will feature eight large-scale, lushly colored photographs, carefully curated from the larger body of work, consisting of twenty-four photographs
Max de Esteban (b. 1959 Barcelona) is a Fulbright Alumni, who holds a PhD from the Universitat Ramon Llull in Catalunya and a Masters from Stanford University. His work has been featured at the Deutsches Technikmuseum (Berlin), Rencontres Internationales at the Palais de Tokyo (Paris) and Darmstädter Tage der Fotografie, among others. He is the recipient of the National Award of Professional Photography in Spain and the Jury’s Special Award in Fotofestiwal, Poland. His artworks are held in several notable collections, including the Museum of Fine Arts, Houston; Museu de Arte Modena do Rio de Janeiro in Brazil; and the Deutsches Technikmuseum. De Esteban’s work has been shown in numerous exhibitions worldwide, and featured widely in the press and media. His monograph Heads Will Roll, was recently selected as a photo-book of the year by LensCulture. Max de Esteban lives and works in Barcelona, Spain, and is represented in the United States by Klompching Gallery. (Klompching Gallery press-release)
La Fábrica. Calle Alameda, 9, 28014 Madrid
Image: Max de Esteban. Heads will Roll, 2015
27 november 2015 – 31 january 2016
ART Situacions is thrilled to present its second edition featuring works by Ludovica Carbotta, Gabriele De Santis, Miren Doiz, Anna Franceschini, José Guerrero, Rubén Guerrero, Diego Marcon, Alek O., Teresa Solar Abboud, Anna Talens.
Pursuing the goal of being an active subject in the support of emerging contemporary art, ART Situacions is a private initiative of patronage based in Spain that constantly encourages artistic creation. After having worked in 2013 on a survey around the Spanish and Portuguese art scene, this years’ edition focuses on an in depth investigation on the emerging contemporary art practices present in Spain and Italy today.
Aware of the fact that the system of values on which our society has been based is now in full redefinition, ART Situacions considers culture and art as an efficient tool to sharpen criteria, a path that allows to illuminate the uncertainty to which the human being is subject.
Considering the lack of opportunities today faced by the younger generations acting within visual arts, ART Situations seeks to sustain and promote contemporary art practices and spread them among a wider audience. ART Situacions does not intend to reflect the tastes of the patrons behind the initiative, nor to display a particular theme or artistic discipline, but to carry out a prospective look on art in the present age, focusing on some of the most interesting and coherent researches.
For each edition ART Situacions identifies an artistic scene to study closely in dialogue with the Spanish one. For this second edition Italy was selected as the ground to explore and represent an incisive overview of the younger generations in Spain and Italy today, and conveyed, through different nuances and forms a portrait of the present time.
The exhibition – which will be touring between the Museo d’Arte Contempranea Villa Croce, Genova, the Museo di Arte Contemporanea di Roma (MACRO), and the Matadero, Madrid, intends to be a stimulating multifaceted landscape offering a privileged point of view on some of the most well structured, poetic and coherent practices operating today, at the same time conveying different articulate interpretations of the time we are living. (Artsituations press-release)
MACRO. Via Nizza 138, 00198 Roma
Image: Anna Talens.
16 october – 28 november, 2015
"Today, the immediate, impetuous and thoughtless consumption has brought the image into disrepute, has even destroyed it. - How can we paint Nature, now, that its representation does not exist any more? My paint wants to do it.
In the exhibition Palimpsest Nature is not represented, it is present, it is not an image, it exists on the canvas, where leaves float on its surface. But to allow us to see, I have buried them under infinite layers of varnish, one coat upon the other, in a tantric gesture that gives hint to its physicality.
What remains is its memory, the reminiscence of its trace, prevailing after a process of constant deletion. Through each coat, the paintings become the bearers of a palimpsest, of the layers of memory that constitute the fraught and painful history of image, and of Nature.
The traditional technique of layers functions here as a Palimpsest, in order to make things visible and to recuperate life. - Imagining the image, veiled by time, is the only way to watch consciously. Palimpsest or memory residues, is a vehicle to clarify the view. Paint, a representation in the past, is today a space for reality." Darío Basso
Darío Basso was born 1966, he lives and works in Madrid. Nature, travels and the meeting of cultures and its influence on history are constant themes in his work. He joins the experiences made during his journeys in Africa, India, South America and the Middle East with a western vision. - Dario Basso has created during his career an individual and timeless language that has found the interest of many art lovers. (Arthobler gallery press-release)
Arthobler gallery gmbh. stauffacher-quai 56. 8004 zurich-switzerland
Image: Dario Álvarez Basso. Initial Bloom, 2015
7 november 2015 – 31 january, 2016
Cristina García Rodero “Open-Mouthed“. This comprises a theme in retrospective of her works right from the first of her photographic endeavors through the end of the seventies till today. The exhibition studies the diversities in the behaviours that are expressed through the mouth. (efe press-release)
Instituto Cervantes of New Delhi. 48, Hanuman Road. Connaught Place. New Delhi 110 001
Image: Cristina García Rodero
27 november - 12 december 2015
Coinciding with the Amsterdam Art Weekend, De Ateliers in collaboration TAAK proudly presents: the first exhibition of Paloma Polo in the Netherlands. Under the title ‘Unrest’, Paloma Polo presents a body of works resulting from a two-year research undertaking in the Philippines, which reflected on themes of social change and emancipatory politics.
‘Unrest’ explores themes of exploitation and expropriation in relation to the economic development program Aurora Pacific Economic Zone and Freeport (APECO). The artist engaged a varied range of activists, radical political thinkers, peasant and indigenous leaders and communities, and scholars from various disciplines to thresh out a critique of capitalism and advance alternatives derived from social revolutionary struggles in the Philippines.
Alongside the film, a photographic work is presented.. Curator: Theo Tegelaers.
Paloma Polo (b. 1983, Madrid) was a participant at De Ateliers from 2007 till 2009. In recent years, she has emerged as one of the most prominent Spanish artists of her generation. Paloma Polo had a solo show at Museo Reina Sofía (Madrid, 2012) and participated in ‘The Encyclopedic Palace’ in the 55th Venice Biennial (2013). She had exhibitions at Kurimanzutto (Mexico, 2012), Umberto di Marino (Naples, 2013) and Parra-Romero (Madrid, 2015). This exhibition is a continuation of ‘The Ultraperipheric’. (De Ateliers press-release)
De Ateliers. Stadhouderskade 86. 1073 AT Amsterdam
Image: Paloma Polo
05 november - 30 november, 2015
‘How are you feeling today?’ is a site-specific intervention for the Window Space by London-based artist Eva Fàbregas. Drawing on her interest in the so-called social life of objects, Fàbregas’ work explores our psychological intimate relationship to everyday objects, commodities and consumer goods, while inviting the audience to consider their dialogic potential.
For this exhibition, Fàbregas brings back to life Clippy, the (un)famous Office assistant created by Microsoft in 1996. Shaped as a paperclip with anthropomorphic traits, this character was designed by the multinational corporation as a mediator between humans and computers, providing an interface with which consumers could build an emotional bond. In ‘How are you feeling today?’, Fàbregas reflects on the ambiguous nature of this paperclip as a transitional object, an item through which our affects and desires circulate.
Eva Fàbregas (b. Barcelona, 1988) is an artist based in London. She holds an MA in Fine Arts from Chelsea College of Art & Design. Recent solo exhibitions include The Green Parrot, Barcelona, 2014; Kunstraum, London, 2014; PlazaPlaza, London, 2013; Caja Madrid, Barcelona, 2012. Recent group shows include Centre d’Art La Panera, Lleida, 2015; Fabra i Coats Centre d’Art Contemporani, Barcelona, 2014; Can Felipa Arts Visuals, Barcelona, 2013; and Fundación Botín, Santander, 2012. (Whitechapel gallery press-release)
Window Space. 59 - 63 Whitechapel High Street, E1 7PF
Image: Eva Fabregas “How are you feeling today?
19 november - 18 december 2015
Artist José Carlos Naranjo Bernal has been selected to participate in the showcase exhibition at the Griffin Gallery. Designed to have meaningful impact on the career of one emerging artist, the Griffin Art Prize is an annual residency and exhibition award for UK based artists in painting and drawing.
The work of José Carlos Naranjo Bernal (b. Villamartín, Cadiz 1983) responds to a new pictorial trend based on the construction of a new figurative language itself, the product of the younger generation. The immediate urban environment is the theme chosen to locate some anonymous characters caught in the middle of the night in rare and relaxed attitudes, usually associated with recreational activities, stripped of all solemnIity, which is unusual in the genre of painting.
If the theme employed plays a key role in shaping the new language, no less contemptible in his compositional structure, directly related to photography, as much as in the framing as in the flash lighting. Similarly, the use of a very loose technique allows to emphasize the casual nature of his paintings and to create a deliberately informal finish. A flash of light reveals the protagonists in flagrant action embodied through a beam of white light and acid colors, as a foreground in focus, emphasized on a very contrasted dark background inherent to nightlife. Spontaneity in the outline and narrative are natural qualities to highlight in the figurative work of Jose Carlos Naranjo Bernal. (Griffin gallery press-release)
The Studio Building. 21 Evesham Street. London, W11
Image: José Carlos Naranjo. jc. memories of constable, caballo verde, 2015
14 november 2015 - 17 january 2016
Jakarta Biennale 2015 aims to promote a continuous reading of the development of the idea of the city, which is viewed as a complex and dynamic area that reacts to both local and global changes. The Biennale amplifies the observation of sociocultural phenomena within the scope of a specific time and space. Furthermore, in the artistic context, the Biennale plays a very prominent role in challenging the latest trends in relation to the development of cultural, social and political matters both in Indonesia and internationally.
The theme of the 16th edition of Jakarta Biennale, curated by Charles Esche, is ‘Maju Kena, Mundur Kena: Learning in The Present’. This year’s event features a broad-ranging programme that includes a general exhibition, projects in public spaces, night events, exhibitions of young artists, workshops and other educational activities and symposia, as well as the publication of a catalogue. The aim is to explore the significant cultural influences found in the present of Indonesia and how they shape the image of today’s world. For this purpose it is divided into three core exhibition sections: ‘Indonesia in the 80s’, ‘The contemporary international in Jakarta’ and ‘Young Indonesian artists now’. The curators will weave three subject strands across these three exhibition elements: ‘Learning’, ‘Water’ and ‘History today’, which will cross over the abovementioned sections to allow visitors to discover them from the viewpoints of different generations.
The Spanish artist Juan Pérez Agirregoikoa has been invited by Jakarta Biennale Foundation to take part in the Biennale, with the support of AC/E. (AC/E press-release)
Jakarta Biennale. Jl. Amil Raya No. 7 A Pejaten Barat,. Pasar Minggu Jakarta Selatan. Indonesia
Image: Jakarta Biennale 2015
november 7, 2015 - february 14, 2016
Office Space cleverly subverts contemporary office culture as a means to explore labor practices in the 21st century post-industrial economy.
As offices become mobile, the nine-to-five becomes a nonstop 24-hour cycle, and the service and information economy predominates, this exhibition reflects on the rise of "immaterial labor" in developed countries. Through video, sculpture, painting, and installation, the artists in Office Space interrogate universally recognized aspects of office architecture, design.
Ignacio Uriarte (1972) was born and grew up in Krefeld in Germany. He studied business administration in Madrid and Mannheim, then worked for various corporations in Germany, Spain and Mexico. There, he graduated in audio-visual arts from the Centro de Artes Audiovisuales in Guadalajara, Mexico. He left the corporate world ten years ago and dedicated himself fully to art, calling his work “office art”, and moved to somewhat more artist-friendly Berlin in 2007. Uriarte draws inspiration from 'the little creative moments' within office routines. The two-channel video Blue Ribbon takes as its starting point the simplest of all office doodles: filling out squares on graph paper. Whether monumentalising the 'cascade' function in Windows by spacing sheets of paper over a wall, or drawing shapes with two different shades of black marker pen, Uriarte uses administrative tools to restore creative agency to the office worker.
Artists include: Cory Arcangel, Mark Benson, KP Brehmer, Joseph DeLappe, Alex Dordoy, Harun Farocki, Bea Fremderman, Idle Screenings (with works by Stephanie Davidson, Jacob Broms Engblom, Manuel Fernandez, Paul Flannery, Kim Laughton, and Jasper Spicero), Joel Holmberg, Josh Kline, Pil and Galia Kollectiv, Julien Prévieux, Laurel Ptak, Sean Raspet, Mika Tajima, Pilvi Takala, Ignacio Uriarte, Andrew Norman Wilson, and Haegue Yang. (ybca press-release)
Yerba Buena Center for the Arts. 701 Mission Street. San Francisco, CA 94103
Image: Ignacio Uriarte
10 november 2015 - 10 january 2016
A curatorial project presenting a selection of twelve videoart pieces that show how art can function as a symbolic act of resistance to face the amends of our society.
Twelve audiovisual works give answers to some social inequalities and political humiliations, providing an interpretation of politics, from the idea of the aristotelic zoón politikón (political animal).
The project aims to reflect on the existing relationship between art and resistance. The context references the most immediate present, putting an emphasis on the need to find the origin of the current political-social slit from the classical theorization of what should be the State.
Hic et Nuc is curated by Imma Priento. The featured artists are Daniel G. Andújar, Eugenio Ampudia, María Cañas, Mateo Maté, Chus García-Fraile, Jordi Colomer, PSJM, Avelino Sala, Marta de Gonzalo y Publio Pérez, Núria Güell, Jorge García, Pelayo Varela. (Aecid press-release)
Centro Cultural de España Col. Palmira, 1ª calle, número 655, Contiguo al Redondel de los Artesanos,Tegucigalpa
Image: A vuelo de pájaro. Daniel G.Andujar
06 november, 2015 – 16 january, 2016
Massana (b. Ponts, 1968. Catalunya) graduated in Fine Arts with an specialisation in sculpture at the University of Barcelona. He is Professor and head of the Department at the University of Art and Design in Tàrrega, Spain. Also he is Arts and Heritage Advisor at the Institut d’Estudis Ilerdencs in the Mayor-Council of Lleida. With the age of 24 years, he won the 1st prize of painting organized by the Generalitat de Catalunya. Subsequently he has been selected an awarded in biennials, exhibitions and models. He was recently selected to be the first artist to expose an single exhibition in the PAN, Palazzo delle Arti Napoli, with his show "Il libro dell'acqua" which has been edited with 2000 copies.
He has participated in fairs and international exhibitions such as: ArteFiera (Bologna), Miart (Milano), Verona, Padova, Montichiari, Napoli, Roma, Genova, Strasbourg, Cahors, Brussels, Madrid, Oviedo, Barcelona, Cologne, etc.
His work ranges from installations of large and small format, drawings, various engraving art techniques, painting in different media, sculpture, to videoart and poetry. (100 kubik press-release)
100 kubik - Raum für spanische Kunst. Mohren Str. 21. 50670 Köln
Image: Joanpere Massana “Entre la piel y el aire”
24 october – 30 november 2015
After her first personal exhibition The Fly Woman in 2005, Amparo Sard considered one of the most interesting Spanish artists on the contemporary international scene – returns to Salerno with a new display of works (some of which are inedited) from the Sights and Shadows series, created with her original needle point technique, accompanied by a video work named Hauptpunkt.
In her new works on paper, Amparo Sard uses a contrast between black and white to communicate the lightness and the restlessness of a “universe” made “of interrupted gestures which are then taken up again” – as Lea Mattarella wrote in a critical work -, “of broken elements in search of a new harmony, of continuously changing shapes.” A universe of visions and shadows in which the artist also “embroiders” herself .
In the two drawings entitled Under the Ground, one of which has been created on a white surface and the other on black, Amparo Sard portrays herself protected and/or imprisoned in a clod of earth, sharing a place with mountains and trees which has been dedicated to them in the illusory space of the work.
Black is the main colour of the work named Mountain: the bright slope of the mountain, patiently needle-defined, is threatened by the thickening of the rubber and silicon materials which the artist uses to give physicality to the shadows which become defining elements in our lives, disturbing and disorienting our interpetation of reality. “It’s a mountain where the shadows have substance – says Amparo Sard -. Sometimes we give more importance to the shadows (in our mind) than to the true reality.”
The video Hauptpunkt (DVD, 7’, 2013) completes the exhibition. With this work the artist affirms the necessity of reclaiming nature through a “contemplative experience” of the landscape: “Today we are living our lives as if we were travelling on a train – says the artist -, with no stops, no seasons, and where everything flows with a predetermined rhythm. Where the important thing is to make a decision quickly and just as quickly correct it, if it is wrong”.
Born in Son Servera (Mallorca ) in 1973 , Amparo Sard has a degree in Fine Arts from the University of Barcelona, where he now teaches art, and is one of Mallorca's most internationally renowned artists . He has won the City of Palma "Antoni Gelabert " Painting Prize and the Deutsche Bank International Award (1999 ) , in 2004 was a finalist for the 2005 Generation Award, Caja Madrid, among other awards
Her works can be found in important private and public collections and in some of the most important International Museums (MOMA – New York, Guggenheim – New York, MACRO – Rome, Casal Solleric – Palma de Mallorca, Contemporary Art Museum of Murcia, ABC Museum – Madrid). (Galleria Paola Verrengia press-release)
Galleria Paola Verrengia. via Fieravecchia, 34 84122 Salerno
Image: Cutting the Space. Amparo Sard
29 october 2015 – 17 january 2016
This monographic exhibition is the first specific inquiry into the role of the object in the work of Joan Miró. Curated by William Jeffett, Miró and the Object looks at how the artist began with pictorial representations of objects and then moved on to physically incorporating them in his works through collage and assemblage, before finally arriving at sculpture. The exhibition narrative shows how Miró's exploration of the world of objects led him to work with different techniques and methods.
The selection includes paintings, collages, objects, ceramics, and sculptures from the Fundació Joan Miró, along with singular pieces from public and private European and American collections.
Miró and the Object sets out to show how Miró defied painting in the late twenties, and how his respect and intense dialogue with the objects around him helped to bring about a profound transformation of the concept of art in the twentieth century. (fmiro press-release)
Fundació Joan Miró. Parc de Montjuïc. 08038 Barcelona
Image: Sin título. Dibujo-collage. Joan Miró, 1933 Fundació Joan Miró, Barcelona.
30 october – 19 december 2015
Chillida: Rhythm-Time-Silence marks the third Ordovas exhibition devoted to the work of Eduardo Chillida and inaugurates the gallery’s presence in New York City. Eight monumental works on view reflect the intimate and universal themes that characterized Chillida’s vision. With this exhibition, we aim to offer audiences in the US and beyond a fresh look at the work of this great Spanish master of 20th century sculpture. (Ordovas press-release)
Ordovas Gallery. 488 MADISON AVENUE, NEW YORK NY 10022
Image: Chillida: Rhythm-Time-Silence installation view, Photography by Maris Hutchinson
october 29 - november 28, 2015
Isaac Cordal made Montreal his playground by putting his resin characters in context througout the city in cracks in the walls, puddles and cracks in the sidewalk. His work reflects on our way of life, progress and its side effects on society.
Isaac creates poetic miniature scenes which are sometimes disturbing. His characters, wearing suits, seem to be headed for disaster (drowning, disappearing in various ways) and embody the symptoms of a world in crisis.
Realized to be placed in the street, taking advantage of the existing architecture, Isaac lets us see a rough view of our society. Through ingenious installations, it points out the imperfections of our consumerist routines, the intellectual enslavement of mass and highlights environmental issues (COA press-release)
Galerie C.O.A 6405 St Laurent. Montréal, Qc, H2S 3C3
Image: Isaac Cordal
30th october, 2015
Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)
Image: Olmo Blanco
november 05 – january 10, 2016
Perfect Day is a solo exhibition by contemporary Spanish artist Eva Armisén whose paintings, drawings, and etchings have the capacity to transform each day into a unique occasion.
Eva Armisén brings something that goes almost beyond definition: an affirmation of life that vetoes any form of aggression.
Her work is essentially narrative and speaks of the small moments in daily life. She paints stories and characters, accompanied by a word or a message: walking, reading, ideas, falling in love; at times she goes a step further and adds ‘for you’ or ‘a special day.’ She transforms ordinary acts into the realm of the extraordinary, making us believe that each and every one of us has something to celebrate and enjoy.
Armisén (b. Zaragoza 1969) has exhibited her work in galleries and art fairs in Europe, America and Asia. Her artworks have been used in publicity campaigns by Coca-Cola, Skinfood, TMT, and O’2nd. Her art has been a part of TV series and Hollywood movies such as Modern Family, I hear your voice, Parenthood, and House. (Cmay Gallery press-release)
Cmay Gallery, 8687 Melrose Ave, West Hollywood, CA 9006
Image: Eva Armisén “de viaje”
5 november 2015 to 1st february 2016
The K11 Foundation in one of the most spectacular skyscrapers in Shanghai. The theme chosen is the artist's relationship with the media.
The show is divided into two parts, inextricably connected with each other. The first one will demonstrate Dalí at work. Covers and articles for Vogue, GQ, TV Guide, Newsweek, Town&Country, This Week magazines and many other editions will introduce the audience to Dalí the illustrator and the art director, the writer and the edito. The second part is a world of images which are an integral part of the era of the Fourth Estate, where the artist worked. Giant eggs, female legs in Bryans Hosiery, lips and, of course, Dalí’s famous mustaches recreate the unique space of Dalí’s mad world. But surrealism will be interrupted by a hall of ratio, without which it is impossible to imagine the work of the genius with media. Numbers have accompanied from the very beginning of his creative work be it circulation of a publication he has contributed to, a number of covers or the author's emoluments he received from one of the largest publishing houses.
Dalí’s oeuvre in mass media was inextricably connected with the imagery one finds in his art. His work as an illustrator was neither casual nor a temporary passion. It was one of the foundations of his total oeuvre. (K11 press-release)
Image: Photo Monde, 02/1954. Image Rights of Salvador Dalí reserved. Fundació Gala-Salvador Dalí, Figueres, 2014
29 october, 2015 – 10 january, 2016
The group exhibition Motion /Labour /Machinery aims to generate playful and speculative avenues for critical reflection on ways to think about labour & the city on micro to macro levels. The artists in the show deal with the contradictions and biases that we are facing today when we think about and try to depict the relations between labour and leisure, working time and free time, and the multi-layered transitions between these two fundamental states of human existence.
Rotterdam is a perfect case study of the late capitalist city where the constant spatial displacement of people and goods in the harbour generates an economy in motion. The dominant image of Rotterdam used to be the harbour, with its ships, docks and workers, sweating, toiling and hoisting, captured by iconic photographers such as Cas Oorthuys, Ben van Meerendonk and Robert de Hartogh. In the course of sixty years, Rotterdam gradually transformed from an industrial city into a leisure city attracting more tourists than ever, thanks to architectural icons such as the Market Hall.
Art has an ambiguous, if not conflictive, relationship to work. It has been defined as being a creative compulsion beyond the call of duty of work, or as incomparable to work, because it doesn’t seem to fit into the normal categories of work. Now that the boundaries between intellectual, immaterial and manual labour are gradually dissolving, artistic labour is becoming more representative of the functioning of a society as a whole. This raises new questions concerning the role of the artist in society and the political dimensions of art. What is today’s image of work in the realm of the arts? What is the condition of artistic work today? What is work? The show brings together artistic positions dealing with the contemporary nature of work and subjectivities produced by it, while at the same time unavoidably reflecting on what it means to work as an artist today. The exhibition is curated by Manuel Segade (ES, based in Rotterdam), in cooperation with artistic director Mariette Dölle and curator Jesse van Oosten at TENT.
The Immaterial Material by Fran Meana (ES) looks into the mysterious reliefs that a quaint pedagogical programme left behind in Arnao, a small mining town in the north of Spain. Full of geometric motifs, the reliefs were designed in 1912 to introduce local workers and their children to the principles of geography, grammar and geometry. These reliefs are one of the few material traces of the transition from an industrial to an information economy, a new regime of labour that makes of this mining town an archaeological fact.
Artist Marc Roig Blesa (ES) and graphic designer Rogier Delfos (NL) began producing issues of Werker Magazine in 2009, a series of socially committed publications about labour and the function of photography within society. The form is invariably dictated by the institutional context in which each issue is to be distributed or exhibited. In TENT, Werker Magazine will organize a number of workshops following the methodologies of the Worker-Photography Movement born in Germany in the 1920s and then spreading across Europe, USA and Japan.
Artists: Mercedes Azpilicueta, Doris Denekamp & Geert van Mil, Fotini Gouseti, Anne Maria Łuczak, Fran Meana, Carme Nogueira, Charlotte Schleiffert, Werker Magazine (TENT press – release)
TENT. Witte de Withstraat 50. 3012BR Rotterdam
Image: Fran Meana, Old Forms, 2013
23 de octubre - 10 de enero de 2016
Marina Vargas, the artist who lives and works in Madrid, presents in her solo exhibition thirteen works, twelve sculptures and a photography, specifically created for the exhibition at the CAC Málaga. In this project, the artist reflects on the new visions of inherited knowledge, the concept of beauty and liberation. She is strongly influenced by classicism, Greek-Roman, Renaissance and Baroque art. Her exhibition ‘Neither the animal or angel’ is inspired by theory of Paracelsus (the renaissance physician and alchemist interested in art, science, magic, astrology and anatomy), which is based on 3 elements: the elementary body (gluttony and lust), the astral body (the mind, art and wisdom) and the eternal body (knowledge of god). (CAC press-release)
CAC. Centro de Arte Contemporáneo. C/ Alemania, s/n 29001 Málaga Spain
Imagen: “Ni animal ni tampoco ángel” Photo, José Luis Gutiérrez
29 october – 5 december, 2015
Carlos Vega’s work incorporates historical documents in order to explore questions about humanity, both from the perspective of the individual and of society as a collective. He incorporates antique ledgers, typed cards from library catalogs, postage stamps, newspaper and labels into paintings on canvas and, more recently, on lead, which he punctures, etches and paints.
“There is something really sensual about the material,” he said of working with lead in a recent interview during a 2013 residency at the Lux Institute of Art in Encinitas, CA. “Maybe it’s that every scratch you make becomes shiny and like silver, or there is something about the malleability and softness of the material that makes you almost believe that you can be like Midas.”
Vega often employs allegorical iconography loaded with associations, such as trees, with their implicit references to family trees or trees of life, and animals, especially donkeys and elephants. Vega studied at the University of Fine Arts in Seville Spain (1986) and then the University of Fine Arts in Madrid (1988). He continued to study at the Talleres de Art Actual in Madrid from 1988 to 1990 but thought the teaching was too strict. To branch out Vega did graduate work at The Art Institute of Chicago from 1990 to 1991. He currently splits his time between New York and Granada, Spain.
Vega’s work hangs in a number of museums and public spaces including the Columbia Business School, New York, Instituto Cervantes, New York, Progressive Art Collection, Mayfield Village, Ohio, Harvard Business School, Cambridge, Massachusetts, Palacio de los Condes de Gabia, Grenada, Spain, Rennie Collection, Vancouver, Canada, and the Pizzuti Companies, Columbus, OH. (Jack Shainman Gallery press-release)
Jack Shainman Gallery . 513 West 20th Street, New York, NY 10011
Image: Carlos Vega “Hebrew Calendar” 2015
30 october – 11 december, 2015
HAPPENLAND, curated by Almudena Baeza and Eva Davidova, presents installation, sculpture, video art, painting, photography and augmented reality by 10 internationally acclaimed artists from Spain, Brazil and USA. The exhibition brings rarely seen together, visually resolute works engaging public space, behavior, and environmental activism, with the underlying premise: The artist has honored the brainwave.
The artists in Happenland see the models, the events, the purposes or the issues they are about to address as a group of relationships univocally associated to the creative action. That’s why we say that the works in Happenland are “ways of being” of a relationship. They exist in a relationship of identity of shape. The meanings may be equally unknown to all, but they “exist” in their material representation. From Marlon de Azambuja’s mission of defining and revealing territories, the bodies turned architecture in Heleno Bernardi or Eva Davidova’s work, Juan Ugalde’s magic overlaying of depths and Almudena Baeza’s sharp pensiveness, Cliff Evans carnal dystopia, Elena Blasco’s psychedelic humor, Meredith Drum’s wrath against the ethos of avatars-for-sale worlds, Jorge Diezma’s passive-aggressive “painting as action”, right to Marina Zurkow’s extending the mechanisms of construction and geometrical interdependencies to the living organisms, the works subvert the obvious—they happen as something that, by being so direct, resists interpretation.
Artists: Marlon de Azambuja (Spain/Brazil), Augmented Mountain (USA), Almudena Baeza (Spain), Heleno Bernardi (Brazil), Elena Blasco (Spain), Eva Davidova (USA/Spain) Jorge Diezma (Spain), Meredith Drum (USA), Cliff Evans (USA), Juan Ugalde (Spain) and Marina Zurkow (USA)
…I would say man does not consist only of chemical processes, but also of metaphysical occurrences… Joseph Beuys
Radiator Arts. 10-61 Jackson Ave, LIC, New York 11106
Image: Elena Blasco and Cliff Evans
october 25, 2015 – february 15, 2016
This major retrospective of Joaquín Torres-García (Catalan-Uruguayan, 1874–1949) features works ranging from the late 19th century to the 1940s, including drawings, paintings, objects, sculptures, and original artist notebooks and rare publications. The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist’s career, with emphasis on two key moments: the period from 1923 to 1933, when Torres-García participated in various European early modern avant-garde movements while establishing his own signature pictographic/Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.
Torres-García is one of the most complex and important artists of the first half of the 20th century, and his work opened up transformational paths for modern art on both sides of the Atlantic. His personal involvement with a significant number of early avant-garde movements—from Catalan Noucentismo to Cubism, Ultraism-Vibrationism, and Neo-Plasticism—makes him an unparalleled figure whose work is ripe for a fresh critical reappraisal in the U.S. (MOMA press-release)
MoMA. Museum of Modern Art. 11 West 53 Street New York, NY 10019
Image: Joaquín Torres-García. Construction in White and Black. 1938.
23 october 2015 – 28 february, 2016
What lies beyond? Beyond speaks of the existence of a place where you can keep on going, somewhere you get to after crossing a boundary. Beyond our lives, heaven or hell lies in wait for us; or maybe limbo or purgatory; or even reincarnation or simply nothing. Beyond is the place from which some people claim to receive messages revealing the mysteries of the future, signs they believe to be true however imprecise. In the 1980s this town of Móstoles, on the outskirts of Madrid, where the young Fernando Sánchez Castillo lived, was beyond. A periphery that marked the boundaries of the expansion of the city, and the same periphery where, thirty years later, now stands CA2M a contemporary art centre where one can revisit that very memory.
Beyond our lives, when our bodies are no more than ashes, all that is left is our memory and our image. Art enables this permanence and sculpture is a form of resurrection in marble or bronze. In fact, statues were and continue to be the way emperors, popes and kings defy the final frontier that separates the here from the beyond. Sculpture is an exercise in power. The image in itself became increasingly more available to more and more individuals, and, over the last two hundred years, it became within anyone’s grasp. However, sculpture remains the final redoubt within the reach of the chosen few. So, for that reason, it still offers the promise of immortality: a sculptor strives to achieve eternity for the sitter and, in consequence, for himself.
An artist must always go beyond. Corto Maltese, the character invented by Hugo Pratt, used to say that one always has to go that little bit further, to cross over the line time and again. And it is precisely this obsession that the exhibition wishes to explore: for each existing work, there is another one that relocates that same idea a little bit beyond. Another step forward. Following the same thread in order to push the result a little further or, at the very least, to distance it a bit more from its starting point. Fernando Sánchez Castillo continues to go one step beyond. The first step taken in this exhibition is a rethinking of the meaning of the monument and its power to commemorate and invoke. In the second step he transforms this suggestion into something more subtle, more redolent, leading it along the path of memory. Making use of much more immaterial elements (a specific quantity of air, data culled from research, …), he returns to the present elements from the past which are almost forgotten, turning them into relics. Finally, in the third step he engages directly with history, deploying structures to uncover its tensions and its dramas.
Fernando Sánchez Castillo (Madrid, 1971) graduated with a BA in Fine Arts from Universidad Complutense de Madrid and an MA in Philosophy and Aesthetics from Universidad Autónoma de Madrid. His practice is primarily focused on History and, above all, on how it is depicted in art. His works question not only the events of the past but also how they are interpreted. Yet many of these questions have no answer. Instead, they operate like circles revolving around a thorough analysis of power and the ways it manifests itself in society. His critical gaze on the use of violence by the State runs parallel to his abiding concern with observing how art has been used to express power. Many of his works speak of the army and the police; of murderers and victims. At once, many others focus on how art itself has created a huge sounding box, charged with symbolism, to sustain these very ideas. Curator:Ferrán Barenblit(Ca2m press-release)
Centro de Arte 2 de Mayo. Avda. Constitución, 23. 28931 Móstoles. Madrid
Image: “Más Allá” Fernando Sánchez Castillo
28 october 2015 - 24 january, 2016
The Centre d’Art la Panera presents Angela de la Cruz. Escombros, which brings together 16 works made by Spanish artist Angela de la Cruz between the years 2009 and 2014.
Angela de la Cruz. Escombros takes its title from one of the works included in the show, Debris (2012), in which the artist refers to rubbish and to the waste afloat in the oceans that finally surfaces on the seashore. The theme is closely related to one of the leitmotifs in her oeuvre, natural disasters—to be precise, the dire consequences of the tsunami that devastated the coasts of Thailand in December 2004 and the impact that the images of the subsequent debris and wreckage had on her.
References to water, remains and refuse brought in by the sea, along with what is left after the disaster, are repeated constantly throughout the exhibition. Such is the case of Battered III (Mud) (2012), an aluminium picture in which we make out numerous dents, as if it had repeatedly crashed into a static mass, as occurs with the objects that the sea crashes against the rocks. It is also true of Wet (Blue) , in which the presence of water, physically absent from the work, can be made out thanks to the mark it left on the lower part of the canvas. Exhibition co- produced with Fundación Luis Seoane. A Coruña. (Centre dÁrt La Panera press-release)
Centre d’Art la Panera. Pl. de la Panera, 2. 25002 Lleida
Image: Angela de la Cruz, Debris, 2012
26 october – 28 november, 2015
The Spanish realist movement started in a way not dissimilar to the French realist movement – both movements sought to reject the predominant style that was practised in their respective regions at that time. However, unlike the French movement which started in the salons, the Spanish development was started in the student body of the Madrid School of Fine Art by Antonio Lopez-Garcia and his brother Julio Lopez. This was in 1955.
By looking back at the works of Spanish masters such as Diego Velazquez, Antonio and Julio refocused the emphasis on precision of painting and techniques. Antonio Lopez-Garcias would later helm the group and became one of the most important figures within the style and realm of Spanish art. Like the French realists, Antonio depicted his subjects without idealization, presenting them as naturally as possible (sometimes going as far as to present an ugly side). His fine precision and rendering of his subjects, capturing of complex lighting problems and creation of ambience through light, would later become identifiable features of the group.
50 years on from the first-generation pioneers, Spanish realist painters today retain the tradition of precision painting and complex light rendering. However, with the advent of technology, artists have more sources to draw their inspiration and expose themselves to complex ideas. Spanish realist painters today infuse ideas from both the traditional and the contemporary. They even harbour traits from conceptual works when painting hyper-realistic works.
By looking to the long heritage of Realism in Spain, contemporary artists continue to transcend the technical excellence of the realist style, and bring their own interpretation of Realism into a contemporary context. This group exhibition features works from some of our most popular artists - Alex Prunes, Marc Figueras, Monica Dixon and Paco Ferrando and Xavier Visa and examines how their works reflect the sensibility of the Spanish Realist tradition. (Barnadas Huang press-release)
Barnadas Huang Gallery. 61 Duxton Road,Singapore 089525
Image: Habitacion 506 (2015). Monica Dixon
4 October 2015 – 10 January 2016
The exhibition «Black Sun» is devoted to the lasting influence of Kazimir Malevich upon art right up to our own day. At the same time, it celebrates the 100th birthday of Malevich’s iconic Black Square. On show are works by 36 artists of the 20th and 21st century, representing the spheres of painting, sculpture, installation and film, as well as art in the public space. Major artworks illuminate the connections and tensions—at the level of both form and content—between Malevich’s Black Square and the art of the last 100 years.
Works from the following artists are on show: Josef Albers, Carl Andre, Alexander Calder, Olafur Eliasson, Dan Flavin, Lucio Fontana, Günther Förg, Felix Gonzalez-Torres, Wade Guyton, Damien Hirst, Jenny Holzer, Donald Judd, Ilya und Emilia Kabakov, Wassily Kandinsky, On Kawara, Ellsworth Kelly, Yves Klein, Sol LeWitt, Agnes Martin, Piet Mondrian, Jonathan Monk, Barnett Newman, Palermo, Philippe Parreno, Sigmar Polke, Ad Reinhardt, Gerhard Richter, Mark Rothko, Robert Ryman, Richard Serra, Santiago Sierra, Tony Smith, Jean Tinguely, Rosemarie Trockel, Andy Warhol and Lawrence Weiner.
Reflecting upon the first presentation of his Black Square in 1915, Malevich wrote: «This was no ‘empty square’ which I had exhibited but rather the feeling of nonobjectivity.» Malevich thus became a pioneer of abstract art, which was also developing parallel to Suprematism in Western Europe during the first decades of the 20th century. In the 1950s the search for immateriality led to monochrome painting and in America to Color Field painting. Here, color became the central object of the artwork. Minimal art, with its geometric formal language and industrial manufacturing processes, was based on a desire to avoid all meaning. In Conceptual art, which emerged at the same time as minimalism, the idea behind an artwork is more important than its execution. Malevich’s Black Square has left its traces in Pop Art, too. Artists continue to engage with Malevich, by using or citing his vocabulary of colors and forms or building upon his achievements. (F. Beyeler press-release)
FONDATION BEYELER. Baselstrasse 101. CH-4125 Riehen / Basel. Switzerland
Image: Santiago Sierra, 4000 Black Posters, Basel, October – December 2015, Courtesy Santiago Sierra, Photo: Lutz Henke © Santiago Sierra (VEGAP Spain)
october 17, 2015 – january 17, 2016
The exhibition is an exploration of how contemporary artistic practices question and deconstruct the Western and metaphysical definition of political sovereignty: their new way of understanding freedom and emancipation beyond individual autonomy, as well as the modern form of the nation-state.
The title of the exhibition is borrowed from the last seminar conducted by Jacques Derrida in 2002-3, on the limits of political sovereignty in the metaphysical tradition. For the French philosopher, the beast and the sovereign are the two allegorical figures in politics that have traditionally stood above the law: the beast that supposedly ignores the law and the sovereign whose power is defined precisely by his capacity to uphold the law. This ontotheological division produces a series of binary oppositions of genre, class, species, sexuality, race and disability that structure the relations of dominance. On the one hand, the beast regarded as animality, nature, femininity, the South, the slave, the colonial site, the coloured subject, the abnormal. On the other, the sovereign representing the human and even superhuman, God, the State, masculinity, the North, the white and sexually normal subject. Is sovereignty possible beyond power? Can sovereignty occur by questioning these relations of dominance?
With works by Efrén Álvarez, Ángela Bonadies and Juan José Olavarría, Peggy Buth, Martin Dammann, Ines Doujak and John Barker, Juan Downey, Edgar Endress, Oier Etxeberria, León Ferrari, Eiko Grimberg, Masist Gül (presented by Banu Cennetoğlu and Philippine Hoegen), Ghasem Hajizadeh, Jan Peter Hammer, Geumhyung Jeong, Glenda León, Julia Montilla, Rabih Mroué, Ocaña, Genesis Breyer P-Orridge, Prabhakar Pachpute, Mary Reid Kelley, Jorge Ribalta, Hans Scheirl, Wu Tsang, Stefanos Tsivopoulos, Yelena Vorobyeva and Victor Vorobyev, Sergio Zevallos.
Curators: Hans D. Christ, Iris Dressler, Paul B. Preciado, Valentín Roma. An exhibition by Württembergischer Kunstverein Stuttgart and Museu d’Art Contemporani de Barcelona. (MACBA press-release)
Württembergischer Kunstverein · Schlossplatz 2 · 70173 Stuttgart
Image: Ocaña, Glorreiche Himmelfahrt (1982) und Heiliges Schwulen-Herz (1982)
30 october - 19 december 2015
The Madrid-based artist Cristina Iglesias continues to explore the concepts of the underground with her latest exhibition Phreatic Zones which recalls the river Thames, ever-present in the history and life of London.
Following her most recently and largest public commission Tres Aguas in Toledo, Iglesias transforms the London space through the installation of three sculptures with water in the ground floor of Marian Goodman Gallery.
Through a language of architectural and natural forms rendered in resin, bronze, stainless steel and terra cotta, Iglesias redefines any logical interpretation of space by confounding interior and exterior, organic and artifice. In these well sculptures, water runs in differently timed cycles, inviting the viewer to think about an unseen below, an undefined depth that both emanates and gathers the water. The fountains are lined with bas-reliefs organic forms, cast in aluminum, through which water ebbs, flows, gushes and drains in a carefully syncopated choreography of movement and sound getting "Phreatic Zones" to exploit the duplicity of water as healing and scarring, calm and chaotic, and as vector for transformation.
Born in San Sebastian in 1956, Cristina Iglesias is one of the most international Spanish artists of recent decades. The sculptor and engraver lives and works in Madrid and in 1999 was warded Spain’s National Visual Arts Prize.
Belonging to a generation of artists who since the 1980s has transformed the concept of sculpture in the field of installations, her works reflect an aesthetic vocabulary based on the use of different materials (concrete, alabaster, resin, iron, glass, materials sometimes combined with plant motifs like bamboo and straw) and different techniques (bas-hanging or large format screen printing on silk and copper), and reveal the artist's interest in space, architecture, literature and geology.
She represented Spain at both the 1986 and 1993 Venice Biennales and has had solo exhibitions of her work hosted by Guggenheim Bilbao (1997); Museu Serralves, Portugal (2002); Whitechapel Gallery, London (2003); the Ludwig Museum, Cologne (2006); and Museo Reina Sofia, Madrid (2013). Iglesias has made several notable large scale works in civic spaces, including Deep Fountain in front of the Royal Museum of Fine Arts in Antwerp and the bronze doors for the extension of the Prado Museum in Madrid. (Mariam Goodman press-release)
Mariam Goodman Gallery, 5-8 Lower John Street. London.W1.
Image: Cristina Iglesias “Phreatic Zones” Mariam Goodman Gallery
16 october 2015 - 17 january, 2016
A Handful of Dust is David Campany’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they call it a view from an aeroplane. Then they call it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. The very same month, a little English journal publishes TS Eliot’s poem The Waste Land. “I will show you fear in a handful of dust.”
And what if dust is really the key to the ensuing decades? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side.
The book’s connections range far and wide, from aerial reconnaisance and the American dustbowl to Mussolini’s final car journey and the wars in Iraq. A Handful of Dust will accompany an exhibition of the same name, curated by David Campany for Le Bal, Paris (opening October 2015), with works by Man Ray, John Divola, Sophie Ristelhueber, Mona Kuhn, Xavier Ribas, Nick Waplington and many others, alongside anonymous press photos, postcards, magazine spreads and movies. (Le Bal press-release)
Le Bal. 6, Impasse de la Défense. 75018 Paris
Image: Installation of NOMADS at LE BAL, Paris
12 october – 1 december 2015
Spain NOW! presents this exhibition of new work by Marisa Culatto in collaboration with Molina Contemporary, a new space dedicated to showcasing the work of contemporary Spanish artists. The two series of photographs, Ophelia and Flora, presented as part of the exhibition, draw heavily on the artist’s personal experience and it is this strong autobiographical element that makes the work especially powerful. Neither series have been shown in an exhibition format before so it is a great opportunity to experience the power of Marisa’s work in the flesh.
Marisa Culatto, born in Gran Canaria, lives and works in the UK. Culattto was trained in analogue photography in Gran Canaria and Barcelona, but it was the encounter with digital photography that consolidated her artistic practice as her interest lies in pushing – blurring – the boundaries of photography into the language and practice usually associated with other mediums. Constraints, domesticity and daily rituals are at the centre of her practice.
She is also interested in the notion of reality being a construct, and, therefore, much of her work addresses contradictions, misperceptions and/or a degree of visual ambiguity. Culatto has exhibited her work in mostly in Spain and the UK. In 2011 she received the AlNorte Grant within the X National Contemporary Arts Week of Asturias, Spain. Her work is in many corporate and private collections. Marisa Culatto is represented in the UK and Spain by Molina Contemporary. (Spain NOW press-release)
Image: Flora 25. Marisa Culatto
opening the 20th of october 2015
Beginning October 2015, at the occasion of its 30th anniversary, the national Picasso Museum-Paris will present a new exhibition of its collections titled, “¡ Picasso ! The anniversary exhibition” Making use of the variety of spaces offered within the Hôtel Salé, a nearly 2,500m2 space spanning 5 stories, the exhibit will present the artist’s productions in a re-envisioned organization. Almost 900 works and documents will display the richness and diversity of the museum’s collections: paintings, sculptures, drawings, engravings, ceramics, and illustrated books, in addition to works from the personal collection, photographs, and written archives. Centering on the notion of the creative process, the exhibit will attempt to shed a new light on the artist’s work and to understand the genius of Picasso by closely examining his influences, his models, his workshops, and his intimate and friendly social environment.
The ¡ Picasso ! anniversary exhibition presented on the five floors of Hôtel Salé illustrates the continuity and deep unity of the collection and the history of the museum. The Musée National Picasso-Paris has the world’s largest public collection of Pablo Picasso’s work, covering all his creative periods and all fields, including “Picasso’s Picassos” straight from the artist’s studio. Pablo Picasso’s personal archives and the museum’s archives are at the heart of this exhibition project. They echo the masterpieces and, as most of them have never been exhibited before, give a different interpretation of the life, creative process and circulation of the master’s artworks
A large visual collage invites visitors to go on a tour of the five floors of Hôtel Salé starting with the history of the museum (basement), discover a chronological presentation of the major works (ground floor and 1st floor), then “Pablo Picasso – public figure” (2nd floor), and meet the “private Picasso” (3rd floor). This is a contemporary interpretation of Picasso’s works that alternates between rooms featuring dense displays and more intimate sequences.
The exhibition at a glance :4 distinct parts: the history of the museum, the collection masterpieces, Picasso the public figure, Picasso the private figure, 105 paintings (including 86 by Picasso),92 sculptures (85 by Picasso) including 22 ceramic pieces, 13 objects and 1 textile artwork, 192 graphic artworks (186 by Picasso) including 94 photographs, 1 contemporary installation, 4 films and about 30 INA extracts, 314 archives including 223 documents and correspondences, 38 periodicals, 31 publications and 22 objects (Picasso Museum press-release)
Musée Picasso Paris, 5 rue de Thorigny. 75003 Paris
Image: Picasso Museum Paris
9 october 2015 – 10 january 2016
Abraham Lacalle (Almería, 1962) unfolds different artistic possibilities in search of his personal path within the restrictive rules of the game of pictorial language.
The artist’s work starts with his early Cárceles (Jails), which serve as «solitary confinement cells» wherepainting is imprisoned. Then it opens into dynamic wooded Paisajes (Landscapes), where a still Utopian eco-systemic awareness comes to light. Eventually, it turns into the present Campos de batalla (Battle Fields). Here, painting ,which happens and narrates, is itself a battle and a remnant of the battle, and ceases to be a scene to become a setting, the end of the disagreement, a discovery.
In the artist’s newest works, his explorations in the exercise of pictorial language have progressed from Un lugar donde nunca sucede nada (A place wherenothing ever happens) to the «place where the most dreadful events occur». Here, the decadence generated by the pugnacity of human violence becomes a geographic landmark: the experience of death, loneliness and devastation.
In these works, Lacalle reverses the trend in his way of painting: before, he had always kept a safe distance, as is said in the hunting practice of the distance between beast and prey. Then he started to go deep into the work, as a photojournalist getting into a hot zone in a dangerous territory.
Abraham has learnt all the mysteries of pictorial language, since he perfectly manages the promiscuous and ambiguous borders between figurative and abstract art (modern and post-modern), which makes him a legitimate artist of his time. Now that he hascome out well of all his battles, he settles his own new rules of the game for a dialogue with an overwhelming present where images (and imaginaries) infest everything.
Abraham’s work appears, then, as a distinguished visual poetics that casts its planimetric damages against the white wall of the institution of art, turning it into a symbolic confrontation zone. This is a place where Painting tacitly becomes a gratifying truth by reminding us that we are alive due to its ability to activate our senses and ourmemory. And to find a privileged place for our emotions, which now (excited almost to fever pitch)… vibrate. (CAAM press-release)
Centro Atlántico de Arte Moderno CAAM. Los Balcones, 11. Las Palmas de Gran Canaria - España
Image: Abraham Lacalle. CAAM
22 octubre, 2015 - 16 de enero 2016
ALSAXY is an interactive installation for all audiences, the product of a residence Marcel·lí Antúnez district of Hautepierre in Strasbourg, France.
Alsaxy is something extraordinary in Hautepierre. It is a CORTÈGE, a large procession, a parade, a walk around the neighborhood with parts of a great body. These parts are called Karine, Catherine, Eleonore, Brigitte and Jacqueline, as the urban meshes of Hautepierre. Everyone goes to the Cortege and there we discover the secrets of the neighborhood such as: who is inside the MEGAFISH, what are the wishes and desires of KIOSK, what is ARKIGNOL and end the tour with BATAMAILLE.
Technically, the installation displays a screen 8 meters wide by 2'75 meters high, allowing users interaction varied with different interfaces such as Boxcam, tapestries sensors or Micam.
The installation will be presented for the first time at Le Shadokin Strasbourg on October 22nd 2015 until January 16th 2016. ALSAXY is title of the exhibition, which includes a collection of devices and installations made by the artist. (Le Shadok press-release)
Le Shadok, Fabrique du Numérique. 25 Presqu'île André Malraux — 67100 Strasbourg
Image: Marcel·lí Antúnez
24 october – 31 december, 2015
MADRID OFF. A project that is set to a cartography of abandoned or disused spaces of the Madrid
Oscar Carraco in 2006 started to explore Europe, embarking on a disturbing initiation journey through the unusual beauty of decline and abandonment. Like a testament of a forgotten and finite metropolis, his work explores the contemporary ruin, sublimating the strange locations of the not-city, the decomposition of the landscape, the orderly chaos from where everything originates.
His works, characterized by its aestheticism, often emulates ethereal and dehumanizing gaze, revealing a vocation for the plasticity of the space, for a different viewpoint and a purified atmosphere, for the handicraft use of the perspective where the vanishing lines seems to delineate a whole until the impossible.
The work of Carrasco evolves searching new ways to show mortality, the devastating power of the urban masses, the irrevocable return of the organic against the built world. In 2007 he becomes a part of the Luis Adelantado Gallery, and since then his work has been shown in Madrid, Shanghai, Rome, México, Puerto Rico, Bogotá, Paris and Brussels, in group shows and art fairs. Among his awards are worth highlighting the Honorific Mentioning received at the prizes “Generation 2009” and the selection for the Prize Arte Laguna from Venice.Oscar Carrasco, Barcelona, Spain 1976. Lives & works in Algeciras, Spain. (CPF press-release)
Centro Português de Fotografia. Edifício da Ex-Cadeia eTribunal da Relação do Porto. Largo Amor de Perdição. 4050-008 Porto. Portugal
Image: Óscar Carrasco. Fábrica Gal. Madrid
october 28, 2015 - march 14, 2016
In october the Museo Nacional Centro de Arte Reina Sofía will present an exhibition devoted to Ignasi Aballí (Barcelona 1958). The output of this Catalan artist offers a conceptual reflection on the representation and perception of mediums such as painting, the object, photography, fiction, film and video. His work, which started in the 1980s, invents and reorganises texts, images, materials and processes, exploring presence and absence, the material and immaterial, the visible and the invisible, transparency and opaqueness, appropriation and creation to relate the overabundance of images in modern-day society to the lack of meaning we can assign to them.
The show mainly focuses on his output over the last ten years, although it does feature lesser-known pieces from periods of his work that came before. It offers a journey through the artist’s aesthetic ideas, which question the conventional systems that represent the artwork through photographs, videos and installations, sculptures, paintings and collages, and with an eclectic display of unconventional materials such as leaves, dust, rust, metals, newspaper cuttings and scraps of bank notes, which all become fragments of the critical poetics of conditions representing life and art in the contemporary world.
Among the themes addressed by Aballí’s work, we can highlight the analysis of language and, more specifically, the relationship between text and image, between words and things, or between objects and the terms that define them. In the exhibition these concepts are illustrated by works that include the Cartas de colores [Teoría] (2007) series, and the Vitrinas CMYK (2010) pieces, four display cases – one for each ink colour used in the printing process – whereby the conventional support of the artwork becomes the actual work, whose function is not to show but rather “demonstrate” the paradox of what remains unseen.
Another chief concern in Aballí’s work is the dichotomy between presence and absence as he ponders the notions of disappearance, transparency, invisibility and illegibility. This results in a series of works where, aiming to insinuate more than affirm, only the presence of objects is evoked; a unique game with the viewer that involves the search for reality and fiction, the visible and invisible, the transparent and the opaque, for what is shown and what is concealed. A clear example of this practice can be seen in the series Tomar medidas (2010), where measuring instruments take centre stage, Entre líneas (2011), an installation based on the empty and illegible space of texts, and the one devoted to double readings Dobles lecturas (2010), alluding to writers such as Bernhard and Joyce.
Lastly, it is worth noting the artist’s need to classify and order, perhaps the most intrinsic characteristic in his work. We come across an artist who collects, draws up an inventory and meticulously assembles pieces of information from newspapers and compiles captured images ad infinitum. We are referring to series like Terminologías básicas del color , Listados , Mapamundi and Inventarios , all produced between 1998 and 2015, where, at first glance, the persistent repetition of identical motifs leads to the appearance of difference. (MNCARS press-release)
Museo Nacional Centro de Arte Reina Sofia Edificio Sabatini, Planta 3
Image: Ignasi Aballí Mapamundi 2010, 2011. Collage sobre papel
22 september – 27 november, 2015
The exhibition that will put on in Hubei Provincial Museum brings together a careful selection of over one hundred works that illustrate the key moments in his remarkable artistic career, works that are at once representative of the different formal and conceptual approaches and of the varied techniques that he used: sculpture, drawing, painting and graphic work. The show is curated by Cyril Boisson and Judit Subirachs-Burgaya.
The exhibition begins with sculptures that still show the influence of his Noucentista predecessors. Then come various works representative of the Expressionist phase, by which time it can be claimed the artist had configured a style of his own that was to lead to very personal abstract work. The exhibition also includes numerous pieces that fall within the so-called ‘new figure work’, a phase full of symbolic elements, in which the analysis of dualities and oppositions was consolidated. From the later years there is a series of metaphysical works, often with architectural references that confer great expressive power on the ties established between the three-dimensional elements and the allegorical components. Contrasting styles and juxtapositions of materials and models define his personality, so much so that the play of dualism – figurative-abstract, form-symbol, innovation-repetition, positive-negative, painting-sculpture – becomes the badge that distinguishes the work of one of the greatest exponents of Catalan sculpture in the second half of the twentieth century. (I.Ramon Llull press-release)
Hubei Provincial Museum. No.156 East-lake Road, Wuchang district, Wuhan, Hubei. China
Image: The Stairway of Intellection, 2007. Josep Mª Subirachs
10 october 2015 - 17 January, 2016
What happens when art and risk collide?
This autumn, see artists leap into the void, abandon control and push art to the limit as creative risk-taking comes under the spotlight in the first major UK exhibition to explore risk in art. Experience how artists have intentionally embraced the unpredictable and uncontrollable, from chance procedures to political risk; from the power of natural forces to the culture of risk management.
As part of the most modern exhibition of this autumn Risk, renowned Spanish artist Juan delGado leaps into the void and pushes his art to the limit with Sailing out of Grain, an intimate portrait of Hilary Lister, the first disabled woman to sail solo around the British Isles.
Able only to move her head, Hilary is a unique figure in sailing, and delGado captures her in a unique way. Split over 2 screens, the film observes moments in Hilary’s life, fragments that create a greater truth of who she is and what drives her. The film is rich in sounds and imagery, explores themes of dreams and reality, freedom and confinement and challenges our perception of what constitutes the ‘perfect sports body’.
Featured artists: Marina Abramović, Bas Jan Ader, Francis Alÿs, Eduardo Basualdo, Chris Burden, Sophie Calle, Paolo Canevari, Chim↑Pom, José Dávila, Jeremy Deller, Juan delGado, Marcel Duchamp, Tim Etchells, Harun Farocki, Peter Fischli and David Weiss, Simon Faithfull, Félix González-Torres, Eva Hesse, Jeppe Hein, Thomas Heatherwick, Carsten Höller, Peter Kennard, Yves Klein, Kris Martin, Linda Matalon, Robert Morris, Yoko Ono, ORLAN, Heather Phillipson, Ruth Proctor, Gerhard Richter, Santiago Sierra, Gregor Schneider, JMW Turner, Ai Weiwei, Lucy Wood, Artur Żmijewski
Turner Contemporary is working in collaboration with the Organizing Disaster research project at Goldsmiths College, London and with independent curator Francesca Laura Cavallo on aspects of the exhibition and associated public programme. This collaboration is supported by the European Research Council Starting Grant ‘Organizing Disaster. Civil Protection and the Population’ (Turner Contemporary press-release)
Turner Contemporary. Rendezvous Margate, Kent CT9 1HG
Image Juan Delgado
07 October 2015 - 29 February 2016
The twenty or so solo or group exhibitions since 1973 that have focused on the study of the posterity of Pablo Picasso’s oeuvre testify to its impact on contemporary art.
The exhibition at the Grand Palais takes a simultaneously chronological and thematic approach to the critical and artistic highlights of Picasso’s career and the myth that gradually built up around his name.
From Cubist still lifes to the Musketeers in the exhibitions in Avignon in 1970 and 1973, the exhibition is punctuated by works by Picasso from the collections of the Picasso Museum in Paris, the Musée National d’art Moderne, and the artist’s family. They are presented in a way reminiscent of the artist’s arrangements in his studios and the exhibitions that he personally supervised (Georges Petit gallery in Paris in 1932, Palais des Papes in Avignon in 1970, and 1973).
The great stylistic phases (Cubism, last work), and emblematic works by Pablo Picasso (Les Demoiselles d’Avignon, Guernica) are put alongside contemporary creations, grouped by artist (Hockney, Johns, Lichtenstein, Kippenberger..), or by theme, in a great variety of media and techniques (video, painting, sculpture, graphic arts, film, photography, installation). General curator : Didier Ottinger, assistant director of the Musée national d’Art moderne - Centre Pompidou. Curators : Diana Widmaier-Picasso, art historian. Emilie Bouvard, curator at the Musée national Picasso-Paris
Exhibition design : bGc studio
An exhibition organised by the Réunion des musées nationaux – Grand Palais, the Centre Pompidou and the Musée national Picasso-Paris.(Grand Palais press-release)
GRAND PALAIS, GALERIES NATIONALES. 3, avenue du Général Eisenhower. 75008 Paris
Image: Gjon Mili, Portrait of artist Pablo Picasso, 1948 © Gjon Mili/The LIFE Premium Collection/Getty Images © Succession Picasso 2015
2 october 2015 – 24 january, 2016
The art of Joan Miró (1893 –1983) is informed by an almost literal directness, which invariably foregrounds the materiality of his painting. In his personal accounts, he declared the wall itself to be the starting point of his painting. At first, it was the wall of the farm in Montroig, its imperfection supplying the inspiration for images that captured the beauty of the material with meticulous attention to detail and great poetic imagination. For him a wall was not simply an object to be depicted: it also dictated the physical and tactile qualities of the painterly. The move from simple depiction to according the canvas surface a status equal to that of the wall, as well as the careful selection and preparation of supports that we encounter in every phase of his work, can be traced back to this objective. Poured paint and deliberately placed splashes, whitewashed canvases as well as coarse burlap and unconventional materials such as masonite, sandpaper or tar paper are placed in the service of his imagination and play their part in creating Miró’s visual universe.
At an early stage, Miró became interested in an extremely elongated yet very narrow format that, even in small dimensions, prefigures the monumental work of the post-war period. Site-specific works, large scale triptychs and murals will exemplify this development; and this historical background also permits a reappraisal of the important ceramic frieze ‘Oiseaux qui s’envolent’ (1971/72) in the collection of the Kunsthaus. (Kunsthaus Zurich press-release)
Museum. Kunsthaus Zürich. Heimplatz 1.CH–8001 Zurich
Image: Painting, 1953. Oil on canvas, 194.9 x 377.8 cm. Solomon R. Guggenheim Museum, New York
10 october 2015 - 31 january 2016.
With over 80 works by Joan Miró, this is the first major exhibition of his work in the Netherlands in 59 years, the previous one was in the Stedelijk Museum in 1956.
Miró & CoBrA. The Joy of Experiment is the first exhibition to explore the relationship between Joan Miró (1893-1983) and CoBrA (1948-1951). A chance encounter in 1946 between Asger Jorn, a Dane, and Dutch artist Constant Nieuwenhuys laid the foundations for CoBrA, an international group of post-war artists. The two met at an exhibition of work by Miró in the Galerie Pierre Loeb, in Paris, and established Miró as a recurrent element in the movement’s history.
What links Joan Miró and the Cobra artists is their playful, experimental approach to art. Experimentation with materials, shapes and processes was a source of knowledge and innovation for both the Spanish master and the Cobra artists of the post-war generation. By bringing the work of Miró and CoBrA together, this exhibition gives insight into a shared sense of playfulness and poetic attitude which are at the heart of the work of both.
Katja Weitering, artistic director:“Miró & CoBrA is the long-awaited exhibition of one of the best-loved and exceptional 20th-century artists. This show is emphatically not a classic retrospective. By establishing a link with the Cobra movement and the museum’s own collection, Miró & CoBrA sheds new light on the Spanish master.”
In his late period, Miró’s artistic development saw a liberation from form, gesture and material which showed a striking correspondence with the work and artistic perceptions of various CoBrA members. This work is less familiar to general audiences – and on show now in the Netherlands for the very first time. This exhibition illuminates a wide range of experimental techniques which include, besides painting, works on paper, ceramics, sculpture, assemblages, visual poetry and artists’ journals.
This summer Miró’s sculptures will be exhibited in the gardens of the Rijksmuseum in Amsterdam. There has been no extensive Miró retrospective in the Netherlands for nearly 60 years, since the Stedelijk Museum’s exhibition in 1956. Now, in 2015, the Cobra Museum has succeeded in collating a substantial Miró exhibition which includes works from the Netherlands and abroad, thanks in part to assistance from many international partners. For example, New York’s Guggenheim Museum has generously provided Paysage (1927), while the Scottish National Gallery of Modern Art has sent the major work Figures and Bird (1934-1936) and the Museo Reina Sofia in Madrid has provided five works from the period from 1945-1950.
The exhibition includes more than 80 works by Joan Miró and 60 works by various Cobra artists including Karel Appel, Asger Jorn, Constant and Pierre Alechinsky. A central part of the exhibition is the reconstruction of Miró’s Mallorca studio, consisting of more than 40 original objects and shown for the first time on such a large scale. This part of the exhibition has been made possible thanks to a collaboration with the Fundació Pilar i Joan Miró a Mallorca. (Cobra Museum press-release)
Cobra Museum. Sandbergplein 1. Amstelveen NL
Image: Le Gant Blanc 1925 Fundació Joan Miró Barcelona
6th october, 2015 – 13th february, 2016
From 6th October to 13th February of 2016, the Foto Colectania Foundation demonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from its own collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance, if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "
The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of this exhibition are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself. Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.
The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection. Presented in several towns around Barcelona thanks to a program of traveling exhibitions organized by the Diputació de Barcelona, "Face to Face" culminates with this presentation in the main city after being revised and enlarged for the occasion.
Participant photographers: Helena Almeida, Manel Armengol, Atín Aya, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fundació Foto Colectania press-release)
Fundació Foto Colectania. Julián Romea 6, D2. 08006 Barcelona
Image: Humberto Rivas, María, 1979
1 – 30 october, 2015
Closed Paradise explores themes of nature and extinction. The exhibition’s title refers to a banishment from a paradisiacal state, both metaphorical and literal, that mirrors our current environmental situation. This cross-cultural and multidisciplinary exhibition focuses on the legacy of earth’s natural resources and states of erosion and extinction due to human activity. Closed Paradise features works by Javier Viver, Jose Val del Omar and Lili Chin.
Viver will create a Rainbow site specific installation of melting colored wax on the window panes and use objects molded from casts of plant species and an herbarium to compose The Eurasia Archive of Extinct Plants. In this way he drafts a reflection about the paradoxical co-existence of the ephemeral and the eternal, memory and the imagination.
Chin uses drawing, installation and Super 8 film in a meditative process to investigate states of growth and decay in wild and pastoral terrains . For this exhibition she will include a social sculpture – a garden of donated plant cuttings collected in an open call. Her work expresses concern with vanishing landscapes, preservation, memory and the sublime.
Val del Omar’s work includes a selection of films composed by Javier Viver for Val del Omar’s PLAT laboratory installed in the Reina Sofia National Museum, Madrid. These films reference The Alhambra, the Moorish palace in the South of Spain, a place he called the closed paradise. It was the hidden place Val del Omar often visited, and filmed as the lost paradise.
Viver is based in Madrid and Shanghai, while American artist Chin lives and works in New York City. The two met at the Swatch Art Peace Hotel Residency in Shanghai and discovered they both shared a mutual admiration for the work of José Val del Omar. Through this project, these artists create a cross-cultural reflection on culture, exploitation, memory and preservation.
With the support of the General Consulate of Spain in New York..(The Clemente press-release)
The Clemente. 107 Suffolk Street. New York, NY 10002
Image: Closed Garden. José Val del Omar
september 27 - march 13, 2016
José Carlos Casado´ EAF15 installation, "TRADE", is inspired by the artist's 2014 residency in the archipelago of Svalbard, in the Arctic Circle. While there, he witnessed how the effects of extreme climate change have uncovered new routes for polar exploration, opening the floodgates to conflicts over natural resources. Casado identifies this transformation of natural resources into objects-for-trade as an act of violence against nature--a terrorism of sorts. His brightly hued metal skins, each a unique texture created through an intense digital investigation of image details from human flesh, simultaneously represent precious stones and parts of the body, linking the exploitation of natural resources with human brutality, creating uncomfortable parallels between climate change, terrorism, and war.
José Carlos Casado (Málaga 1971) is a multimedia artist from Spain. A MFA graduate of the School of Visual Arts, he has been based in New York for 15 years.
He uses technologies to create art involving video, 3D animation, photography and sculpture. His work has been shown in multiple solo and group shows internationally and has won numerous prizes and recognitions, including a grant from Picasso Foundation, a scholarship from LaCaixa Foundation, MIT's Leonardo Excellence Award, and two New York Foundation for the Arts Fellowships.
Fifteen years ago, Socrates Sculpture Park inaugurated the Emerging Artist Fellowship (EAF) Exhibition and launched what would become an annual exhibition of “artists to watch.” By providing an open studio along with financial, administrative, and technical support, the EAF program offers a rare opportunity for the realization of original, large-scale complex work. From May through September, EAF artists worked on-site, negotiating the physical and conceptual challenges of production in the park’s outdoor studio space, becoming energetic fuel for the park’s popular summer programming.
This year’s Emerging Artist Fellows were selected through a highly competitive process that attracted over 350 applications, a record number for the program, by the park’s 2015 Curatorial Advisors, Gary Carrion-Murayari (Curator, New Museum) and Nora Lawrence (Curator, Storm King Art Center). (Socrates Sculpture Parka press-release)
Socrates Sculpture Park. 32-01 Vernon Blvd, Long Island City, NY 11106
Image: José Carlos Casado
3 October, 2015 - 31 January, 2016
Shadows of the Wind is a site specific project done by Alberto Gracía-Alix that builds a bridge between past and present, following the thread of two bodies of photographic work that he tackled during the eighties and nineties. Materialised in the books Bikers and Los malheridos, los bien amados, los traidores, these works sum up two of his key interests, motorbikes and portraits, that are still today a source of inspiration, two ways of understanding his reality through photography.
The exhibition follows the artist"s evolution through these two themes in his life and work, tracing a photographic and self-referential journey narrated in the first person. The vintage prints we see in the display cases are a selection of images that preserve time and become objects. The video reproduction of the original books offers a close-up view of the artist"s aesthetics and vision at the time. Finally, the newly produced photographs are a selection of his latest works on the subjects that reveal the subsequent evolution of his gaze.
This show is a parable on the oeuvre of García-Alix, who appears at once essential and intimate, moving between two leitmotifs that define him as an artist and as an individual in a time frame spanning over thirty years of intense dedication to photography. Curatorship: Nicolás Combarro. Coordination: Helena López Camacho. (MUSAC press-release)
MUSAC, Museo de Arte Contemporáneo de Castilla y León. Avenida de los Reyes Leoneses, 24. 24008 León
Image: Alberto García Alix
TAMPA. “VAIVEN”. Six visual journeys back and forth between Spain and the U.S. The Florida Museum of Photographic Arts
october 02– november 31, 2015
An exhibition featuring six photographers from Spain and the U.S. who interpret the realities of both countries from multiple perspectives, creating a visual round trip.
The dichotomy of belonging to two places and the constant play between the influence of cultural background versus the setting, remains the core of this exhibition. Memories, popular culture, identity, the every day life, nature and urban spaces function as starting points to analyze the motivations and expectations that lie behind each photographic series.
The diverse backgrounds of all the artists meet on the common grounds of their intersecting perspectives of both countries. Born in Madrid and raised in Maryland, Ana Hayes-Pérez, explores her personal connection with Spain through souvenirs and family memories. Spanish photographer Raúl Urbina observes Chicago by foregoing its iconic side to focus on the city’s driving forces, from its people to its infrastructures. Hailing from Canada and born to Spanish parents, Chicago based photographer Xavier Nuez uses dark alleys and ruins of the city to turn his pictures into monuments that give dignity to rejected urban spaces. Javier Corso reinterprets the military imagery of Spain through the strong visual references present in the popular culture of the U.S. Tarragona-born photographer Monica Lek uses her photographs of New York to reflect the human reality of the city through portraits of her neighbors. New York-based photographer Carla Tramullas analyzes the process of remembrance with shots snapped on her trips across the US with her grandfather’s Leica. (Fmopa press – release)
The Florida Museum of Photographic Arts, 400 N Ashley Dr, Tampa, FL 33602
Image: Raúl Urbina
“Daniel Steegmann Mangrané, Philippe Van Snick” Museu de Arte Moderna do Rio de Janeiro and Casa Modernista Sao Paulo
september 5th - november 1st 2015
Conceived in two chapters, for two cities, and for two unique spaces of modernist Brazilian architecture, the Museum of Modern Art (Museu de Arte Moderno), in Rio de Janeiro, and the Casa Modernista, in São Paulo, the exhibitions of the artists Daniel Steegmann Mangrané and Philippe Van Snick are mainly intended to underline the dualism and simultaneity in the work of both.
If, for Daniel Steegmann Mangrané (born 1977 Barcelona), the artistic process takes place in the dialog between division and union, between geometric and organic forms, object and being, and between culture and nature, for Philippe Van Snick (Gent 1946), on the other hand, the conditions of material perception are determined by mathematical and arithmetical principles (especially in his early works), and more recently by the sensibility which, according to the artist, is a “form of mental perception”. In the work of both, the views and experience (physical, subjective, political) of the spectator acquire a provisional and fragmented character, and relate, kaleidoscopically, to the distribution of the elements in the surrounding world.
For this reason, the tables appear at MAM-Rio as a privileged element of the exhibition. They unite and present the fragmentation and temporality of the work of the two artists; they test their founding and operating values in coming together, but are always open to being modified and dissociated.
In the Casa Modernista in São Paulo, the artists’ “occupation” interacts with the tropical modern architecture of which the example designed by G. Warchavchik in 1927 is the first in Brazil.
Van Snick has carried out two interventions which explore how, according to him, the color of the painted surface does not exist in isolation as a scientific element, but is determined by the physical and spatial experience of each spectator. On the ground floor, he presents “Mexican dream cabin” (2015), an installation based on a repertoire of primary and secondary colors, in pure and simple forms, shaped by dynamic and mathematical ideas; in the external area of the garden, “Sun umbrella” (1979/2015), composed of different canopies where the color is no longer contained, but invades the space as a counterpoint which is indifferent to the architecture.
Steegmann Mangrané occupies the upper floor with “Modern Family” (2015), semi-organic and semi-geometric sculptural presences which establish an ironic relationship with the normativeness of the modern subject and his ideology. “Systemic grid (floor)” (2015), an installation composed of steel modules, occupies the floor of one of the rooms of the house, and recalls a minimalistic and constructivist vocabulary. Curator: Marta Mestre. (MAM press-release)
Museu de Arte Moderna do Rio de Janeiro. Av. Infante Dom Henrique 85 / Parque do Flamengo / 20021-140 / Rio de Janeiro RJ
Casa Modernista, R. Santa Cruz, 325 - Vila Mariana, São Paulo - SP, 04121-000,
Image: Daniel Steegmann Mangrané
september 21 - november 28, 2015
On May 28 1606 in Via di Pallacorda, Michelangelo Merisi—better known as Caravaggio—injured Ranuccio Tomassoni in the leg, severing his femoral vein. Their argument broke out during a game of Pallacorda, a precursor of the game of tennis which was played in the street which today bears the same name. Half an hour later, Ranuccio bled to death in the nearby Via della Scrofa. The game was most probably a pretext for a duel, something that was prohibited in Papal Rome and punishable by death. It is thought that Ranuccio started the dispute, offended by the close relationship that Caravaggio had with Fillide Melandroni, courtesan, his artistic model, prostitute, and with whom Ranuccio would spend his time. After this crime, Caravaggio was outlawed from Rome and sentenced to death in absentia; indeed, a bounty was placed on his head by the authorities.This episode of Caravaggio is that which Alfred Hitchcock would call a McGuffin , an argument or a pretext which leads into the real story.
Bernardí Roig exhibits for the first time in Galleria Marie-Laure Fleisch, which is located in the same street where this crime was committed. The title of the exhibition La Bolannntro'w is a phonetic transcription in Spanish of the famous phrase uttered by the tennis champion John McEnroe (The ball was in!) in the 1981 Wimbledon Final when he won against Bjørn Borg. McEnroe was well-known for his irascibility and during matches he frequently engaged in heated discussions with the umpire, accompanying these with violent gestures and aggressive language. Roig has created a parallel between this event of 1606 and the more recent one of 1981, reflecting on the meaning of play, violence, transgression and isolation. Through a new group of works, sculptures, drawings and videos, the artist establishes a connection between what one sees, the memory of a place, and historical events, comparing them against reality. The exhibition model is conceived as an “alteration device” which acts on the target themes: the artist constructs dialogue between historical and iconographic traditions from different periods, and uses an equally varied number of heterogeneous narratives which give the work the appearance of being derived from another text.The work moves away from visual illustration to favour a collision of significances to evoke new opinions and interpretations in the visitor. The theatricality of Roig's exhibition—created in the positioning of each element—aims to encourage multiple experiences and interpretations; it’s effect is intensified through the spectral presence of figures, either drawn, sculpted or digitalized, which project one’s imagination beyond their original form. The effect is further intensified by harsh, cold lighting which is also an integral part of the work. As in Dan Flavin’s work, neon light dilates the works, highlighting the limits of the space that contains them, but in Roig's work, light also confuses the vision, impeding the eye which becomes used to the image, thus evoking an inventive and personal reality in the visitor. (Galleria Marie-Laure Fleisch press-release)
Galleria Marie-Laure Fleisch, Via Pallacorda 15 (historic center )
Image: Bernardi Roig – Je est un autre (II), 2013
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
september 30 – january 10, 2016
This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró’s work.
The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist’s ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other —a principal feature of this exhibition.
The paintings and sculptures in the exhibition plumb the process of making art, part of Miró’s concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued. (McNay Art Museum press-release)
McNay Art Museum, 6000 N New Braunfels Ave, San Antonio, TX 78209
Imagen. Joan Miró,Woman, Bird and Star (Homage to Picasso)
07 september - 26 november, 2015
Guillermo Mora takes part in the TRIO Bienal on the module Form and Matter – Three-dimensional Boundaries in Expanded Field, curated by Marcus de Lontra Costa, at Centro Cultural Banco do Brasil, Rio de Janeiro. The exhibition brings a look on the materic concepts in three-dimensional production, works that explore the limits of the form research, presenting works perishable, organic, edible, invisible, atomic, sound, waste, robotic, mechanical and technological, and an overview on the three-dimensional creation presents in its expanded fields – painting, photography, drawing, video and performance. (C.C. Banco do Brasil press-release)
Centro Cultural Banco do Brasil. R. Primeiro de Março, 66 Rio de Janeiro
Image: Guillermo Mora
september 25, 2015 - january 04, 2016
Dora García’s multi-disciplinary work examines the wellsprings of artistic experience, altering the traditional relationships between artist, work, and viewer, as well as those of the individual, whose daily behavior she questions through performance, film, and discussion.
The exhibition I See Words, I Hear Voices will include new works by the artist as well as García’s acclaimed film The Joycean Society, 2013, and Exile, 2012, an ongoing interactive and archival project exploring the notion of exile.
Since 2009, García has been carrying out the Mad Marginal project, major stages of which were shown at the recent Documenta XII in Kassel and at the 54th Venice Biennale in 2011. The project has been exhibited internationally in Hamburg, Amsterdam, Brussels, Buenos Aires, Montreal, and Moss.
On view for the first time in Toronto, the exhibition curated by Chantal Pontbriand also includes a new book of the Mad Marginal Charts which will be launched at The Power Plant during our Fall 2015 season.
Dora García (born in Valladolid, Spain, 1965) lives and works in Barcelona and Oslo. She currently teaches at the Oslo National Academy of the Arts, Norway, and HEAD, Geneva. She is Co-Director for Les Laboratoires d’Aubervilliers, Paris. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions and paying homage to eccentric characters and anti-heroes. She has exhibited her work at numerous international events such as the 54th, 55th and 56th Venice Biennale (2011, 2013 and 2015), dOCUMENTA(13) (2012), the 29th São Paulo Biennale (2010), the 16th Sydney Biennale (2008) and Münster Sculpture Projects (2007). (The Power Plant press-release)
The Power Plant, 231 Queens Quay West, Toronto, ON M5J 2G8
Image: Dora García
september 14, 2015 – february 7, 2016
Picasso Sculpture is a sweeping survey of Pablo Picasso’s innovative and influential work in three dimensions. This will be the first such museum exhibition in the United States in nearly half a century.
Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status for Picasso. He approached the medium with the freedom of a self-taught artist, ready to break all the rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished the sculptures' company and enjoyed re-creating them in a variety of materials and situations. Picasso kept the majority in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his work. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which until now was the first and only exhibition on this continent to display a large number of the artist’s sculptures.
Picasso Sculpture focuses on the artist’s lifelong work with sculpture, with a particular focus on his use of materials and processes. The exhibition, which features more than 100 sculptures, complemented by selected works on paper and photographs, aims to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention. The exhibition is organized in chapters corresponding to the distinct periods during which Picasso devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. Organized by The Museum of Modern Art in collaboration with the Musée national Picasso – Paris. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art; with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso – Paris. (MOMA press-release)
The Museum of Modern Art. 11 West 53 Street. New York, NY 10019-5497
Image: Pablo Picasso. Bull. Cannes, c. 1958
september 22nd - november 29th, 2015
The Moscow Museum of Modern Art presents art from the collection of the Centro de Arte Dos de Mayo (CA2M) of the Regional Government of Madrid and ARCO Collection, Madrid. The exhibition bringing together more than 30 artists is to open in the Museum’s main building at 25, Petrovka Street. The project participants with their light installations, large-scale objects, contemporary paintings, drawings, photos and videos will attest to the diversity of the regional art scene, their works taken together forming a coherent whole entitled Another Part of the New World.
The collection of the Contemporary Art Fair Foundation ARCO was founded in 1987, in a 5-year term after the creation of the Madrid Fair. Appearing on the tide of the democratic process after the long-term Franco’s regime, the initiative sought to present Spain as a country open to the rest of the world, to maintain its place on the international contemporary art scene and to give an example of a collection resulting from the activity of private individuals and local institutions. The ARCO Foundation Collection has presently been kept at the Centro de Arte Dos de Mayo CA2M of the Regional Government of Madrid, which is situated in Móstoles, the suburb of the Spanish capital, and comprises another collection of its own, counting more than 1500 artworks from different countries. Since its foundation in 2008, the Centro de Arte Dos de Mayo CA2M organised a number of exhibitions and state programmes, paying special attention to the critical approach towards political and economical relations in the postcolonial world, the interactions of visual arts and mass culture, to performance and performativity as an important new feature in the art of the 1990s.
Project participants: Ignasi Aballi, Eduardo Abaroa, Halil Altindere, Pilar Albarracin, Francis Alÿs, Alexander Apóstol, Ibon Aranberri, Juan Araujo, Artur Barrio, Iñaki Bonillas, Fernando Bryce, Adriana Bustos, Carlos Garaicoa, Mariana Castillo Deball, Eugenio Dittborn, Héctor Zamora, Los Carpinteros, Joachim Koester, Guillermo Kuitca, Gabriel Kuri, Tonico Lemos Auad, Rogelio López Cuenca, Cristina Lucas, Teresa Margolles, Ana Mendieta, Aernout Mik, Antoni Muntadas, Óscar Muñoz, Rivane Neuenschwander, Adrian Piper, El Perro, Wilfredo Prieto, Raqs Media Collective, Fernando Sánchez Castillo, Allan Sekula, Melanie Smith, Santiago Sierra, Tunga and Thomas Hirschhorn. Curators: Ferran Barenblit and Elena Yaichnikova (Dos de Mayo press-release)
Moscow Museum of Modern Art, 25, Petrovka St.
Image Pilar Albarracin. The night
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
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
WeARTe is an exhibition proposal which aims to display and highlight the vanguard of a group of artists from the Iberian peninsula, which, being of different generations, bring to us the world and its realities through art.
This exhibition is a unique and honest view, that joins emerging and recognised artists in establishing an artistic coalition that seeks to create an international point of contemporary meeting in the beautiful city of Poznan, providing the public with the chance to be part of this connection. Comisariado: Katia Muñoz y Beata Pflanz.
Artists: Aysel Gözübüyük, Turkey, Carla Tabora, Spain / Brasil, Gloria Keller_Spain / Germany, Jacqueline Rodríguez, Peru. Susie Gadea, Spain / Peru, Vicente Greus ,Spain . Eduardo Mezquida, Spain. Antonio Aires, Portugal. Rosemary Cassidy Buswell , UK / France. Mariola Landowska, Portugal /Poland, Mercedes Casas Ocampo Spain-Argentina. Cecilia Moreno Yaghoubi_Colombia-USA. (Czapski Art Foundation press-release)
Czapski Art Foundation. ul. Wawrzyniaka 39 bud. C II piętro. 60-502 Poznan
Image: Vicente Greus
16 february - 13 march, 2015
Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.
In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.
Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.
Image: Embajada de España en Tokio.
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