Spanish contemporary art worldwide
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9 – 30 august, 2014
Group exhibition of contemporary photography. This August the Grant Bradley Gallery presents a curated exhibition of photography selected from a diverse group of artists living and working in the Bristol region. The exhibition encompasses works of contemporary portraiture, landscape and social documentary. With no given theme, each artist displays the work that best represents themselves.
Spanish civil engineer Andrés Castrillo Ferrer was born in Valencia, Spain in 1983. Passionate about art, photography was a specific interest inherited from his father. From his first compact camera to his current digital SLR, he constantly experiments and pushes the boundaries of his practice, always committed to innovation and modernity in all his works.
Engineering was a landmark influence on his evolution as an artist and the style of his work, making architecture, geometry and symmetry his instrumental themes. Andrés' photography modifies the architecture of cosmopolitan cities, inspired by the play of shadows, colours and contrasting surfaces. He presented his first exhibition "Symmetries and Asymmetries" in Valencia in the year 2012. A highly particular portrait of cities such as Madrid, London and Berlin, it was the latter of these, with its avant-garde architecture and modernist streets that impressed him the most. This August the Grant Bradley Gallery is pleased to display one piece from his Berlin series.
Andrés has shown work in numerous venues in his home country, the August exhibition in the Grant Bradley Gallery will mark his UK debut. (Grant Bradley press-release)
The Grant Bradley Gallery, Number 1 St Peter's Court, Bedminster Parade, Bristol
Image: Abstract, architectural photography by Spanish artist Andrés Castrillo Ferrer
july 31 - october 26, 2014
The Fundación Joan Miró has organized the exhibition "Joan Miró. Fuerza de la materia" will be presented from July 31 in the new Cultural Center Foundation CorpArtes Santiago de Chile, with 112 works by the artist.
Seventy works of his background have been moved to Santiago to be displayed in the sample.
"Joan Miró. La fuerza de la materia" focuses on the artist's interest in the matter, which served both to learn new techniques and to get the purity of art. The exhibition, organized under the direction of Rosa Maria Malet, includes paintings on canvas, paper and other props, sculptures and graphic works made between 1931 and 1981.
"Joan Miró. La fuerza de la materia" is the second exhibition organized by the Fundación Joan Miró in Chile, between February and April 1998, Viña del Mar Cultural Center hosted the exhibition "Joan Miró. Imagination and color" with 144 graphic artist works provided by the Foundation.
With this second exhibition of Miró in Chile, the CorpArtes Foundation launches new cultural center in Santiago de Chile, a space that includes a visual arts gallery, a sculpture garden and an auditorium for performances of music, dance, theater and cinema. (Fundación Miró press-release)
Centro de las Artes Fundación Compartes, 660 de calle Rosario Norte, Las Condes
Image:”Perro pequeño”. Fundación Joan Miró
july 19 – december 31, 2014
As part of the project TRANSIT- Creative Placemaking with Europe in Baltimore, the Spanish artist collective mmmm… has created a fun and interactive bus shelter in S. East Avenue, Highlandtown A&E District, right next to the Creative Alliance.
This is a bus stop that you can’t miss. It consists of three large sculptures that form the letters B U S. Each letter stands 14 feet tall and 7 feet wide and it’s made with wood and steel. The artist collective mmmm... has created a place for the community to enjoy, interact, and meet while waiting for the bus. They have transformed the experience of waiting for the bus to an entertaining, leisurely space in the middle of the lively rhythm of Highlandtown.
mmmm… is a collaboration between Emilio Alarcón, Alberto Alarcón, Ciro Márquez and Eva Salmerón, who have been creating projects for public spaces since 1998 in Madrid, Spain. They have arranged 100 couples kissing simultaneously throughout the crowds of the city center. Noise levels on the streets unexpectedly plummeted during that moment of mass intimacy. They have scattered members of an orchestra that played the same music simultaneously on various streets. Pedestrians experienced the music differently depending on which street they walked past, the speed at which they walked, and by which direction they were headed.
They have also built the Meeting Bowls in Times Square (New York), large objects shaped like bowls with seating to accommodate eight people. They constructed temporary and playful urban furniture, designed to promote interaction by having those seated inside face one another. The Meeting Bowls were social places for gathering and getting to know people.
TRANSIT – Creative Placemaking with Europe is an initiative of the Washington DC cluster of the EU National Institutes for Culture (EUNIC) and the Baltimore Office of Promotion and the Arts (BOPA), supported by a grant from the European Union. TRANSIT is supported by the British Council, Goethe-Institut, SPAIN arts & culture, the Embassies of Austria, Greece, Ireland, Finland and Poland. (Spain arts&culture press-release)
Bus Stop, S. East Avenue, Highlandtown A & E District
Image: Bus Stop. mmm..
august 1st – november 3th, 2014
ART Fahrenheit 451: Sailing into the sea of oblivion (ART Fahrenheit 451: navegando hacia el mar del olvido) es el título de esta edición de la Trienal de Yokohama, que empezó en 2001.
Es considerada una de las exposiciones más importantes de arte contemporáneo en Asia y pionera en Japón. Con el artista Morimura Yasumasa, como director artístico, la trienal se inicia en agosto y termina en noviembre de 2014, y se ubica en dos sedes principales: el Yokohama Museum of Art y el Shinko Pier Exhibition Hall. Los organizadores son la Ciudad de Yokohama, la Yokohama Arts Foundation, Japan Broadcasting Corporation, Asahi Shimbun, y el Comité Organizador de la Trienal de Yokohama (Organizing Committee for Yokohama Triennale).
El título proviene de la novela de Ray Bradbury “Fahrenheit 451”. La historia trata de un grupo de gente que se resiste a la sociedad que prohíbe y quema libros, memorizando sus textos completos en un intento de traspasar secretamente la sabiduría que contienen. Ellos eligen ser “olvidados” por la sociedad, manteniendo una inmensa cantidad de memoria extraída de los libros. Esta exposición busca introducir obras de arte que compartan este espíritu y actitud más allá de generaciones y fronteras. Una selección de 70 artistas componen la exposición y todos los artistas han sido elegidos en base a aproximadamente 10 capítulos propuestos por el director artístico.
Entre los artistan seleccionados están los españoles Dora García y Karmelo Bermejo, que cuentan con el apoyo del programa PICE de AC/E para la internacionalización de la cultura española. (AC/E pres.-release)
YokohamaMuseum of Art, 3-4-1,MINATOMIRAI,NISHI-KU,YOKOHAMA 220-0012 JAPAN.
Image: Blank 2013, Karmelo Bermejo
24 julio – 15 octubre 2014
It is possible. I tell him not to distrust. We are moving into a room. There we found a nourished good collection, hoarded during many years. Behind each piece is threaded a story that he, Alex Rosenberg, insists on narrating. We hear, as one who looks into a pit. After some laps, we find ourselves at a common point. Take them to the other side of the sea; to an island, to be exact; a surreal country, to be precise; to Cuba, to begin to define it all. Thus was born the initiative two years ago, in United States, ensures maximum Gomez Noda, curator of French art from the National Museum of fine arts of the Habana.
The visit to the residence of the spouses Rosenberg, the open door to the collection of engravings by Salvador Dali - never before exhibited in Cuba - was only the beginning of a project that could not reach the island soil during the celebrations for the centenary of the Museum, but now it will be from July 24 and until the month of October in its building of Universal Art.
No have many references in Cuba of the Dali recorder - says the specialist, we believe that the exhibition will help us to discover one of the creative geniuses of the surrealism. It crushed the memories and after some time, successive images that will be sliding, ensures that there is only a history of a similar project in the late - 1980s or early 90s, can not specify - an exhibition of paintings by the controversial artist brought to Cuba.
Memories of Surrealism presents 95 prints made primarily with the lithographic technique, which are grouped in the series "The songs of Maldoror", "Fantastic voyage", "The twelve tribes of Israel", "The Divine Comedy", "Dali interprets Currier and Ives". A part of the works come from staff Alex and Carole Rosenberg collection, but there are also parts of the collectors Walter Maibaum and Carol Conn, Peter Lucas and Max Arnold, Mike Tinsley, Rob Piepsny and Jospeh Nuzzolo. Curator: Alex Rosenberg (Cuba contemporánea press-release)
Museo de Bellas Artes. Trocadero e/ Monserrate y Zulueta, HabanaVieja, Ciudad
Image: Relojes blandos. Salvador Dalí.
July 5 - August 31, 2014
Mikel Lertxundi presents pieces that combine different elements as stone, metal and wood in an open exhibition project at the gallery Adriana Schmidt, Stuttgart, where geometry and nature mark the courses of humanity; intelligence, reason or sense of proportion derived from the mental faculties.
Mikel Lertxundi (Basque Country, 1951) is open to tridimensionality with various materials which articulates with the aim to unite the diversity into a coherent body. A work that has been exhibited individually in Spanish spaces, from San Sebastian and Bilbao to Madrid, Zaragoza and Barcelona; also from abroad, Chicago and Bayonne, in German cities; Pforzheim, Karlsfruhe, Cologne and Stuttgart. And in group exhibitions such as the one held in Stuttgart together with Eduardo Chillida, Pablo Palazuelo, Susana Solano and Jaume Plensa.
In his career this artist has participated in art fairs; precisely with the gallery Adriana Schmidt has been in 99 FIA Caracas; 99 editions, 2000 and 2002 ARCO, Art Miami in 2002 and KIAF Seoul in 2008. dozen sculptures and drawings by Mikel Lertxundi in gallery Adriana Schmidt. (Adriana Schmidt press-release)
Galería Adriana Schmidt, Friedrichstr 23, s de Stuttgart, Alemania
Image: Galeríe Adriana Schmidt
10th - 31st July 2014
Juan Ripollés’ artistic style is often compared to and influenced by one of the giants of 20th century art - Picasso. Although Ripolles admits his admiration for artists such as Picasso, Goya, and Velazquez, he delivers his own dreamy and ironic interpretation to characterize the figures in his works, which often focus on nature and people. Ripolles was initially closer to painting, creating highly imaginative and very successful works; next he made original engravings, developing new techniques. Finally he discovered the world of sculpture and consequently that of glass. He offers a recreational world based on humour and irony and his work presents a wide range of nuances, suggestions, atmospheres, over chromatics, ranging from serious to loud, from soft to happy.
The artist often emphasizes his figures’ enormous heads set on miniscule bodies, underscoring the four senses that reside in the head: hearing, smell, taste and sight. He views the head as the centre of the human being; with the heart completing the poem.
For the past five decades Juan Ripollés (b.Alzira,Castellón 1932), his canvasses and prints have been exhibited at the major galleries and museums of Amsterdam, New York, Tokyo and Beijing. He was the first Spanish artist invited to exhibit solo in museums throughout China, to commemorate the 40th anniversary of the establishment of diplomatic relations between Spain and the PRC. His large-format sculptures have been seen in the parks and emblematic streets and squares of Madrid, Seville, Valencia, Lisbon, Venice, Verona, and Beijing. Celebrities such as Klaus and Hilde Schwab, founders of the World Economic Forum, and Hollywood actor Michael Douglas, collect his works. (Belvedere press-release)
Belvedere gallery. 140 Hill Street, Old Hill Street Police Station. Singapore 179369
Image: Double image. Juan Ripollés.
2 july – 2 october, 2014
The Spanish sculptor Xavier Mascaró, who admits a "fascination with Mexican culture", exhibited for the first time at the Hipanica gallery a work of Mexican culture inspiration which seeks to establish "a bridge between past and future." The works are created especially with aluminum, a material that the artist came into use relatively recently in his work, compared with iron.
Xavier Mascaró, born in Paris in November 1965. He moved with his family to Spain in 1968. He produced his first paintings and etchings in 1979. In 1983-88 he studied at the Barcelona School of Fine Arts, graduating in the speciality of painting. In 1989 he produced his first works in bronze and in 1995 he began to work with iron. In 1996-98 he lived in New York. He then returned to Madrid, where he worked on the production of monumental works, some of which are installed in Ceutí (Murcia province), Jerez de la Frontera (Cadiz province) and Pinto (Madrid province). In 2004 he moved back to New York . About that time he started experimenting with works in different materials, including stained glass, resin and stone. Since 2011 he has had studios in Mexico City and London. Currently lives and works in Mexico City and Madrid. .(G.Hispánica press -release)
Galería Hispánica. Guadalajara, 88. Colonia Roma Norte. 06700 México DF, México
Image: Xavier Mascaró
17 july . 28 september, 2014
In his project ‘Transmongolian,’ Alvaro Laiz depicts a world of solitude and crushed dreams within the Mongolian community of homosexuals and transgender. The Secret History of the Mongols, considered to be the oldest Mongolian language literary work, is the single significant native account of Mongolia’s rise to power around the 12th century AD. It recounts how the warrior Genghis Khan was able to organize more than thirty tribes battling for control, and how once in power, with the objective to augment his population and face his enemies, declared homosexuality illegal under death penalty. Today, more than eight hundred years later, Mongolia is a sovereign country with the lowest population rate in the world, lower than two inhabitants per square kilometer and being a homosexual, continues to be taboo.
Álvaro Láiz (León, 1981) He has developed his work between Africa, Asia and South America cooperating with NGO ́s and Foundations such us International Red Cross, Doctors Without Borders or World Vision. His photographs have been published in national and international media such us Sunday Times Magazine, Colors Magazine, National Geographic, CNN,Foreign Policy, XL Semanal, EL Pais, Ojo de Pez or Marie Claire. His work conceives photography as a tool to give civil society in post conflict zones the chance to be heard, exploring the environment, costumes and traditions of those people at risk of exclusion. Master in Visual Arts at Universidad Pontificia de Salamanca, his work focuses on realities usually ignored by mass media.(On the Move press-release)
Cortona On The Move, via Roma 31, 52044 Cortona (AR)
Image: “Transmongolian” Alvaro Laiz.
july 5 - october 31, 2014
The relationships with love, desire and sexuality reveal lifestyles, civilizations and historical periods. The subject of Vergara's solo exhibition Fin'Amor is courtly love; love in all its artistique, cultural and ideological guises, from the Middle Ages up to present day, between popular art and mass culture, between dominant culture and counterculture.
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?. Curator: Jackie-Ruth Meyer. (CA Le Lait press release)
Centre d’art Le LAIT, Moulins Albigeois, 41 rue Porta. 81000 Albi. France
July 11- October 11, 2014
In a time of globalization, transcultural movement and the leveling of world commerce, economists believe that today the earth could be perceived as becoming flat. They have used this metaphor to describe the world economy. This condition can also be utilized in describing transcultural movement. With the ease of cross migration, cultures are continuing to collide at a more rapid rate. The globalization of culture, ideas and artistic practice is creating a new balance, interface and flat playing field. Artists further the notion of “flatness” by the appropriation of popular imagery from their own and other cultures. The exponential growth of digital communication has accelerated this process. The universal presence of the actual flat screen monitor has brought about a flat screen mentality. Yet artists are able to juggle their ethnicity, cultural experience and global views to create works that are multilayered and distinct. The presenting artists of FLATLAND are at the intersection of cultural form, process and meaning in this emerging flat world. Curated by Patty Ortiz. (Museo Guadalupe press-release)
Artists: Carlos Aires, Mark Hogensen, Leigh Anne Lester, Rigoberto Luna, Francisco Merel, Ann-Michele Morales, Ricardo Rendón, Ansen Seale, Xochi Solis, Jason Villegas
Guadalupe Cultural Arts Center, 723 S. Brazos St. San Antonio, TX 78207
Image: Love is in the air. Carlos Aires
july 22 - november 9, 2014
In 1989 the Convention on the Rights of the Childhood, defines the basic human rights that correspond to children anywhere and at any situation. However abuse, violence, malnutrition, sexual exploitation and slavery continue checking the lives of many children.
This exhibition of the spanish photographer Isabel Muñoz portrays these situations in 20 countries on 5 continents. There are 20 photographs that reveal the marked cultural differences and the lack of protection that many children suffering in the world. For the Children project, the winner of the Medal of Merit in Fine Arts Award Photo Spain and Spain, joined his gaze to the work of the Spanish Agency of International Cooperation for Development (AECID) and Unicef, promoters of the project.
Isabel Muñoz (Barcelona 1951) Spanish photographer who has featured in contemporary photographic field for its technical (using platinotype and large format), like its subject: the body, eroticism, dance, rural tribes and urban and children, among others; establishing, through his eyes, a social commitment. He has won various awards and most notably Bartolomé Ros Award for his entire career in PhotoEspaña 2009, the Gold Medal in Fine Arts 2009 and obtaining two-time World Press Photo and the National Award Unicef Spain 2010 at the Advocacy and Social Mobilization and COVET Foundation award. His work is in collections of the National Museum Centro de Arte Reina Sofía, Photo Colectania, Fundación Canal Madrid, Maison Européenne de la Photographie and New Museum of Contemporary Art in New York. (CCEMX press-release)
Image: Isabel Muñoz.
11 july – 11 october, 2014
At the Triennial no Alentejo, the Spanish artist Ricardo Calero presents with the support of the Spanish Cooperation through the Ministry of Culture and the Embassy of Spain in Portugal, his work “Space of thoughts”, a metal piece of large dimensions as a meeting room to reflection and debate.
The structure is a tool for dialogue and a forum for historians, artists, critics and people in the region to interact with the audience. The concept, inspired in the chimneys of Alentejo, allowing the adaptation of the work in various environments and outdoor spaces, provided that the original idea is maintained. The piece is constructed with painted sheet metal which related to the place and theme of the Triennial.
To facilitate discussion days, has been placed inside the sculpture a table and two chairs Alentejo style, where the roundtables will take place.
Ricardo Calero's artistic proposals are always characterised by the developement of a concept, as with those outlined in: Espacios del sentir, AUBES 3935 Gallery, Montreal. Ausencias, Calart Gallery, Geneva. Memorias del Olvido, Naviglio Gallery, Milan. Auras del Silencio, Scheffel Gallery, Bad Homburg, Germany. Nada, Provincial Council of Huesca. Luz en la sombra, Joan Prats-Artgráfic Gallery, Barcelona. Diálogos, Raquel Ponce Gallery, Madrid. Disparates, Continuidad de un proyecto inacabado, The Spanish Academy, Rome and the Villa Pisani National Museum, Venice. Posetilosti, The West Bohemian Gallery, Pilsen, Czech Republic. Continuity of an Unfinished Project, The Katzen Arts Center, Washington. Ricardo Calero, Disparates, Montreal University, Canada. Grabado…Tiempo, at the Paraninfo exhibition rooms, Zaragoza University. (Trienal no Alentejo press-release)
Évora. Plaça do Sartorio. Portugal
Image: Espacio de Pensamientos. Ricardo Calero
july 29th - august 19th, 2014
Marc Cirujeda’s full color panoramic photographs explore the interpenetrating realms of light, shadow, texture, shape and hue. Printed on rigid substrates such as PVC or Dibond, his unique method generates the vivid color spectrum and semi-distortion or “glass effect” by which the works are best characterized. Volume, color and sharpness abound in Cirujeda’s expertly composed nature landscapes. Able to transmit the sublime panoramic scope and subtle energetic essence of each locale with ease, this is an artist who works almost as if under a spell. Deeply enchanted by his subject matter, he is able to draw from it a wondrous hyper-reality which is preserved in his work. Large in scale and printed for maximum visual appeal, Cirujeda’s unique approach to contemporary landscape results in images with numerous layers and details for the viewer to behold.
Marc Cirujeda was born in Sabadell, Barcelona, where he still resides when not living the nomadic lifestyle that best serves his artistic work. A practicing photographer since 1992, he has received numerous honors and recognitions for his work. (Agora gallery press-release)
Agora Gallery, 530 West 25th St, Chelsea, New York
Image: Navajo Spirit. Marc Cirujeda
SANTIAGO DE CHILE. The Spanish National Photography Prize: Connections and Confrontations. Centro Cultural de España en Santiago de Chile
10 july – 23 august, 2014
Organized by the Ministry of Education, Culture and Sport of Spain and curated by Artendencias, Carmen de la Guerra and Javier Díez, the exhibition becomes an anthology of the history of Spanish photography across the last sixty years, visualizing unsuspected links among the works of different artists. When viewing the exhibition as a whole, we can observe how the development of individual artists has been consistent with the transformation of Spanish society from the fifties to the present day.
Featuring the works of Gabriel Cualladó, Cristina García Rodero, Humberto Rivas, Joan Fontcuberta, Alberto García-Alix, Chema Madoz, Toni Catany, Joan Colom, Carlos Pérez Siquier, Ramón Masats, Ouka Leele, Pablo Pérez-Mínguez, Manuel Vilariño, Bleda y Rosa.
Organized by the Ministry of Education, Culture and Sport of Spain and the Ministry of Foreign Affairs and Cooperation, AECID. (ccespana press-release)
Centro Cultural de España, Santiago de Chile Av. Providencia 927.
Image: La Gata, 2001, Alberto García-Alix.
03 July - 14 September 2014
‘Digital Revolution’ is an exhibition about art, design, film, music and videogames that will open at the Barbican Centre in London on July 3rd.
This exhibition will show the work ‘Wishing Wall’, created by the artistic duo formed by Varvara Guljajeva from Estonia and Mar Canet, Spain. This piece, which combines different media (digital, audio and interactive technology), will try to collect the whispering voices of visitors and transform them into digital butterflies. Guljajeva describes this transformation as ‘the metamorphosis of a wish’.
Mar Canet is a computer gamer engineer, designer and media artist. Born in Mollet del Valles (Barcelona) in 1981, he is interested in elements such as software developing, game modes, digital expression, data display or new media art.(Barbican Ceneter press-release)
Barbican Centre,Silk Street.London,EC2Y 8DS
Image: Andrew Meredith
2 – 31 july, 2014
Leopoldo Pomés (Barcelona, 1931) and Carlos Saura (Huesca, 1932) have traveled somewhat similar paths. Parallel to their long careers in advertising and film respectively, they both exhibited their work for the first time in the '50s: Pomés at Galerías Layetanas in Barcelona in 1955, and Saura at the Real Sociedad Fotográfica in 1952. Both were invited to work at the Barcelona Olympic Games in 1992: Saura producing the official movie, Marathon, and Pomés carrying out the image campaign of Barcelona's candidacy. Not only have they done portraits, but they have fed their curiosity in different areas, photographing the city and its people, its towns, and their families and social surroundings... They made their debut at an early age with documentaries: Pomés worked on a project about Barcelona that never saw the light of day, and Saura worked on a photographic album of Spanish towns and people. Ever since then, they haven't put the camera down. Saura making portraits of his family and his surroundings, and creating painted photographs or fotosaurios; Pomés expanding his long list of personalities from the cultural world, photographing the bullfighting world, and producing artistic and commercial photography.
This exhibition focuses on the genre of the portrait, albeit using a wide conception of it. There are portraits of unknown people, movie stars, notorious members of the literary and artistic establishments, close friends and even animals. An exhibition that reveals the intensity of Pomés's portraits, the spontaneity of Saura's images, and the intense psychological insight both of them share. (Instituto Cervantes press-release)
Entidades colaboradoras: PHotoEspaña 2012 (Madrid)
Instituto Cervantes - Sala de Exposiciones, Lincoln House, Lincoln Place, 2 Dublin
Image: “Ana Torrent and Geraldine Chapin” Carlos Saura
24 - 31 July 2014
Art project to study e-motions and con-motions of Movement, Poetry, Action, Music through Visual Arts. Maria Angeles Vila (Valencia 1978) and Alicia Herrero presents an Installation with interactive boxes as containers where the viewer enters to a stage of sensations. It does involve the viewer, inviting him to play, to observe, to listen, to contact each e- mocions/con-mocions represented in each box with the help of interpreters. The installation consists of different boxes with the aesthetic medium to transport works of art, hosting large collages made from patterned papers with numerous techniques common engraving artist Maria Angeles Vila. The viewer's curiosity is awakened to give accomplice when seen through the slots, holes or peep holes of the boxes to discover the action inside.
Sponsored by Instituto Cervantes in collaboration with Comune di Rieti. (I.Cervantes press-release)
Rieti, toda la ciudad. 2001 Rieti
Image: Maria Ángeles Vila.
25 july - 30 august, 2014
A curatorial project presenting a selection of twelve videoart pieces that show how art canfunction 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. (CCEJS press-release)
Centro Cultural de España Juan de Salazar. Tacuary, 745/ Herrera, 834
Image: A vuelo de pájaro. Daniel G.Andujar
July 12 - August 2, 2014
TRANSFER is pleased to present Sweet Finances!, the first solo exhibition from Spanish artist Claudia Maté.
For this exhibition Maté has produced a series of web applications connected with the Yahoo! Finances API, keeping us updated every second by leveraging a huge amount of data from exchanges worldwide. Sweet Finances! collects and reinterprets this data in real time through the internet, with the aim of making the tricky and cold world of financial markets into a collection of pleasant and oniric landscapes, allowing a viewer to forget the meaning behind the data – Maté’s landscapes represent the beauty of financial data on its own terms.
The exhibition consists of web-based applications, installation and sculpture. In her Historic Landscape and Sky Market series, Mate enables the viewer to visit web-based applications that read historical data and real-time quotes from a stock of their selection, and transform those quotes into a plastic format. Traders and collectors can choose a company, range of dates, color, background, or gradient in order to create unique images — then select to purchase the parameters as a printed artwork produced by the artist. This is a great opportunity to invite people who invest in the market to buy their own shares in a plastic format.
Claudia Maté (b. 1985, Madrid. Spain) lives and work in London. She works in a large area of new media and online based works. Her works come from a variety of formats including programming, 3D, video, animated GIFs and sound. She is Co-founder and curator at cloaque.org. Mate’s works has been exhibited internationally in NYC, Madrid, Paris, Canada, Croatia, Italy, Berlin, Chile, Canada and online. Her full exhibition list and a number of artworks available online at claudiamate.com. (Transfer gallery press-release)
Transfer Gallery 1030 Metropolitan Ave. Brooklyn, New York 11211
Image: Claudia Maté
23 july - 9 november 2014
An eye-opening collection of photographs and artefacts is set to intrigue visitors to the Science Museum this summer as Media Space stages the first major UK exhibition by award-winning Catalan artist Joan Fontcuberta.
Fontcuberta subtly questions the use of the photographic image as evidence, by combining visually compelling and mischievous narratives with an acute, deadpan humour.
With highlights including astonishing photographs of mermaid fossils and incredible reports on mysterious fauna, Stranger Than Fiction presents six conceptually independent narratives from Fontcuberta’s body of work; a visual universe in which the real and the imagined combine to startling effect.
Co-curated by the artist with Greg Hobson, Curator of Photographs at the National Media Museum, the exhibition will feature some of Fontcuberta’s best-known works, including photographs, film, dioramas, scientific reports and related ephemera to form the second show in the Science Museum’s 550m² Media Space gallery.
Joan Fontcuberta, born in Barcelona in 1955, artist, teacher, writer and curator Joan Fontcuberta is one of the most significant figures in contemporary photography. After beginning his career in advertising, he went on to teach in the faculty of Fine Arts at the University of Barcelona, as well as numerous other institutions including Harvard University. He co-founded PhotoVision magazine in 1980 and has many other publications to his name. He was named Chevalier des Arts et des Lettres by the French Minister of Culture in 1994, received the 1998 National Prize in Photography from the Spanish Ministry of Culture, the National Prize in Culture for Visual Arts from the Catalan Government and was last year chosen as the recipient of the Hasselblad International Award in Photography.(I.Ramón Llull press-release)
Stranger Than Fiction is presented in collaboration with the Government of Catalonia, organiser of the Catalan Tercentenary programme.
London's Media Space, Science Museum. Exhibition Road, South Kensington, London, SW7 2DD
Image: Joan Fontcuberta
26 june – 30 august, 2014
Daniel Steegmann Mangrané has conceived the performance Fólego, for his exhibition at Proyectos Monclova as a response to the characteristics of the gallery space, which is divided into two floors and connected by an indoors yard. Fólego is a continuation of the artist’s on-going research with flutist, Joana Saraiva. The performance will take place weekly on Thursdays, Fridays and Saturdays from 5pm until 6pm.
Additionally, two works from the Systemic Grids series will be on display on the first floor of the gallery. Here laser-cut metallic plates have been cut in order to generate overlapping geometric patterns. Viewers are welcome to walk over these works, provoking a contrast between the rough industrial noise of the steel plates, and the delicate and fragile sound of the silver flute instruments. Daniel Steegmann Mangrané, born in Barcelona, Spain 1977. Lives in São Paulo and Rio de Janeiro, Brazil (P.Monclova press-release)
Proyectos Monclava. Colima 55 Roma Norte. Mexico D.F. 06700
Image: Daniel Steegmann Mangrané, 2014. Systemic Grid. Proyectos Monclava.
20 june– 9 novembre, 2014
The exhibition "Miró. Towards the infinitely free, to the infinitely large 'open at the Museum Paul Valéry, a set of 70 works in various stages, reflect the character of this artist who always considered free when imagining and creating a rich universe symbolic with a unique style.
Joan Miró was born April 20, 1893 in Barcelona. He died December 25, 1983 at Calamayor near Palma de Mallorca.
A major figure of twentieth century art, Joan Miro assert throughout his life an absolute freedom avoiding any agreement - Cubist, Surrealist, Abstract - that could lock him up. For six decades, the Catalan artist author of a language of signs of great wealth, painter and poet, engraver prolific, sculptor, ceramicist, illustrator and designer of sets and costumes for stage, will invent his world.
At 14, he studied at the Art School of Llotja. From 1912 to 1915,he enrolled in art school anti-academic Francesc Gali and devoted himself entirely to painting. By the early 20s, he shared this year between Paris and Mont-Roig, near Tarragona, and often very quickly the Surrealist group. In a continuing effort to pictorial research, he realized, by 1929, its construction, three-dimensional works made â€‹â€‹with wood, iron, objects founded, cut and assembled to announce his sculptures.
In 1940 he began work in ceramics, in Barcelona, with his friend Llorens Artigas (many vases and plates enamelled). Then he made his first sculptures in bronze and terra cotta. Exhibited in major museums, two foundations open to the public now bear his name.
Musée Paul Valéry, 148, Rue Fançois Desnoyer, 200 Sète
Image: Joan Miró
7 july – 21 september, 2014
The photography of Chema Madoz (Madrid, 1958), bordering on visual poetry, constantly tends towards the symbolic. His images are remarkable for their subtle exploration of paradoxes and metaphors that shape their own imaginative, reflective world. This exhibition ranges over his work from the late 1980s to the present, providing a broad survey of every stage in his career. . (PHE press-release)
Les Rencontres d'Arles, Magasin Electrique. Ateliers SNCF. Arles
Image: Chema Madoz. Sin título, 1990 © Chema Madoz.VEGAP. Madrid 2014
LIVERPOOL. Cristina De Middel, Ira Lombardia and Víctor Herrero “8th Liverpool Biennial” Open Eye Gallery
05 july - 26 october, 2014
The eighth Liverpool Biennial is entitled A Needle Walks into a Haystack and is curated by Mai Abu ElDahab and Anthony Huberman. Its programme features events aimed at all age groups and is designed to encourage debate on the role and value of artists, while helping shape an audience capable of critical thinking and committed to the visual arts.
AC/E is collaborating in this eighth Biennial by supporting the participation of Spanish guest artists Cristina De Middel and Ira Lombardia with the project Not All Documents Are Records: Photographing Exhibitions as an Art Form, curated by Lorenzo Fusi and due to be held at the Open Eye Gallery; and Víctor Herrero in The Companion – A Weekend Performance Programme, a project devised by Mai Abu ElDahab and Angie Keefer.
Cristina De Middel reinterprets the history of the Liverpool Biennial in her project through an installation based on photographs that can be seen in Gallery One of the Open Eye Gallery. Through her work she hints at what this year’s Biennial may and can credibly be, but it is totally fictitious, and she thus challenges photography as a medium, its format, genre and function, while exploring the power of persuasion and conviction images have. She will also teach a workshop in Liverpool on documenting reality using fictitious narratives through photography and will design a toolkit audiences can use to design their own document on the Biennial and later share their experience.
In her project, Ira Lombardia infiltrates a fictitious artist whose work has been created by chance into the catalogue of Documenta (13), a contemporary art event held in Kassel (Germany) in 2012. Her work will be on view together with that of Cristina de Middel, Hans Hacke and Ugo Mulas at the Open Eye Gallery.
The Companion. A Weekend Performance Programme, a project in which Spanish musician Víctor Herrero is taking part, consists of an experimental situation created after seven months’ prior contact between the guests (artists, writers, designers and scientists) and the host, Angie Keefer, resulting in a three-day programme of luncheons, debates, public actions, improvised performances and other acts staged by the guests. The public can take part in all of them.(AC/E press-release)
LiverpoolBiennial, 55 New Bird Stree. Liverpool. Merseyside.L1 0BW
Image: 8th Liverpool Biennial
TOULOUSE. Amaya Hernández, Concha Pérez, Jorge Yeregui, Nicolás Combarro, Paula Anta “Inhabiting the Landscape” Le Chateau D'eau
2 july – 07 september, 2014
To inhabit, from the Latin habitare, means to occupy a place, to live in it. Hence Heidegger’s claim that “we are, to the extent that we inhabit”. This appropriation of a place involves building it, modifying it, intervening in it. That intervention or manipulation gives rise to new social, political or aesthetic readings, shapìng a new kind of landscape. This exhibition looks at the work of five contemporary photographers with a shared interest in the landscape and our intervention in it, through the act of inhabiting. (PHE press-release)
Image: Paula Anta Árbol01. Serie «La arquitectura de los árboles
3 july – 2 august, 2014
Luisa Strina gallery is pleased to present …Baixa A Bola! the sixth solo exhibition by multimedia artist Antoni Muntadas with the gallery. The show takes its name from a football move (to play low) that turned into a popular expression in Brazil, meaning “take it easy” or “don’t take yourself too seriously”. …Baixa a Bola! will investigate topics such as mass events, control, spectacle, violence, sport and football – themes explored by the artist since the late 1970s. This will be an apt and timely subject matter coinciding with the 2014 World Cup in Brazil.
The exhibition will feature a selection of images and video projections from the 1990s and 2000s, as well as recent unseen printed wall works using archival material such as newspaper headlines and internet images from Brazil and abroad.
Barcelona-born but a longtime New Yorker, Muntadas is considered one of the early and significant practitioners of media and conceptual art. He figures among the first generation of artists exploring the social and political power of mass culture and mass media and works in diverse disciplines spanning photography, video, publications, the Internet, installations and urban interventions. The interaction between citizens and contemporary social and cultural systems are at the core of his research.
Baixa A Bola! will build on Muntadas’s previous “Stadiums” an ongoing project since 1989, exploring the stadium from the perspectives of architecture, audience and propaganda. The installations are tailored for the gallery space and the local context, using videos and sounds that denote how politics, security, order and control come together during mass events. The most recent Stadium installation was “Stadium XVIII” presented at the Pinacoteca de São Paulo in 2011.
Born in 1942 in Barcelona, Muntadas has lived and worked in New York since 1971. He started working with Luisa Strina in the late 1970s and is one of the oldest represented artists by the gallery. His work has been exhibited internationally, including the 51st Venice Biennale (Spanish Pavilion), Documenta VI and X in Kassel, and the Sao Paulo, Whitney, Lyon, Gwangju and Istanbul Biennales. (Luisa Strina press-release)
Luisa Strina gallery. Rua Padre João Manuel 755. Cerqueira César 01411-001. São Paulo SP Brazil
Imagen: A.Muntadas. Galeria Luisa Strina
26 junio-24 agosto 2014
Comisariada por Pablo Lafuente, “Una forma singular” reúne obras de arte y objetos "cotidianos" que, por su naturaleza y forma, persiguen posibles usos y significados que van más allá de los que habitualmente se les ha asignado. En la exposición en Secesión, estos objetos no sólo proponen un enfoque particular o de uso específico en virtud de su mera materialidad y forma de composición; también promulgan una liberación de tales determinaciones y suspenden las nociones establecidas de la intención, la autoría, propósito y función.
Un compromiso crítico con la forma y el significado potencial del arte y no objetos de arte puede ser una empresa muy genérica y abstracta. Una forma singular intenta hacerlo de forma concreta, centrándose en la forma escultórica y su singularidad, acompañada de un desplazamiento desde lo escultórico a lo funcional. Este cambio tiene la intención de presentar las estructuras materiales de los objetos como punto de partida para la asignación de una serie de relaciones en las que el objeto puede comenzar a actuar en ambos sentidos esperados e inesperados.
Dos preguntas han impulsado esta investigación: Cómo es un objeto específico de mediación? ¿Y hasta qué punto puede ser abstracto y genérico? Los intentos de respuesta se hacen a través de una variedad de objetos, así como a través de su versatilidad, tal como un mastefisk de Viking y un kølsvin, construido por Peter Madsen; una serie de impresiones de contactos de fotográficas de Asger Jorn y el proyecto de Gérard Franceschi 10.000 años de Nordic Folk Art; un Forcola Veneciano; una proyección de video de Hilary Lloyd; Un lienzo geométrico portátil de Martha Araújo; una escultura 'portátil' por Bruno Munari; una camilla; una serie de cucharas de Nicole Wermers; un objeto que viaja y la estructura de la vivienda por Ricardo Basbaum; una batea mapuche; un fondo de pantalla y la escultura modular por Dustin Ericksen; y una serie de piezas escultóricas, grabados y unidades de apoyo de Asier Mendizabal.
Con obras de Martha Araújo, Ricardo Basbaum, Dustin Ericksen, Asger Jorn (con Gérard Franceschi), Hilary Lloyd, Asier Mendizabal, Peter Madsen, Bruno Munari, Nicole Wermers, y algunas otras cosas. (Secession press-release)
Wiener Secession, Association of Visual Artists, Friedrichstraße 12, A-1010 Wien
Imagen: A Singular Form, Installationsansicht, Foto: Oliver Ottenschläger
27 june – 26 july, 2014
The “Inert Beings” exhibition will be accompanied by the release of an exclusive, limited edition work and the production of a large-scale intervention in Lisbon.
Since 1997, when his pieces were first spotted on the streets, Okuda has developed a “distinct visual language of multicoloured geometric patterns, organic forms and grey bodies, applied to murals, installations and interventions which offer views on crucial subjects such as existentialism, the universe, the meaning of life and the false freedom of capitalism, highlighting the contradictions between modernity and our roots”. (Underdogs press-release)
The Underdogs Gallery, Rua Fernando Palha, Armazém 56 – Lisbon
5 july – 13 october, 2014
With its recent series of rooms, rooms screaming, forget rooms, protest rooms or rooms to develop dissenting ideas spanish artist Alicia Framis continues to question the current social and human environment, highlights the alienation devices and other means of coercion. At the Pablo Picasso National Museum, War and Peace, Alicia Framis intends to create a room of forbidden books, a library of books, objects of censorship that are or have been banned and the authors of which have experienced or are still experiencing difficulties with judicial or political power. In some severe cases, some of them will know the prison, torture or death
Alicia Framis (1967 Barcelona, ES) is a multi-disciplinary artist whose work blends architecture, design, fashion and performance. Her work is project based and focuses on different aspects of human existence within contemporary urban society. Framis often starts out from actual social dilemmas to develop fictional settings.
Alicia Framis studied at the Barcelona University and the Ecole de Beaux Arts in Paris. She also completed her masters at the Institut d'Hautes Etudes, Paris and at the Rijksakademie Van Beeldende Kunsten, Amsterdam. Recent solo exhibition include the MUSAC, Castilla y Léon, the Ullens Center for Contemporary Art, Beijing, Le Frac Haute-Normandie, Rouen as well as the Museum voor Moderne Kunst, Arnhem. (Musee Picasso Vallauris press-release)
This exhibition is organized by the National Museum of the twentieth century in the Alpes-Maritimes. Curators: Maurice Fréchuret, Sarah Ligner
Musée national Pablo Picasso, la Guerre et la Paix, Place de la Libération 06220 Vallauris
Image: Alicia Framis. Musée Picasso Vallauris
AUGSBURG. Jaume Plensa “The secret Heart” H2 Centre for Contemporary Art in the Glaspalast and Augsburg-Oberhausen gasworks
7 June – 21 september, 2014
Following an invitation by the Kunstsammlungen und Museen Augsburg, the Catalan artist Jaume Plensa designed a project for an extensive exhibition at three locations in Augsburg. The project’s centrepiece is The Secret Heart / Das Geheimherz in the gasometer of the Augsburg-Oberhausen gasworks. Here, Plensa has installed a monumental suspended heart with an accompanying sound installation, giving a new meaning to this industrial space. When he first saw this space, in the disc-type gas holder, Plensa was both fascinated and daunted. Its massive dimensions presented a huge challenge: how could a contemporary artist fill such a space? Can art overcome the artificiality of this space? Would what is technically possible be at all compatible with the artist’s creative ideas? Plensa’s spectacular heart is the emphatic response to such questions. This creation, reminiscent of an anatomical model of a heart, forms the crystallising centre of Plensa’s artistic deliberations, which seek to represent society as a complex image or symbol. The ‘secret heart’ is enclosed, or wrapped, in the steel cylinder of the building, in the interior of which the pulse of society becomes visible and audible. With this artistic concept, Plensa on the one hand takes up elements already present in his work to date, but the sculptural motif of the heart appears here for the first time.
Plensa’s work is always location-specific. He analyses the locations he uses for his installations, gets a sense of their specific features and integrates them into his works, drawing artistic energy from the place itself. This reciprocal relationship between place and artwork is also evident in his installation Void – Air – Water in the ballroom of the Schaezlerpalais, the second exhibition location in Augsburg, where Plensa has arranged three sitting figures, illuminated in changing colours from the inside. The three figures are related to their theatrical context in the rococo ballroom and respond to it in a contemporary way. Finally, in the great hall of the H2 Centre for Contemporary Art in the Glaspalast, Plensa presents sculptures whose common formal feature is the letter, for example his Self-Portrait of 2013, a globe inside which the sitting artist sculpturally constructs himself, or Talking Continents (2013), a series of floating figures composed of letters which interact with the situation, the light and the breadth of the room. The artist describes his Augsburg project as a grown trinity, as moments of the emotional (gasometer), the rational (Schaezlerpalais) and the intellectual (H2), which come together to form an organic whole. (H2 press-release)
H2 – Zentrum für Gegenwartskunst im Glaspalast. Beim Glaspalast 1 D-86153 Augsburg. Germany
Image: “The secret Heart” Jaume Plensa
june 19 – july 31, 2014
The gallery presents an international exhibition with paintings, drawings and sculptures from international artists, including Spanish Inés Medina.
Inés Medina’s recent work combines the rigor of formal plastic concepts with a highly developed experimental approach to art making which others have found useful in ways not formally anticipated. She explores the visual sentiments of nature and employs an inimitable ability to unite color, light and texture to create work of remarkable elegance and lyrical beauty. The impression they leave on the eye is distinct yet intangible.
Born in the Spanish Basque Country, Inés Medina obtained a Master in Fine Art in 1982 at Bilbao University, Spain. She has widely exhibited in Europe and the U.S. Her work is included in several private and public collections around the world.
Featured artists: Ade Adekola; Obiora Anidi; Ifeoma Anyaeji; SoHyun Bae; Uchay Joel Chima; Sokey Edorh; Diako; Peter Wayne Lewis; Aime Mpane; Inés Medina; Chriss Nwobu; Pefura; Piniang; Wosene Kosrof, and Juliana Zevallos.(Skoto press-release)
Skoto Gallery, 529 W 20th St # 5W, New York, NY 10011
Image: Inés Medina
june 27 - october 26, 2014
Since ancient times, depicting the landscape has been a way for artists to explore the relationship between nature and humankind. In recent times, that relationship has often been experienced by car as part of a daily commute or an epic, Kerouacian journey. From urban landscapes in which billboards and stoplights replace trees and mountains, to the landscapes of national parks, tourist attractions along the United States highway system, the artists in Road Trip: America Through the Windshield look at the ways in which the road has transformed our interactions with the land.
Arriving in the United States from his native Spain, Juanli Carrión took road trips around the country as a way to learn about American culture. Particularly struck by the strange relationship of Americans to their vast landscape, he documented it in two photographic series represented in this exhibition. Carrión explores the negative effects of industrialization. He mounts the photos on light boxes, the format used for displaying Chinese landscape paintings often found, in their most synthetic and kitschy form, in Chinese restaurants. Highlighting the contrast between the idealized Chinese landscape and the actual American landscape, Carrión throws into relief the effects of human intervention. (Brattleboro Museum press-release)
Artists: Thelma Apple, Letha Wilson, Juanli Carrión, Amy Stein, Gregory Thielker, Jeff Brouws. Curator: Jennifer Scanlan.
BrattleboroMuseum,10 Vernon Street, Brattleboro, Vermont 05301
Image: Juanli Carrión, Intermission: Mysterious Incident in Lake Desmet. (2011) C-PRINT, wood, sound & light. 8x6x5 ft.
SAN LUIS POTOSÍ. Carlos Ciriza “Encuentros. Búsqueda y equilibrio de espacios, vacíos y tiempos” Museo Federico Silva
20 june – 31 august, 2014
The exhibition features 25 sculptures and 14 paintings by artist the spanish artist Carlos Ciriza, born Estella-Pamplona (Navarra), España 1964. In his early years, he developed his work with reflections close to the thinking of artists such as Richard Serra, Julio González, Chirino, Henry Moore, Chillida and Oteiza. The latter two are close to him both geographically and in the spirit that encourages their plastic. In this spirit, the space reveals itself as the essential and indispensable element in the sculpture.
In the beginning, he worked with wood, stone, industrial metals and alabaster. Later, he refines his style and defined iron as his main material, searching for inspiration through its forms and textures.
The career that Carlos Ciriza has forged himself in twenty five years shows a continuous progress; a continuous search and a deep investigation of the endless possibilities that can arise in the relation between matter, volume, gravity and balance. His concern about volume, movement and circulation of spaces and voids are a constant in his projects. Movements, balances and conflicting spaces provide solidity, strength and simplicity to the whole of his forms.
His painting is directly interrelated with his sculpture. Through it, the author harmoniously represents forms and small volumetric fragments, combined with masses of color and spaces in different planes, in murals, slate and paper. Close to the nature, to the poetry and to the music, he basically gets inspired through his thoughts, emotions and personal experiences. (Museo Federico Silva press-release)
Museo Federico Silva. Álvaro Obregón, 80 jardín de San Juan de Dios. Centro histórico. San Luis Potosí. México
Image: Carlos Ciriza
NEW YORK. Laura F. Gibellini “Dom (Variations)” Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
june 17 – december 31, 2014
The project consists of a mosaic mural and twelve laminated windows located at the Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
Dom (Variations) appears as an apparition at the Fresh Pond Station a warm and inviting bedroom welcoming commuters to their home station. A neat bed, wallpapered wall, firm pillows and shiny furniture complete the scene. The artist’s intent is to reflect the path that flows from within the interior space of a cozy home to the exterior world, tracing the daily commute to work and the return home.
Based on the concept of “home," the mosaic mural, located across from the mezzanine entrance, depicts a lived in domestic interior scene, complete with scattered garments, books and a floor lamp. The pattern of the wallpaper on the bedroom’s back wall derives from a map, while natural elements like tree-leaves and branches invade the room, and seem to themselves form into wallpaper. The image of a window within the mosaic emulates the real windows in the next two stations. Overall, the work seeks to inspire an ethereal and dreamy atmosphere that evokes memories of the past and of a dreamed home.
Laura F. Gibellini(Madrid 1978) is a visual artist and theorist whose work grapples with the notion of ‘place‘ and what it means to inhabit the world. She is especially concerned with the emergence of specific places in the interstice between ideal and factual gestures, in the gap between conceptualization and practice. In her work, Gibellini pays particular attention to the conditions in which, at a given moment, specific artworks find their expression and manifest themselves. This places emphasis in the (thinking) process and how the artwork may appear as a result or residue of such development.
Gibellini’s art practice involves substantial investigation in a variety of disciplines and extends to the field of writing. She uses drawing, collage, photography and video and, at times, she produces site-specific installations. (ISCP press-release)
Commissioned and owned by MTA Arts for Transit & Urban Design
Fresh Pond, Seneca Avenue and Forest Avenue Stations (M Line), Queens, NY
Image: Laura F. Gibellini
june 27 – September 14, 2014
The theme of the exhibition SLOW FUTURE is degrowth, a social movement advocating that we should abandon the current model of compulsory economic growth and search for ways to improve the quality of life within the limits of capacity of natural environment. The promoters of degrowth, also known as degrowthists, question the supreme value of material possessions and propose alternative models of economy - barter, cooperatives, co-ownership, and community exchange. According to them, it is mistaken to think that economic growth is indispensable for development and that it is the most important goal that everyone should pursue. Supporters of the idea of degrowth believe that it is precisely unrestrained consumption that aggravates social inequalities, not to mention irreversible damage to natural environment. Through their lifestyles, they are trying to oppose the universal pursuit of growth (in development and in economics), which according to them, creates far more social harm than objective benefits. In order to cut down consumption, we don’t have to make sacrifices or reduce our quality of life. It would be enough to use alternative means and methods at a larger scale, such as: recycling, green transport, converting deserted buildings into flats; and finally - to engage local organizations in decision-making processes relating to changes in public space. In times of economic crisis, such concepts become highly appreciated and inspire artists from all over the world.
“In the last years I have developed the concept DISPLACED LEGAL/MORAL APPLICATION to define the methodology that structure my projects. This analyzes a legal or moral principle and applies it in the opposite direction by reversing the power relationship and with a little twist initiates a questioning of the established. The Projects resulting from D.L.A have a more activist character and generate means to modify reality unlike the D.M.A which have a more reflexive profile” Nuria Güell
Artists: David Adamo, Bigert & Bergström, Bianca Bondi, Tania Bruguera, Fernando Bryce, Ella de Búrca, Luis Camnitzer, Jota Castro, Joachim Coucke, James Deutsher, Maarten Vanden Eynde, Kendell Geers, Nuria Güell, Patrick Hamilton, Cinthia Marcelle, Tiago Mata Machado, Gordon Matta-Clark, Ingrid Wildi Merino, Mariele Neudecker, Wilfredo Prieto, Aleksandra Wasilkowska, David Zink Yi. Curator: Jota Castro. (CSW press-release)
The Centre for Contemporary Art, Ujazdowski Castle. ul. Jazdów 2, 00-467 Warsaw, Poland
13 june – 11 september, 2014
Ángel 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. With his work, Vergara creates a new, suspended reality, grown from the artist’s personal dialogue with reality and with the image by which it has already been transformed.
Vergara’s work is above all transparent--physically as well as conceptually. The transparent supports on which he paints allow the outside world to intimately become a part of the painting and to shape it. Reality is literally reflected and projected on the painting. Its fleetingness is captured by the artist and concentrated into a gesture, a stroke of paint. Vergara’s paintings hide nothing. There is no denial of their making process; there are no hidden meanings beneath their surface. Though parting from (the image of) reality, Vergara’s newly created images become autonomous objects that break through the ready-made narrative of their referents. They are open to new interpretations and to new modes of signification.
Vergara’s paintings comment on the abundance of images that are continually forced upon us and that block the psychological mechanisms by which we shape our own reality. The plenitude and the speed of the contemporary image makes it almost impossible to distinguish between fiction and reality. Our memory is polluted. Vergara’s image slows down the speed of the contemporary image to the time of painting. For a brief moment it freezes the flux and encourages the viewer to again take on a critical position towards the image as a referent of reality. .(O&O Depot press-release)
O&O Depot, Leibnizstr. 60. D-10629 Berlin
Image: Ángel Vergara
21 june – 31 august, 2014
The group exhibition WOMAN. The Feminist Avant-Garde of the 1970s. Works from the SAMMLUNG VERBUND, Vienna brings together 450 works by 29 female artists. Art history shows that the “image of woman” is actually the product of male projections. In the 1970s female artists, for the first time in art history, created the “image of woman” themselves. They studied their own bodies and created the prospect of determined feminine identities in a provocative, radical, poetic, and ironic manner. The curator Gabriele Schor calls this art movement the “Feminist Avant-Garde” to emphasise “the pioneering and collective role that these artists played for the last four decades” and believes that “many Feminist Avant-Garde artists - and their works - have yet to be discovered.” Curator: Gabriele Schor.
EstherFerrer is known for her performances, performed individually or as part of the group ZAJ (dissolved in 1996). In the early 6O created with the painter Jose Antonio Sistiaga, the first Workshop on Free Expression seeds of many other parallel activities, including an experimental school in Elorrio (Vizcaya). From mid 7O, reprises his plastic activity worked with photographs, installations, based on the number of prime numbers, objects ...
Artists: Helena Almeida (PT), Eleanor Antin (US), Renate Bertlmann (AT), Teresa Burga (PE), VALIE EXPORT (AT) , Esther Ferrer (ES), Alexis Hunter (NZ), Sanja Ivekovic (HR), Birgit Jürgenssen (AT), Ketty La Rocca (IT), Leslie Labowitz (US), Suzanne Lacy (US), Suzy Lake (CA), Ana Mendieta (CU), Gina Pane (FR), Ulrike Rosenbach (DE), Martha Rosler (US), Carolee Schneemann (US), Cindy Sherman (US), Annegret Soltau (DE), Hannah Wilke (US), Martha Wilson (US), Francesca Woodman (US), Nil Yalter (FR), Lili Dujourie (BE), Mary Beth Edelson (US), Rita Myers (US), Penny Slinger (US), Ewa Partum (PL). (Bozac press-elease)
Bozac. Center of Fine Arts. Rue Ravenstein. Brussels.
Image: Esther Ferrer.
may 30 - august 31, 2014
Luis Gabú (A Coruña 1963) present his vision of spirituality through a selection of 20 large-format photographic pieces, a result of his experience and research conducted on the Jacobean and the pilgrimages to Santiago de Compostela. This double inner vision of the Cathedral of Santiago de Compostela is presented as a visual and artistic dialogue between the calm and gentle shaking movement. (I.Cervantes press-release)
Instituto Cervantes. Cervantes Bldg. 2-9 Rokubancho. 102-0085 Chiyoda-ku Tokio
Image: Luis Gabú
28 june- 5 august, 2014
In its upcoming exhibition, “Territories of Peace”, steel sculptures of trees and marine life by Miguel Ponticu (Gijón 1962) are juxtaposed against Rafael Romero (Barcelona 1967) ’s naive and dreamlike landscapes. Together, both evoke a sense of adventure, serenity, aspiration and memories that emotionally transports the viewer to a playground of their childhood.
“On one hand, Rafael’s work centres on the qualities of daydream and exploration, and brings to mind a certain innocence. It reminds me of a game in the park, of wooden swords and toy ships, and undiscovered lands. On the other hand, Miguel’s strong and assertive sculptures root us to reality, with its sturdy trees and weightless birds,” explains Weiren Loh, the gallery director of Barnadas Huang. “The interaction between the artists prompts the viewer to consider how the sculptures and paintings interact with each other to create a space that is emotionally familiar.”
Making use of the ample natural light that floods the gallery, and the abundant greenery that lines Dempsey Road, the exhibition is planned to meld seamlessly with the outdoors to create an atmosphere of introspection and contemplation.
The result? An exhibition that showcases Barnadas Huang’s trademark forte in curating a collection that blends opposing elements: nature and architecture, metal and canvas, East and West.
With 15 pieces from a 65 x 81 cm piece perfect for a new collector to a spectacular 90 x 200 cm centrepiece suited to living spaces and private collections, Romero’s pieces have entered museums in countries as far-flung as Spain and Japan such as the Marugame Hirai Museum of Art in Kagawa, Japan and the Casa Museo de Miguel Hernandez in Alicante, Spain.
One of Spain’s most celebrated sculptors, Ponticu’s sculpting career has revolved around four major groups of works: trees, humans, birds and fish. His commissioned pieces – some of which stand as high as 6 metres and weigh 25 tonnes – for public spaces in Spain have earned him significant public recognition. Ponticu will be showcasing 17 sculptures in the exhibition, with the pièce-de-resistance being a 89 x 83 x 50cm sculpture of a tree, titled “The Great Dry”. (Barnadas Huang Press-release)
Barnadas Hunag Gallery. 2 Dempsey Road, Singapore 249679
Image: Rafael Romero
20 june – 21 november,
2014 NURTUREart is pleased to present Videorover: Season 8, curated by Rachel Steinberg and featuring works by Spanish artists Beatriz Meseguer, Sofia Quirno, and Raul Valverde, along with Dave Greber, Victoria Keddie, Derek Larson, Brendan Lee, Alona Rodeh, and Adam Douglas Thompson.
Videorover, NURTUREart’s dedicated video program, aims at becoming an ever-expanding forum for emerging and underrepresented artists working in video. This season’s video works explore the idea of video as installation, highlighting the immersive potential that time based media hold. Through audio and visual tools and using the body as a reference point, this exhibition aims to interrupt our exteroceptive senses. For three weeks in June, Videorover: Season 8 will take over NURTUREart’s main gallery space; opening in shifts for a series of three consecutive installations. Each installation will feature three of the selected artists, to allow for the works to expand in the space, while still in dialogue with the larger group of works.
On June 20, the second selection will open, featuring artists Beatriz Meseguer, Alona Rodeh, and Raul Valverde, whose works are centered on conditions of light and absence as a common ground. Architectural in nature, the focus of this group turns to the empty gallery space, where small interventions create chaos in the truancy of human interference. Here, the unnoticed subtleties of a gallery become the center of our attention. The resulting calm is enveloping, shifting our perspective to the architectural.. Beatriz Meseguer (b. 1981, Murcia, Spain) received a B.J. in Journalism from the Complutense University of Madrid, and studied at the EFTI International School of Photography in Madrid, and the School of Visual Arts in New York, where she currently lives. Since 2011, she has been experimenting with installation, photography and video. Her artwork is focused on constructing analogies and semantic games with a strong conceptual force. Her pieces and installations, often created from simple everyday objects, acquire a strong poetic sense through the use of small interventions. An attention for the essence of things as well as the importance of language, are prominent in her artistic practice. Space, memory, and transformation processes, are recurring themes in her work.
Raúl Valverde (b. 1980, Madrid, Spain. Lives and works in New York) received a BFA from Complutense University in Madrid, an MA from Central Saint Martins, London, and a MFA from School of Visual Arts, New York.
Raúl Valverde examines his own activity as an artist through the use of irony, appropriation, and illusion. The context in which his work is produced and displayed is a pivotal component to his projects, which overtly explore the relations between space and temporarily. He uses a variety of artistic media ranging from installation, video and digital animation to sculpture, drawing, photography, and publications. (NURTUREart press-release)
NURTUREart. 56 Bogart St. Brooklyn, NY 11206
Image: NURTUREart. New York
28 june – 31 october, 2014
Manifesta is a European contemporary art biennial that takes place in a different city every two years. In 2014 Manifesta will be held in St Petersburg, the main venue being the Hermitage, which is furthermore celebrating its 250th anniversary. The curator of this year’s event, German Kasper König, has made a very small selection of artists in comparison to previous years, including two Spanish artists: the deceased Juan Muñoz and Jordi Colomer. AC/E is collaborating in the project to exhibit the works of both.
Juan Muñoz (Madrid 1953 – 2001) His first exhibition was in 1984 in the Fernando Vijande galleryy of Madrid. Since then, his works have been frequently exhibited in Europe and other parts of the world. At the beginning of the 1990s, Juan Muñoz began breaking the rules of traditional sculpture by sculpting works in a "narrative" manner which consisted of creating smaller than life-size figures in an atmosphere of mutual interaction. Muñoz's sculptures often invite the spectator to relate to them, making the viewer feel as if they have discreetly become a part of the work of art. His slate-gray or wax-colored monochromee figures create a sort of discreetness due to their lack of individuality, but that absence of individuality questions the viewer, perhaps even so much as to make the viewer uncomfortable. When asked his occupation, Muñoz would respond simply that he was a "storyteller."
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these. (Manifiesta 10 press-release)
StateHermitage Museum, Palace Square, 2, St Petersburg, Russia, 190000
Image. Juan Muñoz, Jordi Colomer
VENICE. Ricardo Boffil “Towards biology, Time Space Existence” Palazzo Bembo, Venice Architecture Biennale
07 june – 23 november, 2014
The exhibition presents an architectural narrative based on La Fabrica the firm’s well-known headquarters in a former cement factory in Barcelona. The exhibition extends the space far beyond its physical existence in Spain, to consider how it can also exist in other places, most specifically in Venice. Drawing upon past, present, and future similarities between Barcelona and Venice, the exhibition will reimagine La Fabrica as the Venice-based starting point of a communal/ individual journey and thought process that transcends physical and mental frames. (R.Boffil. Taller de Arquitectura press-release)
Palazzo Bembo, located at Riva del Carbon, 4793- 4785, Venezia 30124.
Image: W Hotel, Barcelona. Ricardo Bofill Taller de Arquitectura
11 june – 28 august, 2014
The Gabarron Foundation, is pleased to present "SCAPES”, an exhibition of Spanish artist, Teo González. Teo’s work has always strived to bring together opposite concepts such as chaos and order or flatness and tridimesionality. "Scapes" is a body of work that attempts to somehow reconcile the idea of the scape painting -whether land, sea, etc.- with that of abstract painting.
Teo Gonzalez was born in Quinto de Ebro, Zaragoza (Spain), in 1964. He studied under Jordi Teixidor before moving to Southern California in 1991. There, he attended California State University, Bakersfield, and graduated Magna Cum Laude in Art. In 1998, he participated in the show Selections Spring '98 at The Drawing Center in New York. He has lived and worked in Brooklyn since 1999. His work has been included in museum shows worldwide at institutions such as the Kemper Art Museum in Saint Louis, MO; the Borusan Contemporary in Istambul, Turkey; the Katonah Museum of Art in Katonah, NY; the Museo de Arte Contemporáneo Esteban Vicente in Segovia, Spain; and it has been included in the permanent collections of institutions such as the Museum of Modern Art in New York, NY; the Los Angeles Museum of Contemporary Art in Los Angeles, CA; the National Gallery and the Corcoran Gallery in Washington, DC; the Museo Pablo Serrano in Zaragoza, Spain; the San Diego Museum of Art in San Diego, CA; The Achenbach Foundation in San Francisco, CA; or the New Mexico Museum of Art in Santa Fe, NM, among others. (F.Gabarron press-release)
The Gabarron Foundation/ Carriage House Center for the Arts
149 East 38th Street, New York, NY 10016
Image: Teo González
29 may – 22 september, 2014
A Salvador Dalí retrospective is due to open in Rio de Janeiro at the end of May two weeks before the 2014 World Cup kicks off in Brazil. A record number of visitors is expected by the Centro Cultural Banco do Brasil, which is marking its 25th anniversary by showing the Spanish Surrealist's art.
The centre, which hosts shows that regularly appear among the top ten of The Art Newspaper’s annual visitor survey, expects to break its record of 8,099 daily visitors set by “Impressionism: Paris and Modernity” in 2013, featuring loans from the Musée d'Orsay in Paris.
Last year another Dalí retrospective proved the most popular exhibition in Europe, attracting huge crowds when shown in Paris and Madrid. At the Centre Pompidou in Paris 7,364 people went on average a day to see "Dalí" while at the Reina Sofía in Madrid the average was 6,615 visitors a day.
The exhibition in Brazil will include around 164 paintings, photographs, films and objects lent by the Reina Sofía, the Fundació Gala-Salvador Dalí in Figueres, Spain and the Dali Museum in St Petersburg, Florida. It is being organised by the curator Montse Aguer.
After opening in Rio (27 May-22 September) the Dalí exhibition is due to travel to the Instituto Tomie Ohtake in São Paulo in October. (CCBB press-release)
Centro Cultural Banco do Brasil Rio de Janeiro
Rua Primeiro de Março, 66 - CentroCEP: 20010-000 / Rio de Janeiro (RJ)
Image: Salvador Dalí. Centro Cultural Banco do Brasil
VENICE. “Grafting Architecture. Catalonia at Venice” Collateral event, 14th.Venice Biennale Architecture
7 June – 23 November
Catalonia returns to the Eventi Collaterali of the 14th Venice Biennale of Architecture with the project Arquitectures Empeltades/Grafting Architecture curated by Josep Torrents i Alegre together with associate curators Guillem Carabí Bescós and Jordi Ribas Boldú.
Casa Bofarull by Josep Maria Jujol (Tarragona, 1879 – Barcelona, 1949) is the starting point for understanding an architectural approach present in many buildings where the architect is faced with a pre-existing feature (physical or otherwise) and blends the new and old layers to beget a new architecture that is able to combine them harmoniously. The proposal will show the process and perception of a series of examples of Catalan architecture that begins with Jujol's work. (Venice Biennale press-release)
11 June - 2 August 2014
Victoria Miro is pleased to announce that the gallery now represents Spanish painter Secundino Hernández, and is delighted to present his first solo exhibition at the gallery.
For his first show with Victoria Miro, Hernández has produced a series of 'wash' paintings. These paintings are characterised by strong underlays of colour and a gestural use of line. The works are produced by layering and removing layers of paint. Hernández's method involves literally digging through layers of paint to the canvas, in a process that the artist associates with sculptural carving. The resulting paintings have a dramatic, exploratory quality.
Hernández was born in 1975 in Madrid, where he currently lives and works. He has recently had solo exhibitions at Galerie Krinzinger, Vienna, Austria (2007, 2010, 2014); Galerie Forsblom, Helsinki, Finland (2010, 2014); Galerie Heinrich Ehrhardt, Madrid, Spain (2006, 2009, 2011, 2013) and Galerie Bärbel Grässlin (2013). His work is in numerous institutional and private collections, including Museo Patio Herreriano, Valladolid, Spain; Helga de Alvear Foundation, Cáceres, Spain; The Rubell Family Collection, Miami, USA; Kunstdepot Göschenen, Switzerland and the Art Gallery of Ontario, Canada (Victoria Miró press-release)
Victoria Miro Gallery I . 16 Wharf Road, London N1 7RW
Imagen: Secundino Hernandez
7 june – 23 november, 2014
This year’s biennale, based on the theme of ‘Fundamentals’, will focus on History, the constant features of architecture and the developments witnessed in the past hundred years in national architecture, which has evolved towards an interchangeable and global style.
Greater coordination and coherence will be sought between the National Pavilions, which will base their work on a single theme – ‘Absorbing Modernity: 1914–2014.
The Spanish Pavilion will examine the concept of ‘Interior’ as the overall theme of the pavilion. As the curator Iñaki Ábalos explains, ‘there is no architecture without an interior; there is no idea of architecture if there is no thought of interior in all aspects. The interior speaks of space, and space is, by definition, the theme of architecture.’
The result of exploring the central theme of ‘Interior’ will be approached as an investigation through different examples of Spanish contemporary architecture that evidence one of the distinguishing features of its identity and essential core: the need to understand or interpret it as an environmental construction. References from our modern history such as Coderch, Oiza and Sota, and works by earlier architects like Gaudí and Guastavino already pointed to this specificity and are essential to understanding many of the architectural designs that will be shown in Venice. (AC Española press-release)
Spanish Pavilion, Pavilion at Giardini Biennale di Venezia
June 12 - September 27, 2014
Richard Gray Gallery is pleased to announce an exhibition of recent sculpture by Jaume Plensa in a new range of media, opening June 12 at their Chicago space. The exhibition coincides with a new public art installation of works by the artist in Millennium Park on the occasion of the 10th anniversary of Plensa’s acclaimed Crown Fountain. Both projects continue Plensa’s continued focus on the human figure, specifically the head as a sanctuary for dreams and hope.
The exhibition will feature eight new sculptures from Plensa’s iconic series of heads in a range of materials including bronze, glass, and for the first time, volcanic basalt.
Standing six feet tall, the basalt sculptures Paula, Awilda, and Rui Rui emerge from stone as Plensa keeps sections of the material in their natural, unfinished state. Installed as a group, imposing yet peaceful, the works create a meditative, even spiritual space. Bronze sculptures Rui Rui in Shanghai and Sanna in Umeå are some of the artist’s first mid-scale works that explore perspective and illusion through the flattening of form, a concept Plensa premiered in his 2013 series of monumental cast iron heads. The sculptures shift from realism to flattened relief depending on the viewing angle. The physicality of the basalt and bronze works is juxtaposed with the remaining two sculptures in the exhibition; small portraits made from Murano glass that are fragile and intimate in both scale and material. In all of the portraits, the girls have their eyes closed--Plensa’s conceptual metaphor for dreaming. (Richard Grey press-release)
Richard Gray Gallery ,875 North Michigan Avenue. Suite 3800. Chicago, IL 60611
Image: Jaume Plensa
27 may – 15 september, 2014
In May 2014 Outer Seed Shadow #01 (OSS#01), a new public art exhibition by Spanish artist Juanli Carrión (Yecla, Spain 1982), will explore the realities of contemporary immigration in the form of a community garden installed in SoHo’s Duarte Square.
The 2,000 square foot garden will be in the shape of Manhattan and will feature dozens of plants selected by immigrants. The plants will be placed according to the interviewee’s real-life location on the island. Milagros, a Harlem resident, chose a palm tree from the Dominican Republic; Monroe on the Lower East Side selected English bluebells; and Clara chose Indonesian bamboo to represent her SoHo neighborhood, all of which will share the same intimate green space. OSS #01 will represent New York City’s diverse immigrant communities and their experiences, and will simultaneously activate an underused public plaza at the foot of the Avenue of the Americas.
After years of living in New York, Spanish artist Juanli Carrión conceived of OSS#01 in 2012 when he started to consider permanent residence in the US. He wanted to revisit the long-established idea of the American “melting pot” and investigate the new realities of immigrant life in 2014, particularly in New York, the most symbolic of immigrant cities. Carrion conducted a series of on-camera interviews with immigrants living throughout Manhattan,performed in the comfort of their own homes,about their personal experiences of arriving in the city. At the end of the discussion, each interviewee selected a plant that exists both in their country of origin and the United States, which will represent them and their community in the public garden. (Outer Seed Shadow press-release)
Duarte Square at the corner of 6th Ave & Canal St, New York, NY 10013
Image: Juanli Carrión
17 may – 20 september, 2014
Contemporary international positions selected by artist Michael Kienzer.
“I am happy to comply with my gallery’s request to demonstrate what I think sculpture today can be and what I think is important in that respect. I am a sculptor, an artist, not a curator or theorist. That’s why instead of presenting a curatorial topic I have chosen an artist’s perspective.
For this I can use a term like “abjection” when used in the sense of dissolving the boundaries between subject and object, the interface between the thing itself and the experience of materiality. I also work with the historical placed in a subjective context and find buzz words like “precarious sculpture” or “post minimalism” useful.
I consider finding images as a process and means of focusing on subject matter, not in the service of any formalism, but rather as a way of developing an originary language. Sculpture is not a display of narrative scenes. It is precise thought translated into form.” (Michael Kienzer)
Born in 1963 in Calella, near Barcelona, Alcaraz is logically placed among his Catalonian artist antecedents. He transcends the minimal spaces of Miro and the surreal other-worldly landscapes of Dali, and whereas Antoni Tapies created astounding walls and doors —marked and eroded— evidencing both the surreal and the real, Alcaraz extends those notions into realms uniquely his own.
The trajectory of Alcaráz’s recognition has been particularly impressive in recent years. His works have been the subject of numerous solo and group exhibitions in Belgium, Germany, Italy, Canada, Switzerland, and Spain in galleries and museums, and featured in international art fairs throughout the U.S. and Europe. Currently, his work is included in Nuage at the Musée Reattu de Arles, France.
Artists: Jordi Alcaraz (*1963, ES) Micol Assaël (*1979, IT) Sepp Auer (*1939, AT) Thomas Baumann (*1967, AT) Peter Buggenhout (*1963, BE) Aleana Egan (*1979, IR) Judith Fegler (*1977, AT) Marcus Geiger (*1957, CH) Tue Greenfort (*1973, DK) David Jablonowski (*1982, DE) Martina Klein (*1962, DE) Lone Haugaard Madsen (*1974, DK) Martín Mele (*1960, AR) Magali Reus (*1981, NL) Magnus Thierfelder (*1976, SE) Jenni Tischer (*1979, DE) Tatiana Trouvé (*1968, IT) Paloma Varga Weisz (*1966, DE) Johannes Wohnseifer (*1967, DE). (Elisabeth & Klaus Thoman Gallery press-release)
Elisabeth & Klaus Thoman Gallery. Seilerstätte 7, 1010 Wien. Austria
Image: Jordi Alcaraz
may 20 - july 31, 2014.
Joan Fontcuberta´s photography, one of the highlights of the moment. From the beginninghe was concerned the ambiguity of the images and how easy it is to suggest non-existent realities. His artistic creation has slowly left the photographic prose to go deep into a photographic poetry based on the reinterpretation of images from large works to domestic image. The exhibition unites examples from classical series such as: Orogénesis, Gastrópoda y Googleramas (UC. Press-release)
Centro de Extensión, Universidad Católica, Alameda 390, Santiago, Chile
Image: Joan Fontcuberta
23 may - 31 july, 2014
Carlos Albert (Madrid 1978). Emanating from the pure Spanish tradition Carlos Albert shows us with his youth and energy that he has preserved himself the ambition to dominate the material, to bend the iron, to fight with the fire and to create sculptures full of life and sentiment with his own finger mark.
His art works are like drawings in space, embracing the blankness and expressing a feeling of freedom.
Eduardo Chillida (San Sebastián 1924 – 2002). Chillida had his first exhibition in Paris in 1950, the same year he married Pilar Belzunce. Throughout his life he received almost all existing awards: from the Venice Biennale to the Kandinsky Prize, from the Wilhelm Lehmbruck to the Prince of Asturias’ Prize, from the German Kaiserring to the Imperial Prize in Japan. His work is included in more than twenty museums around the world, and retrospective exhibitions have been held in Houston, Berlin, Madrid, Caracas, London and Palermo. His sculptures are in front of the sea like in San Sebastian, or in the mountains like in Japan, and in cities like Washington, Paris, Lund, Munster, Madrid, Palma de Mallorca, Guernica or Berlin. Many architects, mathematicians or philosophers like Martin Heidegger and Emile Cioran, and poets such as Octavio Paz have written about his work. (100 Kubik press-release)
100 kubik - raum für spanische kunst. Mohren Str. 21. 50670 Köln
Images: “Caño” Carlos Albert, Hierro forjado, “Olimpiada de Seúl” Eduardo Chillida, Serigrafía
21 may - 24 august, 2014
The Darling Foundry will be showing an exhibition of works by Dora Garcíía, curated by Chantal Pontbriand. Since 2009, Dora 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 2012, where the artist was featured at the Spanish Pavilion. Her 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 behaviour she questions through performance, film, and discussion.
The exhibition "Of Crimes and Dreams" unfolds on the backdrop of a series of group conversations in the spring of 2013 at the Montperrin psychiatric hospital in Aix-en-Provence, where Dora García had people read James Joyce’s Finnegans Wake and Félix Guattari’s 65 rêves de Franz Kafka, as a pretext for talking about what is real and unreal before the camera. The film Désordre (2013), an offshoot of this project, will be shown, along with Hôtel Wolfers (2007) and The Joycean Society (2013), the previous films it echoes. This closes the circle traced since Hôtel Wolfers in which Beckett, Kafka, Joyce, Walser wander as in a dream, in their capacity as models of the “minor literature” theorized by Deleuze. The gallery’s windows are likewise covered with signs referring to ideas connected to everything that goes on in this peculiar universe (Mad Marginal Charts, 2014). Thus, crimes and dreams go side by side and haunt us from all sides, revealing the complexity and richness of the imagination.
Dora Garcia is an internationally recognized artist. She has represented Spain at the last Venice Biennale in 2011 and was present again in 2012 with a work produced through Price Prince Pierre of Monaco, who was awarded the same year. (Darling Foundry press-release)
In collaboration with ACCIÓN CULTURAL ESPAÑOLA, AC/E
Fonderie Darling, 745 rue Ottawa Montreal, Québec H3C 1R8
Image: Dora Gracía.
may 8th - july 30th, 2014
This is an innovative exhibition design that will enable visitors to explore the creative universe of two designers with a renowned career, Pep Carrió and Isidro Ferrer, and also to move around their works through Augmented Reality devices, 2D and 3D animations, video and other multimedia content.
“Think with your hands” has been designed as an experimental project attempting to explore the possibilities offered by new technologies applied to the sensitive and imaginative world of the works by Isidro Ferrer and Pep Carrió. The project has been developed by Unit Experimental Publishing, a collective comprising researchers in the Faculty of Fine Arts and the Higher Technical School of Computer Engineering at the UPV.
The exhibition comprises over a hundred works by Pep Carrió and Isidro Ferrer, including drawings, notebooks, collages and objects that, viewed through the touch-sensitive screen of a mobile device, are activated virtually and their contents appear multiplied and extended, sometimes very playfully by means of 3D animations, other times through additional documentation and information, through videos and audio material. “We wanted to investigate the possibilities offered by mobile devices for an exhibition and for this reason we took careful stock in order to imagine all kinds of things or events that might occur when we look at them through screens and bring up other images hidden to the naked eye so as to be able to amplify what we can view at an exhibition”, says Nuria Rodríguez, from the Art and Environment Research Centre at the Polytechnic University of Valencia and curator of the exhibition.
“Think with your hands” allow visitors to experiment and view the works by Isidro Ferrer and Pep Carrió differently, but also to envisage other information-rich formats, such as texts by the artists or interviews, and to relate the work on display with other archive images. It is an experiment that attempts to provide an extensive inventory of the potential offered by new technologies for accessing knowledge and enhancing our perception. (CCEMiami press-release)
Organized by Ministerio de Educación Cultura y Deporte de España.
Centro Cultural Español de Miami 1490 Biscayne Boulevard, Miami, FL, 33122
Image: Pep Carrió, Isidro Ferrer.
BEIJING. José Manuel Ballester and Miao Xiaochun . The conquest of contemporaneity : " El jardín de las Delicias" Instituto Cervantes
08 may – 30 july, 2014
An exhibition project around the famous work of Hieronymus Bosch(1480 – 1490), of the Museo del Prado permanent collection, and two contemporary interpretations, one by the spanish photographer José Manuel Ballester, national photography award in 2010, and another by Chinese artist Miao Xiaochun , one of the most prestigious creators of the video panorama of Chinese and international contemporary art.
Instituto Cervantes, A1 Gongti Nanlu. 100020 Chaoyang Beijing. (CHINA)
Image: El Jardín de las Delicias. El Bosco. Museo del Prado. Madrid
BEIJING. Miguel Ángel García, Carmen Van den Eyenden, Antonio Mesones, Vicky Kylander, Vicky Uslé y Nacho Zubelzu “El claro en el bosque” Instituto Cervantes
30 april – 30 july, 2014
Seven young artists from Cantabria show their latest creations simultaneously in Beijing Art Fair and the Beijing Cervantes Insittut.
In the context of the art fair Art Beijing 2014 the Instituto Cervantes presents an exhibition showing works in different media, the way in which six artists living and working in the autonomous community of Cantabria, addressing mental spaces left out of social obligations and moral standards.
The first part of the exhibition will be in the space P4 Exhibition of Agricultura Palace, during the period of the fair ARt Beijing (1 – 5 may, 2014). In parallel, an additional section of the exhibition will be exhibited until late July at the Cervantes Institute in Beijing. . (I.Cervantes press-release)
Entidades Organizadoras: ART BEIJING, Gobierno de Cantabria, Instituto Cervantes
Instituto Cervantes, A1, Gongti Nanlu, Distrito Chaoyang. Pekín 100020
Image: Miguel Ángel García
10 april – 30 june, 2014
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. The images are captured in an international destination, in this 3rd edition, the city of New York. This time, the theme proposed was "Ausias March in New York” whose purpose was to promote indigenous cultural values on a tumultuous cultural moment.The jury: Francesc Vera, Roman de la Calle and Tomás Llorens.
El proyeto“The Unknown”de Sandra Sasera Cano (Valencia, 1981), creates a perception game that invites the viewer to dream. The artist isolates experiences of others to develop an incomplete story, whose interpretation depends on the feelings and moods of those who contemplate its images.(I. Cervantes press-release)
Instituto Cervantes. Rua de Sta. Marta, 43 - R/C. 1169-119 Lisboa
Image: Jaime Belda
1st april – 30th September, 2014
In 2013 and 2014, the Spain–Japan Dual Year is being held to coincide with the fourth centenary of the“Keicho Mission” which left the region of Sendai in 1613 and reached Spain a year later.
In celebration of this event and in collaboration with the architect Toyo Ito, Grin Grin Park, Island City, in Fukuoka, will host from April 1 to September 30, 2014, the proposed exhibition which I have entitled MU. This term is a reference to a blank sheet of paper, an attitude of openness without preconceived ideas nor prejudices and is a tribute to Japan and its people.
The MU exhibition comprises of eight sculptures since, from the beginning, I wanted the number eight to be present in the project for its significance in Japanese culture and its relationship with the concept of the exhibition.
Recently awarded the Pritzker Prize, the master Toyo Ito carried out an experimental project at Grin Grin Park which is comprised of a functional park surrounding a circular pond with a vantage point overlooked by a gently curved greenhouse.
The sculptures form part of the open spaces between the pool and the greenhouse and provoke a path further to the existing ones which is simultaneously in dialogue with the edifice.
The seventh of the sculptures is located at the Embassy of Spain in Tokyo. The sculpture which closes the exhibition is conceptually distinct from the other seven and is entitled “DUAL YEAR”
16 march - 17 August 1, 2014
The Station Museum of Contemporary Art wishes to announce the major exhibition Collective Reaction,featuring the six solo exhibitions of Democracia, Adel Abidin, Hito Steyerl, Mohammed Al-Shammarey, Prince Varughese Thomas, and Maura Sheehan.
The proliferation of images and the devices that record them has fundamentally shifted the method in which information is interpreted and disseminated. What once was a costly and specialized skill has now become a tool for the masses. The propagation of imagery has been simultaneously displaced and appropriated by both traditional and independent media outlets. Through cropping, manipulation, and contextual placement, images take on new meanings that subvert or recuperate.
Madrid-based collective Democracia presents “Welfare State: Smash the ghetto”
The “Welfare State” project has its provenance in El Salobral, one of Europe’s largest shanty towns located on the southern outskirts of Madrid. In March 2007, the Madrid City Council and the Regional Government decided the town should be demolished and its inhabitants rehoused.
“Smashing the ghetto” is a four-channel video installation transmitting the demolition of these slum properties as if it were a sports event. The public watches the process from its seats on the “terraces” and urges on the excavators hooligan style. The project turns the destruction of the neighbourhood into a show for the members of civil society. Unconcerned by considerations like the disappearance of a specific way of life, civil society celebrates the end of the ghetto as if it were a media spectacle.
The aesthetics of “ultra” supporters, the supposed personalisation of consumption by means of customization (tuning or tattoos…) and hip hop or heavy metal music are used here as cultural references for a society that gets a kick out of the spectacle of destruction. (Station MCA press-release)
Station Museum of Contemporary Art.1502 Alabama St.Houston, TX 77004
Image: Welfare State 2008. Democracia.
TUCSON. Emilio Gil "Mapas que no lo son/Imaginary Cartographies: The Collages of Emilio Gil" The University of Arizona Libraries
24 february – 1 august, 2014
Emilio Gil, Artistic Director of Tau Diseño one of one of Spain’s pioneering and most distinguished graphic design firms present the American opening of his collection of collages, “Mapas que no lo son/Imaginary Cartographies.” “Mapas” opens up a new direction in the career of a distinguished design professional. It challenges the relationships between art and design in a way that fuses the disciplines. The results are exciting new cultural creations based on a fascinating compilation of colors, techniques, textures and artistic conceptions many of which use elements of cartography in their construction.
Emilio Gil founded Tau Diseño in 1980. Since then his firm has produced work for a number of important private and public sector clients including UNICEF, El País Aguilar, Alfaguara,and Santillana publishing groups, Aldeasa, SGAE, Indra, Banco NatWest, Gesinar, Logista Osborne, Tabacalera, The City of Madrid, The Spanish Ministry of Culture and Ministry of Foreign Affairs, the International Monetary Fund (IMF) the World Bank Group and the Reina Sofía Museum and centennial celebrations of Felipe II y Carlos V, Goya 96 among them.
Gil’s work has appeared in a number studies and anthologies of design work and important national and international exhibitions.
His work has garnered numerous Spanish awards for design as well of international honors from the New York Type Directors Club, and the Donside Prize in Great Britain. (Arizona libraries press – release)
University of Arizona Main Library. 1510 E. University Blvd. Tucson, AZ 85721-0055. United States
Image: Emilio Gil