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Spanish contemporary art worldwide

 

REGGIO EMILIA. Aleix Plademunt “Un Passaggio” Chiostri di San Domenico

until 9 july, 2017

Un passaggio is a project that took place in 2015 from february 24th to march 10th, between the towns of Luzzara and Reggio Emilia, following an invitation from the Fotografia Europea festival.
The project originates from two of the concepts that are the basis of this year’s festival: the idea of people and the concept of archive.
Un Passaggio aims at creating an inventory of a town and its people, considering people and town as a complex union of homes. The result is a mass registry and a classification of separate homes.
This project is structured into three parts: the photographs taken in Luzzara, a village in the Emilia Romagna region, in which the essay Un Paese by Cesare Zavattini and Paul Strand was realized between 1953 and 1955. Then there are the photographs shot in the town of Reggio Emilia, and those taken along the road that from Luzzara takes to Reggio Emilia, which I walked down led by Google Maps, which in the end is an archive and catalog at the same time.

Michael Wetzel wrote to Baudrillard: “The world becomes a reason of its own photographic and film reproduction, and images from around the world replace its very image itself. We could say: being an image has ontological priority over the act of being. New media and new computer technologies have thrown us into that zone of indifference between being and appearing, between reality and image. The world of icons absorbs appearance and dissipates reality. “
This project, that walk, that experience, the act of observing and shooting pictures, it all becomes recognition and personal inventory of being, coming back to see things and homes.
The book Un Paese was published in 1955; Un Passaggio takes the form of an exhibition and of a 1955-page long volume. On the book cover there are two paintings by the Reggio Emilia painter Gino Gandini (1912-2002).

Aleix Plademunt was born in Girona in 1980. In 2000 he studied technical engineering at the UdG and in 2003 he received a degree in photography at the UPC, Barcelona. Since then he has been working ceaselessly on a myriad of personal photographic projects such as Espacios Comunes (2005), Espectadores (2006), Nada (2007), DubaiLand (2008), All (2009), Movimientos de Suelo (2010), Almost There (2013) and Morishita (2017). In 2011, together with the photographers Roger Guaus and Juan Diego Valera, he founded an editorial project called Ca l’Isidret Edicions to publish their own work.

He published 3 books: Movimientos de Suelo (Ca l’Isidret Edicions, 2011), Almost There (MACK and Ca l’isidret Edicions, 2013), Morishita (Ca l’Isidret Edicions, 2017). Since 2003, he has been featured in over forty group shows and twenty individual exhibitions, including his Almost There exhibition at the Le Bal gallery (Paris) and at the IMA Gallery (Tokyo) together with Antonio Xoubanova, Óscar Monzón and Ricardo Cases.

 Aleix Plademunt’s project is part of the group exhibition 2017. Altri paesi, curated by Diane Dufour, Elio Grazioli and Walter Guadagnini. A project by Fondazione Palazzo Magnani and Comune di Reggio Emilia. (Fotografía Europea press-release)

Chiostri di San Domenico. via Dante Alighieri, 11. 42121 Reggio Emilia

This email address is being protected from spambots. You need JavaScript enabled to view it.   http://aleixplademunt.blogspot.com.es

Image: Aleix Plademunt

NEW YORK. Walter Martín and Paloma Muñoz “The New York Times” The Flag Art Foundation

01 june – 11 august, 2017

The exhibition uses “The New York Times” as its point of departure and features over 80 artists, artist duos, and collectives who use the “paper of record” to address and reframe issues that impact our everyday lives.

Reading The New York Times is embedded in many people’s daily routines. This chronicle of geopolitical and local issues, tragedies, human interest stories, and trends in culture, serves as both a source of inspiration and medium for artists to assert their perspectives on the state of the world.

In the wake of the 2016 presidential election, where news media was deemed the “the enemy of the people,” and The New York Times directly attacked and labeled as “fake news,” FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O’Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice. To give voice to a larger community, FLAG put out an open call for artist submissions that received 400+ proposals from around the world, and accounts for over half of the artists featured in the exhibition.

For centuries artists have tried to fit reality’s scale into smaller confines: framed canvases, chiseled statues, portraits on ivory… Walter Martin and Paloma Muñoz have climbed into their own distinct niche. Known collaboratively as Martin & Muñoz, they sculpture and arrange miniature, three-dimensional scenes of alienation, dread and dark humor and set them inside snow globes. Filled with water and a touch of alcohol that acts as a preservative, the orbs evoke tiny Damien Hirsts, although the human condition, not a shark, is displayed motionless and askew.

The Flag Art Foundation 545 W 25th St, New York, NY 10001

http://flagartfoundation.org  http://www.martin-munoz.com

Image: Walter Martin and Paloma Muñoz. Traveler 46 at Night, 2003, snowglobe

NEW YORK. Xavier Rodés “Metaphor” Hugo Galerie

24 june – 16 july, 2017

Hugo Galerie presents a solo exhibition of new oil paintings by Spanish artist Xavier Rodés. Trained as a figurative artist, Rodés focuses on the composition and the chromatic harmony rather than a pure description in his paintings, suggesting non-conventional ideas.

Rodés was born in 1971 in Barcelona, Spain. He studied Art at EINA College, where he created a final project on the subject of “Industrial and Urban Landscape”. Today, he lives and works at his home and studio in El Masnou, a small town near Barcelona.

The ground-breaking treatment of light, precise drawing and thematic originality create Rodés’ distinguished and unique style. In spite of being a figurative artist, his paintings suggest non-conventional ideas, as he focuses on the composition and the chromatic harmony rather than pure description.

Following his first exhibition in 1996, he has exhibited his work at many galleries throughout Spain, most frequently at Sala Parés in Barcelona and Ansorena Gallery in Madrid. He has taken part in several international fairs such as those in Strasbourg, London and Madrid. His paintings are present in many private and public collections and in galleries worldwide, including in the U.S., France, Switzerland, and Argentina.

HUGO GALERIE. 472 WEST BROADWAY, NEW YORK, NY. 10012

https://www.hugogalerie.com   http://xavierrodes.com

Image: Xavier Rodés

KASSEL. Joan Fontcuberta “ Herbarium” Kassel Fotoforum

17 june – 09 july, 2017

Kassel Photo Forum presents "Herbarium" by Joan Fontcuberta. For more than 30 years, he has challenged the medium of photography. Its central theme is the question of truth and deception. In 2013 went he obtained the Hasselblad Prize one of the most prestigious awards for photography.

Herbarium is a series, which stylistically imitates to Karl Blossfeldt's strictly formal plant photographs of the 1920s.In fact, they are constructions made of found objects,from cable joints, plastic shreds, animal parts becoming pseudoplants which through their Latin classification they become plants that are supposed to be real.

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.

Kassel  Fotoforum. Büroadresse: Am Wolfskopf 35. 34130 Kassel

https://fontcuberta.com/  http://www.kasselerfotoforum.de

Image: Joan Fontcuberta (Herbarium)

LONDON. Juan Miguel Palacios “Woundes” Lazarides Rathbone Gallery

23 june – 22 july, 2017

 

Lazarides is pleased to present ‘Wounded’, Juan Miguel Palacios’ first solo London exhibition. “I have always been fascinated by the human face and it’s gestural language because of its communicative character and beauty. A face can transmit so many different emotions with only a small modification of the facial features and this is what I want to explore through the featured works. A common denominator of the big cities we live in, such as New York or London, is the racial and cultural diversity. Dynamic cities, full of life that attract and welcome millions of different people. Fascinating cities, offering all kinds of comforts, luxuries, and pleasures which at the same time can be extremely individualist and solitary where very few people manage to realise their dreams. An amalgam of apparently happy and blissful faces that after a closer inspection reveal an expression of fatigue and pain, as a result of day-today experiences. I identify all these life experiences as ‘wounds’ and it is these ‘wounds’ that inevitably leave an imprit or a mark on our faces. This was the starting point for the works in this series and the exhibition is an investigation of these different emotions through gestures. In a metaphorical way, I use the ambiguous face of a woman, in which pleasure and pain are mixed in a single gesture, generating a feeling of uncertainty. I have tried to investigate further by looking for new ways of representation, I use a drywall and transparent vinyl, replacing the traditional canvas. I strike and burn the drywall until it is broken, as a synonym of all those experiences that mark us and configure our expressions. The transparent vinyl is a synonym of identity, where I represent different facial gestures and because of their transparent nature, allow us to see their interior.” - Juan Miguel Palacios. (lazarides press-release)

Lazarides • 11 Rathbone Place • London • W1

http://www.juanmiguelpalacios.com http://www.lazinc.com

Image: Woundes” Juan Miguel Palacios

KÖLN. Álvaro martínez-alonso “My grandfather's vest, a wooden stick, 12 almonds from my village and other objects with uncalculable value” 100 kubik Gallery

june 23rd - august 25th

Álvaro Martínez Alonso's exhibition (*1983, Burgos) “My grandfather's vest, a wooden stick, 12 almonds from my village and other objects with uncalculable value” wants to be understood as an invitation to think about the value we give those objects that accompany us throughout our paths. It's an inventory that embraces some of the goods that the artist captures as his inheritance. It contains 127 goods that have a special significance to the artist because of their symbolism.

When a deceased does not compose a testament prior to his death, the notary has to consider who inherits his goods of a certain economic value when enforcing the inheritance: furniture, cars, shares, insurance, bank accounts, jewelry, etc.
In the best case, the remaining properties are being stored by the closest relatives. Still, it is uncommon to make an inventory determining the objects characteristics and who should receive them.
Therefore many times a broken watch that the deceased kept since his youth, the hat he brought from a vacation in Athens, the photograph of an old girlfriend, and other apparently irrelevant objects end up in the hands of a few descendants who are clueless about their value, getting rid of them or banishing them to oblivion.

Always exploring the most suitable way to tell a story or express a concept, Álvaro Martínez works in a variety of mediums of the visual arts. Based on his personal experiences, Álvaro approaches socio-political as well as emotional issues, often portraying social situations that tend to be forgotten.

GALERIE 100 KUBIK. Raum für spanische kunst. Mohren Str. 21. 50670 Köln

http://www.alvaromartinez.net  http://www.100kubik.de

Image: Álvaro Martinez Alonso. 100 Kubik galerie

LOS ANGELES. Dora García, Peio Aguirre, Adiá Juliá… “Chalk Circles”REDCAT Gallery

june 17 - August 20, 2017

The Gallery at REDCAT presents Chalk Circles, an exhibition and series of related performances and events that consider the ways in which performing and visual arts intersect. Curated by Ruth Estévez and José Luis Blondet, the exhibition Chalk Circles stages a number of ways in which artists think critically about live actions, theater and performance.

The title of the exhibition refers to the well-known play by Berthold Brecht, The Caucasian Chalk Circle, written in Los Angeles in 1944. Brecht’s play is a parable about ownership, affection and justice in which two characters must prove who is a better mother by pulling their baby out of a chalk circle. The chalk circle determines the place of the body within impermanent but accurate limits. The classic geometric shape speaks also of the fragility of such limits: to act/to be, inner truth/public mask, actor/character. A chalk circle can also question overlaps and coincidences of the gallery, the theatrical and the civic space. 

Artists in this exhibition document, reimagine, and rearticulate acting methodologies to investigate performance as a form of production, not just as an event-based form. Their projects center on mixed traditions of movement, acting and gesture, as well as pedagogic models. The role of the actor, the figure of the performer, and their different perspectives in the construction of a character inform several projects in the exhibition, while others focus on the frictions of a body in a fictive—theatralized—space.

Chalk Circles features works and commissions by local and international artists who engage in theatricality and performativity as a tool to feed the instability of such terms. Artists included in the exhibition: Carola Dertnig, Dora García and Peio Aguirre, Adrià Julià, Joachim Koester, David Levine, Emily Mast, Silke Otto-Knapp, REDCAT is located at Santiago Roldós and Pilar Aranda (Muégano Teatro), Catherine Sullivan and Kerry Tribe. (REDCAT press-release)

REDCAT Gallery 631 West 2nd Street, Los Angeles, CA 90012

https://www.redcat.org

Image: Dora García. La eterna. Vídeo 2017

NEW YORK. Avelino Sala “Action Riot Paintings” Ethan Cohen Fine Arts

june 22 — august 31, 2017

Spanish artist Avelino Sala reflects on identity through symbols such as money currency or flags, the power of the symbol and how it can be deconstructed and generate new ways of understanding.

Through works such as El mapa no es el territorio (The map is not the territory), Quick Silver, Forbes List or Action Riot Paintings, the artist calls into question the idea of nation and power, national identity, money as a symbol and its real influence.

Through the Action Riot Paintings, Sala makes some sculptures with riot shields, with deconstructed country flags on them. The U.S. flag appears in three acts, as the axis of his proposal, as well as those of the first world economic powers: China, Germany, or those countries within the U.S. borders like Mexico.

In Quick Silver and El mapa no es el territorio, Sala questions money as another object of identity as much as a way of life. In Quick Silver, the reproductions of the bills are made of plants and the stain is the “diluted” flag. In short, a body of work linked to resistance from art, and especially to questioning our time from a different perspective, less friendly but poetic at the same time.

Avelino Sala (Gijón, 1972) is an artist, commissioner and editor (Sublime magazine). In addition, he writes in various media about current art. In 2001 he obtained his Bachelor in Arts (BA, Hons degree) in Critical Art Practice at the University of Brighton.

He currently lives and works in Barcelona. His work as an artist has led him to question the cultural and social reality from a late-romantic perspective, with a critical look, exploring the social imaginary.(Ethan Cohen Fine Arts press-release)

Ethan Cohen Fine Arts, 251 W 19th St, New York, NY 10011

http://www.ecfa.com  http://avelinosala.es

Image: Avelino Sala

NEW YORK. Juan Garaizabal “Build a story. Urban Memory of the Lost Tuileries” The Buck Gallery

june 08 — july 15, 2017

Known for his monumental public Urban Memories sculptures, Juan Garaizabal brings his first solo show to New York.

The exhibition consists of sketches, production patterns, and a series of sculptures. Garaizabal’s main drive for Urban Memories is the concrete, physical resurrection on site of the memory of a historic structure, valorizing and capturing fragments of architectural foundations that have been lost or destroyed over the course of time.

For Urban Memory of the Lost Tuileries, Garaizabal hopes to revive memories and conversations relating to the political history and social upheaval that once marked the site of the palace and the garden of the Tuileries. The works produced can be described as minimal in presence, sustained by only their most essential mechanisms, and thus showcasing the power of absence and the ability to embrace their surroundings.

Born in 1971 in Madrid, Spain, Juan Garaizabal received his BA in 1993 at the Comillas Pontifical University in Madrid and Reims. His large-scale public installations can be viewed in many cities, including Miami, Havana, Berlin, and Valencia. The artist currently lives and works between Madrid, Berlin, and Miami. (The Buck press-release)

The Buck Gallery. 545 W 23rd St, New York, NY 10011

https://www.debuckgallery.com http://www.juangaraizabal.com

Image: Juan Garaizabal

BUENOS AIRES. “The Color of Optimism, Spanish Illustrators” Centro Cultural de España

29 june – 28 august, 2017

The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. While we wait for the exhibition to reach Spain, we offer you a preview of 16 works. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators. The exhibition #the_color_of_optimism features 67 works by artists. Ricardo Cavolo, Carla Fuentes (Littleisdrawing), Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen y María Simavilla. (CCEBA press-release)

CCEBA. Paraná 1159 (CP 1018) Buenos Aires Argentina

http://www.cceba.org.ar

Image: Paula Bonet

NOTTINGHAM. Juan delGado “Altered Landscapes” New Art Exchange, Mezzanine Gallery

17 june - 6 august, 2017

An immersive multimedia installation which tackles themes of trauma, displacement, personal narratives and landscape. The work is an intimate account of the personal experience of travelling through an unfamiliar landscape reminiscent of the experience of refugees.

Through the use of video, photography, light and sound, Altered Landscapes aims to engage the viewer in a journey. It asks the viewer to navigate the different elements in the gallery space so as to be absorbed in the experiences and journeys of the refugees, in order to open up contemplation and discussion about the current situation in Europe, a place that that has become filled with militarised border control.

For this exhibition delGado travelled to Greece, Macedonia and Calais to film, photograph and record the journeys taken by refugees. delGado has not filmed these ‘invisible’ people, who proliferate our media, but the places they have passed through. There are traces of their existence, fragmented experiences, fleeting moments and marks left on the land as they pass through to find safety.

Inspired by the text The Metamorphosis by Czech writer Franz Kafka, the project centres on a personal diary from a narrator, a European subject, who is describing how his human identity is gradually being transformed into something else, as a response to the suffering he is viewing.

These reflections are provoked by the events and debates of the last few years around the refugee crisis and are contextualised in a landscape which is strongly embedded in our collective imaginary, Greece with its Acropolis, the ancient citadel of Athens, and the birthplace of the democratic values and culture.

Juan delGado works across a range of media including installation and photography and has produced an extensive body of work that explores themes of trauma, landscape, disability, dislocation and gender. delGado has exhibited widely including at ARCO’05, Madrid, End of the World Biennial, Argentina, and the 2014 Mardin Biennial, Turkey. He was selected in 1997 for the John Kobal Photographic Portraiture Awards, for the 2012 BBC Big Screens programme, in 2013 he was shortlisted for the Jerwood Open Forest exhibition, and in 2014 he was awarded a major project commission by Unlimited that premièred at the Southbank Centre, London. His work has been supported by many prestigious organisations including the British Council, the Wellcome Trust, Arts Council England, Spanish Ministry of Culture, and ArtSchool Palestine.

New Art Exchange, Mezzanine Gallery. New Art Exchange. 39 – 41 Gregory Boulevard. Nottingham

http://cargocollective.com/JuandelGado   http://www.nae.org.uk

Image: “Altered Landscapes” Juan delGado 

EDIMBURGH. David Guillén “A Tale on the Mile” Museum of Edinburgh

9 june - 25 september, 2017

A Tale on the Mile, the work of photographer David Guillén, is a harmony of original photography and text that explores the personalities and places on one of the most historically vibrant streets in Scotland: The Royal Mile.

Throughout the course of human history, societies have always grown from the same fundamental principles, regardless of the time or place.

Society seems to be a symbiosis, a macro-organism. Individuals cluster together to work as groups, which form a mind of their own, and in turn influence each individual. These small tribes that begin around a campfire, on the beach or on the mountain, create towns. Those towns become cities, those cities unify to create countries. It may seem strange, but often the story and character of an entire nation of people can be read in a single one of its streets. (Museum of Edinburgh press-release)

Museum of Edinburgh: 142 Canongate, Royal Mile, Edinburgh

http://www.davidguillen.co.uk   http://www.edinburghmuseums.org.uk

Image: David Guillén

MIAMI. "A Myriad of Voices" CCE Miami

june 8th – july 28 2017

CCEMiami in collaboration with Spain & Arts Culture present the exhibition “A Myriad of Voices”, showcasing a small sample of the work done by former Revelation PHotoEspaña award winners David Jiménez, Isabel Flores, Paco Gómez, Lucía Arjona, the NOPHOTO group, Germán Gómez, Carlos Sanva, Carlos Irijalba and Aleix Plademunt.

The Revelation Award, one of the most influential awards granted annually by PHotoEspaña, Madrid’s international    photography and visual arts festival, recognizes Spanish photographers under 35 for outstanding work the previous year. Since its inception in 1998, this award has contributed to the development of the chosen artists, many of whom have gone on to build successful careers achieving worldwide recognition.

A Myriad of Voices is curated by Oliva María Rubio, artistic director of the Contemporary Art Center La Fábrica, that organizes the competition.

A shared feature of the selected photographs is the author’s intent to go beyond the work itself, expanding the vision and spectrum of the “merely photographic.” The artists work in series, sometimes dedicating several years to one project. Although some photographers focus on capturing reality while others base themselves in fiction, each one helps us to reflect on the issues that affect our world today, such as: landscape manipulation, the degradation of the urban environment, the representation of territory, gender problems, memory, and identity.

Likewise we find that many of these authors tend to work on interdisciplinary themes. Some, such as Isabel Flores and Germán Gómez, explore several techniques and mediums while others utilize images in movement, actions and performances as in the case of Carlos Irijalba. The body of work presented in this exhibition reflects the incredible richness, diversity and creativity in modern photography. (CCE Miami press-release)

CCE Miami1490 Biscayne Blvd, Miami, Florida 33132

http://www.ccemiami.org

Image: Aleix Plademunt

PARIS. Pilar Albarracín “Anatomía flamenca” Vallois gallery

09 june -  22 july, 2017

Pilar Albarracín is a significant artist of the contemporary Spanish scene who was born in Sevilla in 1968.

With a caustic sense of humor, Pilar enjoys diverting clichés of pop culture in such a tragic and comic way that we cannot help but wonder about the role played by women in personal, social and political spheres.

Embodying a thousand women on her own, from a flamenca to a housekeeper, the artist offers viewers a cheerful catharsis through her scenarios and performances, denying them the temptation to slip into naive clichés called by conservative, populist and fascist policies, always eager to crowd out our collective imagination.

For the Project room at Galerie Georges- Philippe & Nathalie Vallois, she presents four new photos from the Anatomía flamenca series inspired by her performance project Le Duende Volé realized in 2012 at the Mont-de-Marsan Festival.

From the latin “ dominus “, which translates to “ dueño “ in Spanish (master), the concept of duende exists in Spanish popular culture through flamenco singing and bullfighting. In a poetic metaphor, the duende lives in the inside and connects flesh and desire. In flamenco, it comes to life through speech and gestures, but it extends to all artistic fields when it comes to making the difference between true inspiration and deception. The poet Federico Garcia Lorca devotes lecture series to this notion, considering that the duende arises from the struggle between the body and another one dwelling in the inside. Daring to expose one’s genuine relationship with art calls in the duende to awake and engage in a fight with it. Logic and common sense then break apart giving way to eroticism which owns the freshness of newly created things. “ Valentine Meyer

Like many of Albarracín’s works, the series of photos entitled Anatomía flamenca is made of cathartic parodies and tragicomedies. Each one of them (Seguiriya para un esqueleto, Vísceras por tanguillos, Fandangos por venas y arterias, Soleá por músculos) features the artist performing some burlesque dance moves where eroticism meets death, or where misbehaviors leading to freedom are taken to extremes. Along with the iconic video, Lunares (2004). (Vallois gallery press-release)

Vallois  gallery. 36, rue de Seine. 75006 Paris — FR

http://www.galerie-vallois.com  http://www.pilaralbarracin.com

Image: “Vísceras por tanguillos” Pilar Albarracin

LONDON. Marco Godoy “WE HAVE THE WEIGHTS, WE HAVE THE MEASURES” Copperfield Gallery

1 june- 29 July, 2017

Copperfield, London is pleased to present We have the weights, we have the measures, considering the relationship between the seemingly genteel pursuits of culture and learning and claims to geography.

This group show presents a new installation by Madrid-born artist Marco Godoy (1986), focusing on the ornamental quality of fences and devices conceived to divide lands and territories. The exhibition also includes works by Oscar Santillan (Ecuador, 1980), Daniel de Paula (USA/Brazil, 1987), Ewa Axelrad (Poland, 1984) and Ella Littwitz (Israel, 1984).

Since the dawn of civilisation humans have attempted to delineate and lay claim to territory, but in more recent history such claims have extended beyond land and water to airspace, galactic space, even moons and planets.

There is a certain implicit aggression in the act of claiming anything and yet history contains some surprising examples of the way in which this process is masked. An early example was the claim laid to what is now Brazil by the Portuguese: not on the threat of military strength but on the basis that they could map and navigate the land and surrounding waters. This proposes that knowing where you are in immediate terms is not enough — that governance requires a greater, quantifiable oversight backed by learning. Some of the more familiar cases of displacement of indigenous cultures in Australia, America, New Zealand and Africa echo the same principle, the same attempted justification that they needed ‘cultivating’. Through this lens the sculptures and installations draw attention to the ongoing trajectory of this kind of behaviour which is often hiding in plain sight. (Copperfield Gallery press-release)

Copperfield Gallery. 6 Copperfield Street. London SE1

http://www.copperfieldgallery.comhttp://www.marcogodoy.com

Image: Marco Godoy, Ornaments. From the series Good fences make good neighbors, 2017. Dimensions variable

MONTREAL. Joan Fontcuberta “TRAUMA” Occurrence Gallery

26 may – 4 july, 2017

We must ask ourselves what happens when a photograph abandons its image and frees itself from its soul. What’s left when a photograph doesn’t point towards a reality outside itself and only points to its substrate? When its residue remains in the shape of some light-sensitive chemicals? What happens when the only reference left to a photograph is photography itself? When the soul of an image - the information- leaves the body- the support- it becomes a ghost. But there are different kinds of ghosts and various kinds of ghost-images. Usually, the ghost-images that inhabit the bastions of memory are the archives.

In Trauma, Joan Fontcuberta proposes the idea of sick images: photographs suffer some kind of damage (pathology) which disturbs its documentary function and disables them to "live" in an archive but gives them an extraordinary plastic uniqueness. From these images, from different Asturian photo archives, Fontcuberta has made an artist's book.

In the line of previous projects (such as Blow Up Blow Up, 2009 and Gastropoda, 2013), which were based on the semiotic inquiry of the photographic image, Joan Fontcuberta’s new work arises from the hypothesis that the images undergo an organic metabolism: they are born, they grow, they reproduce and die to restart again the cycle of life. For this reason, Fontcuberta is interested in the archives, since they contain sick and agonizing images, images that, as a consequence of the transformative biology of time and chemistry, suffer from some type of disorder that disturbs their documentary function and disables them to continue "living" in the archive. These same images, whether they’ve been produced by himself or searched in photographic collections, are subject to a state of trauma. A trauma that, according to Fontcuberta, "brings us to the elegy for what remains of the materiality of chemical photography, an ode to its remains and excrescences." Occurrence, espace d’art et d’essai contemporains. De Gaspé • espace 108. Montréal, Québec

http://occurrence.ca   http://www.fontcuberta.com

Image: "Trauma #2897", 2016. Photographic print on Duratrans with LED lightbox.Joan Fontcuberta

BARCELONA. Frederic Amat “Zoótropo” La Pedrera

until 16 july 2017

Frederic Amat (Barcelona, 1952) is one of the leading figures in the contemporary Catalan art scene. His open concept of art has led him to incorporate numerous languages into his artistic practice, including painting, drawing, sculpture, installation art, performance, book illustration, videos, theatre set design and interventions in architectural spaces.

The exhibition Frederic Amat_Zoetrope presents a selection of projects for interventions in natural and urban spaces, often associated with architecture, with the aim of drawing a map, a topography of the artist’s work, while seeking the poetic component present in it. The title of the exhibition at La Pedrera, Zoetrope, is a reference to the stroboscopic device consisting of a rotating drum with slits cut in the sides through which the spectator can see a series of drawings which, as they spin, give the illusion of moving. Like a zoetrope, the exhibition intends to show the various facets of Frederic Amat’s work related to the space, architecture, the city and the landscape.

Frederic Amat_Zoetrope is divided into three largely independent sections that between them form a unique play in three acts that provides an excellent opportunity to discover the exuberant and original imaginary that underpins Amat’s life and his art: the first proposes to resurrect the memory of Gaudí’s building by means of an intervention created expressly for the exhibition; the second features the artist’s personal selection of works that give insights into his innermost universe; and the third brings together a group of 14 projects for interventions in public and private spaces (some of them completed, others not), a kind of ‘natural history’ archive that contains references, sketches of the creative process, making-ofs and a number of pieces that are the final results. (La Pedrera press-release)

Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona, Spain

https://www.lapedrera.com  http://www.fredericamat.net

Image. Zoótropo, La Pedrera. Frederic Amat

 

BOSTON. Eva Navarro “Infinite Ways” Soprafina Gallery

2 june – 1 july, 2017

Eva Navarro (Madrid, 1967) belongs to the mainstream of fine art that find their expression in figurative painting, but with a very individual style. Her works are realistic, but still you cannot recognize the figures she paints. They have turned their back to the spectator. By using special colours and empty fields around the presented persons, it looks like they are excluded from reality.Often it seems they have this far-away look at the distance, scanning the horizon where everything looks empty, anyway for the spectator. The persons themselves look as if being deep in thoughts. As in reflection. Eva travels a lot, making photographs of different persons that she takes as a starting point for her work. The paintings tell a story and they stimulate your imagination.

“My paintings depict parallel worlds, spaces without frontiers where we hide and set ourselves free, interior landscapes full of light and color that we can see with our eyes closed. The characters walk through these worlds and tell us their stories, which remind us of our own” Eva Navarro.

Soprafina Gallery. 55 Thayer Street. Boston, Massachusetts 02118

http://evanavarro.com  http://soprafina.com

Image: Eva Navarro

MOSCOW. “Antoni Gaudí. Barcelona” Moscow Museum Of Modern Art (MMOMA)

24 may – 10 september, 2017

The Moscow Museum of Modern Art in partnership with AUREA Cultura I Art presents a large-scale exhibition «Antoni Gaudí. Barcelona». The project aims at tracing the artistic journey of Antoni Gaudí (1852-1926) through his major architectural achievements while revealing the influence of his work on contemporary culture. Gaudí’s first exhibition in Russia is held to coincide with the 165th anniversary of the architect’s birth. The exhibition in MMOMA is complemented by a piece by a contemporary Catalan artist Frederic Amat who is rightly considered a successor of Gaudí’s tradition in the field of media art.

In the process of getting acquainted with Gaudí’s artistic language one may wonder, «Was Gaudí a genius or a madman?» Being a diligent pupil, Gaudí at the same time decisively evaded an academic understanding of architecture, instead advocating his own design solutions, a stance he took only more strongly the more his designs were considered absurd by those commissioned them. He never strictly adhered to stylistic canons, keeping in mind the motto of French architect Eugène Emmanuel Viollet-le-Duc, «We must return to the past, although only to critically dissect it.» Gaudí was one of few architects of the 20th century to explore nature and its organic forms which themselves he considered artworks. The purity of style was not of central importance for the artist. Biomorphic lines and curves and structures at the same time both impossible and harmonious — this is what the madman architect of the 20th century was concerned with.

Exploratory in its nature the exhibition contains more than 150 pieces sourced from Spanish public institutions and private collections and ranging from Gaudí’s plans and draughts that he made as a student to furniture from Casa Calvet and ceramic tiles from Park Güell, designed in the late period of the artist’s work. Of special interest are photographs of Gaudí’s buildings taken by Adolf Mas in 1910 for Gaudí’s first exhibition which took place at the Salon of the Société des Beaux-Arts at the Grand Palais in Paris. Consisting of five thematic sections the exhibition takes the viewer on a journey across the Gaudí universe which starts with his biography and rare documentary footage about his life before going on to consider his most renowned buildings, presented in such a way as to give a sense of his holistic approach to the architecture he created and to bring to light not only the evolution of his style but also the transformation of his personality. Curator: Charo Sanjuan. (MMOMA press-release)

Moscow Museum Of Modern Art (MMOMA). Petrovka, 25. Moscú

http://www.mmoma.ru/en

Image: Güell Palace, roof top. MMOMA

EDIMBURGH. Carme Nogueira “Hidden Edinburgh” Interview Room 11

9 – 30 june, 2017

Interview Room 11 celebrates its 5th edition of the Hidden Edinburgh event in 2017, which once again highlights the work of  Spanish artists in the Scottish capital. In the project, each one engages in a dialogue with Edinburgh, but not with the Edinburgh we know from the postcards, but the one that hides far from the castle. For several months, each artist will explore and analyze a specific aspect of the Scottish capital to create an exhibition related to their artistic practice.
AC/E supports the participation of the artist Carme Nogueira who will organize her work around come of the most active spaces in Edinburgh: the City's squares. Focusing the neighborhood of Leith, near the gallery, the Galician artist will study the urban environment and, according to her usual artistic practice, will introduce small elements that modify the environment, thus generating a change in the behavior of the neighbouring squares, provoking new interactions and relations between them.
Carme Nogueira introduces new elements in public places with the intention of provoking a reaction in the spectator. The artist studies the past and the present of the locations in which she works and adds elements that help enhance their use. In this way, the relations between the neighbouring locations are intensified and spaces in disuse are rehabilitated. The starting point for Carme will be the squares in Leith, very close to the Interview Room 11 gallery. Form many years, this neighborhood, known for providing the backdrop to the famous film “Trainspotting", suffered major poblems with drug addiction and poverty, and although in recent times it has been regenerated, these problems still exist in certain areas. Kirkgate Square, for example, is surrounded by shops and is a passing area for all neighbors. Still, it is rare to see people sitting on benches, or children playing. Carme Nogueira will introduce elements to help create new relationships between the users of this square.
In addition to creating ephemeral elements for Edinburgh squares, Carme will post pictures in them squares showing the result of her work. She will also create a guide to the squares, adding value to spaces that are normally only seen as passing zones.
The result of this project, the documentation and the objectives achieved will be shown in the gallery between June 9 and 30, 2017 in a wide-ranging exhibition..(AC/E press-release)

Interview Room 11. Ocean Terminal Level 1. Ocean Drive. Edinburgh. EH6 6JJ

http://www.ir11.org.uk http://www.cntxt.org

Image: Carme Nogueira. Videocreación de Próspera

 

LONDON. Sonia Navarro , Miguel Fructuoso and FOD “STROIM” SCAN Project Room

1st june -  1st july, 2017. 

STROIM  is a group show by three artists with distinct languages that nonetheless create a common dialogue around space, architecture and memory. Construction – Stroim in Russian- is the basis of this project offering a critical look at the Avant-guard from which the work by the three artists is generated and developed. Artists: Sonia Navarro, Miguel Fructuoso and FOD. (Scan press-release)

SCAN Project Room 13-19 Herald Street, London E2 6JT

http://galeriat20.com  http://www.scan-arte.com

Image: SCAN

LONDON. Rosana Antolí “My East Ballad: The One, The Teeth and the Circle” The RYDER

3 june – 1 july, 2017

In Rosana Antolí’s upcoming solo exhibition ‘My East Ballad: The One, The Teeth and the Circle’ at The RYDER, the artist will present a site-specific installation and performance that will immerse the audience in the everyday activities and movements of the gallery’s neighborhood, Bethnal Green.

Taking as a starting point the everyday activity, rhythms and gestures of the people living in the area, the artist will transform and abstract the essence of these movements into geometrical shapes, sounds and actions – metal shapes floating in the space, suspended geometric sculptures hanging from the ceiling, and a performer in an harmonic dialog with the sound and video projected in the back wall.

Collaborating with experimental and psychedelic musicians Tomaga as well as with art critic and performer Sarah Kent, Antolí will compose an abstract portrait of the everyday activities and rhythms of the neighborhood based on extensive research and reiterated interactions with people living in the area. Following  the theory of Space Harmony from Laban and choreutics, her practice aims to create alternative choreographies where repetition, narrative and gesture are used to explore our most intrinsic and unconscious movements. The utopian character is central to her practice, and consequently the absurdity and failure of these actions.

During the time of the exhibition, two live performances will take place in the gallery. On the opening day of the exhibition – 2nd June, 6-8pm – as well as on the last day of the show and coinciding with the Whitechapel Gallery’s programme Art Night – 1st July, 7-9pm –, the artist will present two performances that will function as a fictional narrative exploring the everyday movements and rhythms of East London’s neighborhood Bethnal Green. For these events the delimitations between the private space of the gallery and the public space of the street will blur, the roller shutter of the gallery open to create a direct connection with its surroundings and allowing the performance to expand its field of action onto Herald Street, where the gallery is located.

Rosana Antoli  (Alcoy, Spain 1981) is a London-based. Her artistic practice is focused in the intersection of art, choreography and everyday life.The utopian character is central to her practice, and consequently the failure of the actions involved.

Antoli studied MA Sculpture and Performance at the Royal College of Art and graduated in 2015. She has exhibited in galleries and museums worldwide including Centro de Arte Contemporaneo Wilfredo Lam (La Havana, Cuba. 2016), CCEMx (DF, Mexico. 2016), Joan Miro Foundation Museum (Barcelona, Spain. 2016), CCEN (Managua, Nicaragua. 2016), Josee Bienvenu Gallery (New York, USA. 2016), LagerHaus62 (Zurich, Switzerland. 2015), Herbert Read Gallery - UCA (Canterbury, UK. 2015), ABC Museum (Madrid, Spain. 2015), The Ryder Projects Gallery (London, UK. 2015) and Pieroggi Gallery (New York, USA. 2015). (The RYDER press-release)

The RYDER, 19a Herald Street . London, E2 6JT United Kingdom

http://www.theryderprojects.com/    www.rosanaantoli.com

Image: Rosana Antolí

NEW YORK. Pierre Gonnord “Rooted” Instituto Cervantes

1 -25 june, 2017  

The portraits of Pierre Gonnord celebrate the strength of the human condition that invite you to feel connected to it through the image of the faces of Asturian miners. (I.Cervantes press-release)

Instituto Cervantes. 211 E 49th St. 10017 Nueva York (ESTADOS UNIDOS)

http://nyork.cervantes.es

Image: Pierre Gonnord

LONDON. “Balenciaga: Shaping Fashion” Victoria and Albert Museum

27 may – 18 february, 2018

Known as 'The Master' of haute couture, Cristóbal Balenciaga was one of the most innovative and influential fashion designers of the last century. His exquisite craftsmanship and pioneering use of fabrics revolutionised the female silhouette, setting the tone for modern fashion.

Balenciaga: Shaping Fashion is the first UK exhibition to explore the work and legacy of the Spanish couturier, showcasing over 100 garments and hats crafted by Balenciaga, his protégés and contemporary designers working in the same innovative way today. It examines Balenciaga's work from the 1950s and 1960s – arguably the most creative period of his career – when he dressed some of the most renowned women of the age and became revered by his contemporaries, including Christian Dior and Coco Chanel.

The exhibition features examples of Balenciaga's revolutionary shapes from this period – the tunic, sack, baby doll and shift dresses – all of which remain style staples today. Other highlights include ensembles made by Balenciaga for Hollywood actress Ava Gardner, dresses and hats belonging to socialite and 1960s fashion icon Gloria Guinness, and pieces worn by one of the world's wealthiest women, Mona von Bismarck, who commissioned everything from ball-gowns to gardening shorts from the couturier.

The second part of the exhibition explores the lasting impact of Balenciaga, tracing his influence through the work of over 30 fashion designers across the last 50 years. Pieces designed by Balenciaga's former apprentices André Courrèges and Emanuel Ungaro demonstrate a signature minimalist aesthetic, recently revived by Phoebe Philo for Celine and in the strong lines of J.W. Anderson. Balenciaga's perfectionism and attention to detail are reflected in the work of Hubert de Givenchy and Erdem. His pattern cutting and explorations with volume can be seen in the work of Molly Goddard and Demna Gvasalia, while his creative use of new materials is referenced in the work of former Balenciaga creative director Nicolas Ghesquière.

The V&A has the largest collection of Balenciaga in the UK, initiated in the 1970s by the photographer Cecil Beaton, Balenciaga's longstanding friend. Balenciaga: Shaping Fashion marks the centenary of the opening of Balenciaga's first fashion house in San Sebastian, Spain, and the 80th anniversary of the opening of his famous fashion house in Paris (V&A press-release)

Victoria and Albert Museum. Cromwell Road, London SW7 2RL

https://www.vam.ac.uk

Image: Spiral silk hat, Balenciaga for Eisa, 1962, Spain. Museum no. T.146-1998. © Victoria and Albert Museum, London

KANSAS CITY. “Chillida: Rhythm-Time-Silence” Nelson-Atkins Museum of Art

5 may – 10 december, 2017

The Nelson-Atkins Museum of Art presents seven large-scale sculptures by acclaimed Spanish sculptor Eduardo Chillida in the museum’s Donald J. Hall Sculpture Park and Theis Park.

This seven-month installation of seven monumental sculptures by Basque artist Eduardo Chilled is divided in two locations: the museum’s Donald J. Hall Sculpture Park hosts 3 sculptures, and Theis Park, which is just south of the museum, receives 4 pieces.

“Chillida’s massive and abstract steel sculptures perform the most human of gestures,” said Jan Schall, Sanders Sosland Curator of Modern Art. “Arms embrace space, rise in exuberant praise to the sky, and form arcs of passage. And their deep, ruddy color sings against the green of grass and trees.”

Eduardo Chillida (1924–2002) is one of the most important sculptors of the 20th century. His investigations of mass and form, structural organization, and spatial relationships are rooted in his early training as an architect. While his roughly hewn stone sculptures pay homage to ancient sculptural traditions, his welded corten steel sculptures, with their dark, rusty patinas, embrace the possibilities of modern construction materials. (The Nelson-Atkins Museum press-release)

Donald J. Hall Sculpture Park & Theis Park, The Nelson-Atkins Museum of Art, 4525 Oak Street, Kansas City, Missouri 64111

https://www.nelson-atkins.org

Image: Chillida: Rhythm-Time-Silence installation view, Photography by Maris Hutchinson

AZORES. Muntadas, Alicia Framis, Bestué & Vives, Ignacio Uriarte “TIEMPO LÍQUIDO” Arquipélago. Contemporary Art Center

29 april – 30 july, 2017

Liquid Time is the first large exhibition exclusively focused on video in the Arquipélago — Contemporary Art Center. The show presents works by fourteen international artists that reflect upon and question this “liquid time,” an expression coined by the sociologist Zygmunt Bauman (1925–2016), who died recently. Bauman has theorized upon the change from a “solid” to a “liquid” Modernity, in which everything is fluid and where forms and conventions become temporary, short-lived, and obsolete. A highly digitized and continually changing contemporary world where nothing remains and everything is permanently changed by a never-ending flux of information. A landscape dominated by globalization, by temporality, in which inequality has replaced our welfare society.

The exhibition comprises fourteen videos that reflect different decades of our changing society, tracing a journey through the turn of the century we have experienced in our lives.

The 1980s were characterized by a rise in the tensions of the Cold War under the growing shade of the nuclear threat, and by the laying out of the foundations for a neoliberal economy. This period is represented by two iconic works: the famous film by Peter Fischli & David Weiss, a continuous chain of casual relations between various objects, and Bruce Nauman’s piece, that shows us how a simple prank can degenerate into a spiral of violence. The 1990s were marked by the fall of communism and by the influence of technology, culture, and music in our society. Muntadaspresents an analysis of the gesture as a symbol of power, while Doug Aitken choreographs the isolation of the youth in the big cities.

The first decade of the new century is defined by the “war against terrorism,” by the economic crisis, by the rise of Latin America, and by the generalization of the internet, of mobile phones and computer games, which have brought radical changes to our social relations. Throughout this decade, we will witness a boom in the use of audiovisuals among the newest generations of artists, which are here represented by Alicia Framis, who carries out a secret strike inside a bank; Bestué & Vives, with domestic actions that question the way we perceive our lives; Ignacio Uriarte, who, between order and disorder, confronts us with all the possibilities of an archive; Douglas Gordon and his image depicting the fragility of an elephant, the symbol of memory, playing dead and getting up; Cory Archangel, who creates one of his first Self-Playing games using a hacked PlayStation; Nuno Cera and the symbolic assassination of one of the most iconic buildings of Modernism and of its values; and Rui Toscano, with his recreation of the growth and rise of the main Brazilian cities in the format of a sound-animation.

In our present decade, still carrying the brunt of the economic crisis, we witness the political and social transformations rocking the Arab countries, we see the European Union plunge deeper into its crisis, all this while new technologies keep introducing dramatic changes into our society, culture, and labor relations. In this context,João Onofre offers us a metaphor of the loneliness of the contemporary individual, while André Romão reminds us of the failures of our historical past.

All the artworks in the show belong to one of these two collections, from Spain and Portugal: the collection CAL CEGO. Colección de arte contemporáneo, Barcelona, which was created by Roser Figueras and Josep Inglada, who started collecting art in 2006 under the advice of Montse Badía; and the collection of Maria and Armando Cabral, who started collecting Portuguese and international art in 2006. Carolina Grau (Arquipélago press-release)

Arquipélago / Centro de Artes Contemporâneas. Rua Adolfo Coutinho de Medeiros s/n. 9600 - 516 Ribeira Grande. São Miguel – Açores

http://arquipelagocentrodeartes.azores.gov.pt/en

Image: Tempo Liquido. Arquipélago / Centro de Artes Contemporâneas

BIRMINGHAM. AL. Gema Álava “kill switch” MAUS Contemporary

may 5 - july 29, 2017

A kill switch invite us to reflect on loss, displacement, and hope.

A kill switch, also known as an emergency stop or e-stop, is a safety mechanism used to shut off a device or machinery in an emergency situation in which it cannot be shut down in the usual manner. Unlike a normal shut-down switch/procedure, which shuts down all systems in an orderly fashion and turns the machine off without damaging it, a kill switch is designed and configured to completely and as quickly as possible abort the operation (even if this damages equipment) and be operable in a manner that is quick and simple (so that even a panicking operator with impaired executive function or a bystander can activate it). Kill switches are usually designed so as to be obvious even to an untrained operator or a bystander.

Artists: Gema Álava, Graham Fagen, Suso Fandiño, Misha Bies Golas, Travis Somerville, Melissa Vandenberg

 Gema Álava (b. 1973 Madrid, Spain) lives and works in New York City. Her work, in the form of installation, drawing, photography and art projects, deals with what she calls "contradictory truths", and the capacity to "create a maximum by reversing a minimum.” Alava's art projects, in the form of dialogues, verbal descriptions, rumors and random encounters, explore notions of trust and intimacy, and use language as a medium to investigate the interconnections that exist between public, private, educational and interpretative aspects of art. In 2012 she was appointed Cultural Adviser to the World Council of Peoples for the United Nations, (WCPUN). (Maus Contemporary press-release)

Maus Contemporary. 2411 Second Avenue North. Birmingham, ALABAMA.  35203

http://mauscontemporary.com

http://gemaalava.com

Image: Gema Álava. “Tell me the truth”

VENICE. “Ciutat de vacances” Museo del Palazzo Grimani. 57 Biennale di Venezia

10 may-  9 august, 2017

“Ciutat de vacances” is a project that unites the forces of the three institutions and will take shape in Venice, as a place where the results of the research and production work carried out at Es Baluard and Arts Santa Mònica will be made visible. And these institutions are joined frorm Alicante by the museum MACA, and from Italy by the IED, for pedagogical training for design of a fake-ephemeral prototype of tourist information point and a research group.
Our aim in developing this tourist information point is to be able to continue testing and analysing in real time the phenomenon of the flows of planetary displacement and their relationship to the cities that currently experience the maximum intensity of a fundamental type of tourism – art tourism, during the most important Biennale in the world, that of Venice.
This project has the support of Acción Cultural Española (Spain’s public agency for cultural action, AC/E, and the Vice-President and Regional Minister for Innovation, Research and Tourism of the Balearic Islands (Agència de Turisme de les Illes Balears - ATB). With the collaboration of Mallorca Hotel Business Federation (FEHM) and Polo Museale Veneto, as well as other public and private entities.
The exhibition content will be shown in the Museum of the Palazzo Grimani of Polo Museale Veneto (in Venice) from 10th May 2017.Inauguration: 10th May at 6 pm.
Ciutat de vacances: tourist information point at the Palazzo Grimani is being developed by the pupils of the IED – Istituto Europeo di Design (Venice) and will be located at the access point on the first floor of the palace.
In it, the works developed since 2016 by the following collectives and artists will be presented: Juan Aizpitarte, Ángela Bonadies, Domènec, Idensitat (Ramon Parramon and Gaspar Maza), Left Hand Rotation, Ángel Marcos, Neus Marroig, Marc Morell, Ana A. Ochoa, Irene Pittatore, Marina Planas and Arxiu Planas, Miguel Trillo. General management and curatorship: Nekane Aramburu. (Es baluard press-release)

Museo del Palazzo Grimani del Polo Museale del Veneto (Venecia)

http://artssantamonica.gencat.cat/ca/detall/Ciutat-de-vacances

 Image: Ängel Marcos. “End of Season”

VENICE. Antoni Abad “La Venezia che non si vede” Catalonia in the 57 Biennale di Venezia. Cantieri Navali de Castello

13 may -  26 november, 2017

La Venezia che non si vede / Unveiling the Unseen by Antoni Abad, curated by Mery Cuesta and Roc Parés. The project is being presented at the Cantieri Navali de Castello It is a sensorial interpretation of the city of canals, created in collaboration with people who are blind or visually impaired, a collective who uses their senses in a different and unique way. Through the shared exchange of both the experiences and difficulties of their daily lives, less obvious urban forms are revealed, allowing for a new map of public space to be drawn up that is usable by everyone.  

Antoni Abad works with digital communities where mobile phones take on an important role as means of social communication. He is creating a locative sound map of Venice using the BlindWiki app - an app created for people who are blind, but usable by anyone with a smartphone. Impressions of any part of the city can be registered and published using the app and can be listened to at any moment. A true citizens' network that improves the services to the community, and that is becoming an international network to share experiences, stories and thoughts about all that is not visible.

The Catalan project for the Biennale Arte 2017 is a proposal to civil society: that research on collective intelligence seeks universal accessibility and suggest alternative ways to occupy public spaces, both physical and digital.

In order to shed more light on the BlindWiki project, Abad also directed a documentary produced by Daniele Zoco, with subtitles in Italian and English as well as an audio description in italian and english, which will be projected in the exhibition space.

The project also includes the publication of a tactile comic with haut-relief designs by Max (who is the cartoonist Francesc Capdevila, winner of the 2007 National Award for Comic in Spain). The drawings were created in collaboration with the participants who are blind, under the direction of Mery Cuesta, co-curator. Produced by Institut Ramón Llull. (I.Ramón Llull press-release)

Evento Collaterale della 57. Esposizione Internazionale d’Arte – La Biennale di Venezia. Cantieri Navali de Castello 

http://blind.wiki   http://www.llull.cat http://www.labiennale.org

Image: Ovvero *Venecia, Italia 2017-05-05 15:36:06 #cultura.  BlindWiki.

PARIS. Esther Ferrer, Daniela Ortiz & Xose Quiroga "Tous, des sangs-melés". MACVAL, Vitry-sur-Seine

21 april – 03 september, 2017

The group show entitled “Tous, des sang-mêlés” (“All, mixed-bloods”) around the universal and burning issue of cultural identity. This original proposal echoes previous curatorial projects conducted by the MAC VAL over the last few years.

In tune with the current world affairs, this exhibition explores the notion of cultural identity through various artistic visions and experiences: what is our common denominator? How do we build a shared culture in spite of more and more diverse/opposite origins? Those are some of the current global issues. Under the co-patronage of French historian Lucien Febvre and his book We are all mixed-bloods: a manual on the history of the French civilization (1950), and that of Stuart Hall, founding father of Cultural Studies, this exhibition highlights the fictional dimension of the concept of cultural identity. 

Through the voice of about sixty international artists and around one hundred artworks, the exhibition investigates the topics of cultural, national and sexual identities. They all revolve around the notion of being, yet some are obvious, others bring up –often passionate, always political- debates, and others call up memories of the past, sensitivity, experiences, and existence itself, from survival instinct to the notion of living together. (MA VAL press-release)

MAC VAL - Musée d’art contemporain du Val-de-Marne. Place de la Libération
CS10022 . 94407 Vitry-sur-Seine. Paris.  http://www.macval.fr  

Image: Esther Ferrer

VENICE. Jordi Colomer “Únete! Join us!” Pabellón de España. 57ª Bienal de Venecia

13 may  – 26  november, 2017

"Viva, arte, viva" is the title chosen by Chrisine Macel for this edition of the Biennial with the aim of giving artists a leading role in the invention of their own universes and the injection of vitality in the world in which we live. The central axis of the Biennale is the responsibility of artists in a convulsive world like the present from a positive and innovative perspective. Innovation is represented not only by a selection of young artists, but also in an interest to rediscover those who are unknown to the general public for different reasons, because their time was not adequate to value them, because they died too early to develop a recognized career or because their work is within geographically less represented international areas such as Latin America, Asia, the Middle East, Eastern Europe or Russia. Each week, during the six months of the exhibition, artists and the public participate in an open table (Tavola aperta) where they can eat together and discuss the artist's practice.
The Spanish artist Jordi Colomer presents in the pavilion his exhibition project "Ciudad de bolsillo", curated by Manuel Segade. It is a "installation of installations" composed of a series of videos, sculptures and the space itself understood as a total but provisional architecture. The installation is organized from the central space with natural light, with the presence of models, prototypes, scale reproductions of these movements, which also incorporate objects used in actions recorded in video and that rhythm the ensemble of the pavilion.
In their totality they form a vision at different scales of a fragment of city susceptible of displacement and in precarious balance. The models will be made with painted tin modules and will be permanently shaken by high-powered fans, as in the continuous vibration of an excited city.
In the perimeter rooms a tour is organized that the viewer will be free to move in one direction or another. These spaces are articulated as a progression of sequences from two elements: projection screens with videos and a set of stands for viewing. Both the screens and the stands are structured in serial combinations that configure changing environments, from almost individual viewing to the large room with multiple screens of different sizes and steps to modular heights that will allow to offer diverse points of view. . (AC/E press-release)

Giardini La Biennale di Venezia

http://www.labiennale.org  http://www.jordicolomer.com

Image: L´avenir.  Jordi Colomer

 

BARCELONA. Verónica Losantos “screen memories” Centro de Fotografía y Medios Documentales

5 may – 30 june, 2017

Birthdays, visits from relatives, baptisms, first day at school, holiday trips, last day at school—photo albums canonize special family events to collective narratives and visualize individual life stories. They are an affirmation of one’s own origins, important props for memories and breathe new life into long-forgotten incidents. However, what happens when a crucial protagonist is missing from this narrative—one’s own father? How does his absence influence one’s own childhood memories? Can one create the absent photographs of him in retrospect? And can one revive memories through visual reenactment? Verónica Losantos has no photos from the time she shared with her father and the absence of these photographs prompts her to fill the gaps in her memory herself. With her artistic appropriation, reconstruction and association of the past, Verónica Losantos reveals the fleetingness and lack of definition inherent in the act of remembering.

Verónica Losantos, born 1984, studied audiovisual communication and media at the University of Burgos and photo design at the Lette Verein in Berlin. In 2013 she won the 2nd prize of the Close Up! photography competition held by C/O Berlin. Her works have been exhibited in Freies Museum Berlin, the gallery World in a Room, the Contact Photography Festival in Toronto and in the gallery f5,6 in Munich. She is currently working as a freelance photographer in the field of education at the Society for Humanistic Photography. Verónica Losantos lives in Berlin. (CFD press-release)

CFD. Centro de Fotografía y Medios Documentales. C/Fontrodona, 31 - 08004, Barcelona

http://cfdbarcelona.com    http://www.veronicalosantos.com

Image: Verónica Losantos

NEW YORK. Lluis Lleó “Morpho's Nest” Cadmium House, Park Avenue

01 may – 31 july, 2017

The sculptures, five carved and painted blocks of sandstone from the Spanish province of Girona, that Lluis Lleó displays in the renowned Park Avenue are, on one hand, the shelter and safeguard of the fragile, delicate and fleeting, and on the other hand, the symbol of a place where the dreams that we all have can nest. Lleó’s dream is to prevent painting from dying, to take it out of the studio, to have it soak in rain and dry in the sun, let the spring breeze caress it and make it come to life. 

From 5th  to 9th may the exhibition Celebrating Lluís Lleó

showcases a series of work made in the past months, centered around the Park Avenue installation, which are being shown for the first time. They include big format paper, paintings, drawings and sketches, models and some diaries the artist wrote in to help define the work, resulting in a piece that searches for a consensus between elements that would seem opposite to each other: lyricism and forcefulness, order and chaos, presence and transparence, tradition and vanguard. Don’t miss this opportunity to meet the artist in the Gallery of the Instituto Cervantes! . (I. Cervantes press-release)

Cadmium House, Park Avenue. Avda. Park Avenue. 10017 Nueva York

http://lluislleo.com    http://nyork.cervantes.es

Image: Lluis Lleó

 

WORDLESS DIALOGUES. 10. Alejandra López Zaballa / Irene Cruz

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 10. Alejandra López Zaballa / Irene Cruz

Dialogue 10. Alejandra López Zaballa

Dialogue 10. Irene Cruz

Alejandra López Zaballa (Madrid, 1974) is a professional photographer, specialised in documentary photography, portrait and visual story telling. She starts her projects with a concept, a strategy that takes her to travel to those places where she can explore deeper the subjects she wishes to communicate and express through photography.

She studied photography at the London School of Photography and at the ICP, and she feels fortunate to have great mentors including Mary Ellen Mark, Peter Turnley and Karl Grobl. with whom she developed projects in places like NYC, Oaxaca, The Philippines, Cambodia, Havana, Lisbon and many more. In 2011, Alejandra created ¨Bangkok Soul, Photography Journeys”, a photography tours business that offers visual and cultural experiences to professional photographers and travellers in Thailand. She has lived in 9 countries, visited more than 60, speaks 4 languages and her life has been a constant journey since she was fourteen. Her passion for people and other cultures is captured by her lenses.

She currently works in Mexico City where she exhibits, teaches photography and works in different visual projects. Her work has been exhibited many times in Mexico City, NYC, London, Madrid and Bangkok. It has received some international awards like the single image third prize of Lensculture Exposure Awards and Photo Árbol third prize of Blipoint in 2016. In 2015 her project "The Beginning and the End" was chosen to be presented at Visionados PhotoEspaña.  http://www.alejandra-photography.com

Irene Cruzwas born in Madrid, Spain, in 1987. She graduated in Advertising and Public Relations and Audiovisual Communication from the Complutense University of Madrid, has a Masters degree in photography school EFTI specializing in Conceptual Photography and Artistic Creation. The light is indeed a significant element of the work of Irene Cruz, leading her to explore and experiment with it in countries of northern Europe. This young artist is creating a turning point in the world of photography. His work is has a remarkable personality with a style that has already become unmistakable for everyone today. Irene Cruz has participated in over 200 exhibitions, art fairs and festivals around the world and has won numerous awards, among them the First Prize in Photography Contest Iberdrola, and Second Prize Competition Photography of the AENA Foundation in 2014. http://www.irenecruz.com

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz.- Marta Corada

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 10. Alejandra López Zaballa / Irene Cruz

quepintamosenelmundo.com

 

 

BRUSSELS. Pep Agut, Elena Bajo, Oriol Vilanova “Modus Operandi” Société d´électricité

15 april – 15 julio, 2017

The exhibition Modus Operandi activates a well-known strategy from conceptual art using instructions and explores art by delegation. The artwork imagined by the artist is presented in form of a written or verbal statement to be executed by others. The instructions take form with advised experts such as the curator him or herself and his or her assistant, usually in dialogue with the artist. The instruction can be transmitted through: 'cards' as with the 'event scores' of the artist George Brecht or as in Lucy Lippard's 1969-74 'numbers' exhibition series ; 'Certificates' for Sol Lewitt's 'instructions' or Laurence Weiner's 'statements'; 'definitions / methods' for Claude Rutault; or in form of instructions communicated by telephone as in the mythical 'Art by Telephone' exhibition of 1969 and its recent 'Recalled' versions. Thus the artwork already exists in form of a description, and a collection of instructions makes it possible to constitute an exhibition.

This exhibition by Société explores this dematerialisation of art and their activation around historic and current works. The show further put into perspective a type of conceptual art in connection with algorithmic art, a parallel that took already place in 1970 during the 'Software' exhibition, and as Sol LeWitt explains in Paragraphs on Conceptual Art (1967) ‘When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art...the artist would select the basic form and rules that would govern the solution of the problem.’
 The art by instruction nevertheless approaches the principle of a music score which needs each time a new interpretation. Here the work only exists through its  transmission, its execution and the documentation of its reactivation. But the instructions of conceptual artists deliberately leave room for the subjectivity of the person who realizes the final work. Consequently the process contains several stages, including a dialogue necessary for the interpretation, which tends to an experience close to the format of the workshop and the performance for those who activate it and give it body. This "performative" aspect generates a variation of executions according to each context, since the work is replayed according to its constraints, the actual references and the choices of those who follow them. Even if they literally follow the instructions and are in exchange with the artist, if the principle is fixed, the work varies slightly and gains significance at each iteration. Curator: Gregory Lang. Between participants the Spanish artists: Pep Agut, Elena Bajo and Oriol Vilanova.( Société d´électricité press-release)

Société d´électricité. 106 Rue Vanderstichelen, 1080 Brussels

https://www.societe-d-electricite.com

Image: Modus Operandi. Société d´électricité

MADRID. “Pity and Terror. Picasso’s Path to Guernica” Museo Nacional Centro de Arte Reina Sofía

5 april – 4 september, 2017

When in early 1937 Pablo was asked to produce a painting for the Spanish Pavilion, he told the Republic's delegates that he was not sure he could do the kind of picture they wanted. The world of his art had been till then essentially intimate and personal, bound by the walls and windows of a room; he had almost never spoken to the public realm, still less to political events; since 1925 his art had often steered close, claustrophobically, to nightmare or monstrosity. Yet the painting he eventually did for the Republic spoke grandly to the new realities of war. And the scene of suffering and disorientation he showed us has lived on, as an emblem of the modern condition, for eight decades. Guernica has become our culture's tragic scene.

Are there continuities between Guernica and the strange, often agonized vision of humanity that Picasso had set forth over the preceding decade? How did Picasso’s distinctive set of concerns, which at moments seem dark to the point of despair, inform his final picture of women and animals in pain?

One writer said of Guernica that in it the world had been “changed into a furnished room, where all of us, gesticulating, wait for death”. Since 1937, generations of viewers across the globe have found the painting's image of terror indispensable – maybe even cathartic. This exhibition asks why. It is clear that Guernica 's epic, compassionate treatment of violence moves beyond the dangerous fascination with the subject that had characterized much of Picasso's work during the late 1920s and early 1930s. But would Guernica have been possible without that previous fixation? Isn't violence very often “fascinating” as well as repellent? How does an artist represent it without falling under its spell? What is involved – psychologically, aesthetically – in giving Terror public form? (Museo Reina Sofía press-release)

 Museo Nacional Centro de Arte Reina Sofia . C/ Santa Isabel, 52 . 28012. Madrid

http://www.museoreinasofia.es

Image: Pablo Picasso. Guernica, 1937. Museo Nacional Centro de Arte Reina Sofía. Madrid

WORDLESS DIALOGUES. 09 Irene Cruz / Gisela Ráfols

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 09 Irene Cruz / Gisela Ráfols

Dialogue 09 Irene Cruz

Dialogue 08 Gisela Rafols

Irene Cruz was born in Madrid, Spain, in 1987. She graduated in Advertising and Public Relations and Audiovisual Communication from the Complutense University of Madrid, has a Masters degree in photography school EFTI specializing in Conceptual Photography and Artistic Creation. The light is indeed a significant element of the work of Irene Cruz, leading her to explore and experiment with it in countries of northern Europe. This young artist is creating a turning point in the world of photography. His work is has a remarkable personality with a style that has already become unmistakable for everyone today. Irene Cruz has participated in over 200 exhibitions, art fairs and festivals around the world and has won numerous awards, among them the First Prize in Photography Contest Iberdrola, and Second Prize Competition Photography of the AENA Foundation in 2014. http://www.irenecruz.com

Gisela Ràfols (Vilafranca del Penedès, Barcelona, 1.984) Graduate in Photography. “Centre de la Imatge i la Tecnologia Multimedia (CITM)”. Universitat Politècnica de Catalunya, Terrassa. Spain.

Grant Erasmus  University College Falmouth. England. In her series “Alter Ego” was the turning point, where the artist freed us from the black background so to step into a more real status. Natural colors and the absolute presence of female anatomy. This is a true work, where we reflect on the conflict deep in ourselves, the struggle within, the eternal fight that one can feel towards oneself, like the fight the artist has with his artwork, a love – hate that so many times gives meaning to life and meaning to the being of the artwork.It was at this point where the bird flapped her wings to fly East until she landed in Beijing, in the artist village called Songzhuang where she continued to fly, now with different experiences and sensations. http://giselarafols.com/

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

 “Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 09. Irene Cruz. 08 Gisela Ráfols

quepintamosenelmundo.com

WORDLESS DIALOGUES. 08 Gisela Ráfols / Eva Diez

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 08 Gisela Ráfols / Eva Diez

Dialogue 08 Gisela Ráfols

Dialogue 07 Eva Diez

Gisela Ràfols (Vilafranca del Penedès, Barcelona, 1.984) Graduate in Photography. “Centre de la Imatge i la Tecnologia Multimedia (CITM)”. Universitat Politècnica de Catalunya, Terrassa. Spain.

Grant Erasmus  University College Falmouth. England. In her series “Alter Ego” was the turning point, where the artist freed us from the black background so to step into a more real status. Natural colors and the absolute presence of female anatomy. This is a true work, where we reflect on the conflict deep in ourselves, the struggle within, the eternal fight that one can feel towards oneself, like the fight the artist has with his artwork, a love – hate that so many times gives meaning to life and meaning to the being of the artwork.It was at this point where the bird flapped her wings to fly East until she landed in Beijing, in the artist village called Songzhuang where she continued to fly, now with different experiences and sensations. http://giselarafols.com/

Eva Díez is an artist whose work can be described as “photopoetic” because of the clear lyrical intentionality of her photographs. In them she plays with the symbolism of light and the aesthetics of ruin to give way to a reflection on the immemorial image of the home. Her training in film and contemporary photography defines her work, all her production manifests a certain scenographic character. In her work, references to poetic reverie are frequent, taking into account the symbology of the home as a plastic metaphor of our unconscious, a stimulus for memory and imagination. http://evadiez.es

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

 “Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 08. Gisela Ráfols / Eva Diez

quepintamosenelmundo.com

ATHENS. Daniel García Andujar, Mattín Artiach, Roger Bernat and the collective El Niño de Elche "Documenta 14"

8 april – 16 july, 2017

The Documenta exhibition is one of the largest exhibitions of contemporary art in the world celebrated since 1955 every five years in the German city of Kassel during 100 days. For the first time in its history, this edition of Documenta is celebrated in two venues, the second is Athens under the title Documenta 14: Learn from Athens. This fourteenth edition begins in April 2017 in Athens and then opens on June 10 in Kassel. In this way, coincide, in parallel, a month in both cities. The co-organization of the 14th edition of Documenta between Kassel and Athens is a proposal by Adam Szymczyk, artistic director of the fair, who explained that the purpose of this decision is "to reflect the current situation in Europe and to highlight the palpable tensions between the north and the south. " Szymczyk considers that the choice of Greece is detached from the conflicts between the Mediterranean country and Germany and that its focal point is its geographical location and migration. "What interests me about Athens is that it is a metropolis that connects with others across the sea. It borders Turkey, has a large influx of immigrants from Asia and Africa. Athens is a gateway or a border that reaches many people who can have visibility, "said Szymczyk. With this initiative Documenta leaves for a year its role of permanent host to become a guest of Athens. The artistic direction is in charge of the curator and writer Marina Fokidis, founder and artistic director of Kunsthalle Athena. In this edition the artistic director of Documenta, Adam Szymczyk has invited a group of Spanish artists to participate with the support of AC/E: Daniel García Andujar, Mattín Artiach, Roger Bernat and the collective "El Niño de Elche" formed by Israel Galván, Pedro José González Romero and Francisco Molina. (AC/E press-release)

http://www.documenta14.de

Image: Documenta 14 Athens

DALLAS. Picasso “Dream and lie of Franco: The Spanish civil war” Meadows Museum

2 april – 2 july, 2017

This exhibition commemorates the anniversary of Picasso’s great painting by showcasing a pair of prints in the Meadows collection that was transformed by the very same events that inspired “Guernica.”

June of 2017 will mark eighty years since the production of Guernica by Pablo Picasso (1881-1973), made in response to the horrific events of the Spanish Civil War (1936-1939). In January of 1937, Picasso began work on a set of prints titled The Dream and Lie of Franco. The prints were made in support of the Spanish Republican government, caught in a grisly civil war with the conservative Nationalist party headed by Francisco Franco (1892-1975). These prints were the first expressly political artworks of Picasso’s career, designed to satirize Franco and delegitimize his cause.

But the bombing of the small town of Guernica on April 26, 1937, would have a radical impact on Picasso’s project. This event interrupted the execution of the second plate and immediately inspired Guernica, among his most ambitious and celebrated works; Picasso returned to his print series only after the painting was completed.

The Meadows collection possesses the only near-complete set of proofs of these prints in the United States. These proofs, which signpost the stages of Picasso’s working process from start to finish, before and after the bombing of Guernica, reveal the visible effects of this event on Picasso’s art in response to the Spanish Civil War. The final prints will be exhibited alongside these proofs as a means of dramatizing the impact of the historical moment that this exhibition commemorates on their production and, ultimately, on their final form.

Picasso’s Dream and Lie of Franco were made during a period that witnessed a burst of creative work on paper in the form of posters, cartoons, postcards, and satirical illustrations. The Meadows Museum is in possession of a set of posters from this period that are exemplary of the thematic and visual-cultural context from which The Dream and Lie of Franco emerged. (Meadows Museum press-release)

Meadows Museum, 5900 Bishop Blvd., Dallas, TX 75205

https://meadowsmuseumdallas.org

Image: Picasso “Dream and lie of Franco: The Spanish civil war”

BEOGRAD. Rubén Salgado Escudero “Solar Portraits” Instituto Cervantes

8 april – 30 june, 2017

Rubén Salgado Escudero is a photographer / videographer born in Madrid, Spain. He lived in the United States throughout his teenage years, and graduated from the Savannah College of Art and Design. He subsequently moved to Berlin, Germany, where he worked as a 3D character animator in the video game industry.

Ten years later, he decided to quit his job and move to Myanmar, following his passion for photography. Since then he has worked in projects in many areas of Asia, Africa and Latin America. 

Rubén is a member of 'The Photo Society' by contributing National Geographic (US) and his photography has been exhibited in more than a dozen countries across the world.

Rubén is also very passionate about sharing knowledge and experience to other photographers. He has taken part in educational workshops internationally including New York, Tokio, and Yangon. He is also very keen in giving feedback and has participated in portfolio reviews at various photography festivals including Les Rencontres d'Arles and the Angkor Photo Festival. (I.Cervantes press-release)

Instituto Cervantes. Cika Ljubina, 19. 11000 Beograd (SERBIA)

http://www.rubensalgado.com   http://belgrado.cervantes.es

Image: Rubén Salgado Escudero

 

 

WORDLESS DIALOGUES. 07 Eva Diez / Diana Coca

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 07 Eva Diez / Diana Coca

Dialogue 07 Eva Diez

Dialogue 06. Diana Coca

Eva Díez is an artist whose work can be described as “photopoetic” because of the clear lyrical intentionality of her photographs. In them she plays with the symbolism of light and the aesthetics of ruin to give way to a reflection on the immemorial image of the home. Her training in film and contemporary photography defines her work, all her production manifests a certain scenographic character. In her work, references to poetic reverie are frequent, taking into account the symbology of the home as a plastic metaphor of our unconscious, a stimulus for memory and imagination.

Diana Coca. Palma de Mallorca, 1977. Lives and works between Madrid and Beijing. Diana Coca graduated in Fine Arts, with the speciality of Photography, from the University of Brighton (2003) and in Philosophy from the Universitat de les Illes Balears (2009). In 2004 she won the photography scholarship of the MAE, Spanish Ministry of Foreign Affairs, for her artistic production in the Real Academia de España en Roma. She completed her training by participating in the following residency programmes: Aula de Danza Estrella Casero run by the Universidad de Alcalá de Henares and La Casa Encendida, Madrid (2007), International Center of Photography of New York, Matadero scholarship Madrid (2008), Programa de Residencias Artísticas para Creadores Iberoamericanos en Oaxaca (Artist Residency Programme for Ibero American Creators in Oaxaca), Mexico, by AECID, FONCA and CONCULTA (2009), and Three Shadows Photography Art Centre in Beijing (2010).
 The destruction and construction of reality or the control exercised by all the attributes that contribute to characterising the female body (make-up, high heels…) are recurrent themes in her work, dealt with from the symbiosis between the performance, video and photography. Through narrative sequences we find her semi-nude, fragmented body conceived as object and subject at the same time, as she uses herself as the territory for experimentation and subversion, with the desire of transforming the tension of what is concealed and placing emphasis on the slavery of human beings arising from the technological dependence of present-day society. http://www.dianacoca.com
As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 07 Eva Diez. Dialogue 06. Dialogue 05. Diana Coca

quepintamosenelmundo.com

BASEL. Itziar Okariz “Solo Show” Kunsthaus Baselland

31 march – 16 july, 2017

First solo show of the outstanding Spanish artist in Switzerland within the period of the ART BASEL FAIR which garantees a broad perception of the show. The show will be as well the first overview of her work and will contain drawings, films/videos, sound pieces and performances.   Itziar Okariz (b. 1965, ES, lives in Bilbao) has long been among the most important international performance artists who engage with themes of gender and language particularly, and who in so doing investigate the meaning of word and text in relation to their own bodies. Her works have achieved broad recognition after live performances at the Guggenheim Museum Bilbao and the Museo Nacional Centro de Arte Reina Sofía in Madrid, amongst others, as well as in the streets of New York, a metropolis where she spent many years. The solo exhibition at the Kunsthaus Baselland – which is the first showing of her work in Switzerland and the first ever survey of her work – will give special insight into Itziar Okariz’ multifaceted creation, including live performances and larger sound works. The exhibition will subsequently travel to CA2M. Centro de Arte Dos de Mayo in Madrid and the Tabakalera. Centro Internacional de Cultura Contemporánea in San Sebastián. A comprehensive catalogue of Okariz’ work will be produced in collaboration in 2018. (AC/E press-release)

Kunsthaus Baselland . St. Jakob-Strasse 170. 4132 Basel/ Muttenz. Schweiz

http://kunsthausbaselland.ch/en  

Image: Itziar Okariz. Irrintzi Repetition (Mute). 2009

WORDLESS DIALOGUES. 06 Diana Coca / Berta Jayo

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 06. Diana Coca / Berta Jayo

Dialogue 06. Diana Coca

Dialogue 05. Berta Jayo

Diana Coca. Palma de Mallorca, 1977. Lives and works between Madrid and Beijing. Diana Coca graduated in Fine Arts, with the speciality of Photography, from the University of Brighton (2003) and in Philosophy from the Universitat de les Illes Balears (2009). In 2004 she won the photography scholarship of the MAE, Spanish Ministry of Foreign Affairs, for her artistic production in the Real Academia de España en Roma. She completed her training by participating in the following residency programmes: Aula de Danza Estrella Casero run by the Universidad de Alcalá de Henares and La Casa Encendida, Madrid (2007), International Center of Photography of New York, Matadero scholarship Madrid (2008), Programa de Residencias Artísticas para Creadores Iberoamericanos en Oaxaca (Artist Residency Programme for Ibero American Creators in Oaxaca), Mexico, by AECID, FONCA and CONCULTA (2009), and Three Shadows Photography Art Centre in Beijing (2010).
 The destruction and construction of reality or the control exercised by all the attributes that contribute to characterising the female body (make-up, high heels…) are recurrent themes in her work, dealt with from the symbiosis between the performance, video and photography. Through narrative sequences we find her semi-nude, fragmented body conceived as object and subject at the same time, as she uses herself as the territory for experimentation and subversion, with the desire of transforming the tension of what is concealed and placing emphasis on the slavery of human beings arising from the technological dependence of present-day society. http://www.dianacoca.com
Berta Jayo born in Santander, Spain, in 1971, she studied B.A. Honours Degree Fine Art at the University of Bilbao, Spain and she has done her Postgraduate and MA Fine Art at Chelsea College of Art and Design in London. She has participated on many programs as ISCP (International studio and Curational Program) New York.
She is a nonconformist, critical and continuously evolving talented creator whose clearest language is conceptual art developed on a large variety of media. Her clear and concise ideas encourage reflection, which is also disturbing and provoking our intellect. Her original, power-charged projects awakening our anesthetised and banal existence to offer us their far from stereotypical visions of life.  
Her work has been exhibited in many countries and it has been shown at International Art Fairs such as ARCO Madrid, SWAB Barcelona, FRIEZE London, PULSE New York, Art BASEL Switzerland, at International Festivals as Video Screen Festival in Berlín or New Media Festival HACS Miami, at public spaces or Museums as MAM RD, MAS, The Chill Concept Museum Miami, CAC Málaga, Bronx Museum NYC, Reina Sofía, Tate Modern, Guggenheim Bilbao, MoMa, Louvre París. Other relevant exhibitions are: 'Exquisite Doll Kit' México itinerating, 'Artists from XX and XXI century', itinerating, Sala Robayera, 'Ellas' Madrid, itinerating, Void + Tokio, Japan. http://www.bertajayo.com

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 06 Diana Coca . Dialogue 05. Berta Jayo

quepintamosenelmundo.com 

WORDLESS DIALOGUES 05. Berta Jayo / Bego Antón

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 05 Berta Jayo / Bego Antón 

Dialogue 05 Berta Jayo

Diálogue 04 Bego Antón

Berta Jayoborn in Santander, Spain, in 1971, she studied B.A. Honours Degree Fine Art at the University of Bilbao, Spain and she has done her Postgraduate and MA Fine Art at Chelsea College of Art and Design in London. She has participated on many programs as ISCP (International studio and Curational Program) New York.
She is a nonconformist, critical and continuously evolving talented creator whose clearest language is conceptual art developed on a large variety of media. Her clear and concise ideas encourage reflection, which is also disturbing and provoking our intellect. Her original, power-charged projects awakening our anesthetised and banal existence to offer us their far from stereotypical visions of life.  
Her work has been exhibited in many countries and it has been shown at International Art Fairs such as ARCO Madrid, SWAB Barcelona, FRIEZE London, PULSE New York, Art BASEL Switzerland, at International Festivals as Video Screen Festival in Berlín or New Media Festival HACS Miami, at public spaces or Museums as MAM RD, MAS, The Chill Concept Museum Miami, CAC Málaga, Bronx Museum NYC, Reina Sofía, Tate Modern, Guggenheim Bilbao, MoMa, Louvre París. Other relevant exhibitions are: 'Exquisite Doll Kit' México itinerating, 'Artists from XX and XXI century', itinerating, Sala Robayera, 'Ellas' Madrid, itinerating, Void + Tokio, Japan. http://www.bertajayo.com

Bego Antonwas born in Bilbao, in 1983. She studied journalism at the University of the Basque Country and specialized in documentary photography in Barcelona. Her photographic work usually explores the contradictory relationships humans have with nature and animals. She also shows particular interest in the small groups that seem strange to a part of society.

Her work has been published in en Lens Blog del New York Time, National Geographic, Esquiere, Le Monde, CNN Photos, The British Journal of Photography, Stand Quarterly and Pretty Good Summer, among others. She has exhibited in the FotoWeek DC, Guggenheim Museum in Bilbao,in PhotoEspaña 2014 as part of P2P Contemporary Practice in Spanish Photography, Begira Photo Festival and in Post-‐Arte, part of Festival Miradas de Mujeres. She has been chosen as a participant in the Joop Swart Masterclass of World Press Photo 2014. http://begoanton.com/

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolrá.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 05 Berta Jayo. 04 Bego Antón

quepintamosenelmundo.com

WORDLESS DIALOGUES. 04 Bego Antón / Beatriz Moreno

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 04: Bego Antón / Beatriz Moreno

Dialogue 04. Bego Antón

Dialogue 03. Beatriz Moreno

Bego Anton was born in Bilbao, in 1983. She studied journalism at the University of the Basque Country and specialized in documentary photography in Barcelona. Her photographic work usually explores the contradictory relationships humans have with nature and animals. She also shows particular interest in the small groups that seem strange to a part of society.

Her work has been published in en Lens Blog del New York Time, National Geographic, Esquiere, Le Monde, CNN Photos, The British Journal of Photography, Stand Quarterly and Pretty Good Summer, among others. She has exhibited in the FotoWeek DC, Guggenheim Museum in Bilbao,in PhotoEspaña 2014 as part of P2P Contemporary Practice in Spanish Photography, Begira Photo Festival and in Post-‐Arte, part of Festival Miradas de Mujeres. She has been chosen as a participant in the Joop Swart Masterclass of World Press Photo 2014. http://begoanton.com/

Beatriz Moreno was born in 1971 in Toledo, a picturesque Spanish city steeped in artistic heritage. Interested in visual arts since an early age, she studied Graphic Design and Illustration at the Fine-Arts School of Toledo. Her artistic career in photography dates back to 1990. Her work has been shown in numerous solo and group exhibitions such us: 70 ans de l’UMAM (Fondation de l'Union Méditerranéenne pour l'Art Moderne, France); 30 Festival Photo de Mouans-Sartoux (France), Instituto Cervantes in: Chicago (EE.UU), Albuquerque (New Mexico), Rome (Italy), Naples (Italy), Palermo (Italia), Tetuan (Morocco), Rabat (Morocco), Fez (Morocco), Casablanca (Morocco), Tanger (Morocco); The Spanish Embassy in Washington DC (EE.UU); Salon de la Photo Paris 2013 (France), Festival Voies Off 2010 (Arles, France), Discoveries PhotoEspaña 2009 (Madrid), Blanca Berlin Gallery (Madrid), Contemporary Art Fair Estampa (Madrid).http://beatriz-moreno.format.com

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 04 Bego Antón / Dialogue 03 Beatriz Moreno

quepintamosenelmundo.com

 

BARCELONA. Picasso “Portraits” Museu Picasso

17 march – 25 june, 2017

The exhibition will contain paintings, sculptures, drawings and prints from all periods of the artist’s long career. It is being curated by Elizabeth Cowling, Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.

When still only in his early teens, Picasso made self-portraits and portraits of members of his family that reveal a precocious gift for suggesting character and mood as well as catching a likeness. Caricature, which enjoyed great popularity in the late nineteenth century, served as an outlet for his satirical humour and also encouraged bold experiments with distortion, exaggeration and symbolism – a trend reinforced by his discovery of El Greco and anti-naturalistic avant-garde styles, and his growing inclination to work from memory, sometimes aided by photographs, rather than the posing model. By the time he settled in Paris in 1904 Picasso had produced a large body of portraits of remarkable conceptual and emotional variety. Because he almost invariably depicted people in his intimate circle, he was free from the usual obligations and constraints of the artist working to commission and did not hesitate to exploit the full range of his innovative styles and techniques. But even when at his most transgressive and expressionistic, he continued to make exquisite drawings from life in a classic, naturalistic style. Dramatic shifts in mode and style are indeed a recurrent feature of his prolific portraiture of the women in his life..

For all his restless originality, Picasso remained in constant, searching dialogue with the art of the past, habitually using traditional formats and poses (bust, half-length, full-face, three-quarter view, and so on), and embedding subtle allusions to old-master portraits that had some bearing on his vision of his subject’s physical type, personality and relationship to him. In later life, Picasso thought of favourite predecessors as intimate friends-cum-collaborators; he did not scruple to caricature them or to indulge in fantasies about their sex lives that mirrored his own obsession with the interplay between eroticism and creativity. His late suites of ‘variations’ after Velázquez’s Las Meninas and Rembrandt’s The Prodigal Son – also represented in our exhibition – allowed him to probe imaginatively supreme masterpieces that involved self-portraiture, and to ruminate on the complex psychological relationship of artist and sitter, his purposes as a portraitist, and the viability of portraiture within the supposedly hostile environment of contemporary art.  (Museu Picasso press-release)

Fundació Museu Picasso de Barcelona. c/ Montcada 15-23. 08003 Barcelona

http://www.bcn.cat/museupicasso/es

Image: Retrato de Olga Picasso. Picasso 1923

 

WORDLESS DIALOGUES 03. Beatriz Moreno/ Marta Soul

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 03 Beatriz Moreno / Marta Soul

Diálogo sin Palabras 03. Beatriz Moreno

Diálogo sin Palabras 02. Marta Soul

Beatriz Moreno was born in 1971 in Toledo, a picturesque Spanish city steeped in artistic heritage. Interested in visual arts since an early age, she studied Graphic Design and Illustration at the Fine-Arts School of Toledo. Her artistic career in photography dates back to 1990. Her work has been shown in numerous solo and group exhibitions such us: 70 ans de l’UMAM (Fondation de l'Union Méditerranéenne pour l'Art Moderne, France); 30 Festival Photo de Mouans-Sartoux (France), Instituto Cervantes in: Chicago (EE.UU), Albuquerque (New Mexico), Rome (Italy), Naples (Italy), Palermo (Italia), Tetuan (Morocco), Rabat (Morocco), Fez (Morocco), Casablanca (Morocco), Tanger (Morocco); The Spanish Embassy in Washington DC (EE.UU); Salon de la Photo Paris 2013 (France), Festival Voies Off 2010 (Arles, France), Discoveries PhotoEspaña 2009 (Madrid), Blanca Berlin Gallery (Madrid), Contemporary Art Fair Estampa (Madrid).. http://beatriz-moreno.format.com

Marta SoulI was born in Madrid, were I grew up. One day I had to face a tough decision: my life profession. People asked me to decide myself, so I run a kind of draw. I made a list with several choices: nursing, fashion design, handcrafter, old Greek, writer, etc. I closed my eyes and randomly dropped my finger on the sheet and guess what I pointed at… photographer! I never had to think about it again. In turn, I started to think about social roles, emotions, physical appearance, and to re-think many life decisions of people!

In my artwork, I produce visual reflections on the interaction between cultural topics like aesthetics of the self (appearances), emotions (and their relation with values) and behaviour (patterns of interaction). Photography has allowed me to construct images raising questions about current stereotypes on issues like immigration, consumerism, or romantic love. My pictures often include characters portrayed on backgrounds with a particular social narrative. I play with the appearance of these characters (for instance, the aesthetics of a successful life) to reflect upon issues like the achievement of wills or the expression of unsatisfied desires in the consumerist society. My images are produced through a complex process but, in any case, my relationship with people is essential to the final result.Marta Soul

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides. Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Dialogue Method: As Moderator of the coloquial, today, March the 6th I will send an image to Alejandra Carles-Tolra (Nº: 01). which will mark the beginning of theWordless Dialogue.

Image: 03. Beatriz Moreno / 02 Marta Soul

quepintamosenelmundo.com

PARIS. “Picasso Primitif” Musée du Quai Branly

28 marzo - 23 julio, 2017

¿Cuál fue el vínculo de Picasso con el arte no occidental? Abordado en varias ocasiones, el tema fue, sin embargo, eludido durante mucho tiempo por el artista. Análisis de una relación construida sobre la admiración, el respeto y el temor

«¿El arte negro? Nunca oí hablar de él. » Con esta y otras provocativas respuestas, el pintor, escultor y dibujante andaluz de esforzó por negar su relación con el arte extraeuropeo. Sin embargo, como lo demuestra su colección personal, el arte de África, de Oceanía, de América y de Asia siempre lo acompañó en sus muchos talleres. Lo demuestran los documentos, cartas, objetos y fotografías reunidas en la primera parte de la exposición, trazando en un recorrido cronológico, los intereses y curiosidades del artista frente a la creación no occidental.

En una segunda parte más conceptual, Picasso Primitivo propone una comparación entre las obras del Andaluz y las de artistas no occidentales, apoyándose más en una antropología del arte que en la constatación de relaciones estéticas. La comparación resultante revela los cuestionamientos similares a los cuales debieron responder los artistas (las problemáticas de la desnudez, de la sexualidad, de las pulsiones o de la pérdida) mediante soluciones plásticas paralelas (la deformación o la desestructuración de los cuerpos, por ejemplo). En este sentido, lo primitivo no se percibe como un estado de no-desarrollo, sino como un acceso a las capas más profundas, íntimas y fundadoras de lo humano. Exposición organizada por el musée du quai Branly - Jacques Chirac, en colaboración con el Musée national Picasso-Paris.(Musée du Quai Branly press-release)

Musée du Quai Branly - Jacques Chirac. 37 Quai Branly. 75007 Paris

http://www.quaibranly.fr

Imagen: affiche exposition “Picasso Primitif” Musée du Quai Branly

WORDLESS DIALOGUES 02 Marta Soul / Alejandra Carles -Torlá

To the already consolidated agenda of exhibitions in quepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Wordless Dialogue 02: Marta Soul / Alejandra Carles - Torlá

Wordless Dialogues 02. Marta Soul

Wordless Dialogues 01. Alejandra Carles-Toldrá

Marta Soul: "I was born in Madrid, were I grew up. One day I had to face a tough decision: my life profession. People asked me to decide myself, so I run a kind of draw. I made a list with several choices: nursing, fashion design, handcrafter, old Greek, writer, etc. I closed my eyes and randomly dropped my finger on the sheet and guess what I pointed at… photographer! I never had to think about it again. In turn, I started to think about social roles, emotions, physical appearance, and to re-think many life decisions of people!

In my artwork, I produce visual reflections on the interaction between cultural topics like aesthetics of the self (appearances), emotions (and their relation with values) and behaviour (patterns of interaction). Photography has allowed me to construct images raising questions about current stereotypes on issues like immigration, consumerism, or romantic love. My pictures often include characters portrayed on backgrounds with a particular social narrative. I play with the appearance of these characters (for instance, the aesthetics of a successful life) to reflect upon issues like the achievement of wills or the expression of unsatisfied desires in the consumerist society. My images are produced through a complex process but, in any case, my relationship with people is essential to the final result. Marta Soul"

Alejandra Carles-Toldrá: Alejandra Carles-Tolra is a photographer and educator from Barcelona currently based in London. Her work has been published and exhibited internationally, most recently at Vice, The Huffington Post, Gup Magazine, World Photography Organization, The Independent, Circulation(s) Festival in Paris, and Getty Images Gallery in London. She is a 2017 Jerwood Visual Arts / Photoworks awardee. She has taught photography at The University of New Hampshire and Massachusetts College of Art and Design, among other institutions, and she currently collaborates with nonprofit organizations as an art workshop facilitator using art and education to empower vulnerable communities.

Wordless Dialogues

As Founder and Editor of the agency covering the exhibitions of Spanish artists outside Spain, quepintamosenelmundo.com,  I have had the opportunity to observe the trajectory of Spanish photography, day by day.  It has filled me with enthusiasm. Especially that work produced by women.

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Participantes:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides. 

Moderator for “Diálogos Sin Palabras”: Blanca Mora Sánchez.

Image: 01. Alejandra Carles-Tolrá. 02. Marta Soul

WORDLESS DIALOGUES 01 Alejandra Carles Tolrá / QPM Blanca Mora

Inspired not only by the surrealist “Exquisite Cadaver” (Cadaver Exquisito) method but also by the current appropiation tecniques of imagery, “Diálogos Sin Palabras” (Wordless Dialogues) adopts the form of a conversation, using the images taken by Spanish contemporary photographers, to produce a new sequence of meaning and possible interpretation. The accumulated total of these images in sequence could produce an absolutely unpredictable encounter.

Wordless Dialogue 01 Alejandra Carles Tolrá / QPM. Blanca Mora

Dialogue 01. Alejandra Carles Tolrá

Dialogue 00. QPM Blanca Mora

Alejandra Carles-Tolrá is a photographer and educator from Barcelona currently based in London. Her work has been published and exhibited internationally, most recently at Vice, The Huffington Post, Gup Magazine, World Photography Organization, The Independent, Circulation(s) Festival in Paris, and Getty Images Gallery in London. She is a 2017 Jerwood Visual Arts / Photoworks awardee. 

She has taught photography at The University of New Hampshire and Massachusetts College of Art and Design, among other institutions, and she currently collaborates with nonprofit organizations as an art workshop facilitator using art and education to empower vulnerable communities http://www.alejandractr.com

To the already consolidated agenda of exhibitions inquepintamosenelmundo.com a new stage is now added. This consists of a new online project space, “Diálogos Sin Palabras” (Wordless Dialogues) whose objective is to elevate imagery to a totally independent and media based language that adapts to today´s communications, a dialogue based on images.

“Diálogos Sin Palabras” (Wordless Dialogues) is orientated toward an exclusively feminine focus and point of view. Each and every one of the authors invited to participate are currently contributing to promote and to make Spanish women photograpers visible internationally.

Artists:.- Alejandra Carles-Tolra.-  Marta Soul.- Beatriz Moreno.- Bego Antón.- Berta Jayo.- Diana Coca.- Eva Diez.- Gisela Rafols.- Irene Cruz.- Laura F. Gibellini.- Marta Corada.-Alejandra López Zaballa.- Montserrat de Pablo.- Soledad Córdoba.- Ouka Leele.- Patricia Esteve..- Lidia Benavides.-Isabel Muñoz

Moderator for “Diálogos Sin Palabras” - Blanca Mora Sánchez.

Image: Dialogue 01. Alejandra Carles Tolrá / QPM Blanca Mora

quepintamosenelmundo.com

PARIS. Picasso “Olga Picasso” National Picasso Museum

march 21 – september 3, 2017

Olga Khokhlova was born to a colonel in 1891, in Nijin, a Ukrainian town located within the Russian Empire. In 1912, she entered the prestigious and innovative Russian Ballet directed by Serge Diaghilev. It was in Rome, spring 1917, where she met Pablo Picasso while he was producing, at the invitation of Jean Cocteau, the decorations and costumes of the ballet Parade (music by Erik Satie, theme by Jean Cocteau, choreography by Léonide Massine). On July 12, 1918, the couple married in an Orthodox Church on rue Daru, with Jean Cocteau, Max Jacob, and Guillaume Apollinaire as witnesses.

As the perfect model during Picasso’s classical period, Olga was first portrayed by thin, elegant lines marked by the influence of Ingres. Synonymous with a certain return to figuration, Olga is often represented as melancholic, sitting, reading or writing, no doubt an allusion to the correspondence she maintained with her family that lived during a tragic moment in history. In fact, at the same period, in contrast to the couple’s social ascent and the accruing artistic recognition of Picasso’s works, the Russian Empire, critically affected by World War I, suffered a huge economic and food crisis while losing more than two million soldiers on the war front. Olga’s family also suffered a tragedy, which was reflected in the letters she received: the family’s social stature was lost, her father disappeared, and finally, correspondence with her family was progressively interrupted. After the birth of their first child, Paul, on February 4, 1921, Olga became the inspiration for numerous maternity scenes, compositions bathed in innocent softness. The familial scenes and portraits of a young boy show a serene happiness that blossom in timeless forms. These forms correspond to Picasso’s new attention to antiquity and the renaissance discovered in Italy, which was reactivated by the family’s summer stay in Fontainebleau in 1921.

Olga’s figure transforms, however, after Picasso’s encounter with Marie-Thérèse Walter, a young, seventeen-year-old woman who would become his mistress. In 1929, in the painting Le Grand nu au fauteuil rouge, Olga is nothing but pain and sorrow. Her form is flaccid with violent expression and translates the nature of the couple’s profound crisis. The spouses finally separate for good in 1935, a year the artist temporarily stops creating paintings, but stay married until Olga’s death in 1955.

Scheduled for spring 2017 at the National Picasso Museum in Paris, the exposition revisits these shared years. It attempts to understand the execution of Picasso’s major artworks by recreating his artistic production filtered through a social and political history.

Through a rich selection of paintings, drawings, written and photographic  archives, the exhibition will extend to two museum floors comprising around 760 m². Curators: Emilia Philippot, Joachim Pissarro, Bernard Ruiz-Picasso.(Musée Picasso-press-release)

 Musée National Picasso. 5 rue de Thorigny 75003 Paris

http://www.museepicassoparis.fr

Image: Olga Picasso. Musée Picasso Paris

LISBON. Jordi Colomer “Utopia/Dystopia: X-Ville” MAAT Museum of Art, Architecture and Technology

22 march –21 august, 2017

Utopia/Dystopia will be the first ‘manifesto exhibition’ in MAAT’s new building. It encourages a debate between over 50 artists – some of whom have never been exhibited in Portugal – who have been contributing with unique perspectives on the title subject since the beginning of the 1970s. Spread across three of MAAT’s exhibition spaces, it will gather works by architects such as Andreas Angelidakis, Aldo Rossi, Archigram, Archzoom, Didier Faustino, åyr and Pedro Bandeira, as well as artists such as Cao Fei, Wolfgang Tillmans, Ângela Ferreira, Diogo Evangelista, Jordi Colomer and Kader Attia.

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.

Some of the more recent work do research on the many facets of utopia or dystopia and its relationship with fiction and history; At L' avenir (2010), we follow a  group of pioneers in a free interpretation of the Phalanstery project of Charles Fourier. Prohibido cantar / No Singing (2012 ) superimposes imaginary cities and unrealized projects . Here the founding of a city,  evokes  the failed mega - projects of  casino-citiy in Spain (  Gran Scala,  Eurovegas ) and at same time the City of Mahagonny described by Bertoltd Brecht in the moment that Las Vegas began. La Soupe Americaine / The American Soup on the provisional postwar shelters  (Normandy , 2013 ) or The Svartlamon Parade ( Trondheim , Norway, 2014 ) incorporate archive footage  to place the present in a critical position (MAAT press-release)

MAAT Museu de Arte, Arquitetura e Tecnologia, Av. Brasília, Central Tejo, 1300-598 Lisboa

http://www.jordicolomer.com  https://www.maat.pt

Image: “X-Ville”. Jordi Colomer

LONDON. Pablo Genovés “Tides” St Paul’s Cathedral

1st march - 30 august, 2017

Pablo Genovés, a Spanish artist based in Berlin, has been selected by St Paul’s to create a series of works on the theme of water. The commission is part of an international collaboration that will see work inspired by water on display in cathedrals around the world in 2017.

Water brings life and death, rebirth and harvest, flooding and drought, as it ebbs and flows across our planet. Fundamental to the rituals of all religions and symbolic of life itself it is a more than fitting theme for St Pauls. Genovésis very much an artist of our anthropocene age where human activity is seen as the dominant influence on climate and the environment, forces which then have a dramatic effect on human life and movement in an increasingly worrying spiral. His work dramatises this uncertain world. Transition and change over time are the broader themes of his large photographic collages, often made with historical imagery, what he calls “rescued pictures”. Genoves melds these found images with his own photographs to create a strange universe hovering outside time, encouraging us to look again. Baroque libraries, churches and palaces are possessed to the point of destruction by elemental forces. Chambers that once echoed with prayer, song and debate are now laid waste to the silent roar of cloud, wind and sea. We are forced to remember Shelley's instruction to “look upon my works ye mighty and despair”.
In this specially commissioned series for St Paul's Genovés works with Wren’s neoclassical masterpiece rather than his signature Baroque, which in previous work has provided a metaphor for decadence and hubris. However the clean lines and harmonious order of musically repeating arches and spheres provide the perfect counterpoint to the cacophony of nature’s chaos as it swells and rises in the familiar interiors. Formal contrasts are drawn between the vertical structured architecture and the amorphous horizontal bodies of water and mist. Two great forces, order and chaos, trapped together on the work’s surface, destined to battle by definition.

In “Altar” marble angels seem to scurry upward to escape the rising water, perching on the domed altar canopy like an unfortunate family waiting for rescue from flood, a carved wooden filial floats in the middle ground like an untethered buoy.

In “Dome” small white cumulus, straight out of Tiepolo, vainly rise upward looking for escape from the dark shadow of a closing eye that ominously echoes the circle of the famous dome.
In “Nave” the lights of the church are still burning above the water level; about to be engulfed, they are evidence of a very recent human exodus.

All this destruction of culture by nature should be terrifying, and it is, but the beauty of Wren’s extraordinary monument to God’s Glory and human hope, and the dynamism of the theme: great masses of tidal energy, make the images exciting, even uplifting. They rouse us like a great swelling symphonic last movement that is about to end in a series of thunderous chords…. followed by silence.
It is a credit to the enlightened management of Saint Paul's that an artist who deals with such troubling ideas, symbolised by the destruction of the very building that commissioned the work, should be invited to present his work. Humanity abandoned by God to the elemental forces? Perhaps he is waiting in the wings, about to appear Deus ex machina to part the waters and lead us to safety. It is true that Genovés’ work shares the obscure and extravagant imagery of the book of Revelations whose most simple message can be understood as: God will prevail. So maybe the choice is not so strange. (Metalocus press-release)

The Chapter House, St Paul's Churchyard, London, . EC4M 8AD

http://www.pablogenoves.com  https://www.stpauls.co.uk

Image: Pablo Genovés

PARIS. Cristobal Balenciaga “Balenciaga, l'oeuvre au noir” Musée Bourdelle

march 8th - july 16th 2017

The  Palais Galliera is paying homage to the couturier Cristobal Balenciaga (1865-1972) with an extra-mural exhibition at the Musée Bourdelle entitled : Balenciaga, l'oeuvre au noir. The exhibition resonates with the black tones of an alchemist of haute couture : variations of black repeated in over a hundred of pieces from the Galliera collections and the archives of Maison Balenciaga. This exhibition opens the Palais Galliera’s Spanish season, which will continue with Costumes espagnols entre ombre et lumière (‘Spanish costumes from dark to bright’) at the Maison Victor Hugo (21 June - 24 September 2017) and will finish with Mariano Fortuny at the Palais Galliera (4 October 2017 - 7 January 2018).

The Palais Galliera pays a tribute to Cristóbal Balenciaga (1895 – 1972), the most “Couture” of Couturiers, with an exhibition at the Musée Bourdelle entitled “Balenciaga, l'oeuvre au noir”.

The exhibition resounds with a black harmony of an Haute Couture alchemist. Black motivated Balenciaga : the backbone of his work was inspired by the folklore and traditions of his Spanish childhood. Black was this exceptionally skilled tailor's preference. Black was a monastic influence on the master, about whom Dior once said: “Clothes were his religion”. Balenciaga saw black as a vibrant matter whether it be opaque or transparent, matt or shiny - a dazzling interplay of light, that owes as much to the luxurious quality of the fabrics as to the apparent simplicity of the cut. Every piece is magnificent, from day clothes to cocktail dresses and sumptuous evening outfits lined in silk taffeta, edged with fringes, decorated with satin ribbons, jet beads, sequins… more than hundred couture variations of black are the treasures of the Galliera collections and the Maison Balenciaga's archives.

The exhibition is located in the Musée Bourdelle where the sculptures mirror the pure sculptural effect of Cristobal Balenciaga's stunning creations. Curator : Véronique Belloir, (Palais Galliera press-release)

Musée Bourdelle. 18, rue Antoine Bourdelle. 75015 Paris

http://www.palaisgalliera.paris.fr http://www.bourdelle.paris.fr

Image: Balenciaga, Black crepe dress, 1964 (back view). Collection Palais Galliera - © E. Emo et A. Llaurency / Galliera / Roger-Viollet

ATHENS. Natalia Marin “Women in Action” Exile Room

9 – 26 february 2017

Exile Room is exclusively staffed by women who have worked in every aspect of the film industry, from festivals to production. Yet, although film technology is changing at lightning speed, one thing remains the same: the industry is dominated by men. This year, Exile Room is organizing a series of screenings and workshops to encourage young women to try their hand at filmmaking and we want as many female voices to join the discussion as possible. Experimental documentary filmmaker and professor Natalia Marin is 1/3 of the film collective "Los Hijos", who live and work in Madrid. Her work combines observational documentary, avant garde and video art. Natalia Marin will teach a masterclass on Experimental Documentary and Self Expression, focusing on women's issues, as she takes a closer look at the equality of the sexes within the filmmaking landscape. The masterclass will be combined with a full "Los Hijos" retrospective prior to her arrival. Screenings: February 9, 2017 "Los Hijos Retrospective" 2009. El sol en el sol del membrillo (14') 2010. Ya viene, aguanta, riégueme, mátame (8') 2010. Los materiales (70') 2011. Circo (70') 2012. Tarde de verano (6') 2012. Evacuación (2') 2013. Enero, 2012 (o la Apoteosis de Isabel, La Católica) (18') 2014. Árboles (63') 2015. Karaoke, España (6') (AC/E press-release)

Exile Room. Athinas 12, Athina 105 51, Greece

http://www.exileroom.gr

Image: Natalia Marin. Exile Room

 

BERLIN. Manolo Gómez “Cachebache” Galerie Kaidikhas

24 january – 1 april, 2017

Although for the most part abstract, the works of the autodidact Manolo Gómez visualise his attitude towards life and his milieu in a singular way. At times, says the artist, they show what it means to be a gitano. By means of contemporary resources, such as waveforms, abstract expression and dynamically flung paint, they seek to expressthe ancient emotions of the culture of theSpanish gitanos – for example, the inexplicablestate of duende that connects audience and artistin flamenco.

With good reason, Gómez’s works have been compared with the quejío, the specialised song form of cante fl amenco, which is reminiscent of a shriek. Although it is a product of a traditional culture, the concept of duende, with its emphasis on the active integration of the audience into the artwork, approaches the postmodern concept of the reader/receiver as author. In contrast to contemporaries who work figuratively, and who often illustrate flamenco performances in a decorative fashion, and hence run the risk of offering only a pale imitation of this serious culture, Gómez takes his own purified path, one that initially encountered misunderstanding, but which establishes an original form of access to abstraction, one that goes beyond classical modernism.

With his work Gómez succeeds in liberating flamenco from seemingly familiar forms of appearance. He endows this independent and serious culture with a convincing, lucid form, and renewed flamenco in the context of contemporary art. (Galerie Kaidikhas press-release)

GALERIE KAIDIKHAS GmbH & Co. KG. Aufbau Haus at Moritzplatz. Prinzenstr. 84 I. Aufgang 2. 10969 Berlin

kaidikhas.com

Image: Manolo Gómez Romero. Cachebache 

AUBERVILLIERS. Paloma Polo “Classes de Lutte” Les Laboratoires d'Aubervilliers

01 january - 30 june 2017

For her project at Les Laboratoires d’Aubervilliers, Paloma Polo is committed to an investigation into the history of political struggles shaping the Parisian Northern periphery. Aubervilliers sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Far from engaging in a nostalgic detour, she pursues personal narrations and social configurations in light of the present reality of Aubervilliers, the city of France that hosts the highest percentage of migrants.
Aubervilliers, Saint Denis and the Parisian Banlieue Rouge at large sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Hundreds of them lived a ghostly existence, many with counterfeited identifications and some completely clandestine, as they strived in the shadows for the organisation of a movement in Spain to democratically assail a brutally repressive and violent system. The Spanish “economic” migrants of the so-called “Petite Espagne” of Saint Denis and Aubervilliers were also progressively organized.
This underground movement, orchestrated from the periphery of Paris by the Spanish Communist Party, barely left material traces but, most importantly, is scarcely traceable in a national history that has been written by way of a systematic erasure of the exploits that paved the way for what, unfortunately, shifted to a delusive “democratic aperture” in the aftermath of the dictatorship.
Polo is plunging into a dormant memory that has primarily survived through oral transmission and has been sustained by militants that have almost entirely passed away. It is not arbitrary that there is no comprehensive critical recollection, compilation or repository of this decisive historical dimension. Only very few autobiographies attest to these episodes.
Paloma Polo’s proposition is to devise and stage a narrative, a script, pertaining to the emergence of matter for thought in the people, in humane forms of socialization that are on the fringe, bearing the disdain of past recollections, but nonetheless shrouding our being in the world nowadays. The investigative stage, which will encompass a myriad of materials, ideas and conversations, is to constitute the core and the basis for her subsequent artistic gestures and outputs.
Together with her research partner, the art historian and theorist Oscar Fernandez, Polo will conduct archival research, an investigation into personal collections and materials and, most importantly, an interlocution with a series of individuals that are to become central to this project. These interlocutions occur by way of affinities that forge personal relations.
This activity will consolidate in a ”Research Centre” that will centralise, compile, order, coordinate and digitalise the scarce and scatter information on the subject (personal files and archives, histories and photographs, interviews and conversations, books, documents from different archives and other images, films, footage or projects that have been developed, etc). Polo will create a particular and distinct display and method to make these narrations intelligible and available for public consultation and for it to acquire broad visibility and outreach. She will work in partnership with other political, cultural, educational and research institutions. This “Research Centre” (tentative title) will have long-term progress and continuity and will ultimately hosted and regularly updated in a website specifically created for it. An itinerant platform of such “Research Centre” will be created to facilitate its presentation during the two solo exhibitions Polo will have in 2018 : at Centro de Arte Dos de Mayo- CA2M and at the Contemporary art museum – MARCO in Vigo, and other subsequent presentations. (AC/E press-release)

Les Laboratoires d'Aubervilliers . 41, rue Lécuyer. 93300 Aubervilliers

http://www.leslaboratoires.org/    http://palomapolo.com

Image “Unrest” Paloma Polo

EDIMBURG. Olmo Blanco “Transforming The Everyday” Interview Room 11 gallery

30th october, 2015

Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)

http://www.ir11.org.uk   http://www.olmoblanco.com

Image: Olmo Blanco

SYDNEY. Libia Castro and Ólafur Ólafsson “You Imagine What You Desire” Biennale of Sydney

21 march – 9 june, 2014

The19th Biennale of Sydney: You Imagine What You Desire, under the artistic direction of Juliana Engberg celebrates in 2014 its 19th edition, is an evocation celebrating the artistic imagination as a spirited describing and exploration of the world through metaphor and poesis. You Imagine What You Desire seeks splendour and rapture in works that remain true to a greater, even sublime visuality. 
AC/E collaborates with the Biennial supporting the project presented by the Spanish artist Libia Castro in collaboration witb the artist Olafur Olafson

Solo exhibitions of Libia Castro and Ólafur Ólafsson’s work include ‘Asymmetry’, TENT, Rotterdam (2013); ‘Under Deconstruction’, National Gallery of Iceland, Reykjavik (2012); ‘Libia Castro & Ólafur Ólafsson: Tu país no existe’, Centro Andaluz de Arte Contemporáneo, Seville (2011–12) and ‘Libia Castro & Ólafur Ólafsson: Recent Works’, Künstlerhaus Bethanien, Berlin (2008). They have also participated in prestigious international group exhibitions, including 7th Liverpool Biennial (2012); 5th Nordic Biennial of Contemporary Art, Moss (2009); and Manifesta 7, Rovereto (2008). In 2011, Castro and Ólafsson represented Iceland at the 54th Venice Biennale

Image: Libia Castro and Ólafur Ólafsson, Bosbolobosboco #4, 2004, audio sculpture, Courtesy the artists. Photograph: Job Janssen and Jan Adriaans (AC/E press-release)

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