Spanish contemporary art worldwide
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3 march – 7 may, 2015
The Gabarron Foundation Center for the Arts is pleased to present Contemporary Mula, a group exhibition that awards the creativity and imagination of twelve creators born and based in the town of Mula (Murcia), situated in southeastern Spain, the birthplace of artist Cristobal Gabarron, founder of The Gabarron Foundation. He also developed a cultural organization in 2004, The Painted House Foundation of Mula (La Fundacion Casa Pintada de Mula), committed to the investigation and promotion of contemporary art in its town.
Curated by Nono Garcia and Juan Garcia Sandoval, this exhibition consists of twelve artists, each with their own style, material and concept that will leave no one indifferent, both for its variety and quality of the works. Completely different styles can be found, such as paintings by Ayllon, Daniel Belchi, Calero, Carlos Caballero, Andrés G. Mellado and Cristina Gutiérrez; as well as a video installation by Ramon Lez.
The paintings and photographs face life with a critical attitude in quality artworks. Doubtlessly, with different visions and situations reflected in the paintings, that enrich us all with an interesting reflection from art and its participation in the construction of cultural models, understood as an extensive feeling and varied works of the studies of these artists who mainly share a passion and an environment in which they search for their inspiration. (F. Gabarrón press-release)
The Gabarron Foundation - Carriage House Center for the Arts. 149 East 38th Street. New York, NY 10016
Imagen: Mi alma desnuda 2. Cristina Gutierrez
4 -15 march, 2015
Photographer and collagist Nieves Mingueza, that currently lives in London, will exhibit her collage work series called 'fleur's dolls song' that comprise 14 original collages. This exhibition beautifully combines her innovative work on paper with fascinating aspects of feminity, handmade process and poetic textures. (Brick Lane Gallery press-release)
The Brick Lane Gallery. 196 Brick Lane, London - E1 6SA – UK
Image: Nieves Mingueza
march 14 - april 19, 2015
Munch Gallery is proud to present Bubi Canal’s second solo show in New York. Magic Garden presents new photography, video, and sculpture. The exhibition’s eponymous sculptures, assembled from colorful pieces of found plastic, radiate totemic energy. One photographic series, Beautiful Mystery, features a typical American suburban den — replete with faux wood paneling, baseboard radiator, and gold rug metamorphosed into a surreal backdrop for tactile anthropomorphic figures who are all the more beguiling for their context.
“I began to work on Beautiful Mystery with the intention of producing a series of still lifes, but what emerged instead were portraits. So, the project took an entirely different path. For me, it is important to let the work speak and tell me what it wants to be, without imposing any preconceived notions.” In doing so, Canal reveals the world that lies beneath the surface of immediate sensation, a subliminal cosmos of awe and magic.
The artist’s video, Hologram, depicts characters who embark on a journey from darkness and fear to light and love. According to Canal, “the external world of Hologram is a manifestation of the characters’ subconscious. They communicate with each other through a choreography that transforms them.” He believes that optimism and illusion are contagious, and hopes that his work will have a similarly transformative effect on the viewer. Like a hologram, the coherent totality of Canal’s universe can be accessed through each of the works on view. Every piece activates a dimension where memory, imagination, and reality are mutable and inextricably linked. Magic Garden is imbued with wondrous intent. Exhibition text by Sara Rubinow, co-director of RV.PAPERS (Munch gallery press-release)
Munch Gallery, 245 Broome St, Nueva York 10002
Image: Beautiful Mystery. Bubi Canal, 2015
REGUENGOS DE MONSARAZ. Santiago Morilla “aaaai see nothing”” Alentejo Triennial, Castelo de Monsaraz
4 – 31 march, 2015
"I see nothing" (No veo nada) were the last words uttered by the famous bullfighter Manolete before bleeding to death after suffering a blow struck by the bull "Islero" at Linares square, in the 28th August, 1947. It was said that Manolete was the icon representing the perfectly pure, brave and honest bullfighter. Even today, there are those who ensure that no other surpassed him in the "killing". A mystical attitude is associated with the performance of his "art", an almost presbyteral and liturgical offertory.
A drawing in whitewash reveals the impassive face of Manolete at the arena of the Monsaraz Castle during the great feast of “touro da morte" (bull of death), during the Festivities in Honor of Nosso Senhor Jesus dos Passos. The centenary tradition that proceeds to the killing of the bull in the arena was permitted in this medieval village in the previous day of the event, held on the 13rd of September 2014, which established this “garraiada” as the last to see adopted its regime of exception in Portugal. During the course of the festival, dilettantes and other aficionados jump, stumble and drink os n the face of the myth, erasing its image, until its completely disfigured in the real and symbolic setting of a double death, of the Manolete and of the animal. This is a review of the old and controversial exercise of artistic iconoclasm - that has always existed at the service of the representation of religious and popular power symbols - behind the formalization of transcendent images in contaminated contexts and scenarios.
In addition to the video recording of the performance, the artist produced also site-specific sculptures, a series of drawings that love and maim themselves and a Pantocrator to be installed on the altar of the Igreja de Santiago. The words "no veo nada" are embroidered in a custom cloak symbolizing the impossibility of seeing, as opposed to the reverence to a representation of something that is worshiped. (Trienal no Alentejo press-release)
Castelo de Monsaraz. Reguengos de Monsaraz, Portugal
Image: Santiago Morilla
4 march – 19 april, 2015
From the beginning photography, which offered the generic quality of “mechanically” reproducing reality as an unfailing truth —or so it was thought—, slowly infiltrated the mould of classic pictorial genres to become an art that is now practiced as such. Thus, the representation of the landscape that would reveal the beauty of nature to laymen, as well as document previously unknown far-away lands, underwent enormous development over the course of the nineteenth century to create, over time, a specific aesthetic.
Meanwhile, portraiture, directly inspired by the rules of painting, fluctuating between the exact and supposedly objective representation of the subject, the evoking of the subject’s beauty and uniqueness and, above all, the magic act against death, still constitutes an unparalleled singularity. Indeed, it is built within the framework of a trilogy in which each role is clearly defined and the expertly-organised game between the artist, his model and the viewer is clearly moderated by the artist.
Ricardo López Bueno voluntarily chose a classic yet very personal approach that affirms rigorous, specific and uncompromising choices. In his work he plays with the tradition nal issues of viewpoint —seated subjects, often in three-quarter view and indoors—, frame —close-ups of the face or bust to better capture the subject’s personality—, light —the permanent presence of double artificial lighting to give a sense of volume—, decoration—as neutral as possible, that is, people standing out against a black background in modern clothes—, and the choice of subjects, who he prefers be simple and anonymous. This exhibition will thus reveal the artist’s talent and, undoubtedly, a part of himself. (Dichroma press-release)
Manége sq, 1. Moscow. Russia
Image: “Carmen” Ricardo López Bueno
5 march – 23 april, 2015
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists – Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba – have been selected for the show. (I. Cervantes press-release)
Instituto Cervantes. Via Nazario Sauro, 23. 80132 Nápoles
Image Córdoba Soledad “Un lugar secreto” 2007
march 1 - may 1, 2015
A large-scale sculpture by the Spanish artist Jorge Palacios will occupy a privileged space in Manhattan’s mythical Spring Street alongside the iconic Trump SoHo building.
The installation coincides with the opening of the artist’s latest solo exhibition in New York, organized by the prestigious Fridman Gallery. Palacios’s work has attracted the interest of such legendary names in architecture as New York-based Peter Marino,Hernández de la Garza from Mexico and Eric Owen Moss from California.
The artist has brought his sculptural works to public spaces in capital cities and cities of cultural heritage all over the world and has been described in art publications as one of the most important emerging artists. Following in the footsteps of such masters as Eduardo Chillida or, more recently, Jaume Plensa, Jorge Palacios (born 1979 in Madrid) has joined the list of representatives of Spanish art on the international stage.
A large-scale sculpture in teak, his project for the city of New York serves to enrich the dialogue between art and architecture, integrating itself into an environment dominated by large towers of glass and steel. Entitled “Sketch in the Air”, this impressive work of public art is being presented by the renowned Fridman Gallery, which is based in the city of skyscrapers.
Palacios’s work explores abstract forms to test the limits of material, line and restrained expression. A balance is established between the sculpted material and sculpted air, as the works explore the dichotomy between soundness and lightness. The shapes reveal a permanent tension between line and curve.
The title of the exhibition is a reference to the different convergences between lines and planes, which reveal to us the path taken by the artist through the realms of geometric and organic abstraction.
Born in Madrid in 1979, Jorge Palacios has explored the realms of science and nature to discover pure and essential geometric masses and forms, in many cases molecular. He finds inspiration in these shapes to reach maximum expressiveness through minimal expression. In spite of his youth, Jorge Palacios has exhibited alongside such internationally recognised artists as Andy Warhol, Damien Hirst, Sol Lewitt, Olafur Eliasson, Jean Tinguely, Ernesto Neto, Michelangelo Pistoletto and John Baldessari. His sculptures have made their way to all the corners of the planet (Canada, Switzerland, the United States, Spain) and are featured in both public and private collections. He has participated in major international art fairs in the U.S, Belgium, the Netherlands, Italy and other countries and has contributed to international projects for numerous cities (Toronto, Seoul, Chaco, Panama City, New Orleans, etc.) Palacios’s track record as a creator of site-specific projects reveals his keen interest in establishing a dialogue between his sculptures and their surroundings and the importance of this dialogue for his particular conception of art. .(Fridman press-release)
Fridman Gallery: 287 York Spring Street. NY 10013
Image: “Balance and inertia” Jorge Palacios
13 february - 14 march 2015
As in the streets, David de la Mano (b. Salamanca 1975) introduces the viewer to his minimalist black silhouettes, highlighting various aspects and contradictions in human behavior, with focus on the masses phenomena, revealing what unites and what divides people. There are certain elements that recall the primitive state of man and his connection with nature, and others – the repetitive events in human actions. We also notice the harmonious transition from light to shadow, from multiplicity to singularity, in a perpetual motion similar to nomad experiences, as the figures continuously appear to move from one point to another, guided by their dreams, hopes or fears.
The starting point and inspiration for David de la Mano’s work is the relationship and the encounter between the artist and his own human nature, inspiration he applies to his work through what we could call graphic poetry. (Itinerrance press-release)
Galerie Itinerrance, 7 bis rue René Goscinny 75013 Paris
Image: Pablo S. Herrero & David de la Mano: Bird’s Time, Winter Haven, Florida, 2013.
25 february – 16 april, 2015
Notes on a Working Space is conceived as a residency in which Laura F. Gibellini will explore specific components of her artistic practice in relation to the built environment. Gibellini's installation in the gallery will reflect the environmental conditions as well as transitional nature of South Williamsburg, Brooklyn, where Los Sures is located. The residency will be used to explore impermanence, invisibility and the difficulties of representing the fluid nature of a particular place. The work incorporates Gibellini's writing, drawing and video. Notes on a Working Space reflects on the gaps implicit in representation and on how that which is irrepresentable (the air, the ocean) remains unacknowledged and that which is unacknowledged remains un-thinkable. It is this 'unthinkability' and the possibility of imagining the irrepresentable that Gibellini is most interested in documenting.
Laura F. Gibellini's recently completed DOM (Variations) a permanent public art installation for three subway stations in New York City that inspired the subsequent solo show De Rerum Natura , Slowtrack, Madrid, (2014). Her recent solo and group performative lectures and projects include Constructing a Place, ICI, New York (2013); Muestras de Archivo, Matadero, Madrid (2012); Variations on a Landscape, asm28, Madrid (2011); YANS & RETO, Anthology Film Archives, New York (2011); Night of Festivals 2012, Nottingham (2012); Video Guerrilha, Urban Space Projections, Sao Paolo, (2011). Gibellini's first book Construyendo un Lugar /Constructing a Place was published by Complutense Universtiy of Madrid in 2012. (Museo Los Sures press-release)
El Museo de Los Sures .120 South 1st St., Brooklyn, NY 11249
Image: Laura F. Gibellini
16 february - 13 march, 2015
Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.
In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.
Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.
Image: Embajada de España en Tokio.
20 february - 21 March, 2015
KUNSTHALLE São Paulo invites Jacobo Castellano (*1976, Jaén, Spain) to present «Learning from Albayzín», his first solo show in Brazil that launches the project New Arte Povera.
Jacobo Castellano’s artistic practice evolves from a critical contemplation of everyday objects and common materials, which he assembles into compositions that deal with personal and collective memory. Although using different media, it is mostly through sculpture that he creates his body of work, which is composed by easy and ornament free art pieces.
Once arriving in Sao Paulo, the artist was confronted with the existing contradiction in the city: if in one hand the people suffer every year from enormous floods, loosing cars, furniture and even houses; in the other, they experience now a huge water crisis, with the water supply rationed due to the negligence by the government.
Walking through Granada’s historical neighborhood of Albayzín, one can see the awareness of the water’s value in the arabic culture through the presence of the several Aljibes. These are big water reservoirs, constructed mostly in the underground with great architectural techniques in order to collect the rainwater from the roofs of the houses. The Aljibes always reveal small vaults or hatches through which one collects the water. The use of water by the Arabs was not restricted by for the human use, but also for irrigation and even supplying toilets and thermal baths in the city.
The title of the show «Learning from Albayzín», is a reference to the famous book «Learning from Las Vegas», written in 1972 by American architect Robert Venturi, in which he analyses the architecture developed in that city to proposed to architects a better reception of tastes and values of “common” people. In the same way, the Andalusian artist reflects on the water problem in Brazil, by making a parallel to the Arabic architectonic knowledge for its use. For the show he created several art works that allude to architectonic elements such as the Aljibes, bricks and geometric patterns, and included also images of water, and the presence of raw clay as the basic material for construction.. (Kunsthalle press-release)
KUNSTHALLE São Paulo, Rua dos Pinheiros, 411, Pinheiros – 05422-010. São Paulo – SP – Brazil
Image:Nova Arte Povera #1. Jacobo Castellanos
BRUSSELS. Alberto García Alix “Faces, Now. European Portrait Photography since 1990” BOZAR, Centre for fine Arts
18 february – 17 may, 2015
Ever since the invention of photography portraits have become commonplace. In the 1990s photographers rediscovered the portraiture genre. Since the fall of the Wall they have used photography to question the identity and place of the individual in the digitalised and globalised world. What do the face, pose, clothing and backdrop tell us about the person portrayed? FACES NOW exhibits the works of 31 renowned European photographers, including the likes of Alberto García Alix, Tina Barney, Anton Corbijn and Stephan Vanfleteren.
Curator: Frits Gierstberg. Participating artists : Tina Barney, Sergey Bratkov, Koos Breukel, Clegg & Guttmann, Anton Corbijn,Christian Courrèges, Denis Darzacq, Luc Delahaye, Rineke Dijkstra, Jitka Hanzlová, Konstantinos Ignatiadis, Alberto García-Alix, Stratos Kalafatis, Boris Michailov, Nikos Markou, Hellen van Meene, Jorge Molder, Lucia Nimcova, Adam Panczuk, Dita Pepe, Anders Petersen, Paola De Pietri, Jorma Puranen, Thomas Ruff, Clare Strand, Beat Streuli, Thomas Struth, Juergen Teller, Ari Versluis & Ellie Uyttenbroek, Stephan Vanfleteren, Manfred Willmann. (Bozar press-release)
Centre for fine Arts, Rue Ravenstein 23. 1000 Bruxelles
Image: Alberto García Alix. “Mi lado femenino 2002”
19 february – 21 march, 2015
Pace gallery is holding the first exhibition of the works of Antoni Tàpies in New York since the artist’s death in 2012. The exhibition includes paintings, sculpture, and works on paper.
The Catalonian artist, whose career spanned almost seven decades, drew inspiration from his own heritage, as well as from both Eastern and Western spirituality, and represents an important influence and source of inspiration for generations of artists to come. Art historian and critic, Barbara Rose, describes the artist’s aim in his work as being “to alter and heighten consciousness, bringing us into contact in the most powerful way with reality, not as it is pictured but as it literally exists in time and space.”
Pace’s exhibition coincides with Tàpies: From Within, a survey exhibition curated by former Tate Modern director Vicente Todolí that will be on view at the Pérez Art Museum Miami from February 6 to May 3.
In the nearly seven decades of his career, Tàpies created a prolific and singular body of work that redefined painting and influenced future generations of artists. Presenting work made between the 1960s and his death, this will be the first exhibition at Pace to span multiple decades of the 20th-century master’s work. (Pace gallery press-release)
Pace Gallery, 23 East 57th street New York 10022
Image: “Terra de Montseny 2008” Antoni Tápies
17 february – 21 march, 2015
The title announces it unambiguously. And from that moment, in this series of photographs, what could be the testimony of beauty isn’t but its testament, and the sublime, that emotional overflow which arises from our experience of contemplation before a landscape, takes us on an inexorable drift towards melancholy.
Jorge Fuembuena has chosen a territory adjacent to the mythical, the Jakobshavn glacier (Sermeq Kujalleq), to undertake an endeavor of romantic resonances: the monitoring and accurate record of the movement of this huge area that wanders the northern hemisphere, wrapped in a light that ignores the chronology of day and night. An ancient ice mass that is simultaneously a primitive place and an uncertain territory, where the mutant morphology of the landscape is governed by random parameters which no one knows, because no one has described them.
We are what we see. That is what nineteenth century american landscape painters and photographers must have thought before the spectacular natural areas: pristine and majestic. Through them, they could symbolize the land that god had reserved for his chosen people. The epic of the american pioneers used landscape as the scenario of the protestant paradigm: Man as the master of Nature. Later, the catalog of ruins that this pride generated is in the substrate of Fuembuena’s project. These silent photographs suggest those catastrophes and exhibit the author’s position regarding ecology, but mostly aspire to demonstrate that if we are what we see, what we see should also be able to change the perception of what we are. Alejandro Castellote.
Galerie Frey, Erhard-Platz 3. A-5020 Salzburg
Image: Jorge Fuembuena
16 january – 07 march 2015
Contemporary art is marked by different timings, reinterpretations, misappropriations of past works. These cross affiliations make of art a large family in which artists influence and inspire each other. It is from this observation that the FRAC Languedoc-Roussillon has built its next exhibition consisting of works from the collection. Sometimes the references are openly advertised as being the starting point of the artist's work. With Esprit de Famille, Frac grouped the enfants terribles of Duchamp, Courbet, Oldenburg (among others!) in order to reiterate that works of art today, as they can be confusing at times, are the result of filiation theunavoidable part of the great history of art. Artists. Joan Fontcuberta y Javier Tudela “Esprit de famille- oeuvres de la collection”. FRAC Languedoc- Roussillon, Montpellier. (Frac press-release)
Frac. 4-6, rue Rambaud, BP 11032.34006 Montpellier Cedex 1
Image: Javier Tudela
february 24 - June 7, 2015
The Davis presents the world premiere of What Does History Know of Nail Biting?, the latest multi-channel video work from acclaimed Spanish artist Francesc Torres (b.Barcelona 1948). Examining the extraordinary history of the Abraham Lincoln Brigade, a group of American volunteers who went to fight for the Republican side against fascism during the Spanish Civil War (1936-9), the work juxtaposes recently recovered archival footage of these soldiers and their battles with recent documentation of the sites of major military encounters during the Spanish Civil War. Curated by Michael Maizels, Mellon Curator of New Media Art, with generous support from the Kathryn Wasserman Davis '28 Fund for World Cultures and Leadership. (Davis Museum press – release)
Davis Museum. Wellesley College, 106 Central Street. Wellesley, MA 02481-8203
Image: Francesc Torres. Film Still from What Does History Know of Nail Biting? (2014).
26 february - 28 march, 2015
"Contemporarte" comes to Instituto Cervantes Dublin to give you the possibility to admire the most recent photography created in Andalusia: contemporary images with different aesthetics to allow you to value the visual wealth in young creators’ works.Contemporarte is an artistic creation competition organised by the University of Huelva (Spain) jointly with the other public universities in Andalusia, in a common frame called Proyecto Atalaya.
The programme, financed by the Andalusian government, seeks to promote the work of universities on promoting culture, artists and arts programmes on-line, and it works as an observatory of the arts in Andalusia.Born in 2009, the initiative Comtemporarte awards contemporary photography works by authors within the Andalusian university community, who do not receive a standard award, instead they fix a price for their work and judges decide whether the piece deserves to be acquire or not. This way, artists introduce themselves to the standard procedures in the Arts market, and learn to value their own work attending to real world criteria.
Contemporarte has selected a collection acquired in the past few years to be shown at Instituto Cervantes Dublin from 25th February to 28th March 2015, with the title “Contemporarte 2009-2015: Visions of Contemporary Andalusia”. (I. Cervantes press-release)
Instituto Cervantes, Lincoln House, Lincoln Place. 2 Dublin. (IRLANDA)
Image: Contemporarte 2009-15
31 january – 21 march, 2015
Throughout her career, García-Ibáñez has meditated and reflected on various subjects from orography, habitable spaces, to the human body. In this exhibition, the artist deepens these investigations to include speculations on forms of praxis engaging through ritual, craftwork, and seemingly mundane processes that shape our own involvements with the rhythms and stages of life.
The works included in Arada draw attention to the power of pattern and process. The petate, a bedroll woven from the fibers of the petate palm, is a central figure in this exhibition because of its repetitive nature and multiple uses in everyday life. Since antiquity, the petate has been used as a bed, a receptacle during childbirth, a support to make tortillas, and even as a wrapping for bodies in their final sleep.
It is through an aesthetically detailed analysis on domestic weaving and the employment of time-consuming methods of creation, that García-Ibáñez introduces a meditation on and through the processes she hopes to demonstrate.
María García-Ibáñez has exhibited globally including solo exhibitions in her natal country Spain (Tierras Continuas, Galeria AJG, 2014), Mexico (Windgällen, Galeria Distrito 14, 2013), and Hong Kong (Micrographia, Puerta Roja & Cat Street Gallery, 2013).
The artist has also participated in important collective exhibitions including Fühlst du nicht an meinen liedern, dass ich eins und doppelt bin?”, Peter Kilchmann, Zurich, Switzerland (2015); The Conquest of the Impossible, Mogosoaia Cultural Center, Bucharest, Romania (2015); Ruta Mistica in Museo Arte Contemporáneo MARCO, Monterrey, Mexico (2014) and in Museo Amparo, Puebla (2013); The Prehistory of the Image, STUK, Leuven, Belgium. García-Ibáñez is also the recipient of various awards and scholarships and most recently selected for the XI Bienal Monterrey FEMSA (2014). (Guijarro de Pablo press-release)
Guijarro de Pablo Gallery, Anatole France #82. Col. Polanco. Deleg. Miguel Hidalgo, C.P. 11560- México, D.F.
Image: Zapato, María García Ibañez
5 february – 20 april, 2015
Anthological works by 14 artists of different generations and nationalities: the urgency and relevance of producing art from elements present in the world, attributing new meaning to materials, subverting meanings and reinventing ways of seeing and feeling things. A highlight of the 32nd Biennial’s parallel circuit, the exhibition aims to establish a sort of bridge between a founding moment of contemporary art—the creation of the first ready-mades exactly a century ago by Marcel Duchamp—and the fertile reinvention of this type of operation today.
The materials explored are most diverse: inner tubes, toothpicks, electronic waste, weapons, candy, vehicles and even garbage. The techniques, as well, are deliberately unusual, intermingled and daring. “We looked for works that seek to create the new without creating more things, that start with what already is, already exists,” curator Marcello Dantas explains. Two years of intense research resulted in a widely diversified panorama which combines big names on the international circuit, such as Chinese artist Song Dong and the Portuguese Joana Vasconcelos, with younger artists whose careers are still on the rise, like the Uruguayan Julia Castagno and the Italian Lorenzo Durantini.
Artists: Daniel Canogar, Daniel Senise, Douglas Coupland, Joana Vasconcelos, Julia Castagno, Lorenzo Durantini, Michael Sailstorfer, Michelangelo Pistoletto, Pedro reyes, Daniel Rozin, Petah Coyne, Ryan Gander, Song Dong, Tara Donovan, Tayeba Begum Lupi.(CCBBB press-release)
Centro Cultural Banco do Brasil Brasília. SCES, Trecho 02, lote 22CEP: 70200-002 | Brasília (DF)
Image: Daniel Canogar, photo: Wellington Nemeth
20 february – 4 april, 2015
“Kaleidoscope” is an exhibition showcasing 12 hand-selected artists that have created, inspired and lead the public art movement in Spain over the past 10 years: Nuria Mora, Zosen, Okuda, Felipe Pantone, Kenor, Murone, Btoy, Txemy, Pez, Demsky, Uriginal, Spok
Artists that initially placed their mark on abandoned buildings, villages, city streets and dark alleys, have now reached international attention for their artwork in galleries and museums across the globe. ‘Kaleidoscope’ aims to analyse, challenge and celebrate the influences, patterns and trends that can be found in Spanish art and understand how their culture, location and heritage has helped them develop their colourful creative voice. Spain has always enjoyed a unique position in relation to modern art history. Through the innovation of Masters such as Goya, Picasso, Dali and Miro, to name but a few, the region and culture has earned a reputation as truly rebellious, striving to carve out its own identity as a breeding ground for the avant-garde, breaking away from the ruling Parisian Salons of their day. Now in 2015, Spain’s legacy of insurrection continues to fuel a collection of urban artists exploring various mediums, styles and dimensions, from large murals to intricate, detailed paintings and stencils; experimenting with colour, humour and the varied Spanish landscape.
The underlying similarities and paradoxical diversity of style originating from Spain can be largely accredited to this rich heritage and, with artists persisting to experiment, not content to simply mimic the successes of others, the region continues to bubble over with a raw, and largely undiscovered, collection of genius. Unlike much of the international street art scene, Spain’s large rural communities have allowed artists access to space on not just the steel shutters, concrete blocks and industrial surfaces of the modern city, but on to the barn doors, rocky outcrops and stone walls of the Mediterranean landscape. Many of the sleepy towns and villages across Spain are left to their own regulative devices and, although in some respects the law is strict in relation to public art, we see many artists have honed their skills outdoors due to the welcome lack of attention by their local authorities. These small communities have effectively allowed the Spanish public art movement to grow with relative freedom and, with the use of photography, these once secret masterpieces have reached the eyes of millions through the internet and social media platforms.
MYA aims to bring together an innovative and highly influential group of contemporary artists from all corners of Spain in one exhibition, illustrating the pure talent that has developed from this unique culture. Specifically curated for MYA’s own award winning gallery space, even inviting choice artists to paint directly on to the interior walls, the exhibition sets to capture the attention and imagination of the London art market, urging them to recognize and connect with this powerful group of living artists. Alongside the exhibition MYA will showcase a collection of photographs from these artists demonstrating the impact that their public artworks demonstrate in the original settings, from abandoned farm buildings to city streets. The exhibition will also host a detailed panel discussion about the collection, discussing the artists within the show and the history of this powerful contemporary movement. (MYA press-release)
MYA Gallery, 150 Commercial Street. London, E1. 6NU
Image: Nuria Mora
19 february – 29 march, 2015
Spaced is a recurring international event of socially engaged art that showcases newly commissioned artworks developed in response to the distinctive characteristics of western australian sites and communities. spaced seeks to foster the development of new modes of interaction between artists and communities and establish dialogue between regional, metropolitan and international points of view. Following on from the great success of the inaugural spaced: art out of place, spaced 2: future recall will comprise 12 commissioned projects that will take place in regional Western Australian locations throughout 2013-14. National and international artists have been invited to undertake residencies in regional host communities throughout Western Australia to produce works that respond to Western Australia’s culture, society and natural environment. The unique outcomes of these projects will be premiered in the host communities before being gathered together in a group exhibition at the Western Australian Museum (WAM), Perth in early 2015. This exhibition will tour nationally throughout 2015-16. AC/E collaborates in this project supportin the participation of the Spanish artist Rubén Santiago. In 2014 Madrid-based artist Ruben Santiago, traveled to Derby, Western Australia to begin his spaced 2 residency. Held in partnership with DADAA, Santiago’s project involved the investigation and development of creative works around local subjective perceptions of Derby’s history. Interested in creating a space for reciprocal learning between existing local interest groups and the artist himself, Santigao developed a project focussed on an art form specific to the Kimberley area – boab nut carving. Santiago over a period of six weeks engaged and held workshops with Derby’s community of boab nut carvers, learning the intricate techniques and narratives associated with this craft. This activity is a vital source of income for many in the Kimberley region, and has generated around it a community of artists, both amateur and professional. Although this technique is traditionally seen as a craft, many nut carving masters have repeatedly proven its potential as an effective art form that favours the persistence of memories, the cross-cultural process of sharing knowledge as well as being a valid medium for the expression of individual concerns or for the public voicing of political and social messages. Santiago’s project Not what it’s cracked up to be will see the artist present a collection of 60 carved boab nuts, one for each day of his time in Derby. Santiago’s collection will display a critical and subjective analysis of different aspects of Derby`s history with the aim to expand the narrative potential of a relatively recent art form, while paying tribute and claiming increased recognition for the work developed by many local carvers, present and past. .(AC/E. press-release)
Western Australian Museum James St Mall, Perth Cultural Centre. Australia
Image: Rubén Santiago
24 january – 28 march, 2015
The work of Madoz presents black and white photographs of objects that combine the ordinary with illusory perceptions of reality. The images generate clever imagination games, paradoxes and metaphors which lead him to create his own world, often impregnated with fine irony. Madoz questions reality and invites the viewer to discover hidden poetry in the most common objects by altering their context and their functions.
Born in Madrid, Spain, in 1958, Chema Madoz studied art history at the Centro de Enseñanza de la Imagen. His work has been shown throughout Europe, Asia, South America, and the United States and is in museum collections worldwide. Madoz will have an exhibition in France at Les Rencontres d'Arles Photographie 2014. (MAM press-release)
Mario Mauroner Gallery, Residenzplatz 1.5020 Salzburg.Austria
Image: Chema Madoz
SALZBURG. Iziar Barrio, Daniel García Andújar, Francisco Ruiz and María López Ruido “Invisible Violence“ Salzburger Kunstverein
14 february – 10 april, 2015
Invisible Violence is a multi-disciplinary project curated by Zoran Erić, Séamus Kealy and Blanca de la Torre, and hosted by Artium, Basque Museum-Centre of Contemporary Art, Vitoria-Gasteiz, Spain, the Museum of Contemporary Art, Belgrade, Serbia, and the Salzburger Kunstverein in Austria.The original geo-political context of this project was a European triangle formed out of the Basque region, Ireland (especially Northern Ireland), and Serbia, all which bear the stereotypical image of being notorious for violence and terror. This common denominator and constellation was a backdrop to the project, which has now expanded to include Austrian and broader European contexts.
This exhibition explores so-called invisible violence as it is globally discernable within quotidian, domestic, work-related, and everyday life. This includes administrative and bureaucratic violence; forms of visual violence in media; as well as subtle forms of sectarianism and community animosity from recent historical and current socio-political circumstances. These comparisons of violence are being explored by bringing together artists’ work that problematize territorial, nationalistic, mythological and identity-related topics. Overall the project strives to not be bogged down by partitioned or oppositional representations. Artists: Kader Attia (FR), Itziar Barrio (ES), Ursula Biemann (CH), Rossella Biscotti (IT/NL) & Kevin van Braak (NL), Sarah Browne (IE), Declan Clarke (IE), Willie Doherty (IE/UK), Eva Engelbert (AT) & Katharina Schniebs (DE/AT), Harun Farocki (DE), Daniel García Andújar (ES), Eva Grubinger (AT), Dejan Kaludjerović (RS/AT), Vladimir Miladinović (RS), Locky Morris (UK/IE), Adrian Paci (AL/IT), Christodoulos Panayiotou (CY), Garrett Phelan (IE), Nikola Radić Lucati (RS), María Ruido (ES), Francesc Ruiz (ES). (Salzburger Kunstverein press-release)
Salzburger Kunstverein, Künstlerhaus. Hellbrunner Straße 3, 5020 Salzburg. Austria
Image: Itziar Barrio
5 february – 4 april, 2015
To begin 2015, the Brussels based artist Isaac Cordal takes possession the Spacejunk network with legions of tiny, middle-aged men in suits who navigate dreary, oppressive environments. Realized to be placed in the street, taking advantage of the existing architecture, Isaac lets us see a rough view of our society. Through ingenious installations, it points out the imperfections of our consumerist routines, the intellectual enslavement of mass and highlights environmental issues. (SpaceJunk press-release)
SpaceJunk 35, rue Sainte-Catherine. 64100 Bayonne - FRANCE
Image: Isaac Cordal
03 february – 20 march, 2015
The technological and scientific advances mark the way that society is facing reality. In turn, this will have a direct bearing on the philosophical, social and political concepts that directly affect the artistic production. The exhibition A particular claim to the truth of Almudena Lobera is not an exception. In this sample, Lobera makes a comprehensive study of the relevance of geometric and mathematical thinking to study the many possible perceptions that are generated on the world around us. At the same time, reflects the knowledge as a mental representation that makes it real. A particular claim to truth is configured through forms and bodies of formal origin randomized, imperceptible and uncontrollable in dialogue with analytical systems and procedures, which made structures of perception and representation not only in relation to various scientific theories (past and present) but also to systems of thought that exercise power in contemporary social behavior. The works presented are the result of his current stay at the Royal Academy of Spain in Rome. A context that has profoundly influenced the research and production of Lobera. [Text: Bernardo Sopelana] (Arróniz press-release)
Galería Arróniz, Plaza Rio de Janeiro, Calle Durango 53. Roma Norte, Cuauhtémoc, 06700 Ciudad de México, D.F
Image: Almudena Lobera
06 february – 01 april, 2015
Manuel Hernández Mompó. He was born in Valencia in 1927. From a very early age he was interested in painting. He was admitted to the Valencia School of Arts and Crafts in 1943 when he was barely 15 years old. From 1948 he obtained various scholarships which enabled him to travel and extend his studies in Granada, Paris and Rome. During his stay in Paris he came into contact with Informalist circles, a movement which would mark his subsequent production. He continued to travel throughout his whole life, alternating periods in Spain with others in Amsterdam, Rome and the United States. He had exhibitions in cities such as Madrid, Valencia, Rotterdam and Rome, and also took part in collective exhibitions both in Spain and abroad. Throughout his career he received a number of awards, including the UNESCO Prize at the Venice Biennale in 1968. He died in Madrid in 1992. (I.Cervantes press-release)
Instituto Cervantes, 7, Rue Quentin Bauchart. 75008 París
Image: Manuel.Mompó. I.Cervantes Paris
06 february – 06 april, 2015
Curated by Julia Morandeira Arrizabalaga. Canibalia is a research and exhibition project curated by Julia Morandeira Arrizabalaga around the figure and notion of the cannibal. Gathering artists from North and South America, Portugal and Spain, the exhibition will entail a visual exploration on the anthropophagic subject.
Canibalia explores the construction of the cannibal as the bricolage of these different tropes through the friction of historical documents, contemporary works and objects. By so doing, the aim is to trouble the visual and epistemological archive, thus problematizing a naturalized or univocal reading. The cannibal conforms a multi-stable, seismic image in which different temporalities and lines of flight to apparently distant but profoundly attuned topics converge and collide. As a result, the fundamental ambivalence of the cannibal trope is rendered visible: how cannibalism – as a landscape of different metaphors – constantly defies and rearticulates coloniality’s rhetoric, be that imperial or global; how it implies both the fear of dissolution of the self and the appropriation of difference. Further exploring the logic of predation, capture and digestion of the other, it posits a geography of devouring perspectives and positions, in which subject, territory and environment reciprocate the plasticity of thought. In sum, Canibalia is a counter-topia from where to (un)think cannibalism and the cannibal as spaces of dissidence, desire, community, ecology and exchange.
Atists: Théodore de Bry, Coco Fusco, Jeleton, Runo Lagomarsino, Candice Lin, Pablo Marte, Carlos Motta, Pedro Neves Marques, Manuel Segade y Daniel Steegmann Mangrané.
With the support of Acción Cultural Española and François Ghebaly Gallery(AC/E press –release)
Kadist Art Foundation, 19bis/21 rue des Trois Frères, 75018
04 february – 14 march, 2015
In February 2015 we exhibit work of the prominent Spanish artist, Abraham Lacalle (Almeria, 1962). The exhibition includes a selection of his most recent paintings.
Lacalle lives and works in Madrid and belongs at the top of contemporary Spanish artists. His work is characterized by literary references, Lowry, Pessoa, de la Serna. In his paintings there are references to great masters of painting, as Marcel Duchamp, Picasso and Mondrian.
His works impress with the special subjectivity that makes the color treatment. A turn in it so ironic and sarcastic, constant references to the great artistic and literary movements of the 20th century social criticism. (Alicia Winters press-release)
Alicia Winters Galllery Walstraat 60, 6811 BD Arnhem, Países Bajos
Image: Abraham Lacalle
28 january – 13 march, 2015
Organized by the Ministry of Education, Culture and Sport of Spain and curated by Artendencias, Carmen de la Guerra and Javier Díez, the exhibition becomes an anthology of the history of Spanish photography across the last sixty years, visualizing unsuspected links among the works of different artists. When viewing the exhibition as a whole, we can observe how the development of individual artists has been consistent with the transformation of Spanish society from the fifties to the present day.Featuring the works of Gabriel Cualladó, Cristina García Rodero, Humberto Rivas, Joan Fontcuberta, Alberto García-Alix, Chema Madoz, Toni Catany, Joan Colom, Carlos Pérez Siquier, Ramón Masats, Ouka Leele, Pablo Pérez-Mínguez, Manuel Vilariño, Bleda y Rosa.Organized by the Ministry of Education, Culture and Sport of Spain and the Ministry of Foreign Affairs and Cooperation, AECID. . (Aecid press-release)
Centro Cultural de España en La Paz. Av.Camacho, 1484. La Paz, Bolivia
Image: La Gata, 2001, Alberto García-Alix
12 february – 13 march, 2015
The Instituto Cervantes Londres hosts Gloria Ceballos’ exhibition ‘Nature, a cultural artefact’, that depicts the artist’s constant research about the human relationship with nature as the centre of her practice.
Gloria Ceballos lives and works in London. She began her artistic career in Madrid, with a BA Degree in Interior Design and then she moved to London, where she continued her studies in art, with a BA Honors Visual Arts (Camberwell College of Arts) and a MA Printmaking at the Royal College of Art. She has won sereral prizes and scholarships in different countries like Germany, the UK, Japan, Spain and India. She has taken part in many solo and group exhibitions and shown her work in a great number of art fairs. (I.Cervantes press-release)
Instituto Cervantes, 102 Eaton Square. London SW1W 9AN
Image: Gloria Ceballos
3 february – 21 march, 2015
Santiago Sierra (b.Madrid, 1966). Lives and works in Madrid and Mexico City.
Santiago Sierra’s work depicts situations where survival plays a fundamental role. It translates into an artistic practice the inhuman aspects of the economic system, of corruption mechanisms and the exploitation of the individual. Sierra interweaves varied references and the direct experience of reality in order to explore and represent the world of labor, to the point where he also articulates a critical posture towards the relations between the art world and its agents.
In the 90s, his projects achieved recognition by establishing negotiation mechanics with third parties and sparking actions—mostly in public spaces—that revealed the materialistic procedures linked to capitalism’s systemic violence and the labor conditions it thrives on. This body of work has questioned the operation and function of institutional structures, the control of public spaces and the appearance of informal architecture in the urban landscape as a by-product of survival measures. Lack of use and rejection are viewed not only from a material perspective but are also applied to individuals, as a reflection of social contrasts.
With his work and the accompanying documentation, Sierra urges the spectator to experience the brutal nature of reality in light of the scenes he recreates; his strategy is to repeat the power operations that he himself criticizes. Indebted to the premises of minimalism and conceptualism, his work takes shape through sculpture, documentation, public acts, film projects, and photography to reveal the perversity of power. His titles, also distinctive, serve as instruction or reproduction manuals and question in turn the positive use of images embraced by the capitalist system. (Labor press-release)
Galería Labor, Francisco Ramírez #5 , Col. Daniel Garza , Del. Miguel Hidalgo 11830, México D.F.
Image: Santiago Sierra and Jorge Galindo “Los encargados”
6 february – 3 may, 2015
Tàpies: From Within is a major historical survey that features a selection of more than 50 large-scale paintings and sculptures, representing diverse moments from throughout Antoni Tàpies’ (b. 1923, Barcelona, Spain; d. 2012, Barcelona, Spain) career. These include early examples from 1945 through to recent works created in 2011—the year prior to his death. The exhibition explores the Spanish artist’s use of unusual materials and forms and the development of his unique visual language, which earned him an international reputation as one of the most successful abstract painters of his generation.
Curated by former Tate Director Vincente Todolí, this retrospective offers a unique view into Tàpies’ groundbreaking practice, which fused impoverished materials with symbols of Eastern and Western culture to create dense works covered with graffiti-like gestures. His alchemical practice mixed spiritual and existential questions with unique material investigations of surface, mark-making, and found objects. The exhibition presents an intimate and unusual view of his oeuvre, through a selection of works drawn exclusively from his own private collection and that of the Fundació Antoni Tàpies. (Perez Art Museum press-release)
Perez Art Museum, Biscayne Blvd. Miami, FL 33132
Image: Antoni Tàpies, Embolcall (Wrapping), 1994
27 january – 14 march 2015
The exhibition "Amazement Collection" (Colección de asombros” brings together a selection of the mostoutstanding works of Isidro Ferrer (Madrid, 1963), considered one of the mostprominent and current Spanish international illustrators and designers. Ferrer received the National Design Award in 2002 and the National Award for Illustration in 2006.
This "Amazement Collection" collection is a compilation of some of his work as illustrator and graphic design. All these works, along with a selection of sketches from his notebooks allows a broad view of the work of Isidro Ferrer in recent years. (I:Cervantes press-release)
Instituto Cervantes, Mitropoleos 23, Atenas 105 57, Grecia
Image: Isidro Ferrer
22 november 2014 - 22 march 2015
Hybrid objects that lie somewhere between art and design are characteristic of Carbonell’s conceptual oeuvre. His work and working method can be regarded as a kind of playful yet critical investigation into the reciprocal relationship that people have with objects and the (symbolic) significance they attach to them. Carbonell’s very outspoken and recognizable form language is typified by striking material choices and ongoing experiment. Themes such as ‘inspiration’, ‘evolution’ and ‘transience’ are central to his work, as is its interactive, governing and determinist nature.
The designer presents the objects as organisms that are animated by interaction with the user. In addition to a sizeable new series, the exhibition will also display the installations Pump It Up, Evolution and Treechair : works that evoke associations with cocoons or nests, and which appear to be depictions of escapist fantasies.
“I like to see objects as living organisms, imagining them coming alive and being able to surprise you with their behaviour. I want to create objects with my hands, then I can give them my personality. I turn them into communicative objects that can arouse one’s sensations and imagination. In short, what I want to create are objects with a fictional or fantasy element, that allow you to escape everyday life.” -Nacho Carbonell
Nacho Carbonell (Valencia 1980) graduated from CEU Cardenal Herrera University in Valencia in 2003, and later moved to Eindhoven where he graduated cum laude from the Design Academy with his final exam works entitled Dream of Sand and Pump It Up. He then went on to exhibit frequently both at home and abroad. His work can be found in many public and private collections. Carbonell lives and works in Eindhoven. (Groninger Museum press-release)
Groninger Museum. Museumeiland 1. 9711 ME Groningen. The Netherlands
Image: Nacho Carbonell
16 january – 16 july 2015
The Mysteries of Columbus is created by Mr. Gabarron in 2006. The work is inspired by the famous explorer and navigator, Christopher Columbus, and his journal. To pay the tribute to human spirit of adventure and the discovery of America, Mr. Gabarron created ten symbolic pieces. Their rounded forms and clear lines suggest the natural lives of mankind and primitivism. The works are also heavily filled with blocks of different colors, which well represents the Indian culture in America.
However to the artist, the meaning of this group of sculptures is much beyond than this. Coming from Murcia, Mr. Gabarron wants to express his reflection on the role of art in our lives, as well as the coexistence and the development of human values through this works.
Such pursuing guided him to the space of public art. His strong commitment has led him to multiple public art projects for different sites and cities. During the creation process, he has been constantly seeking balances among elements of art and urban space: the balance between the closeness with the viewers and improvement of the environment where their daily lives evolve; the balance between humanity and efficient urban planning; the balance between modern metropolitan centers and the culture anchored within it. The Mysteries of Columbus is the answer to those how-to-balance questions. The sculptures play with the monotony urban environment with its most varied forms and colors. Mr. Gabarron also leveraged on his experience in painting and extended the color beyond the boarders of facets and softened the sharpness of angles. By doing so, he redefined surfaces of the sculptures and created more possibilities. The open and free color scheme and form invite the viewers to make a small parenthesis in his or her daily routines and to explore the meaning of the work. No matter what conclusions they draw from them, the process already brings changes to their lives and breaks the walls of intransigence and intolerance. (Gabarrón foundation press-release)
China Art Museum, Pudong, Shanghai. China
Image: Cristóbal Gabarrón
30 january – 3 march, 2015
Alberto Reguera (born in 1961 in Segovia, Spain) divides his time between Paris and Madrid. His work could be said to originate in his admiration for the French lyrical abstract painters; in his evocation of the Romantic landscape painters; and in the spectacular vistas of his native Castile. In his abstract landscapes, he represents fragmented elements of nature with his own shapes and colours. His intention is poetic, in the use of painting materials, in the luminous textures that are layered over each other in his paintings and also in the afrmation of the physical act of painting.
Reguera stresses the sense of visual depth in his work. He widens the edges of his works and in their cross sections one catches a glimpse of transparencies and stacked colours, as in a sheaf of paper seen from the side. He ofers a three-dimensional view of the painting. Some of these “painting objects”, created separately, are installed on the ground, forming a painting installation in which each work is a part of a large picture with multiform volume, ofering diferent views. The work extends across a space that flows, seeking equilibrium with the material.
Requera also makes photographs of external landscapes and transforms them into internal landscapes. He captures of the colours of such places as New Zealand, Norway and China. His paintings have also travelled. He has shown in Washington, D.C., Hong Kong (City Hall), Singapore (Sculptures Square), Lisbon and Paris, among other cities. In 1994 and 2001 he and his paintings took part in performances at the Stedelijk Museum in Amsterdam in which Dutch musician Bart Spaan interpreted some of his contemporary compositions inspired by the work of Alberto Reguera. In 1995 he received the Paris Fine Arts Academy Award for Painting. In 2001 he won the Ojo Critico Award in Madrid. (Sylvie Le Page press-release)
Galerie Sylvie Le Page,20 rue Saint-Claude 75003 PARIS – France
Image: Alberto Reguera “Alchimie Tellurique”
16 january – 14 march 2015
David Murcia (b.Murcia 1982)obtained the degree of Fine Arts at the University of Murcia in 2007. He had many individual and group exhibitions in Spain.
The human being is the central motif of his mostly large-format pictures. The confrontation of the subject with the society, and the figure as a creative result of its environment, become the main topics of Murcia’s Work. His Self-portrait serial “Suggested Reality” and the serial “Efecto placebo” (Placebo Effect) are psychological researches that show the confrontation of the characters with their emotional and cognitive side, as well as the fight for their becoming and decay. The time, so as in society and contemporary art, in the consciousness and unconsciousness plays a crucial role that Murcia expresses through opposite poles, calm or permanence, the decadence and persistence against the time’s fast pace, the fugacity and the emergence. The only driving force that activates his characters and doesn’t let them give up is hope.
Image: David Murcia
The graphic Works of Marta Sanz (b. Madrid 1979) are usually small sized and this is certainly intentional. They are experiments done with great sensitivity and classical techniques, but also with the most modern techniques of engraving, in an attempt to claim this type of work as an unique work.The topics stand out because of their freshness in the strokes and ideas. Using the line as an expressive element and texture of the surfaces as reinforcement, this young artist from Madrid, awarded numerous times for her work, introduces us in a world of suggestive images and high visual appeal. The quality and variety of papers she uses and the irregular cut of the papers contribute to experience a unique impression that, in its simplicity, makes her works full of small details which enrich them plastically. (100 Kubik press-release)
Image: Marta Sanz
100 Kubuk, Mohren Str. 21. 50670 Köln
23 january – 6 march 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes. 31, rue des Chalets.31000 Toulouse, (FRANCIA)
Image: Jaime Bleda
16 january – 14 march, 2015
3 + 1 Arte Contemporânea is please to present the first solo exhibition of Cristina Garrido in Portugal at the gallery. Under the title They are these or they maybe others, the exhibition presents a new series works which question the modes of contemporary art practices in eight acrylic on photographic pieces. Based on files such as Contemporary Art Daily, This is Tomorrow, gallery websites and social networks, Garrido builds a digital archive of some 2,500 images grouped into 21 categories, corresponding to exhibitions around the world over the past four years, a path that would be impossible to make in person.
These images make up the base construction of the eight memes (a series of 17) 100 x 66 cm that compose the exhibition. Phrases on top of photographs, painted with white paint and black outline, described in a factually process reminiscent of One and Three Chairs (1965) by Joseph Kosuth. “Luisa Santos, December 2014. (Excerpt from exhibition text Garrido)
Garrido continues her exploration into the systems that exist in the Art World; how value is attributed to artworks, questioning authorship, the roles of “art” institutions directly and indirectly in reference to her own practice. Often employing found materials or objects – including posters, postcards, the artist subverts its contents by applications of acrylic paint deleting or adding to the original “composition”, or replicating the original by hand in turn changing the narrative, value and context.
During the exhibition the artist highlights the issue of questioning the boundaries of authorship by inviting the public to download the works in poster form. In the process the works themselves revert to their meme form blurring the line between the unique work and their copies. (Arte Contemporânea press-release)
3+1 Arte Contemporánea, rua antónio maria cardoso, 31 (chiado) | 1200-026 lisboa
Image: Cristina Garrido, They are these or they maybe others/#CARDBOARDBOXES, 2014, Acrylic on RC photo laser print, 100 x 66 cm ( courtesy of the artist and 3+1 Arte Contemporânea)
31. January 2015 - 25. May 2015
With his imaginative motifs, Joan Miró (1893–1983) is one of the most popular twentieth century artists. He envisioned a dynamic art that makes its way into life. For him, painting meant creating his own, unique world. Instead of rendering reality, his work was characterized by a new emotional visual language. In February 1920, the 27-year-old Miró left his native city of Barcelona in a quest for inspiration and recognition in Paris. He moved into a studio on rue Blomet which became a gathering place for literary Paris. Miró, who loved to read, was greatly influenced by his friendship with such avant-garde writers as Tristan Tzara, Robert Desnos, Paul Éluard and Michel Leiris. Miró pushed the boundaries of painting and incorporated words to generate associations in many of his painting poems – a term that became the title of many of his works after 1925. The exhibition Miró. Painting as Poetry illustrates how Miró’s pictorial symbolism emerges from his playful treatment of words and images. In the same way that he was inspired by literary works, his own works inspired poets, including André Breton, spokesman of Surrealism. Miró and his literary friends worked on many joint projects together. In addition to around 50 paintings from all of his creative periods, the exhibition will show a representative selection from the more than 250 illustrated books that he designed.
Loans come from the Successió Miró, the Fundació Joan Miró in Barcelona, the Fundació Pilar i Joan Miró a Mallorca and museums in Europe and America.
In collaboration with the Kunstsammlung Nordrhein-Westfalen. The exhibition is under the joint patronage of Mateo Isern Estela, Mayor of Palma de Mallorca, and State Secretary Wolfgang Schmidt, Commissioner of the Free and Hanseatic City of Hamburg to the European Union. The exhibition is sponsered by ExxonMobil, Bankhaus Lampe and Lampe Asset Management.(Bucerius kunst forum press-release)
Bucerius Kunst Forum gGmbH. Rathausmarkt 2. D-20095 Hamburg
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965, Privatsammlung als Dauerleihgabe in der Fundació Pilar i Joan Miró a Mallorca, © Successió Miró / VG Bild-Kunst, Bonn 2015
LONDON. Angela de la Cruz, Angels Ribé “Adventures of the Black Square: Abstract Art and Society 1915 – 2015” The Whitechapel Gallery
15 january – 6 april, 2015
Curated by Iwona Blazwick and Magnus af Petersens, this major show traces the genesis of geometric abstraction from the early 20th century to present day, shedding new light on its evolution. The exhibition brings together over 100 works by 80 modern masters and contemporary artists including Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica, Alexander Rodchenko, Sophie Taeuber-Arp, Rosemarie Trockel, Theo Van Doesburg and Andrea Zittel, taking over six exhibition spaces across the gallery. The selection of works also includes pieces by Spanish artists Angela de la Cruz and Angels Ribé.
Angela de la Cruz was born in 1965 in La Coruña (Spain). After graduating in Philosophy at the University ofSantiago de Compostela in the late eighties, she moved to London, where she enrolled at the Chelsea College of Art and then furthered her artistic training at Goldsmiths College and the Slade School of Art. Her career burgeoned in 2010 thanks to the show entitled ‘After’, staged at the Camden Arts Center and for which she was nominated for the Turner Prize. Her works are today included in important public collections like Artium Centro Museo Vasco de Arte Contemporáneo (Vitoria, Spain); British Council (London); Contemporary Art Society (London); Colección Helga de Alvear (Madrid/Cáceres, Spain); Colección Iberdrola (Madrid); FRAC (Nord Pas de Calais, France); Fundació La Caixa (Barcelona); Moderna Museet (Stockholm); Morgan Stanley Bank (London); National Gallery of Victoria (Melbourne, Australia); or TATE Collection, (London), among others.
Àngels Ribé was born in Barcelona in 1943 and is part of a generation of artists who embarked on their careers in the late sixties, in the midst of profound political and social changes that had a direct impact on the way artistic practice is conceived. In 1969 she moved to Paris, where she began to develop her interest in art and started to focus on creating actions where the inclusion of elements and materials in nature, the work in the space, the presence of the artist’s or the spectator’s body as narrative elements, and the integration of geometrical forms became a fundamental part of her discourse. With a strong international presence, she worked alongside artists such as Vito Acconci, Laurie Anderson, Gordon Matta-Clark, Lawrence Weiner, Hannah Wilke, Martha Wilson, Francesc Torres, and Krzysztof Wodiczko, among others and is considered one of the most important Spanish conceptual artists of the 70s. (Whitechapel press-release)
Whitechapel Gallery. 77-82 Whitechapel High Street. London. E1 7QX
Image: Dóra Maurer Seven Rotations 1 – 6, 1979, collection of Zsolt Somlói and Katalin Spengler © Dóra Maurer
15 january – 21 may 2015
Jaume Plensa was born in Barcelona in 1955, and shares his residence between Paris and Barcelona. Between his first exhibition in his hometown in 1980 and today, he has been living and working in Germany, Belgium, England, France and the US. Also, teaching at the École Nationale des Beaux-Arts in Paris, giving lectures at a wide array of universities and art institutions, currently as professor at the School of the Art Institute of Chicago.
His sculptural work has, with time, undergone several changes, but always dealing with humanity, body and soul, in mostly figurative expressions. Even when the body is physically absent, it is implied; by gongs ready to be struck, empty houses or cells waiting to be occupied, or text required to be read. Whether made out of steel, glass, bronze, and alabaster or by light, vibration or sound, his ideas and associations are always brought forward. Plensa believes sculptures to be an extraordinary vehicle for accessing emotions and thoughts. His work asks questions and sets up situations that encourage us to think and think again, to talk with one another, to be silent and meditative, to touch, and experience togetherness. The artist is keen to encourage communication and understanding with others and ourselves, producing work with the hope of reconnecting us with our own souls. For Plensa, life is the key concern and thus art is merely a consequence of it. Still it possesses an enormous capacity to touch people deeply, to introduce beauty into any situation, and to celebrate human potential.
A significant part of Plensa´s production is set in the context of permanent public sculpture. “The Crown Fountain” in Chicago´s Millennium Park is one of his most well known works. In 2005 he finished “Breathing”, which was installed in the new BBC building in London, and in 2007 he made an impressive public project for the Place Masséna in Nice. The huge woman’s head, “Dream”, for St Helens in Liverpool was inaugurated in 2009. He is currently working on several new public projects as “Wishing Well” for the Bow Calgary in Canada, “Mirror” for Rice University in Houston, and “Together” for Chichester Cathedral in UK. Plensa´s work has been exhibited in numerous galleries and museums in Europe, USA and Japan; Fundació Joan Miró in Barcelona, Galerie Nationale du Jeu de Paume in Paris, Henry Moore Sculpture Trust in Halifax, Malmö Konsthall, Museum Moderner Kunst Stiftung Ludwig in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, BALTIC The Centre for Contemporary Art in Gateshead, Musée des Beaux-Arts in Caen, The Nasher Sculpture Center in Dallas, Picasso Museum in Antibes, Galerie Lelong in Paris and New York, and The Yorkshire Sculpture Park to mention a few. (Andersson/Sandström press-release)
Andersson/Sandström Gallery, Hudiksvallsgatan, 6. 113 30 Stockholm
Image: Sanna Dream 2014. Jaume Plensa
22 january – 22 march, 2015
This is an innovative exhibition design that will enable visitors to explore the creative universe of two designers with a renowned career, Pep Carrió and Isidro Ferrer, and also to move around their works through Augmented Reality devices, 2D and 3D animations, video and other multimedia content.
“Think with your hands” has been designed as an experimental project attempting to explore the possibilities offered by new technologies applied to the sensitive and imaginative world of the works by Isidro Ferrer and Pep Carrió.
The project has been developed by Unit Experimental Publishing, a collective comprising researchers in the Faculty of Fine Arts and the Higher Technical School of Computer Engineering at the UPV.
The exhibition comprises over a hundred works by Pep Carrió and Isidro Ferrer, including drawings, notebooks, collages and objects that, viewed through the touch-sensitive screen of a mobile device, are activated virtually and their contents appear multiplied and extended, sometimes very playfully by means of 3D animations, other times through additional documentation and information, through videos and audio material.
“We wanted to investigate the possibilities offered by mobile devices for an exhibition and for this reason we took careful stock in order to imagine all kinds of things or events that might occur when we look at them through screens and bring up other images hidden to the naked eye so as to be able to amplify what we can view at an exhibition”, says Nuria Rodríguez, from the Art and Environment Research Centre at the Polytechnic University of Valencia and curator of the exhibition.
“Think with your hands” allow visitors to experiment and view the works by Isidro Ferrer and Pep Carrió differently, but also to envisage other information-rich formats, such as texts by the artists or interviews, and to relate the work on display with other archive images. It is an experiment that attempts to provide an extensive inventory of the potential offered by new technologies for accessing knowledge and enhancing our perception.
This exhibit invites visitors to explore works in new ways, transforming illustrations into three dimensional experiences through mobile technology. To that end, Artisphere will be providing iPads for public use when exploring the art, free of charge. Once the exhibit has ended these iPads will be donated to a local school(I.Cervantes press-release)
Instituto Cervantes, 31 West Ohio Street, Chicago, IL 60654.
Image: Pep Carrió, Isidro Ferrer.
23 october 2014 – 3 may 2015
What would be about the world without the things that don’t exist?)
Its creation was inspired by the striking experiences provided by the project “Terra Rasgada”, held in the 1990s, in partnership with local artists. The two projects carry in their tittles the meaning of the name “Sorocaba” that, translated from Tupi-Guarani, means “place of slit”.
With execution by Sesc and curation by Josué Mattos, the transdisciplinary project, focused on the visual arts, has participation of artists of different generations and nationalities. It is developed from the interrogative “What would the world be without the things that do not exist?”, inspired by the play “What would we be without the things that do not exist?” conceived and set up in 2006 by Lume Teatro – Núcleo Interdisciplinar de Pesquisas Teatrais da Universidade Estadual de Campinas (Interdisciplinary Core of Theater Research at the University of Campinas).
With the purpose of creating collaborative actions between private and independent local institutions, as well as combing educative processes and continuing education partnerships were established with the Sorocaba City Hall, through the Secretary of Culture. The Estrada de Ferro Sorocabana Museum, Barracão Cultural, Palacete Scarpa Cianê Shopping also cover the project and Patio
Cristina Garrido and Bruno Moreschi presents “THIS IS ART NOW & ART BOOK” If it’s hot in the world today, it’s in these books, this seminar, this wall and this Triennal, the artist duo Bruno Moreschi and Cristina Garrido confronts us with very important questions in the debate concerning modern historiography: Who are the agents that construct history? What aspects define the inclusion of a happening, or a character, in the history books? Who has the power to select the point of view in regard to a determined historical moment? What are the relationships between fiction and reality in the con struction of historical facts?
Inspired by the spacial and social complexity of Brazil’s favaelas, artist and documentary photographer Dionisio González has re-imagined the poor urban dwellings through the lens of modern and contemporary architecture. “Favelas” includes digitally manipulated images from 2004 and 2006 that pose an intriguing challenge to aesthetic notions of shantytowns.
Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artist opens an horizon of visibility of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system. (FRESTAS presss-release)
Frestas Trienal de Arte. Sorocaba. Sao Paulo.
Image: Heliópolis 2006. Dionisio González
24 december 2014 – 8 march 2015
Forty-two years after his first and only solo exhibition in Italy, which took place at the Galatea in Torino, Antonio López García has agreed (upon Marco Goldin’s invitation) to hold his second show in Italy. It is to be an exceptional event since the Spanish artist has always limited the opportunities to see his works. Four of them, which are extraordinary in their beauty, have been added to the vast exhibition on night at the Basilica Palladiana. The five rooms of the ground floor of the Palazzo Chiericati (home to the civic museum), won’t be the only place this exhibition takes place, with the works evenly distributed in the space. The exhibition will begin outside the city walls with two monumental bronze sculptures, Carmen Asleep and Carmen Awake, thanks to a loan from the artist’s collection. They will be located at the beginning of Corso Palladio as a sort of “announcement” of the solo exhibition as well as the exhibition (in line with the theme of night and awakening) taking place in the Basilica Palladiana. The focus on López García’s sculptures will continue within Palazzo Chiericati, with a clear division of materials and themes. For example, Man (2003), the renowned sculpture measuring over two metres tall will be presented on the left side of the building and one of its preliminary sketches will also be on display. These designs are just some of the things that make this exhibition stand out. Two other prominent sculptures, again complemented by their large preliminary sketches, establish the millimetric adherence to reality. This endeavour, as stated in the show’s subtitle, has to do with the secret and magic of silence. Therefore, the other two sculptures will include Hombre tumbado (2011) and a more recent one which was finished last year, Figura de mujer. Fátima. Alternatively, on the right side of the building, there will be a selection of paintings that have helped make López García famous like Madrid from Capitán Haya Street (1986 and 1997) from the Museo Rein Sofía in Madrid. The paintings were created at a slow pace, in a continual discovery of themes that as they deepen, enter a soft yet very pure light, suspended in uninterrupted silence that painting limits in the absoluteness of enduring vision. Along with these more recent paintings, there will be a brief round-up of paintings in two rooms done by López García in his early life, originating from the relationship with his uncle, painter Antonio López Torres. Curated by Marco Goldin.(lineadombra press-release)
Palazzo Chiericati, Piazza Giacomo Matteotti, 37/39, 36100 Vicenza VI, Italy
Image: Antonio López. Madrid from Capitán Haya Street (1986 and 1997) from the Museo Reina Sofía in Madrid.
20 december 2014 – 7 february 2015
The exhibition draws its name from the seminal book by the German Romantic painter Philipp Otto Runge and celebrates the expressive potentiality of colour through the works of four international female artists. The works featured in The Colour Sphere demonstrate each of the artists’ diverse and unique relationship with colour within their contemporary abstract art practice.
Maya Hayuk (Baltimore 1969) lives and works in Brooklyn, New York. She started her artistic career with massively scaled murals recalling a multitude of references, such as mandalas, pop culture and the Mexican muralist movement. From the hypnotizing murals to the smaller works on canvas or paper, Hayuk’s practice is characterised by a vibrant colour palette, geometric abstraction and elaborate patterns.
Nuria Mora (Madrid 1974) lives and works in Madrid. Mora became well known for her urban interventions that pop up on walls and take over advertisement stands around the world. She seamlessly integrates colourful, angular patterns and nature inspired illustrations with their surrounding environment to reassert aesthetic values and to create a new appreciation of the space around us.
Anna Taratiel (Barcelona 1982) lives and works in Amsterdam. With a background in graphic design and mural paintings Taratiel, previously knows as Ovni, developed a style dominated by colour and geometry. Her newest body of works consists of paintings on canvas, drawings and assemblages of found materials, such as tape. The smooth and clear-cut qualities of the recycled pieces of tape invigorate the graphicness of her work.
Clélia Zida (Paris 1980) lives and works in Amsterdam. Zida is an interdisciplinary artist with a background in hand lettering, textile based works and filmmaking, who graduated cum laude from the Rietveld Art Academy in 2005. Her most recent works consist of abstract geometrical drawings with repetitive grid structures and seemingly identical patterns. (Mini galerie press release)
Image: Nuria Mora
Mini Galerie. Kinkerstraat 12A. 1053 DT Amsterdam
AMSTERDAM. Pilar Albarracín, Xavier Miserachs, Isabel Muñoz, Pedro G. Romero & Israel Galván y Miguel Ángel Ríos “Dancing Light / Let it move you” Huis Marseille Museum voor Fotgrafie.
december 13, 2014 - march 8 2015
Pilar Albarracín, Xavier Miserachs, Isabel Muñoz, Pedro G. A photograph is a photograph, and a dance is a dance: stillness versus movement. At first sight these two art forms might seem to be poles apart, but the exhibition Dancing Light, open from 13 December throughout the newly double-sized Huis Marseille, proves the opposite. Along with film and video, photography turns out to be an ideal way to illuminate the characteristic emotionality and transport of dance – its ‘primal power’ to move us. In Dancing Light the ‘dark undertone’ that is characteristic of both flamenco and butoh, and which unites seemingly incompatible opposites such as joy and sorrow or hope and despondency, is linked to many different manifestations of both photography and dance.
To unravel the mystery at the heart of dance the exhibition takes inspiration from flamenco and its concept of duende, that intangible and ineffable moment of rapture when the chemistry between flamenco musicians, dancers and audience bubbles up and overwhelms everyone. Duende (literally ‘elf’ or ‘spirit’) is an untranslatable concept, a mysterious force that is manifested in the combination of certain sounds, words and gestures. Dancing Light captures the raw expression of flamenco in photography and in moving images: from the flamenco legend Vicente Escudero, who used film in the early 20th century to establish a dialogue with modern art, to the extremely individual dance expression of the flamenco dancer Antoñita La Singla, born deaf, whose unique energy was captured in the early 1960s by the photographer Xavier Miserachs. Ranging from various moving video works to the work of the artist Pilar Albarracín, who interprets her Spanish flamenco legacy in an entirely personal way. It is, of course, true that once a dance is over its momentum vanishes; but a photo or video not only fixes our original experience, it also independently adds something to our memory.
The photographer Noaya Ikegami documented every performance by the legendary butoh dancer Kazuo Ohno from 1977: ‘I was astonished by the strong emotional energy coming out from Ohno’s body, which required me to use all of my energy to photograph him.’ Kazuo Ohno in turn had been so moved by a performance of the Spanish dancer Antonia Mercé y Lucque (‘La Argentina’) that she became the inspiration for his famous piece ‘Admiring La Argentina’, which he performed until his death in 2010. Ikegami’s photographs have captured forever deeply poignant moments from performances by the ageing Ohno dressed as ‘La Argentina’, and the power and expressiveness of these photographs have earned them a fame of their own. Choreography is used to define and prescribe dance movements, but in fashion photography it is used to make poses more natural. Dancing Light shows how stiff the corset of classical ballet can be, in a poignant and inadvertently comic work, full of awkward movements and flailing limbs, by Doa Aly, who subjects her untrained body to 48 ballet lessons. The fluidity of the movement of trained dancers is analyzed in ultra-slow motion in David Michalek’s Slow Dancing. Guido van der Werve’s video Nummer twee links classical ballet with a staging of death and hope, and in Untitled (Ghost) by Elad Lassry the spirit of the dance is almost literally personified. Choreography is the beating heart of these artworks, the rhythm of – and the vehicle for – works inspired by dance.
Parallels are drawn with the primal forces of nature: flocks of birds by Lukas Felzmann, birdwing hand movements in photographs by Xavier Miserachs and Isabel Muñoz, the surprisingly frequent presence of ‘dancing with animals’, and the spontaneous eruption of dancing in the street, as in the 14th of July celebrations in Paris in the 1950s immortalized by the Dutch cinematographer Johan van der Keuken.
With work by: Pilar Albarracín / Doa Aly / Valérie Belin / Frank van den Broeck / Vojta Dukát / Marco van Duyvendijk / Vicente Escudero / Lukas Felzmann / Scarlett Hooft Graafland / Craigie Horsfield / Naoya Ikegami / Dora Kallmus / Johan van der Keuken / Elad Lassry / Jochen Lempert / Danielle Levitt / Herbert Matter / Carlijn Mens / Antonia Mercé / David Michalek / Xavier Miserachs / Isabel Muñoz / Yuki Onodera / Paolo Porto / Pedro G. Romero & Israel Galván / Miguel Ángel Ríos / Benjamin Roi / Tejal Shah / Martine Stig / Wolfgang Tillmans / Guido van der Werve / and others
Dance performances will be given during the exhibition, as well as at its opening, in collaboration with the Flamenco Biënnale.(Huis Marseille press-release)
Huis Marseille Museum, Keizersgracht 401,1016 EK Amsterdam
Image: Xavier Miserachs, ”Antoñita Singla”
december 18, 2014 -17 march 2015
This dialogue between Chinese and Spanish contemporary art comes from the hand of three residents contemporary artists in Beijing Ren Bo,
Carlos Sebastia and Gisela Ràfols. His works, albeit from different points, they lead to the same destination, the dematerialization of being. . (I.Cervantes press-release)
Instituto Cervantes. A1 Gongti Nanlu. 100020 Chaoyang Beijing
Image: Gisela Ráfols
4 december 2014 – 20 march 2015
The Centrale for contemporary art shows for the first time an exhibition of a major artist of the Brussels art scene. Emilio López Menchero, a Brussels citizen of Spanish origin, was singled out by his performances in the capital (such as Checkpoint Charlie at the Canal – 2010) and the emblematic urban integration Pasionaria, a megaphone near the South Station – 2006. Multifaceted artist, he developed a protean work (painting, video, photography, performance). At our suggestion, he chose to enter into dialogue with the world-renowned artist, Esther Ferrer, a pioneer of performance art. Both of Spanish origin, their efforts come together through the themes of identity and corporeality. An exceptional exhibition of two artists for whom art is a political space for freedom beyond the dictates of all kinds. (The Centrale press release)
Place Sainte-Catherine 44 Sint-Katelijneplein Bruxelles 1000 Brussels
Image: Emilio López Menchero
22 november 2014 – 10 may 2015
By 2030 the world population will have grown to a staggering eight billion. Of these people, two-thirds will live in cities. And most of them will be poor, with limited access to resources. This uneven growth will be one of the greatest challenges faced by societies all over the world. In the coming years, municipal authorities, urban planners and designers, economists and many others will have to join forces to prevent major social and economic disasters. They will all have to work together to ensure that these expanding megacities are inhabitable places.
The exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities has brought together six interdisciplinary teams of researchers and professionals who, for 14 months, have held workshops aimed at examining new architectural possibilities for six world metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York and Rio de Janeiro. Each team has developed a proposal for a specific city to be presented in November 2014 at the MoMA. The proposals have taken into consideration how the emergent forms of tactical urban planning can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions and other major issues in near-future urban contexts. They have all defied the current assumptions about relations between formal and informal, bottom-up and top-down urban development.
AC/E is collaborating by supporting the participation in the project of the Zoohaus group, which has carried out research on the city of Lagos through its project Inteligencias Colectivas (Collective intelligences). Zoohaus is a creative networking platform that was started up in 2007 to combine the interests of various agents related to architecture and other peripheral disciplines. This platform focuses its interests on projects that reinterpret urban dynamics through fields such as architecture, urban planning, art and the economy and its work is underpinned by community participation and reactivation. (AC/E pres-release)
MOMA, 11 West 53 Street, New York, NY 10019
Image: MOMA. N.Y.
october 25, 2014 – march 08, 2015
Mallorcan artist Bernardí Roig installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum.
Bernardí Roig (b. 1965) participates in the contemporary art projects series Intersections at The Phillips Collection. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary.
Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light —whether a single light bulb, neon tubes, or fluorescent lights— Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.
Intersections is a series of contemporary art projects that explores —as the title suggests— the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. Whether engaging with the permanent collection or diverse spaces in the museum, the projects suggest new relationships with their own surprises. Many of the projects also riff on the nontraditional nature of the museum's galleries, sometimes activating spaces that are not typical exhibition areas with art produced specifically for those locations.(Phillips Collection press-release)
The Phillips Collection, 1600 21st St NW, Washington, DC 20009
Image: An illuminated head for Blinky P. (The Gun) (2010) Galerie Klüser, Munich
23 september 2014 – 8 marzo 2015
The exhibition titled ‘Joan Miro: Women, Birds and Stars’ focuses on the artist’s mature period and is partly organized by Joan Miro Foundation in Barcelona.
Creations including oil and acrylic paintings, lithographs, etchings and assemblages with relevant models and drawings as well as his textiles and ceramic works will be exhibited.
Speaking at a press conference at Sabanci Museum, director Nazan Olcer said that preparation for the exhibition took three years."Our dream was to add the third link with this great Catalan master to the trilogy of Spain’s great masters," Olcer said, referring to the museum’s earlier exhibitions of Pablo Picasso and Salvador Dali.
"Some of his art in different techniques and some of his personal belongings will be exhibited for the first time in Turkey," she added. "A series of documentaries will also be shown at the exhibition thus giving us the chance to observe the artist’s life, inner world, his transformations, friends, anger and reaction to the political events in his country and in the world," she said. Miro's grandson Joan Punyet Miro was also at the launch. Speaking to The Anadolu Agency, Punyet Miro said that one of the objects displayed at the exhibition had a special meaning for him as it reminded him of his childhood. Posing along with a water tap he said: "When I was a child I was using the water tap to fill a tank where I was swimming in Catalonia. One day the water tank disappeared and it was used in one of his sculptures."
Punyet Miro described the exhibition as "complete" as there are paintings, drawings, sculptures and tapestries. Rosa Maria Malet, director of the Joan Miro Foundation, said that Miro defined himself as 'painter' but a painter who tries to work with all kind of material that he finds. "He was a big explorer and a big teacher; Miro tried to explore new techniques," Malet said.
Both an artist and sculptor Miro was born in 1893 in Barcelona and lived between Barcelona and Paris. The great Catalan artist died in Mallorca in 1983.(Anadolu Agency press-release)
Sakip Sabanci Museum, Sakıp Sabancı Cad. No:42. Emirgan 34467. İstanbul
Image: Joan Miró Foundation