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Spanish contemporary art worldwide

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BERLIN. Laura González Cabrera “Unleserlich” Nova Invaliden Gallery

24 june – 21 august, 2016

Unleserlich (aka Speaking in Code, according to Laura González Cabrera’s work)

 All interesting and / or relevant knowledge is kept secret, at least for a short period of time, for the simple reason that knowledge is, indeed, power. Yet when this knowledge is established as a “totalitarian power” it becomes its own enemy. Art created by women has lived for centuries under this “totalitarianism”, always fighting against it - though more in a dissident way than in a belligerent one.

That is, in fact, the example of the artist Laura González Cabrera (Las Palmas de Gran Canaria, Spain, 1976), and whose work has been focused, for more than a decade now, around the investigation of the different uses of coded and encrypted systems that eventually evolve, in the material creating process, into a sort of “textual abstract painting” where text, words, writing and colour join into an aesthetic combined experience.

Heir of the very first experiments of the Bauhaus, Situationism and post-conceptual paintings; Laura GC penetrates the pictorial essence from verbal scripts, providing writing thus with a new sense: the chromatic one, where its arithmetic-mathematical system reminds us of the origins of the most rudimentary binary calculation in computing, and its rhythmical and gridded spaces evoke our childhood memories, or the relevance of touch, the brushstroke, its physicality, its manufacture, its eroticism. An eroticism that strips its text turning it into visual poetry. A poetry which the artist develops by means of wall painting, painting on canvas, drawing or watercolor... all of these expanded or otherwise, as a shrunk focal point that emerges as an enigma.

 Unleserlich is her first solo exhibition in Berlin, after having exhibited and produced several wall paintings in Las Palmas de Gran Canaria, Santa Cruz de Tenerife, A Coruña, Murcia, Madrid (Spain), Naples, Turin Milan (Italy), Dakar (Senegal) or Beijing (China). (Nova Invaliden press-release)

Nova Invaliden Galerie. Schönleinstr. 25. 10967 Berlin

Image: Laura González. Fünf, Acrilic on linen

ARLES. Laia Abril “A History of Misogyny, chapter one: On Abortion” Les Rencontres de la Photographie. Magasin Électrique

4 july - 25 september, 2016

Today, safe and efficient means of abortion exist, yet 47000 women die due to botched abortions, every year. Millions of unwilling women across countries and religions are blocked from abortion technologies by law and social coercion, and forced to carry pregnancies to term. Many are minors and rape victims, their pregnancy is not viable or their health is at risk. Laia Abril's project "On abortion" documents and conceptualizes these dangers and damages caused by women's lack of legal, safe and free access to abortion. As she weaves her net of questions around ethics and morality, Abril also creates a series of meditative visual and textual manifestations of the social triggers, stigmas, and taboos around abortion that have remained invisible until now.

Laia Abril: (Barcelona 1986) After graduating in Journalism in Barcelona and studying photography in New York, Laia Abril worked at COLORS Magazine as a creative editor. Her projects have been shown internationally including the United States, Canada, UK, China, Poland, Germany, Holland, Switzerland, Italy or Spain. Her work is held in private and public collections as Musée de l'Elysée, Winterthur Museum or MNAC. She is the author of three books : "Thinspiration" (2012), "Tediousphilia" (2014) and "The Epilogue" (2014), which was highly acclaimed and shortlisted for the Paris Photo-Aperture First Book Award, Kassel PhotoBook Festival and PhotoEspaña Best Book Award. Her ongoing book "Lobismuller" (RM, 2016) has received the Images Book Award and will be followed by "On Abortion" (Dewi Lewis, 2017), the first book of her new series project "On Misogyny". (Les rencontres press-release)

Magasin Electrique, Parc des Ateliers, Arles. France      

Image: Laia Abril 

PALERMO. José Manuel Navia “Cervantes, a contemporary spirit” Instituto Cervantes

12 july – 10 october, 2016

The exhibition (Cervantes, a contemporary spirit), organised by AC/E and the Instituto Cervantes, shows the photographs produced by José Manuel Navia in connection with the celebration of the 400th anniversary of the death of Miguel de Cervantes in 2016. For this project, Navia followed in Cervantes’ footsteps, visually capturing the places and paths trodden by the great author throughout his life – a troubled and uncertain life that is also revealed to us in a veiled manner in his works.  
The photographs that make up the exhibition – between 60 and 80 – are mostly new, taken especially for this purpose. The project is based on the act of photographing the main places linked to Miguel Cervantes’s life, the traces of a lifetime, so that the end result is not just another collection of pictures of different places but a series of photographs that embodies the personal gaze of a traveller who wishes to embrace Cervantes’s real and literary territory through image. The photographs are accompanied by detailed texts and literary quotes that refer to the author’s life as well as to his works.  (I.Cervantes press-release)

Instituto Cervantes Via Argenteria Nuova, 33. 90133 Palermo Sicilia (ITALIA)

Image: Argelia, medina de Argel, ciudad donde estuvo cautivo Cervantes durante cinco año. José Manuel Navia

BRATISLAVA. “Miró & CoBrA. The Joy of Experiment” Danubiana Gallery

7 july - 13 november, 2016.

Miró & CoBrA. The Joy of Experiment is the first exhibition to explore the relationship between Joan Miró (1893-1983) and CoBrA (1948-1951). A chance encounter in 1946 between Asger Jorn, a Dane, and Dutch artist Constant Nieuwenhuys laid the foundations for CoBrA, an international group of post-war artists. The two met at an exhibition of work by Miró in the Galerie Pierre Loeb, in Paris, and established Miró as a recurrent element in the movement’s history.

What links Joan Miró and the Cobra artists is their playful, experimental approach to art. Experimentation with materials, shapes and processes was a source of knowledge and innovation for both the Spanish master and the Cobra artists of the post-war generation. By bringing the work of Miró and CoBrA together, this exhibition gives insight into a shared sense of playfulness and poetic attitude which are at the heart of the work of both.

Katja Weitering, artistic director:“Miró & CoBrA is the long-awaited exhibition of one of the best-loved and exceptional 20th-century artists. This show is emphatically not a classic retrospective. By establishing a link with the Cobra movement and the museum’s own collection, Miró & CoBrA sheds new light on the Spanish master.”

In his late period, Miró’s artistic development saw a liberation from form, gesture and material which showed a striking correspondence with the work and artistic perceptions of various CoBrA members. This work is less familiar to general audiences – and on show now in the Netherlands for the very first time. This exhibition illuminates a wide range of experimental techniques which include, besides painting, works on paper, ceramics, sculpture, assemblages, visual poetry and artists’ journals.

This summer Miró’s sculptures will be exhibited in the gardens of the Rijksmuseum in Amsterdam. There has been no extensive Miró retrospective in the Netherlands for nearly 60 years, since the Stedelijk Museum’s exhibition in 1956. Now, in 2015, the Cobra Museum has succeeded in collating a substantial Miró exhibition which includes works from the Netherlands and abroad, thanks in part to assistance from many international partners. For example, New York’s Guggenheim Museum has generously provided Paysage (1927), while the Scottish National Gallery of Modern Art has sent the major work Figures and Bird (1934-1936) and the Museo Reina Sofia in Madrid has provided five works from the period from 1945-1950.

The exhibition includes more than 80 works by Joan Miró and 60 works by various Cobra artists including Karel Appel, Asger Jorn, Constant and Pierre Alechinsky. A central part of the exhibition is the reconstruction of Miró’s Mallorca studio, consisting of more than 40 original objects and shown for the first time on such a large scale. This part of the exhibition has been made possible thanks to a collaboration with the Fundació Pilar i Joan Miró a Mallorca. (Danubiana press-release)


Image: Le Gant Blanc 1925 Fundació Joan Miró Barcelona

LONDON. Núria Fuster, Julia Varela y William Mackrell “Planned Obsolescence” The Ryder

19 july – 20 august, 2016

Planned Obsolescence reflects on the afterlife of consumed objects, desire and the material world.  A project realised in collaboration with at Ryder Projects and curated by SCAN (Spanish Contemporary Art Network), the exhibition is the first of a series presented in commemoration of the 50th anniversary of Guy Debord’s prescient The Society of the Spectacle. 

Planned Obsolescence examines the persistence of material autonomy and poses questions about the meanings of designed redundancy and recycling in a culture that is consumed and mediated through devices which also have expiry dates.

Planned Obsolescence is presented as a visual conversation among three artists, Nuria Fuster, Julia Varela and William Mackrell, interrogating the materiality and mechanisms of the fetish aura in which projection (psychic and actual), excess and failure are strategic tools. (Scan  press-release)

The RYDER 19a Herald Street London E2


Image: Alquímia Urbana. Núria Fuster

NEW YORK. Andrés Jaque “Relevant Notes” Cara Gallery

23 june – 30 july, 2016

Relevant Notes is a collective exhibition that presents a dialogue between the work of 11 artists, among them Andrés Jaque, to explore the boundaries of disciplines among installation art, land art and architecture.

Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture –each created over the past five decades– act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.

Through their respective practices, the exhibiting artists have been analyzing the unification of materials, space and nature to address the importance of interference. If the balance between these elements were to be lost the intervention of the artist would be lost as well. The visual and conceptual investigations into the conjunction of these elements transform the architectural space of the gallery into an exhibition space where the artist is evident and a vision is perceived.

Andrés Jaque is the founder of the Office for Political Innovation. He is Advanced Design Professor at Graduate School of Architecture, Planning and Preservation GSAPP Columbia University and Visiting Professor at Princeton University SoA. Artists exhibited: Christo & Jeanne – Claude, Gianni Pettena, Bruna Esposito, Andrés Jaque, Diango Hernandez, Igor Eskinja, Jason Middelbrook, Franklin Evans, Federico Luger, Matteo Berra, Ebtisam Abdulaziz (Cara Gallery press-release)

Cara Gallery. 508 W 24th Street - New York, NY 10011

Image: Andrés Jaque. Cara Gallery

NEW YORK. Bubi Canal “Beautiful Mystery” Aperture Gallery

14 july – 11 august, 2016

Spanish-born artist Bubi Canal exhibits his work, Beautiful Mystery, at this year's Aperture Summer Open.

Aperture’s 2016 Summer Open was a call for contributions to the idea of photography as a magical form. This optimistic premise attracted a diverse scope of magical contemporary approaches –from pictures found in the happenstance of everyday life to elaborate stagings of studio or desktop experiments.

The photographic practices represented in the final selection for this year’s Summer Open are rich with vitality and deep curiosity for the magical medium of photography. They share a fascination with and substantial knowledge of the historical roots and the contemporary state of photography. These artists actively play with the medium’s heritage –re-animating and re-contextualizing its alchemical properties— to render ideas about its contemporary material value. They are astutely aware of the viewers’ perceptions and trains of thought, grounded in our shared context of an ever-expanding image world. They invite us to pay attention to the thriving possibility of photography as an experimental platform, rich with materiality and visual sleight of hand.

Bubi Canal is a Spanish-born, New York-based artist. His work combines various media and artistic methods, including photography, video, and installation, and deals with recurring themes of love, dreams and magic. Working mostly in a primary color palette, he uses found objects and multiple materials to create his own universe of the imagination. (Aperture press-release)

 Aperture Gallery, 547 W 27th St 4th Fl, New York, NY 10

Image: Bubi Canal

LONDON. David Escalona, Julia Varela, Oscar Santillan, Marco Godoy “Miseratione non mercede” Copperfield gallery

20 july -  10 september, 2016

SCAN is pleased to present Miseratione non mercede,a collaboration with Copperfield, London with works by David Escalona in dialogue with Julia Varela, Oscar Santillan and Marco Godoy.

Translated to 'compassion not gain', the title draws on a Latin inscription in an old operating theatre. Hidden in the roof of the nearby St Thomas’s Church this was a space where those without money could receive pre-anaesthetic surgical treatment.
Always in reference to the body, the exhibition contains interconnected expressions of empathy, communication and the overcoming of adversity. What it is to be with, to be without and to recognise that all require support in some measure.
David Escalona’s work explores the world from the perspective of a vulnerable body. A gilded wheelchair titled El Carro de Apolo (Apollo’s Carriage) and a limply hanging parachute titled Misetatione non mercede II are typical of his combination of autobiographical aspects with references varying from Greek to Catholic symbology. A socio-political dimension is also bound up in references to the Spanish Civil War and the role of religion in considerations of pain. His references to trauma confront adversity, suggesting the means to overcome it in physical terms but also psychologically by changing our perspectives. In Puntos de Apoyo (2015), a braille inscription on a ballet barre reproduces a text by Frida Kahlo with the same title, expressing the frustration that is overcome by strength of will.
Echoing the empathetic and communicative focus in these works, Oscar Santillan’s Telepathy Manifesto presents a looped video, mounted above the viewer, of the artist trying to catch a man’s tears in his own eyes as they fall from above. The desire to be understood takes on emotional and experimental dimensions here as if proposing some alternative means of communication for those who cannot express themselves.
Speech, speed, speechless, speeding, speedy, speedometer, speedboat, speed, skating, speed or nullum crimen, nulla poena sine praevia lege (2015) by Julia Varela presents thirty-four belts around cut mirror forms that represent an anonymous body in fragments. The reflections and duplications in the work stem from Varela’s interest in the practice of hired mourners who are used in some societies to extend and amplify grief at funerals. Just as the belts literally hold the work together, the exaltation of support mechanisms recurs throughout the exhibition. Varela’s understanding of the body as a battlefield, as a space for the expression of conflicts, connects with the idea of overcoming adversity in a broader societal sense.
Marco Godoy makes more direct reference to socio-political concerns, integrating the slogans of the Athens Polytechnic uprising of 1973, “Bread, Education, Freedom”, by translating them to blind-deaf tactile signing as an alternative means of communication. The touch is personal and empathetic, but incomprehensible to the uninitiated without translation. These words were reactivated, after a period in standby, to protest against the Greek ‘troika’ during the recent anti-austerity demonstrations. Detached from the traditional language of protest the significance of these words is renewed, three simple requests repeated. ( press-release)

COPPERFIELD, 6 Copperfield Street. London SE1


Image: David Escalona Puntos de apoyo (Supporting Points), 2015

DUBLIN. Historias inmediatas. PhotoIreland Festival

6 – 28 july, 2016

PhotoIreland in collaboration with the Istituto Europeo di Design Madrid (IED Madrid) and Instituto Cervantes Dublin present seven projects by recent graduates of the European Master of Fine Art Photography, in IED Madrid. Reflecting on memory, identity, and place, these emerging practitioners construct a fresh and contemporary language with works that elaborate on key concerns of their generation.

Author: Shiv Ankit Ahuja, Anubhav Syal, Natalia Queirolo Calmet, Shane Green, Duarte Amaral Neto, Paulina Lara y Ana Sofía Ayarzagoitia . (I. Cervantes press-release)

Instituto Cervantes. Lincoln House, Lincoln Place. 2 Dublin (IRLANDA)

Imagen: Photoireland

DRESDEN. Tomás Alonso “Friends+Design” Staatliche Kunstsammlungen

9 july – 1 november, 2016

True friendship is a rare and special gift – but how do creative people, competitors on the market, manage their friendships, exchange ideas, share their lives? The exhibition “Friends + Design” investigates this theme.
The Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) is inviting 7 friends / internationally acclaimed designers to work together on different commissions in 3 groups. From that, new works will be created for the Museum of Decorative Arts at Pillnitz Palace in Dresden, ranging between installations, products and happenings.
AC/E supports the participation of the Spanish product designer Tomás Alonso, who with the German Mathias Hahn has been commissioned to create a gift for each other, based on the question “What would a design look like if it was conceived to be a gift for your friend?” The commission is not limited to objects, as a gift could be anything, even time. The only limitation is that it needs to be recognizeable within the exhibition.
This setting brings together two up-and-coming designers who both live in London and have been working for well-reputed companies as well as independent artistic projects. They share an approach to design, which can be considered as elegant, slender, yet poetic. (AC/E press-release)

Staatliche Kunstsammlungen. Residenzschloss (Royal Palace) / Small Palace Courtyard . Taschenberg 2 . 01067 Dresden

Imagen: friends+design SKD

NEW YORK. Laura F. Gibellini “A Room of One’s Own” Clemente Soto Vélez Cultural & Educational Center

1 – 28 july, 2016

In “A Room of One’s Own”, Virginia Woolf discusses the cruciality of claiming a private room for each woman of her own to create—particularly to write—while remaining unrestrained from demands of the patriarchal opinion. While her argument heavily refers to brick-and-mortar rooms, harboring of ephemeral chambers along the gnarly paths of imagination equally promises boundless territories for one to channel creative outlets.
On the other hand, Woolf’s text projects contentious arguments about self-ostracism from the public as well as numbness towards societal dynamics.

Artworks in “A Room of One’s Own: An Exhibition” refer to Woolf’s influential text via straightforward or allegorical methods and highlight her ground in various forms of aesthetics, while articulating the modes of introspection and discernment.

Curated by Osman Can Yerebakan, the exhibition includes Laura F. Gibellini, Ryan Roa, Lana Abu-Shamat, Joana Kohen, Flavia Souza, Levan Mindiashvili, Selime Okuyan, Orna Ackerman, Mike Hewson, Alexandra Leyre Mein, Sinan Tuncay and Kambui Olujimi. (Clemente press-release)

Clemente Soto Vélez Cultural & Educational Center. 107 Suffolk Street in Lower East Side. New York 10002

Image: “A Room of One’s Own” Clemente Soto Vélez Cultural & Educational Center

LISBON. Belén Uriel. Culturgest

2 july – 2 october, 2016

The exhibition of Belén Uriel (Madrid, 1974) at Culturgest, in Lisbon, is a comprehensive presentation of her work until now, revisiting her artistic practice over the last few years. Curated by Miguel Wandschneider, and taking place at Culturgest’s main gallery space (occupying 500 m2), the exhibition combines works that have already been shown in other circumstances with many recent and previously unexhibited pieces. The show will present a series of sculptures in metal, papier-maché and fired glass, along with photo-collage works - a total of circa 50 individual pieces. . Belén Uriel, live and works in Lisbon and London. She studied at the Complutense University in Madrid and Chelsea College in London.  (C/E press-release)

Fundação Caixa Geral de Depósitos – Culturgest. Edifício Sede da Caixa Geral de Depósitos. Rua Arco do Cego 50, Lisboa

Image: Teresa Santos/Pedro Tropa


june 26 - september 24, 2016

More than 250 works by Joan Miró created in Mallorca make the first individual exhibition in Korea, originally from the Fundació Pilar i Joan Miró and private collections. The selection, which will be exhibited in the Seoul Sejong Art Center in an area of 1,322 m2, offers a set of keys to approach the spirit and thought of the artist.
The exhibition takes a journey through different thematic areas. On the one hand, the strong attachment that Miró feels for their roots and identity, aspects that influence very directly in his work. Furthermore, the commitment to search its working methods, based on the main visual influences of the twentieth century: anti-art roots of Dada and Surrealist movements, American Abstract Expressionism and Oriental art.
Visitors may know about the creative fecundity of the artist through his plastic resources, his variety of techniques and materials, and his particular iconography, which testify the insatiable desire for renewal and rupture that characterizes his last creative period in Mallorca (1956-1981). (Fundació Pilar I Joan Miró press-release)
Organizadores: Michuhol Art Center Association / DCommunication Inc / Fundació Pilar i Joan Miró. Patrocinador: The Asia Bussiness Daily

Sejong Art Center, Seoul, South Korea

Image:Fundacio Pilar i Joan Miró

ORLANDO. David Catá “CORPUS” Snap! Space

24 june – 17 september, 2016

Snap! Space presents ‘CORPUS’ : A contemporary representation of the human body, reflected by six international artists. The body has figured prominently in the creative expression of nearly all cultures from the beginning of civilization. Through art, the body becomes a site for defining individual identity and experimenting with the nature of representation itself, sometimes with the artists using their own bodies in their creative process. Artists: Roger Weiss (Switzerland), Nicolas Senegas (France), Cristina Troufa (Portugal), David Catá (Spain), Jörg Heidenberger (Germany), Marwane Pallas (France). Exhibition curated by Holly and Patrick Kahn.

David Catá (Viveiro, Spain, 1988). He studied a B.A. (Fine Arts) in Vigo University (Pontevedra). In 2010 moves to Madrid and graduates in the Internacional Master’s Degree in Photography (Concept and Creation) at Madrid’s EFTI winning the first prize of class. He also studied the intermediate degree in accordion at Viveiro’s Conservatory of Music. In 2010, he won the first prize of the Ourense’s Diputation of Plastic Arts contest, the first accesit at the Bang 6th Video Art Festival of Barcelona at 2013 and won an acquisition prize for the 13th Isaac Diaz Pardo Fine Arts Contest at 2013.

He’s been selected for national and international calls, such as the “Xuventude Crea 2010”, the “Gritos de Libertad” photography contest, the “Eject” 4th Internacional Videoperformance Festival of México City, the Ourense’s Diputation Plastic Arts contest 2012 and 2013, the “INCUBARTE” 5th International Independent Arts Festival, the “Convergencias’” Alliançe Francaise of Madrid’s photography contest, the CEC’s Plastic Arts contest, the “((.mov))” In Movement International Videoart Festival of Peru, the 15th Sala El Brocense’s AAPP Contest, the 5th International Videoarts Festival of Camaguey, the “Region 0” Videoart Festival of New York, among others.. His work has been seen in Mexico, New York, Peru, Cuba, Portugal, Cambodia and Spain. (Snap Space press-release)

Snap! Space, 1013 E. Colonial Dr. Orlando, 32803.Florida.

Image: David Catá. “ni conmigo ni sin mi”

NEW YORK. Martí Cormand “Postcards to AZ” Josée Bienvenu Gallery

7 june – 22 july, 2016

Josée Bienvenu presents Postcards to AZ, a solo exhibition by Barcelona born, Brooklyn based artist Martí Cormand. This new series of 7 x 5 inch oil paintings and graphite drawings exist as symbolic excavations and distant iterations of lost masterworks during the Nazi regime, challenging not only the notion of remembrance but also the materiality of history. 

Arranged in a museological display, qualities of transparency, density, light, shadow, and extreme precision are applied to either bring the works to a point of self-consciousness, or to articulate the oblivion of the subjects. Cormand’s work attests to the coalescence of time, or rather, of an intangible past that can only be grasped in the present through intuition. According to the artist, our present reaffirms the concept of an "eternal return," the idea that our existence is cyclical in nature instead of linear. These images also become a byproduct of entangled temporality in cyberspace, where Cormand often derives his source material.

Born in Barcelona in 1970, Martí Cormand lives and works in Brooklyn. Selected exhibitions include: Martí Cormand, Galería Cayón, Madrid (2014); "Formalizing Their Concept” Galería Casado Santapau, Madrid, (2014); Formalizing their concept, Josée Bienvenu Gallery, NY (2013); Algo de esto, Jugada a 3 bandas (Ja3b), Galeria etHall, Barcelona (2013); False Documents and Other Illustrations, Portland Museum of Art, Portland, Maine (2010 - 2011); Arranz-Bravo Foundation, Hospitalet de Llobregat, Barcelona (2010); Galerie Lelong, New York(2010); Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007); Villa Arson, Nice (2006). (Josée Bienvenu press-release)

Josée Bienvenu Gallery. 529 W20th St 2nd floor. New York

Martí Cormand

Image: Martí Cormand, Postcards to AZ, 2016, installation view


GENEVA. Enrique Fontanilles, Josep María Martín “Caméra(Auto)Contrôle” Centre de la Photographie

1 june – 31 july, 2016

“Caméra(Auto)Contrôle focuses on a world contaminated by the Western lifestyle that nevertheless retains a few throwbacks to the old surveillance regime. The exhibition has developed an uncategorized approach in order to blend the most diverse positions between the optical control carried out by drones, the self-generated control wrought by Facebook, and a camera control exercised by counterpowers, be it the press or artists. The exhibition defends militant positions like the cheerful reappropriations of devices and systems of control that have been carried out.” Joerg Bader, Curator / Director of the Center of Photography Geneva.

Enrique Fontanilles (Barcelona 1961) has been given several awards, grants and prizes for his work and his commitment as both a teacher and expert or as a member of several cultural committees or commissions has made him an important celebrity in the Swiss contemporary art world. Of Spanish nationality, he was capable of crossing the linguistic boundary that separates German and French-speaking Switzerland. The simplicity and formal elegance of his work, as well as the consideration he gives to music, have remained in evidence throughout his career

Josep-Maria Martín (Ceuta, Spain, 1961) lives and works in Barcelona, Perpignan and Geneva. He is a visual artist that frequently collaborates with other professionals and/or with ordinary people (that might be linked to a project) such as: artists, architects, writers, social workers, designers, doctors, nurses, researchers, etc. His work consists of opening participative research processes of investigation and analysis in specific contexts in the search of cracks inside personal or social systems. From there on, he negotiates and creates prototypes that put into practice revealing experiences. He teaches at Pole Arts Actión, HEAD (Haute École d’Art et de Design, Geneva University of Art and Desing), Switzerland, and the teacher in charge of pedagogy at L’École Superieur de Beaux-Art (Perpignan, France).

Artists: William Anastasi, Luc Andrié, Jacob Appelbaum, Aram Bartholl, Viktoria Binschtok, Giacomo Bianchetti, James Bridle, Lucien Castaing-Taylor / Verena Paravel / Ernst Karel, João Castilho, Kurt Caviezel, Jean-Marc Chapoulie, Gaëlle Cintré, Paolo Cirio, Edmund Clark, Collectif_Fact, Nicolas Crispini, Stéphane Degoutin / Gwenola Wagon, Guillaume Désanges / Michel François, Heather Dewey-Hagborg, Jimmie Durham, Léa Farin, Harun Farocki, Enrique Fontanilles, Dan Graham, G.R.A.M., Hervé Graumann, Vincent-Emmanuel Guitter, Lynn Hershman Leeson, Gary Hill, Ann Hirsch, Jan Hofer / Severin Zaugg, Matthew Kenyon, Joakim Kocjancic, Clément Lambelet, Jérôme Leuba, Armin Linke, Fred Lonidier, Rafael Lozano-Hemmer, Jill Magid, Rubens Mano, Josep Maria Martin, !Mediengruppe Bitnik, Adrien Missika, Gianni Motti, Warren Neidich, Christof Nüssli / Christoph Oeschger, Willem Popelier, Julien Prévieux, Catherine Radosa, Sébastien Reuzé, Jenny Rova, Julia Scher, Manuel Schmalstieg, Sean Snyder, Jules Spinatsch, Jonas Staal, Jemima Stehli, Franck Vigroux / Gregory Robin, Vangelis Vlahos (Centre de la Photographie press-release)

Centre de la Photographie de Genève. Bâtiment d’art contemporain. 28, rue des Bains
1205 Genève

Image: Center of Photography Geneva. 50JPG


MANCHESTER. Marcos Moreno “Feel Spain” Instituto Cervantes

9 june – 29 july, 2016

The Instituto Cervantes presents a retrospective about the work of the Spanish photographer and journalist Marcos Moreno. A wide variety of amazing pictures about Semana Santa (Easter Week) and El Rocío Fiesta.

Marcos Moreno, Born in Línea de la Concepción, Cádiz in 1974, is a photojournalist since 2004. He began his career in a comarcal journal and he's currently a correspondent contributor to a number photo agencies such as AFP (AGENCE FRANCE PRESSE), InfoGibraltar (Government of Gibraltar) and El País. He has been awarded in many ocasions for his excellent work as a photographer. (I. Cervantes press-release)

Instituto Cervantes. 326-330 Deansgate, Campfield Avenue Arcade. M3 4FN Mánchester Lancashire (REINO UNIDO)

Image: Marcos Moreno

CHICAGO. Juan Muñoz “Thirteen Laughing at Each Other” The Art Institute

28 april - 06 october, 2016

This spring the Art Institute of Chicago welcomes to the Bluhm Family Terrace a theatrical installation by Spanish sculptor Juan Muñoz (1953–2001) that flips the experience of viewer and viewed. Many of Muñoz’s works unfold like stories in which the spectator is written into the drama. In the case of Thirteen Laughing at Each Other(2001), the viewer is thrust right into the center of the scene. By entering the installation space, one is surrounded by laughing figures seated on bleacher-like structures. From this vantage point, it quickly becomes clear that Muñoz is not merely granting the viewer unusual access to the artwork but also shifting the role of the observer to that of an unwitting subject, and potentially even an object of ridicule as the sculptural figures laugh hysterically—some toppling from their seats—at the spectacle in their midst. The work creates a tension and psychological depth that is at once unsettling and captivating. “I try to make the work engaging for the spectator,” said Muñoz. “And then unconsciously, but more interestingly, I try to make you aware that something is really wrong.”

Muñoz is regarded as a leading sculptor of his generation and among the most significant artists to have achieved maturity in post-Franco Spain. His focus on the human form set him apart from many of his contemporaries who saw figuration as outmoded. Known for emphasizing the relationship of sculpture to architecture and the viewer, Muñoz’s work is replete with references to the history of Western culture. His artistic activity includes drawings, radio plays, writings, and essays in addition to sculpture and installations.

Sponsors: This exhibition is organized by the Art Institute of Chicago with major funding from the Bluhm Family Endowment Fund, which supports exhibitions of modern and contemporary sculpture. Special thanks are due to the City of Chicago Department of Cultural Affairs and Special Events. (Art Institute of Chicago press-release)

Art Institute of Chicago. 111 South Michigan Avenue. Chicago, Illinois 60603-6404

Image. Juan Muñoz “2 Seated on the Wall with Small Chairs, 2000” Photo: Art Institute of Chicago

LONDON. Jorge Otero-Pailos “The Ethics of Dust” Westminster Hall

9 june - 01 september 2016

This summer the Houses of Parliament will host a major new contemporary artwork in Westminster Hall. Commissioned and produced by Artangel, 'The Ethics of Dust' is a temporary art installation created by artist, architect and conservationist Jorge Otero-Pailos.

The artwork is a 50 metre long translucent latex cast of the hall’s east wall, containing hundreds of years of surface pollution and dust.

Suspended from Westminster Hall’s 28-metre high hammerbeam roof, the latex sheet contains innumerable particles of dust, soot and dirt gently lifted from the wall during the sensitive cleaning of this UNESCO world heritage site.

Otero-Pailos and Artangel worked in parallel with Parliament's restoration and stone cleaning project  for over five years, culminating in Otero-Pailos retrieving the latex used to clean the hall to create The Ethics of Dust.

Otero-Pailos has previously used this same method at other heritage monuments, including the 14 century Doge’s Palace in Venice.

The Ethics of Dust takes its name from writer John Ruskin’s 1866 book The Ethics of The Dust. Ruskin greatly admired Westminster Hall and the Doge’s Palace: both were seats of governments ruling vast naval empires, threatened with demolition and ultimately saved by restorations.

Ruskin argued against cleaning both buildings with the blunt tools available at the time and went on to lay the intellectual foundations for how we conserve buildings today.

 (Parliament press-release)

Westmintter Hall, Palace of Westminster London

Image: A section of the 50 metre latex cast of the east wall of Westminster Hall is tested in a warehouse in Northampton ahead of being installed at Westminster Hall. An Artangel project. Photo by Nick Chapman

LANDSKRONA. Joan Fontcuberta ”Science and Friction” Landskrona Museum

16 june–28 august 2016

In the exhibition Science & Friction, presented at Landskrona museum as part of Landskrona Foto Festival, Joan Fontcuberta presents three bodies of work. In Herbarium (1982) photographs of non-existent plants are presented in a context of scientific research, together with books, illustrations, dry flowers and specific instruments. The large-scale abstract photographic series Hemogramas and Lactogramas are created without a camera, instead Fontcuberta makes his negative by deposing drops of blood or milk onto transparent glass slides.

Born in Barcelona in 1955, artist, teacher, writer and curator Joan Fontcuberta is one of the most significant figures in contemporary photography. After beginning his career in advertising, he went on to teach in the faculty of Fine Arts at the University of Barcelona, as well as numerous other institutions including Harvard University. He co-founded PhotoVision magazine in 1980 and has many other publications to his name. He was named Chevalier des Arts et des Lettres by the French Minister of Culture in 1994, received the 1998 National Prize in Photography from the Spanish Ministry of Culture, the National Prize in Culture for Visual Arts from the Catalan Government and was last year chosen as the recipient of the Hasselblad International Award in Photography. (Landskrona Museum press-release)

Landskrona Museum. Slottsgatan, 261 31 Landskrona. Sweden   

Image: Herbarious serie. Joan Fontcuberta

DUSSELDORF. Alvaro Urbano „Planet B.100 ideas for a new world“ NRW-Forum

2 june – 21 august, 2016

With the exhibition project “Planet B” we will be presenting alternative designs for the future and an exhibition as a living organism.

The international group exhibition “Planet B – 100 ideas for a new world” engages with the radical changes to our planet – and looks for a plan B, for the future we are all dreaming of. Some 500 years after the publication of Utopia, a novel by Thomas More, artists, designers, architects, researchers and entrepreneurs will be presenting their utopias for the 22nd century.

Food hacking, the smart city, alternative economies and sustainable consumption – with their projects, the artists will be highlighting alternatives and drawing our attention to social, political and economic injustices. Yet, the exhibition project is not merely about showcasing these ideas - they will also be realised in the exhibition as well as in public spaces.

Planet B has been curated by Alain Bieber, Nicola Funk and Joanna Szlauderbach in cooperation with Vasco Bontje (Sustainica) and Darija Šimunović (project Hörner/Antlfinger). An accompanying publication by Lukas Feireiss and Matthias Hübner presents many other utopias – from Steward Brand, though Chus Martínez and right up to Raymond Kurzweil – that serve as an inspiration and encourage action

Artists: Agnieszka Pokrywka, Alvaro Urbano, Anna Romanenko, Armin Chodzinski, Atelier für Sonderaufgaben, Andrew Gryf Paterson, Ben J. Riepe, Björn Kühn, Brad Downey, Constantin Schlachter, Eric Winkler, Hörner/Antlfinger, Jan Holtmann, Jana Pejoska, Kathryn Fleming, Labor Fou, Lars Zimmermann, Mathieu Tremblin, Matthias Löwe, Merlin Baum, Mikko Laajola, Norma D. Hunter, per.Vers, Valentina Karga, Vladimír Turner (NRW-Forum press-release)

NRW-Forum. Ehrenhof 2, 40479 Düsseldorf, Deutschland

Image: Álvaro Urbano 

LONDON. Nastivicious “Blood For Light” Waterside Contemporary

2 june – 6 august, 2016

Blood For Light brings together a cycle of video installations in which fast-paced visuals and music are narrated in lucid and precise language by a voice that is at points poet, seducer, prophet, and agitator.
With experience in the broadcast industry, pop music and performance, Nastivicious (who describe themselves as a “productive unit committed to creating good work”) are proficient in manipulating and distributing ‘content’. An on-the-fly quality, broad references and stroboscopic attention spans are at once tools and subjects of interrogation.

In a high-energy karaoke, The Overture sets out terms under which the family of man battles with its conscience and instincts, it both denounces and pays tribute to human folly. In South, a collage of iconic moments of recent art history, the art world itself is an example of a failing solipsism: obsessed with commercial relevance and lacking penetrating engagement despite the appearance of complexity (just what precisely is a ‘global context’?).

Far from seeking shelter in pluralism, the artists reject the comfort of easy questions and tidy answers, and their irreverent disruption is in stark defiance to the well-meaning and earnest criticality that is failing to generate ideas adequate for here and now. “To survive, we have to move onto solid foods;” an explicit affirmation comes in Fuck Identity, a set of enticements in the form of bodily fluids. This alluring invitation to foreground tangible experience highlights the redemptive potential of the most base of our instincts: blood and tears, love, joy, pleasure and beauty all roll together.

Nastivicious are Nástio Mosquito(Valencia 1971) and Vic Pereiró (Angola 1981) who have collaborated in a variety of forms since 2010. Their recent exhibitions and performances include: METANEO, Espai d’art contemporani de Castello, 2016; Daily Lovemaking, Venice Biennale and Ikon Birmingham; Göteborg Biennial of Contemporary Art, 2015; …all silent but for the buzzing…, RCA London, 2014; 9 Artists, Walker Art Center, Minneapolis, 2013 (waterside contemporary press-release)

waterside contemporary. 2 Clunbury Str. London N1 6TT

Image: Nastivicious “Blood For Light” 

BERLIN. Antoni Abad “BlindWiki” Berlin Biennale for Contemporary Art

4 june – 18 september, 2016

In his collaborative works Catalan artist Antoni Abad uses consumer technology to create networks of marginalized individuals, as in, a project initiated in 2004, which is based on face-to-face meetings between participants who then collaborate to post online audio recordings, videos, and photographs using their mobile phones. His latest project BlindWiki, previously beta-tested in Rome and Sydney, has been developed for and in collaboration with blind and partially sighted participants in Berlin, who use smartphones to verbally document and share their geotagged experiences, memories, and on-the-go thoughts. Their site-specific audio contributions are accessible to the public, who can listen to them in situ throughout the city on smartphones or anywhere online. Part social network, part Situationist geo-tag of an urban landscape, and part participatory archive, the project gives voice to people for whom representation is not a given aspect of daily life. Antoni Abad* 1956 in Lleida, ES, lives and works in Barcelona, ES

Works: BlindWiki, Unveiling the Unseen. A citizen network project involving participants with vision loss, 2016. Smartphone application, guided tour, website, workshop
Courtesy Antoni Abad. Commissioned and coproduced by Berlin Biennale for Contemporary Art
With the support of Institut Ramon Llull; Acción Cultural Española; Spanische Botschaft in Berlin (Berlin Biennale press-release)

Berlin Biennale. Auguststraße 69. D-10117 Berlin  

Image: BlindWiki. Antoni Abad

LONDON. Silvia Lerin: ‘Ivy’ from “Inspired by an English Garden” Idea Store Whitechapel

2 June – 31 July 2016

When receiving a commission to paint a particular theme one thinks the effort will last as long as the process of making it, but on this occasion the topic is a garden and your chances of deviating from this beautiful subject begins to recede. This is how my current project Inspired by an English Garden all began.

The installation that I am presenting belongs to that project. I don’t try to do a representation of the ivy, as it is a natural object but instead I express its abstract essence through my interest in examining the confines of the shape of objects and the way painting speaks on transforming the work. These things have driven me to a stage where I have decided to keep on researching the boundaries of my artistic practice by observing the multitude of ways nature offers its splendour.

I decided to come to London in 2014 after receiving the Pollock-Krasner Foundation Grant from New York. This allowed me to continue my artistic career through financial support. I realised quickly that London was going to be my city for an extended period of time. Since I came to London I appreciated that the art I was creating reflected the way I was living from day to day. My art was evolving as a diary would do - the series, the chapters, the art pieces, its pages…

Silvia Lerin (Valencia, 1975). Bachelor of Fine Arts from San Carlos Fine Arts College of Valencia. Lives and works in London, UK. Lerin has exhibited extensively in the UK and Europe. In 2014, she won the Pollock-Krasner Foundation Grant, New York. Her art work can be found in museums and foundations across Spain, UK and Germany. (Idea Store press-release)

Idea Store Whitechapel 321 Whitechapel Road, London E1.

Image: Ivy. Silvia Lerin

TOLEDO. Jaume Plensa “Human Landscape” The Toledo Museum of Art

17 june – 10 november, 2016

The upcoming exhibition marks a rare opportunity for visitors to experience the spectacular work of Plensa in The Toledo Museum of Art. This is the first time the artist’s work has been seen in such depth since his 2010 exhibition at the Nasher Sculpture Center in Dallas.
Plensa’s work in the United States include Crown Fountain in Chicago’s Millennium Park , and Echo, formerly on view in Madison Square Park in New York, now permanently sited at Olympic Sculpture Park at the Seattle Museum of Art. The recipient of many awards and accolades, Jaume Plensa was most recently awarded the 2012 prestigious National Visual Arts Award of Spain, the 2013 Velasquez Prize awarded by the Spanish Cultural Ministry, and Spain’s 2013 National Graphic Arts Prize. Nine large-scale outdoor sculptures, indoor installations and sculptures, and a selection of works on paper comprise this comprehensive exhibition, which will span the historic estate’s grounds, gardens and museum galleries for a uniquely engaging visitor experience. As a part of the exhibition, Jaume Plensa will create new works including a double sculpture entitled Soul of Words, which will be sited on the prominent color garden lawn. A monumental cast iron head, Laura with Bun, a 23 foot high cast iron portrait will grace the entrance of the grounds.
Plensa’s body of work is primarily inspired by the complexities of the human condition. He is known for the exploration of the tension between the interior and exterior life. The artist uses a variety of materials—from cast iron to steel and bronze to alabaster and synthetic resin—choosing the material which will best communicate his idea for the image. Plensa’s portraits are a radical reinterpretation of what is usually considered the domain of a more classical art.

Plensa is also involved with the transmission of language and culture. He often uses excerpts of texts from authors and poets whose writings are meaningful to him. The characters from many world alphabets are the physical elements that form a sculpture, making language as central to his work as human forms themselves. In this body of work, Plensa blurs the line of language, culture, belief system and physicality. The result is what is often described as work with a luminous beauty and grace, a sense of harmony, and supreme calm. (Toledo Museum press-release)

The Toledo Museum of Art. 2445 Monroe Street. Toledo OH

Image: Jaume Plensa, Paula, 2013


HERTOGENBOSCH. Fernando Sánchez Castillo “The Introduction of the Stone of Madness” Stedelijk Museum.

18 june – 11 september, 2016

The project results in an exhibition organized within the framework of the Hieronymus Bosch 500 year (2016), with only the work of the Spanish artist Fernando Sánchez Castillo. Sánchez Castillo's work consists mainly of videos, sculptures, installations, drawings and performances. In this he analyzes in a critical manner the relationship between art, power and religion. He does this in a serious but also playful and ironic way. In the meeting of opposites such as beauty and violence, rebellion and victory, takes shape new images for the future. Universal images of power getting a new life into the hands of Sánchez Castillo. Sánchez Castillo is aware of the fact that Bosch’s work has had an huge impact on the Spanish art and his own work in particular. Thanks to the fascination of Philip II for the work of Bosch, a lot of Bosch’s works end up into the Spanish Royal collections. This fascination of Philip II for the work of Bosch will be part of this project. In the framework of the Hieronymus Bosch 500 year, Sánchez Castillo was inspired by Bosch’s work ‘The Stone of Madness’, which shows how a stone of madness is removed from the head of a man. Here formed the idea for a new installation called ‘The Introduction of the Stone of Madness’. The moralizing undertone in Bosch’s work is in this of great importance. The presentation of this installation is derived from another painting by Bosch, ‘The Hay Wagon’. In this installation form objects, sculptures, drawings and films is presented with as connecting elements: the hidden and the moralizing. The room in which the exhibition takes place measures 14 x 25 meters and is 5 meters high, no daylight. Most of the sculptures, drawings and objects as well as a display structure have to be transported from the storage of the artist in Madrid to ‘s-Hertogenbosch and back, after the exhibition has ended. (AC/E press-release)

Stedelijk Museum's-Hertogenbosch. De Mortel 4. 5211 HV 's-Hertogenbosch   

Image: “Extracción de la piedra de la locura” El Bosco. Museo del Prado. Madrid


ZURICH. “What People Do For Money” Manifesta 11. European Biennial of Contemporary Art

11 june – 18 september, 2016

Manifesta is a travelling European Biennial of Contemporary Art which sets out to explore and reflect new developments in contemporary art in Europe in order to present new aspects and forms of artistic expression to a new local, national and international audience. 
Manifesta 11 will be held in the city of Zurich, under the title What People Do For Money: Some Joint Ventures in three venues: the Miros Museum für Gegenwartskunst, LUMA Westbau / POOL and the Kunsthalle Zurich. This city has a long history of artistic and intellectual liberalism: it was an incubator of revolutionary political and artistic movements and during the periods of turmoil in Europe it offered asylum to intellectuals from all over the world. Nowadays Zurich is one of the economically and technologically most advanced cities in the world. This rich and rapidly evolving city offers Manifesta 11 the chance to explore critical global issues on urban space and society, while reassessing the role that art can play in these relations.
The curator, German Christian Jankowski, has proposed five Spanish artists: Santiago Sierra, Carles Congost, Fermín Jiménez Landa, Fernando Sánchez Castillo and Karmelo Bermejo.  His project consists in working with professionals of a particular sector in Zurich. Santiago Sierra has chosen to work with military, Carles Congost with a rock star, and Fermín Jiménez Landa with a meteorologist. (AC/E press-release)

Manifesta. Löwenbräukunst. Limmatstrasse 270, 8005 Zurich

Imagen: Manifesta11

PORTO. “PIGS” Galería Municipal

3 june – 21 august, 2016

From a selection of international artists, the PIGS project sets out to reflect a political landscape imbued with the cynicism that is the inevitable result of the representations that legitimate the superiority of a speech or image of the countries of the north of Europe over the countries of the south. The acronym coined by the neoliberal financial press serves as an excuse to sketch a portrait of what is going on and to bring to light some of the types of power involved. The term is a play on words, since the expression pigs can fly refers to something impossible, such as the economic miracle sup¬posedly achieved by those peripheral countries. Hence the occasional use of the expression “pig economy.

Artists: Carlos Aires, Vasco Araujo, Artspirators (Maria-Andromachi Chatzinikolaou, Nikos Podias, Rania Armagou, Spyros Tsalapatas), Bill Balaskas, Karmelo Bermejo, Rossella Biscotti, Stefano Cagol, Nuno Cera, Paolo Cirio, Danilo Correale, Priscila Fernandes, Carla Filipe, Nuria Güell, Jenny Marketou & Zafos Xagoraris, Juan Carlos Meana, PSJM & José María Durán, Avelino Sala, Santiago Sierra, Federico Solmi, Stefanos Tsivopoulos. (AC/E press-release)

Galería Municipal. Rua de D. Manuel II - Jardins do Palácio de Cristal - 4050-239 Porto

Image: Avelino Sala. Give me Shelter. 2016

MADRID. Linarejos Moreno “Tabularia: Science and Imagination Laboratories” Real Jardín Botánico

02 june – 31 july, 2016

With the arrival of modernity, art and science were located on opposite extremes of an epistemological split: art “was inventing” while science “was discovering”. A polarity that this exhibition eliminates, questioning the apparently excluding notions of subjectivity and objectivity, fiction and reality, and culture and nature that are traditionally attributed to the art-science dyad.

The showing is articulated around the dialogue between a project held in collaboration with the researcher Fabiola López Durán, Tabularia: laboratorios de ciencia e imaginación—in which Linarejos Moreno (Madrid, 1974) researches into and re-contextualises scientific images—and her installation Art Forms in Mechanism, her own archive of botanical models from the nineteenth century.

In addition, on 6 June there will be a round table debate with the author herself and various experts that will deal with the conceptual nucleus of the exhibition. This encounter which will be held at the Glorieta de los Castaños of the Royal Botanical Gardens, will show how art and science have participated, indifferently, in the processes of creating images and producing knowledge. Organized: Real jardín botánico and PHotoEspaña. In collaboration with Transart Foundation for the Art and Anthropology in Houston (PHotoespaña press-release)

Real Jardín Botánico – CSIC. Plaza de Murillo, 2. 28014 Madrid

Image: Linarejos Moreno





NEW YORK. Juanli Carrión “OSS#02” Fort Greene Park

june 04 - october 16, 2016

OSS#02 is an intervention in the form of geopolitical garden where plant species represent social groups to materialize human interaction.

OSS#02 is the fourth a series of interventions in the form of geopolitical gardens where plant species represent social groups and human interaction. The creation of the garden is based upon a series of video interviews in which plants are selected by interviewees and placed according to their real-life physical, political or emotional locations within their community.

For several months the installation functions as a community garden hosting workshops. OSS#02 uses Brooklyn and its recent history of immigration as its geopolitical parameters. The outcome of OSS is an informed discussion generated by visitors and participants about local community interactions and coexistence.

Project made in conjunction with New York City Department of Parks & Recreation. With the support of Fort Greene Park Conservancy and Brooklyn Arts Council BAF. Fort Greene Park, Myrtle Ave & Washington Park, Brooklyn, NY 11205

Image: Outer Seed Shadow #01 (areal view), by Juanli Carrión, Public Art Installation at Duarte Square in Manhattan.

BERLIN. Santiago Albert “Cofrades” Tumuult Gallery

12 may – 13 december, 2016

Cofradías are religious Mayan brotherhoods, shaped in Mesoamerica at the end of the 15th century as a reaction to the Spanish invasion. Incarnating the Latin American syncretism, they combine today the Catholic codes, initially adopt under force, with their indigenous beliefs. As priests, guides, shamans, thecofrades, literally „members of the brotherhood“, are elected depending on their faith and moral respectability. In a total dedication to their mandate, they give advice, lead celebrations, mediate and preside over the cultural and religious live of their community. The Maya Cofradías inherited from the ancient Roman brotherhoods and the guilds of the Middle Ages from the Occident as well as the Orient, the protection by a saint or an avatar, the conduct of ritual celebrations and processions as well as a „freely accepted“ hierarchy of functions.

The Maya civilisation, once a major pre-Columbian empire, handed down to their modern descendants what constitute today the principal fundaments of their „relation to the world“. Behind the theater of divers influences, the Cofradíasare today one of the last „indigenous cultural bastions“. Their cult, symbology and numbering, calendars and perception of time, languages and glyphs, artisan craftwork and techniques have survived the upheavals of the last centuries.The cofrades should today be understood as “guardians of the Mayan fire“. (Tumuult press-release)

Tumuult galerie. Heinrich-Roller-Straße 8. 10405 Berlin

Image: Tomás, Cofrade Chichicastenango, Guatemala. Foto © Santiago Albert, 2014

MARSBERG. Lara Almarcegui and Álvaro Urbano “Hybrid Modus” Kloster Bredelar

28 may – 31 july, 2016

Hybrid Modus documents how traditional concepts of sculpture are being challenged and expanded to their outer boundaries, and how sculpture merges into other disciplines. New, contemporary definitions are questioned, adapted and proved.

Hybrid Modus is a group show that brings together artists, based in Germany, Belgium and the Netherlands. Their works deal with the paradigm shift that has taken place on the level of ecological, societal and technological issues, leading to a post-human environment.
In a market where circulation increases value, and in many cases even equals value, the flow of goods and digital data has become currency itself. Trade has moved from objects to immaterial production of data and follower-bases. Moreover, the growing demand for optimized use of natural resources and efficiency leaves little room for serendipity and entropy.

Hybrid Modus addresses the issue of a man-made, hybrid ecology where nature, culture, capital, and the circulation of information coexist and overlap within the web of life. It may be related to our physical space, natural or urban surroundings, to virtual worlds. How do we deal with and live in these different realities? From the perspective of the human environment being in such a state of flux, the exhibition focuses on the significance of sculpture in the context of today’s networked society. How does the sometimes seemingly anachronistic, traditional medium address this current development?

Hybrid Modus is the 2016 edition of Skulptur Bredelar, and is curated by Bas Hendrikx (NL), and Ursula Ströbele (GER).

Artists: Stian Korntved Ruud &AE, Isabelle Andriessen, Lara Almarcegui, Julian Charrière, Andreas Greiner, Spiros Hadjidjanos, Martijn Hendriks, Markus Hoffmann, Rachel de Joode, Sculptress of Sound (Julia Bünnagel, Patricia Köllges, Tamara Lorenz), Philip Topolovac, Mirko Tschauner, Alvaro Urbano, Benjamin Verhoeven, Raul Walch, Dan Walwin.(sculptur bredelar press-release)

Kloster Bredelar: Sauerlandstraße 74a 34431 Marsberg-Bredelar

Image: sculptur bredelar


LONDON. Oscar Tusquets Blanca “Desingn Meets Art” Room One Gallery

24 may – 31 december, 2016

Room One, a creative space in the heart of historic Clerkenwell, has announced the exhibition of work by award-winning Spanish artist Oscar Tusquets Blanca. An internationally-renowned architect, designer, writer and painter, whose successful career has spanned many decades and disciplines, Tusquets is exemplary as a ‘Total Artist’.

Born in Barcelona in 1941, Tusquets graduated as an architect from Escuela Tècnica Superior de Arquitectura de Barcelona in 1965, and went on to design a number of notable buildings including several exhibition halls in the Musées des Arts Décoratifs at the Louvre, Paris, and most recently, the Toledo metro station in Naples.

A celebrated furniture designer and recipient of the Spanish National Design Award, perhaps the most recognizable of Tusquets’ designs is Dalilips, the iconic sofa that he co-designed in 1975 with his master and friend Salvador Dali, for the Mae West salon at Teatre-Museo de Figueras. A founding member of prestigious design company BD Barcelona, which today holds the exclusive rights to manufacture Dali’s furniture designs, Tusquets’ own designs are held in the collections of high-profile public institutions including MoMA in New York and the Georges Pompidou Centre in Paris. (Room One press-release)

Room One Gallery. 12-14 Berry Street. London EC1V 0AU

Image: Room One Gallery. Oscar Tusquets Blanca

SAO PAULO. “Picasso: savant hand, savage eye” Instituto Tomie Ohtake

22 may - 14 august 2016

With a large volume of works by the Spanish artist belonging to Musée National Picasso-Paris, this powerful exhibition organized by Instituto Tomie Ohtake shows items that bear a very special relationship of Picasso with his work, since they were selected and held by him throughout his life. These works that have thus stood by his side are now part of the collection of the French museum, whose Picassian collection is one of the most important in the world, mostly after two successive donations made by the painter’s heirs in 1979 and 1990. Only two of the works presented at the exhibition originally came from Dora Maar’s collection, later acquired by the museum.
‘Picasso: savant hand, savage eye’, curated by Emilia Philippot, who is also curator of Musée National Picasso-Paris, is made up of 153 pieces, the vast majority of which unprecedented in Brazil, and follow a chronological and thematic journey around sets that mark the main stages of the artist, from his early educational years to the last years of production. The exhibition unveils 116 works by the Spanish master - 34 paintings, 42 drawings, 20 sculptures and 20 prints - as well as a series of 22 frames by André Villers, made in partnership with Picasso. The exhibition ends up with 12 photographs authored by Dora Maar, three by Pirre Manciet, and films on the works and their ‘making-of’. “We chose to take advantage of the specific character of the collection to sketch a portrait of the artist that questions his relationship with creation, in-between production and design, implementation and thought, hand and eye,” says Philippot.
(Instituto Tomie Ohtake press-release)

Instituto Tomie Ohtake. R. Coropés, 88 - Pinheiros, São Paulo - SP, 05426-010, Brasil

Image: Picasso "Joueurs de ballon sur la plage", 1928

St. LOUIS.Nomad Studio “Green Air” Contemporary Art Museum

21 may – 14 august, 2016

Designed by New York-based Nomad Studio, Green Air is the second major, transformational installation in CAM’s courtyard. Green Air comprises two thousand slices of wood suspended from the courtyard’s trellis with Tillandsia air plants attached to each. The sculpture hangs above the heads of visitors, swaying in the breeze and filling the 45-by-50-foot space. Headed by William E. Roberts and Laura Santín, landscape architecture firm Nomad Studio is known for combining contemporary art and design with natural elements. Green Air is the second work in a two-year commission made possible by an Innovation Fund grant by the St. Louis Regional Arts Commission. Following Nomad’s previous installation, Green Varnish (on view May–September 2015), the new work re-uses wood that formed the armature of the original sculpture and re-envisions its curving, wave-like shape.

Green Air’s four-foot-long poplar sticks are hung at varying heights, moving together in the wind and functioning as a monumental aerial garden. The installation transforms the surrounding gray concrete and glass environment into a natural and organic setting. Surviving on light and air alone, the Tillandsia function as a bio-indicator, speaking to the pollution pervasive in a man-made environment. Nested within the courtyard, this immersive hanging garden surrounds visitors with unexpected beauty in a surprising location.

Nomad Studio was founded in 2009 by William E. Roberts and Laura Santín and is located in Brooklyn, New York. Committed to innovative landscape architecture, planning, art, and urban design, Nomad coordinates an international network of professionals who work together to create unique and memorable experiences that foster a connection between the user and the landscape. Nomad fosters a dialogue with the landscape from all angles and scales, with the objective of creating inspirational and experiential backdrops for people to engage with natural systems through beauty, outdoor recreation, or community interaction.

This exhibition is generously supported by an Innovation Fund grant from the Regional Arts Commission St. Louis and the Whitaker Foundation. (CAM press-release)

CAM. 3750 Washington Blvd. St. Louis, MO 63108

Image: Green Air. Nomad Studio



JERSEY CITY. Ángel Marcos “Hasta Siempre” MANA Contemporary

01 may  – 31 july, 2016

During the thirties, forties and fifties of the last century, Havana was known for its casinos. Artists,mafiosos, politicians and smugglers would mingle with each other in an undercover prosperity of nightlife, salsa and fireworks. They would laugh and drink together. Attracted by this spiral of joy, affluent Americans would travel to Cuba.

After the Revolution of 1959 and the rise of the Communist party to power, gambling establishments were shut down and their dazzling shine faded away. It was replaced by Las Vegas. Overnight, Americans managed to build a city in the middle of nowhere, which became the new center of entertainment.  A city created in the heart of a desert used to satisfy their vices and the excess that Capitalism allowed.

This exhibition tries to confront two opposing ways to understand the world. On the one hand, the concept that Las Vegas represents, a paradigm of an idle society. On the other hand, Havana, a faded paradise that has become a wasteland of expectations, a place out of its time that has been isolated due to the failure of Egalitarianism.

A comparison between both cities is unacceptable. Each city is located in an extreme. The only thing that connects both cities is an anecdote, a small detail that ends up being crucial for the success of Las Vegas: Gambling. The shining star of Havana fades away in order for it to start dazzling in Las Vegas. These two opposing worlds that have stopped the urge of the world in the 20th century and paradoxically have ended up giving a meaning to emptiness, defeating motivations, leisure winning against work. Constructing dead routes leading nowhere.

Ángel Marcos, born in Medina del Campo, Valladolid, 1955, Ángel Marcos is an artist who uses photography as his primary medium. He has exhibited in prestigious private galleries and international institutions. His works are held in the collections of a number of museums as well as in renowned private collections, among them the MNCARS, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; the MUSAC, Museo de Arte Contemporáneo de Castilla and León, Spain; Margulies Collection, Miami, USA; the Naples Museum of Art, Naples, USA; the Siemens Foundation, Vienna, Austria and la Maison Européenne de la Photographie in Paris. He lives and works in Madrid and Valladolid, Spain. (MANA press-release)

MANA Contemporary. 888 Newark Avenue. Jersey City, NJ

Image: “Hasta Siempre” Ángel Marcos


BUDAPEST. PICASSO “Transfigurations, 1895-1972” Hungarian National Gallery

22 april - 31 july 2016

Picasso - Transfigurations, 1895-1972, an exhibition dedicated to one of the most influential artists of the twentieth century, organised by the Museum of Fine Arts - Hungarian National Gallery, Budapest in partnership with the Musée national Picasso-Paris, opens 22 April 2016. The exhibition is on until the end of July, is Hungary's largest ever exhibition of works by Pablo Picasso.
Boasting a hundred paintings, drawings, sculptures and other artworks, this exhibition embraces every period of Picasso's career, paying particular attention to one aspect of his ouvre: the constant transfigurations in his portrayal of the human figure. Most of the exhibited works have been generouslyloaned by the Musée national Picasso-Paris, which, with some 5000 works, preserves the largest Picasso collection in the world. The collection was bequeathed to the French state by the artist's heirs, and contains works from every period of his activity, as well as 200,000 documents - letters, periodicals and photographs - from Picasso's private archive.
Visitors to the show are invited to take an informal journeythrough Picasso's distinctive creative method, focusing on the series he produced, his recurring motifs, and the landmark moments of breakthrough. The central theme is the evolution of Picasso's approach to figural depiction as he progressed through a career in art that spanned more than seven decades. In every period, the most prominent role was played by the human form, whether in the shape of the woman, the sensitive and passionate human, the thinker, the artist, the socio-political player, or the élite star. The changes in the way Picasso modelled his figures reveal the very essence of his art: his incessant innovation of form can be traced through his paintings - which make up the lion's share of the exhibition - as well as his prints and drawings, his sculptures and ceramics, and his film and photography. Curator of the exhibition: Emilie Bouvard (Musée national Picasso-Paris), co-curator: Ferenc Tóth (Museum of Fine Arts of Budapest)  (Hungarian National Gallery press-release)

Hungarian National Gallery. Buda Palace. Buildings A, B, C, D. H-1014 Budapest

Image: Budapest Times. 2016


VENICE. Antonio Girbés “Refugios” Abbey of San Giorgio Maggiore

29 may – 31 august, 2016

As part of the cultural activities of Benedicti Claustra Onlus and in conjunction with the 2016 Biennale of Architecture in Venice, in the Officina dell'Arte Spirituale exhibition space at the Abbey of San Giorgio Maggiore, Spanish artist Antonio Girbes presents Refugios , a site specific installation comprised of thirteen large-scale works. REFUGIOS is the brainchild of DELIRIOUS CITY, a series of works from 2006 in which the artist brought together photographic images of buildings by renowned architects in several European cities. Over the years all of these images generated the DELIRIOUS CITY project, a new and different space, a global, timeless city, in which the architectural elements created by man over the centuries coexist together simultaneously. Andrea Palladio, Pere Compte, Fritz Wotruba and Félix Candela are some of the seminal names encountered on this journey through the history of art, a fitting tribute to the extraordinary heritage that these great artists have left us. REFUGIOS eschews the typical two-dimensional quality of photography by making use of perspective to create illusions of impossible depths through which the eye is plunged into an unreal yet highly realistic three-dimensionality. Curator:  Javier Molins. (Abbey of San Giorgio Maggiore press-release)

Abbey of San Giorgio Maggiore. Officina dell’Arte Spirituale – Isola di San Giorgio Maggiore – Venice Public boat, line 2

Image: Refugios. Antonio Girbés


VIENNA. Javier Pérez “VIDA" Mario Mauroner Gallery

20 may - 30 july, 2016

The body is central in the works by Javier Pérez. Detached from the strongly gendered approach to the body in contemporary art, Pérez gives the body a different meaning: in his performances, drawings, photography and sculpture it is illuminated as a distorted, strong and at the same time fragile mass.
Pérez´ view is focused on the fascniating features of the human body that couldn´t be more contradictory:human skin is extremely sensitive and fragile, however at the same time it has the strength to control the body´s powerful mass, the fine and complex network of blood vessels providing the entire organism with essential substances. In the tradition of Borges, the mortality and metamorphosis of the body are central to his works.
The use of materials such as latex, artificial resin, glas, steel, animal hair or plant parts underlines the contradictory positions of stability/fragility, inside/outside, attraction/rejection. Javier Pérez (*born 1968 in Bilbao, Spain) Lives & works in Barcelona, Spain (MAM press-release)

Mario Mauroner Gallery. Weihburggasse 26. 1010 Wien. Austria

Image: Javier Pérez. VIDA 

VENICE. "Unfinished" Spanish Pavilion. 15th International Venice Biennale of Architecture

28 may -  27 november, 2016

The 15th Venice International Architecture Biennale will take place from 28 May to 27 November 2016. Based on the theme "Reporting from the Front". it is directed by Chilean architect Alejandro Aravena, winner of the Pritzker Prize in 2016. It is a call for reflection on mistakes made in order to share solutions that could help other countries anticipate and avoid similar outcomes (statement by Alejandro Aravena on the theme of the Biennale).
During the past period of economic growth in Spain construction became the main driving force behind the economy. Today we find the built presence and unfinished remains of the largest constructional undertaking in history, which left behind an awkward layout and large partially built and unconsolidated volumes.
With the exhibition ‘Unfinished’ the curators of the Spanish pavilion, Iñaqui Carnicero and Carlos Quintáns take a look at unfinished architecture in order to discover virtues that can be turned into design strategies. ‘Unfinished’ sets out to explore creative speculations on converting a past condition into a positive contemporary action.
In order to show the largest possible number of architectural designs related to this theme, the Spanish Pavilion for the 2016 Venice Biennale initially launched a call for selecting the built works to be shown under one of the following categories.
INFILL without façade. ELEVATIONS without land. CONSOLIDATE without autonomy. PATTERNS without deadlines. STRUCTURES without cladding. DEMOLITIONS without material. GENERIC without program. ADAPTABLE without permanences. REAPROPRIATION without new spaces. RAW MATERIAL without finishing LOW COST without money. COLLABORATIVE without authorship. SUBVERSIVE without regulations (AC/E press-release)

Bienal de Venecia Arquitectura. Ca’ Giustinian, San Marco 1364/A. 30124 Venezia

Imagen: Pabellón de España. Bienal de Arquitectura. Venecia 2016

ABU DHABI. Xavier Mascaró “Departure” Warehouse 421

4 may – 4 september, 2016

This exhibition invites visitors to experience passage, adjustability and mobility through the woks of Spanish artist Xavier Mascaró (b. 1965, Paris). Visitors can observe possibilities and meanings through the 18-meter iron ship shown at the entrance of Warehouse421, which is suitably located in Mina Zayed, inciting parallel dialogues between the artworks and the surrounding environment. Inside the exhibition, the 26 unique boats and documentation, along with the poems of reminiscence, survey thoughts, processes and experimentations that investigate notions of departure.

Mascaró employes a thematic that can be universal and personal. He transports visitors from ancient mythology and rampant totalities, to an icon that speaks to the historical specifics of the United Arab Emirates (UAE) community with its versatility. These relations manifest in traditional poems and songs that were instruments to convey what traveling really meant for the community, from longing to reuniting, and the essential emotions that bonded people together, and with the sea.

The UAE's geographical relation with the sea helped in creating strong trading, fishing and pearling industries that supported the community for years. Not only that, but it was also one that shaped the urban life and facilitated building the coastal cities that are witnessed today. (Warehouse421 press-release)

Warehouse 421. Mina Zayed. Abu Dhabi. UAE

Image: Departure. Xavier Mascaró

NAPLES. José Manuel Navia “Cervantes, a contemporary spirit” Instituto Cervantes

23 may - 30 june, 2016

The exhibition (Cervantes, a contemporary spirit), organised by AC/E and the Instituto Cervantes, shows the photographs produced by José Manuel Navia in connection with the celebration of the 400th anniversary of the death of Miguel de Cervantes in 2016. For this project, Navia followed in Cervantes’ footsteps, visually capturing the places and paths trodden by the great author throughout his life – a troubled and uncertain life that is also revealed to us in a veiled manner in his works.  
The photographs that make up the exhibition – between 60 and 80 – are mostly new, taken especially for this purpose. The project is based on the act of photographing the main places linked to Miguel Cervantes’s life, the traces of a lifetime, so that the end result is not just another collection of pictures of different places but a series of photographs that embodies the personal gaze of a traveller who wishes to embrace Cervantes’s real and literary territory through image. The photographs are accompanied by detailed texts and literary quotes that refer to the author’s life as well as to his works.  (I.Cervantes press-release)

Instituto Cervantes. Via Nazario Sauro, 23. 80132 Nápoles(ITALIA)

Image: Argelia, medina de Argel, ciudad donde estuvo cautivo Cervantes durante ciJosé Manuel Navia “Cervantes, a contemporary spirit” Instituto Cervantes

26 may - 30 june, 2016nco años. José Manuel Navia

THUN. Eduardo Arroyo “The Swiss Chapters” Kunstmuseum

14 may – 7 august 2016

The Swiss Chapters examine the work of the Spanish artist Eduardo Arroyo (born in Madrid in 1937, lives and works in Madrid and Paris) and his affinity to Switzerland. Whether as an artist, author or set designer, Arroyo is a storyteller. As a key figure of the movement entitled Figuration narrative he draws upon the large stock of world history, literature or boxing and combines them with personal motifs – for instance, the characters of Wilhelm Tell or the chimney sweep, both impressions from his Swiss journeys. Due to the enigmatic narrative elements, his detailed works demand an almost investigative approach from the viewer. The exhibition shows works from different life stages of the artist, from lithographs, paintings and drawings up to sculptures. In addition, Swiss friends and artists valued by Arroyo are also invited to participate in the exhibition: Alberto Giacometti, Thomas Huber, Meret Oppenheim, Peter Stämpfli, Hugo Suter, Gérard Thalmann, Jean Tinguely, and Félix Vallotton (Kunstmuseum press-release)

Kunstmuseum Thun. Thunerhof, Hofstettenstr. 14. CH-3602.

Image: Eduardo Arroyo, El martirio de San Sebastián, 1995, Courtesy the artist, © 2016, ProLitteris, Zürich

LEIPZIG. Álvaro Martínez Alonso “Capitalist Melancholia ” HALLE 14

30 april  – 7 august 2016

The degree of individual and collective, spiritual, ecological, and economic exhaustion and burnout we are experiencing today has led to a unique sort of 21st century melancholy.

For Sigmund Freud, the "deep and painful malaise" of melancholy is characterized by a "withdrawal of interest in the external world" and "loss of the capacity to love." During the Romantic period, the pensive wistfulness and exuberant idealism of the melancholic were still seen as a divine madness common in people doing creative work. The artworks on display at the exhibition and the symposium/performance "A Government of Times" invite us to pause for a moment, reorient ourselves, and reflect on new perspectives, raising questions about political fantasy and a different form of acceleration - an experimental, navigational process where we can discover a universe of possibilities.

Multi-disciplinary spanish artist Álvaro Martínez Alonso  (1983, Burgos) presents inphotography and video works which deals with the economic crisis and the problems "On Suspension" The financial crisis that currently lives Spain has caused problems not only of employment but, more importantly, personal deficiencies and existential problems that affect the lives of hundreds of families everyday.  With an endless imagination and a praxis always simple but effective, the projects covered by Alvaro Martinez Alonso are a compendium of everything that happens on the streets, that is impossible to separate from the ideals, aspirations, needs and hopes of individuals. And although you cannot know who influences whom, in his work, social activism becomes culture and art, the same way that the ethical spirit translates to aesthetic.

Artists: Gregory Barsamian, Stefan Brüggemann, Anetta Mona Chisa & Lucia Tkacova, CHTO, Jeannette Ehlers, Famed, Rumiko Hagiwara , David Maisel, Álvaro Martínez Alonso, Guido van der Werve. (Halle 14 press-release)

HALLE 14 . Zentrum für zeitgenössische Kunst Leipziger Baumwollspinnerei. Spinnereistr. 7. 04179 Leipzig

Image: Suspendidos. Álvaro Martínez Alonso

NEW YORK. “Esteban Vicente” Ameringer | McEnery | Yohe

21 april–21 may 2016

 “I think that no matter what, the painter has to have a sense of the physicality of the world.” – Esteban Vicente

ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father served in the Civil Guard, a police force in the Castile region, and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.

Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt.

The late paintings of Esteban Vicente, exhibited at the gallery, represent the continued influence of his native Spain through his time spent in his Bridgehampton, New York home, purchased in 1964, studying the light and colors of his flower garden. Vicente’s critical role in the evolution and discourse of Abstract Expressionism is evident in the progression of his works. The paintings selected for this exhibition are significant examples of his use of broad bands of color to illustrate perceived landscapes and light. His use of color is attributed to the attention he paid to all of the physical senses – not just his sight. Vaguely defined forms frame his canvases, while hazy veils of blue, deep oranges, powerful greens and subtle yellows introduce a sense of depth and place. This grouping is a confirmation of Vicente’s pursuit of abstraction, his desire to revisit and rework forms until his last days.

Vicente spent a good portion of his career teaching. He was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, NY; and the University of California, Berkeley, CA, among other institutions.

In addition, he received numerous awards, some of them being the most prestigious given to an artist in the United States. His works can be found in important collections and museums such as the Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; and the Solomon R. Guggenheim Museum, New York, NY, among others.

At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.

Vicente died at the age of 97 in 2001 in Bridgehampton, New York, 10 days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90’s at his home in Bridgehampton. (Ameringer | McEnery | Yohe press-release)

Ameringer | McEnery | Yohe . 525 W 22nd Street New York, NY 10011

Image: . Esteban Vicente. Tact, 1995

PUEBLA. “Photobooks: Spain 1905-1977” Museo Amparo

16 april - 15 august 2016

The Exhibition Photosbooks: Spain 1905-1977 presents a journey through the history of the photobook in Spain, setting off at the beginning of the 20th century and ending in the mid seventies, via a selection from the Museo Reina Sofía Collection, contextualised and accompanied by an assortment of complementary material.
For a long time the aesthetic consideration of photography has been limited to individual images that are able to work in a similar way to paintings or etchings, a blueprint developed by historians and museum curators alike to assemble a canon of ‘masterpieces’ for studios or exhibitions. Yet this model is not the only one, and many photographers cannot synthesise their work in a single image, devising it instead in a series. Both models give rise to two coherent histories of photography: one comprised of photos to hang on walls, with a limited number of copies and on sale at art galleries; the other in book form, possibly with a reissue, available in bookstores. By and large, photographers prefer the last option: “pictures on walls and photos in books” (Cartier-Bresson).
A photobook is a publication made up of photographs ordered as a set of images, with plots and complex meanings, and the medium used by some of the most pre-eminent photographers to produce their greatest work; a tried-and-tested model to present, communicate and read photos. Photobooks are becoming more widely recognised as the best medium for presenting series of photographs.
As far as Spain is concerned, the history of photobooks is determined by the avatars of its own national history, for instance the Civil War and the transition to democracy, the focus of some of the finest work produced. In addition to propaganda, changes to the image and social role of peasants and, above all, women, are also prominent issues that are explored. The relationship between literature and photography is another characteristic of Spanish photobooks, which also include works in closer proximity to the international history of the format, such as publications on urban matters.
The study of photobooks is leading to a reinterpretation of the history of photography in diverse countries, as well as in Spain. Along with well-known photographers (the likes of José Ortiz EchagüeAlfonsoFrancesc Català-RocaRamón MasatsXavier MiserachsFrancisco Ontañón o Colita), the exhibition features a considerable number of practically unknown frontline artists who in their day actually published first-rate photography collections, as is the case with photographers like Antonio Cánovas,  the collective work of Misiones Pedagógicas, José Compte, Enrique Palazuelo, Luis Acosta Moro and Salvador Costa.
Curated by Horacio Fernández, the exhibition Photobooks: Spain 1905-1977 is in collaboration with Acción Cultural Española (AC/E) to present part of the line of investigation and acquisition carried out by the Museo Reina Sofía concerning photo books. The exhibition is concluded with the publication of a catalogue raisonné, jointly published by the Museo Reina Sofía, AC/E and RM (AC/E press-release)

Museo Amparo. 2 Sur 708, Centro Histórico, Puebla, Puebla. CP 72000

Image: Fotos & libros. España 1905-1977

LEUVEN. Oriol Vilanova ”At first sight” Museum Leuven

18 march - 5 june, 2016

In his practice, Oriol Vilanova investigates the characteristics of men and cultures. This investigation is also key in an extensive collection of postcards he has been collecting for years on flea markets and that he regularly uses as a starting point of his works. Chance, repetition and exaggeration often return in his minimal installations, performances and texts.

In M Vilanova focuses on the act of exhibiting. He explores how museums show artifacts in images on postcards or through exhibition devices such as showcases and plinths. What stories do they tell? And does this also create at the same time a certain distance towards an audience?

Oriol Vilanova was born in 1980 in Manresa/Barcelona, he lives and works in Brussels.
Oriol Vilanova has recently presented several solo exhibitions, amongst others at the Fondation Joan Miró, Barcelona and at Nottingham Contemporary in 2013 ; at Palais de Tokyo, Paris and at the galerie Parra & Romero in Madrid in 2012 ; at Musac de León in 2011. He has also took part in several group exhibitions : FILMS-CORRIDOR, presentation of a set of films proposed by the CEC for artgenève 2014, at Jeu de Paume and the Maison Populaire in Paris and at the Kunsthalle de Mulhouse in 2013 ; at Frac Champagne-Ardenne, Reims in 2012 ; at Frac Nord-Pas-de-Calais and at the Fotomuseum Winterthur in 201. (Museum Leuven press-release)

Museum Leuven. Leopold Vanderkelenstraat 28, 3000 Leuven

Image: Oriol Vilanova, Anything, everything

BARCELONA. “Dialogues of the Gaze” Suñol Foundation

until 10 september.2016

In its most essential meaning, looking is defined as the act of setting the gaze on some object, person or space. Yet when we speak of looking in the context of art, we have to go further than that. If we consider the creation of the work of art as a way of relating to the world, as a link between what is real, imaginary and symbolic, and as a fact taking on meaning in the act of communication, looking also implies understanding, comprehending and feeling.

In this exhibition the Fundació Suñol presents a selection of work from its own collection, with the goal of once again addressing the importance of the gaze in art. While it is evident that the spectator gazes upon the work of art, it is less clear that the artwork is looking at us as well. By means of a multitude of languages and a great variety of signs and codes, artists communicate experiences, thoughts and emotions in creations that reveal subjectivity, providing a reciprocal gaze that turns into a three-sided active dialogue: the work of art condensing the artist’s gaze; the spectator enquiring about the work from his or her own individuality; and the immensity of the world, understood as an unfathomable vessel where art constitutes an effort to put it all in order.

This exhibition features work by Luis Gordillo, Man Ray, Zush, Richard Avedon, Luis Frangella, Carlos Pazos, Jaume Plensa, José Luis Alexanco, Ramon Guillen-Balmes, María José Lacadena, Christo, Jordi Colomer, Claudio Bravo, Ferran Freixa, Ignasi Aballí, Antoni Tàpies, Juan Genovés, José María Sicilia, Alberto García-Alix, Joan Rom, Jaume Xifra, Robert Llimós, Idroj Sanicne, Sergi Aguilar, Federico Guzmán, Manuel Millares, Pello Irazu, Max Bill and Miquel Mont. The work is grouped into various sections, corresponding to seven different subject areas: gazing; reading; covering up; value; walking/resting; holes; and the colour red. The heterogeneous nature of the subjects chosen demonstrates the variety of recurring concepts in art, each in its own way drawing the attention of artists so as to be interpreted through the form of new languages, multiplying their possibilities. For this reason the works in each section dialogue amongst themselves while inviting us to participate in an open, multidirectional conversation that has not be previously scripted, even while awaiting our reply. (Fundación Suñol press-release)

Fundación Suñol. Passeig de Gràcia 98. 08008 Barcelona

Image: Joan Rom, Sin título (pies atados), 1992. Fotografía Fundación Suñol.

MIAMI. Pepe Gimeno “Writing without words...A poetic adventure that transcends words to tell a story” Centro Cultural de España

14 april – 29 july, 2016

Hushed Writing is a book that cannot be read in the conventional way: only a graphic interpretation is possible. This act of deliberately separating form from content has transformed the graphic structure of the book into its narrative.

The project is made entirely from materials found on the beach. Using them, Pepe Gimeno has created evocative approximations of different forms of writing, ancient hieroglyphics, binary alphabets and a number of other motifs, managing to convert fragments of stone, sticks, plastic bottle tops, parts of toys, shells, cigarette butts and broken glass into messages replete with expressiveness and enormous poetic force.

The exhibition of the book can be approached in two different ways: firstly, by a sequential and orderly reading of the collection of powerful images portrayed in the book, and secondly, by a direct and detailed observation of the objects that make up these surprising and original pieces of work.

Pepe Gimeno (b. Valencia 1951) is a Spanish graphic designer and typographer with an extensive professional career. From his studio in Valencia he has developed a large number of projects across the whole range of graphic design. He has won numerous international awards, amongst them the Certificate of Excellence in Type Design from the TDC in 2001 for his font FFPepe. He has worked for the Office of the President of the Government of Spain, Las Cortes Valencianas (the Valencian Regional Government), the Roca Company and the United Nations Food and Agriculture Organization (FAO).

In addition to his professional activities, since 2002 he has been developing and expanding upon his creative expression with new formal projects based on waste materials; a fascinating personal venture which, in terms of concept and form, is positioned between experimental graphics and works of art. (TDC press-release)

CCE MIAMI.1490 Biscayne Boulevard Miami,

Imagen: Pepe Gimeno. The Type Directors Club


Instituto Cervantes de Chicago. 31 W. Ohio,Chicago, IL 60654

Image: Pepe Gimeno. The Type Directors Club

GRENOBLE. Cristina Iglesias “Solo Show” Musée de Grenoble

23 april – 31 july, 2016

Cristina Iglesias was born in San Sebastián in November 1956. She studied Chemical Sciences in her home town (1976-1978) and then after a brief period in Barcelona practising ceramics and drawing, she studied Sculpture at the Chelsea School of Art in London, UK (1980-1982). Was granted a Fullbright scholarship to study at Pratt Institute, 1988 In 1995 she was appointed Professor of Sculpture at the Akademie der Bildenden Künste in Munich (Germany) and in 1999 she won Spain's National Visual Arts Prize. In 2012 she won the Grosse Kunstpreis Berlin . She has represented Spain twice at the Venice Biennale, at the 42nd edition in 1986 and at the 45th edition in 1993; at the Biennale of Sydney in 1990; at the Taipei Biennial in 2003; at the SITE Santa Fe Biennial in 2006 and at the Triennale of Folkstone in 2011. She also represented her country at the world fairs held in Seville in 1992 and Hanover in 2000, and at the 1995 Carnegie International, Museum of Art Carnegie Institute in Pittsburgh.(Musée de Grenoble press-release)

Musée de Grenoble. 5, place Lavalette, 38000 Grenoble. France

Image: Sans titre (Passage II). Cristina Iglesias, 2002.  Musée de Grenoble

SCHWÄBISCH HALL. “Picasso. German Records” Kunsthalle Würth

6th april - 18th september, 2016
Picasso. German Records has clearly opened up an important new avenue in Germany, too, as it examines from different angles the links, affiliations and divergences between Pablo Picasso and a select group of German artists who are now considered Modern classics, and who radically changed the direction of art history. Recently, the influential German newspaper Frankfurter Allgemeine Zeitung published a highly favourable review of the exhibition, mentioning particularly the “impressive number of works, paintings, engravings and sculptures on display, myriad documents, and emphasis on European Modern Artists”, as well as the fact that “German works have not in any way been sacrificed in favour of the cult genius, Picasso. Quite the opposite, they are presented as equals”. At the German institution’s request, MPM will publish a German edition of the profusely illustrated accompanying book, with contributions from renowned experts on the multiple connections between Pablo Picasso and German art and thought of the time. (Museo Picasso Málaga press-release)

Kunsthalle Würth Lange Straße 35 74523 Schwäbisch Hall. Alemania

Image: Pablo Picasso: Venus und Amor, 1968

MILAN. Joan Miró “The Force of Matter” MUDEC. Museo delle Culture

25 march – 11 september, 2016

The oeuvre of Joan Miró, one of the most celebrated figures in the history of modern art, is closely linked to Surrealism and reveals the considerable influence that artists and poets belonging to the movement had on his work in the 1920s and 1930s. Indeed, they aroused in Miró the need to meld painting and poetry. Thus his art moved towards a simplification of reality, reminiscent of primitive art, on the basis of which he constructed an innovative language of symbols that would give him a new perception of material culture.

‘Joan Miró. La forza della materia’ (Joan Miró: The Force of Matter) focuses on this last aspect, showing through a wide selection of works executed between 1931 and 1981, the importance the artist always gave to the material, not only as a useful means of learning new techniques, but especially as an end in itself. Miró experimented with unconventional media and innovative procedures, breaking the rules so as to arrive at the very origins of art.
Over 100 works are displayed chronologically to reconstruct the artist’s trajectory. The majority are from the Fundació Joan Miró collection in Barcelona and from that of the artist’s family. (MUDEC press-release)

MUDEC. Museo delle Culture. via Tortona 56, CAP 20144 Milano

Image:”Perro pequeño”. Fundación Joan Miró

LUXEMBOURG. Lara Almarcegui “Le gypse” Casino Luxembourg

23 march – 4 september, 2016

Starting with plaster as a construction material of the Casino Luxembourg exhibition halls, Spanish artist Lara Almarcegui probes the underground geological layers of the Casino to find her mineral counterpart - gypsum - to develop its potential. In parallel, she explores the extent to which the architectural envelope covers and harbours the gypsum. A play of relations develops between the underground presence and the mineral ownership, between the architecture of the building and its material reality, as well as between the edifice and its urban context. curator: Kevin Muhlen

Lara Almarcegui was born in 1972 in Zaragoza, Spain. She currently lives and works in Rotterdam, Netherlands. The works that Lara Almarcegui has been developing over the course of nearly twenty years question the frontier between urban decay and urban renewal, and try to make visible what tends to remain unnoticed. While focusing on abandoned spaces and structures that are undergoing a process of transformation, Almarcegui also investigates the different connections that can be established between architecture and urban planning. She inquires into the current state of peripheral areas -their development, use, and decay- and manages to set up a discourse about the different elements that constitute the physical reality of an ever-evolving urban landscape. (Casino Luxembourg press-release)

Casino Luxembourg. 41, rue Notre-Dame, L-2240 Luxembourg

Image: Casino Luxembourg. Lara Almarcegui

PARIS. Miquel Barceló “Sol y sombra” Bibliothèque Nationale de France

march 22 – 28 august, 2016

The Bibliothèque nationale de France and the Musée national Picasso-Paris organize a joint event dedicated to Miquel Barceló. Numerous pieces, never-presented before, allow visitors to discover the Majorcan artist’s universe. Paintings and ceramics are presented at the Musée national Picasso-Paris while the engraved works are put on display at the BnF.

Miquel Barceló’s engraved works that stand as a major part of the artist’s production are rarely presented. The artist, painter, sculptor and ceramist, has also been trying his hand at printing techniques since the beginning of his career. Rich and deeply original, his printed works gather nearly 250 copper and wood engravings, lithographs, screen prints and stampings. Although a self-sufficient part of the artist’s production, these pieces remain an integral part of his protean work because of their fundamentally experimental dimension.

The BnF naturally decided to present this little-known part of his work in parallel with drawings, sculptures, ceramics and paintings. Visitors are invited to follow a thematic path built around a selection of 60 recent or very old prints accounting for the coherence and singularity of his artistic approach.

A monumental fresco made of soil and daylight was created in situ across the full height of the windows of the Julien Cain alley that the artist covered with a fine coat of clay before scraping the dried material. An outstanding introduction to the exhibition, this 190 metre-length over 6-metre high fresco immerses visitors in Barceló’s bewitching universe. (BNF press-release)

Bibliothèque Nationale de France. Site François-Mitterrand. 75706 Paris François-Mitterrand / Gallery 1

Image: 'Le Grand Verre de terre' (2015), Miquel Barceló.© Adagp, Paris 2016. ph. A. Torres, 2015

PARIS. Miquel Barceló “Sol y sombra” Musée National Picasso

march 22 – 28 august, 2016

Miquel Barceló. Born in 1957 in Majorca, he will be the first contemporary artist invited to present a monographic exhibition at the Hôtel Salé since its reopening in 2014. The exhibition, titled “Sol y sombra,” will display an ensemble of paintings, sculptures, ceramics, and works on paper from the 1990s to today. The exhibit will center around the artist’s diverse domains of creation and highlight the affinities of his work with the attitudes, the motifs, and the creative processes of Pablo Picasso.

At the same time, the Bibliothèque nationale de France will present an exhibition focused on the engravings of Barceló. Conceived as a partnership, these two exhibitions will give the public the opportunity to discover, and rediscover, the rich and protean work of this well-known artist of the contemporary scene. (Musée Picasso press-release)

Musée Picasso Paris. 5 rue de Thorigny. 75003 Paris

Image : Miquel Barceló. Mur de briques © Xavier Forcioli, 2016 © ADAGP, Paris, 2016

PARIS. “Picasso Sculpture” Musée Picasso

8 march – 28 august, 2016

Picasso Sculpture is a sweeping survey of Pablo Picasso’s innovative and influential work in three dimensions.

Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status for Picasso. He approached the medium with the freedom of a self-taught artist, ready to break all the rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished the sculptures' company and enjoyed re-creating them in a variety of materials and situations. Picasso kept the majority in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his work. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which until now was the first and only exhibition on this continent to display a large number of the artist’s sculptures.

Picasso Sculpture focuses on the artist’s lifelong work with sculpture, with a particular focus on his use of materials and processes. The exhibition, which features more than 100 sculptures, complemented by selected works on paper and photographs, aims to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention. The exhibition is organized in chapters corresponding to the distinct periods during which Picasso devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. Organized by The Museum of Modern Art in collaboration with the Musée national Picasso – Paris. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art; with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso – Paris. (Picasso Museum press-release)

Musée Picasso Paris, 5 rue de Thorigny. 75003 Paris

Imagen: Pablo Picasso. La Femme au jardín. Paris, printemps 1929. Photo :© RMN-Grand Palais / Adrien Didierjean / Mathieu Rabeau


LIEGE. “De Salvador a Dalí” Gare des Guillemins

27 february – 31 august, 2016.
“De Salvador a Dalí” is a cohesive exhibition of Dalinianartwork, exhibited worldwide and seen by over 10 million people. Curator of the collection and President of the Stratton Foundation, Mr Benjamin Levi; an avid collector and expert of Dalí, has assembled the Collection over the past forty years, selecting each artwork in order to bring various aspects of Dalí’s lifework to the public eye.

Artworks on display include the most important and largest grouping of bronze sculptures, such as the ‘Space Elephant’ and the ‘Persistence of Memory’. Ten original Tarot collages, created by Dali during the 1960’s, Dalí inspired furniture, and the Mae West’s Lips sofa remind us that Salvador Dalí was a multi-facetted artist who explored a wide range of themes and materials. (expodalí press-release)

Gare des Guillemins. Place de Guillemins 2 . 4000 LIEGE   

Image: "Mae West",Salvador Dalí

NEW YORK. Chillida “Rhythm-Time-Silence” Ordovas Gallery

9 february - 23 april 2016

Chillida: Rhythm-Time-Silence will go on public display at Ordovas in London from 9 February to 23 April 2016, following its recent showing to inaugurate the gallery’s presence in the U.S., where it was the first exhibition dedicated to the work of Eduardo Chillida (1924-2002) to have been staged in New York in twenty-six years. A central figure in European Post-war sculpture, Chillida produced an extraordinary body of work over a five decade-long career, and established himself amongst Spain’s most distinctive and internationally acclaimed artists. This is the third Ordovas exhibition devoted to Eduardo Chillida, and the monumental works to be shown in the gallery at 25 Savile Row reflect the intimate and universal themes that characterised his vision. (Ordovas press-release)

Ordovas Gallery, 25 Savile Row. London W1S

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

BORDEAUX. Ignacio Evangelista "After Schengen" Hall de Sciences Po Bordeaux

26 november – 30 december, 2015

The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service,allowing us to gaze into the past from the present. This causes many reflections, specially  in a moment that EU project it is severely discussed.

"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).

Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, betweeimate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Sciences Po Bordeaux  press-release)

Hall de Sciences Po Bordeaux. Université Bordeaux

Image: After Schengen, Ignacio Evangelista

JAKARTA. Juan Pérez Agirregoikoa“Jakarta Biennale 2015”

14 november 2015 - 17 january 2016

Jakarta Biennale 2015 aims to promote a continuous reading of the development of the idea of the city, which is viewed as a complex and dynamic area that reacts to both local and global changes. The Biennale amplifies the observation of sociocultural phenomena within the scope of a specific time and space. Furthermore, in the artistic context, the Biennale plays a very prominent role in challenging the latest trends in relation to the development of cultural, social and political matters both in Indonesia and internationally. 
The theme of the 16th edition of Jakarta Biennale, curated by Charles Esche, is ‘Maju Kena, Mundur Kena: Learning in The Present’. This year’s event features a broad-ranging programme that includes a general exhibition, projects in public spaces, night events, exhibitions of young artists, workshops and other educational activities and symposia, as well as the publication of a catalogue. The aim is to explore the significant cultural influences found in the present of Indonesia and how they shape the image of today’s world. For this purpose it is divided into three core exhibition sections: ‘Indonesia in the 80s’, ‘The contemporary international in Jakarta’ and ‘Young Indonesian artists now’. The curators will weave three subject strands across these three exhibition elements: ‘Learning’, ‘Water’ and ‘History today’, which will cross over the abovementioned sections to allow visitors to discover them from the viewpoints of different generations. 
The Spanish artist Juan Pérez Agirregoikoa has been invited by Jakarta Biennale Foundation to take part in the Biennale, with the support of AC/E. (AC/E press-release)

Jakarta Biennale. Jl. Amil Raya No. 7 A Pejaten Barat,. Pasar Minggu Jakarta Selatan. Indonesia

Image: Jakarta Biennale 2015

BARCELON. FACE TO FACE. Portraits from the Foto Colectania Collection

6th october, 2015 – 13th february, 2016

From 6th October to 13th February of 2016, the Foto Colectania Foundation demonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from its own collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance,  if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "

 The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of  this exhibition  are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself.  Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.

 The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection. Presented in several towns around Barcelona thanks to a program of traveling exhibitions organized by the Diputació de Barcelona, ​​"Face to Face" culminates with this presentation in the main city after being revised and enlarged for the occasion.

Participant photographers: Helena Almeida, Manel Armengol, Atín Aya, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fundació Foto Colectania press-release)

Fundació Foto Colectania. Julián Romea 6, D2. 08006 Barcelona

Image: Humberto Rivas, María, 1979


NEW YORK. “Closed Paradise “The Clemente. Abrazo Interno Gallery

1 – 30 october, 2015

Closed Paradise explores themes of nature and extinction. The exhibition’s title refers to a banishment from a paradisiacal state, both metaphorical and literal, that mirrors our current environmental situation. This cross-cultural and multidisciplinary exhibition focuses on the legacy of earth’s natural resources and states of erosion and extinction due to human activity.  Closed Paradise features works by Javier Viver, Jose Val del Omar and Lili Chin.

Viver will create a Rainbow site specific installation of melting colored wax on the window panes and use objects molded from casts of plant species and an herbarium to compose The Eurasia Archive of Extinct Plants. In this way he drafts a reflection about the paradoxical co-existence of the ephemeral and the eternal, memory and the imagination.

Chin uses drawing, installation and Super 8 film in a meditative process to investigate states of growth and decay in wild and pastoral terrains . For this exhibition she will include a social sculpture – a garden of donated plant cuttings collected in an open call. Her work expresses concern with vanishing landscapes, preservation, memory and the sublime.

Val del Omar’s work includes a selection of films composed by Javier Viver for Val del Omar’s PLAT laboratory installed in the Reina Sofia National Museum, Madrid. These films reference The Alhambra, the Moorish palace in the South of Spain, a place he called the closed paradise. It was the hidden place Val del Omar often visited, and filmed as the lost paradise.

Viver is based in Madrid and Shanghai, while American artist Chin lives and works in New York City. The two met at the Swatch Art Peace Hotel Residency in Shanghai and discovered they both shared a mutual admiration for the work of José Val del Omar. Through this project, these artists create a cross-cultural reflection on culture, exploitation, memory and preservation.

With the support of the General Consulate of Spain in New York..(The Clemente press-release)

 The Clemente. 107 Suffolk Street. New York, NY 10002

Image: Closed Garden. José Val del Omar

BORDEAUX. Jaime Belda “New York. Side B” Instituto Cervantes

2 april – 29 may, 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, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)

Image: Jaime Bleda