Spanish contemporary art worldwide
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25 january – 28 march, 2017
“Nuez’s keen eye and succulent colors infuse his insects with a fragile shimmering beauty that deflects much of the horror” Hour magazine
When I look at bugs magnified through my photographic lens, they become larger than life icons – sometimes appearing as a heroic figure in an epic drama, or a superstar adored by millions; a tragic victim in a cruel world, or a powerful evil villain.I love glorifying the least among us. As someone with periodic bouts of social anxiety, I find myself fantasizing that I am the opposite. And so my little bugs embrace this duality, where at once they are lowly, irrelevant creatures, and at the same time, compelling figures in the alternate universe I’ve created for them. And I enjoy seeing them adopting simple poses, or actions, as though they are playing to the camera. I want to glamorize them, and give them an ambiguous but exciting allure.
I prefer using the most mundane and readily available bugs; those found dead and dusty in basements, on windowsills, and sidewalks. Some of my bugs end up in a gritty burial ground, while others are given a rather more glamorous send-off, with all the pomp and glitter of Hollywood. I try to see their faces and look into their eyes. Perhaps their expressions contain echoes of untold epic tales. Or, perhaps, in the end, each of them is simply a dead bug, as the cycle of life completes another turn. To create the images in this theatrical series, I begin with a concept, making sketches and fleshing out the character I want to create. I start building sets that can range in size from a few square inches to a few square feet. Then I search for the perfect bug to play my assigned role. Once the “star” is discovered, I position it in a pose using paper tweezers. The lighting set-ups can be complex – I use cards and flags to create tiny shafts of light. When the bug is ready for their close-up, the final image is shot.
Xavier Nuez’ s photographs have been featured in solo and group exhibitions in museums and galleries internationally, including the Illinois State Museum in Chicago, IL; the Marin Museum of Contemporary Art in California; th: Attleboro Art Museum in Massachusetts; and the San Diego Art Institute. His work is in numerous public, corporate and private collections, including those of the Illinois State Museum; the University of Richmond Museum in Virginia; the University of Michigan; the Norfolk Southern Collection; the Vicente Fox Center Library and Museum in Guanajuato, Mexico; Mr. Danny DeVito; and Ms. Angela Lansbury. Xavier’s family is from Spain; he was born in Montreal and lives in Chicago. (I: Cervantes press-release)
Instituto Cervantes. 31 W. Ohio. 60654 Chicago Illinois
Image: Xavier Nuez. Asha: jewel of the Nile
20 january – 14 may 2017
The Blueproject Foundation presents “Room for Forbidden Books”, the new solo show by Alicia Framis in Il Salotto from January 20th to May 14th 2017. The main space of the Foundation, completely renovated for the occasion, hosts this installation that belongs to Banc Sabadell’s collection and that is unseen in Spain.
Room for Forbidden Books is part of the “Forbidden Rooms” series, a recent series of rooms – rooms of yell and oblivion, rooms for protesting or developing dissident ideas, where the Catalan artist Alicia Framis keeps questioning the social and human environment, through the alienation devices and other coercion media. Framis proposes a room for forbidden books, a library of books which have been censored or whose authors have suffered, or continue suffering, from difficulties with the judicial or politic power. In the most serious cases, they would have to face prison, torture or death.
This room for forbidden books becomes a study and reflection place where everyone can evaluate the damage of censorship that these books once suffered from, being nowadays considered as masterpieces and part of the world’s cultural heritage. It is obvious how censorship superposed through time and indifferently on works with the most different contents, from Voltaire’s Candide to Giordano Bruno’s writings, and from Nabokov’s Lolita to Simone de Beauvoir’s The Second Sex.
Room for Forbidden Books creates an opportunity for people to reflect on the situations and contexts in which the nearly 200 books on display were banned at different points in history. Despite being censored, nowadays these books are widely read and appreciated, many of them considered classics. Becoming aware of this, another layer is added to the work: the relationships established among the readers. What happens between the people sitting in this space, reading these books, is what is most important. You are invited to enter these rooms, to confront what is forbidden, what is secret, what is possible.
The room is just an excuse to start a dialogue. Room for Forbidden Books has been shown at Picasso Museum, France, Annet Gelink Gallery, Amsterdam and has been selected to show at Art Basel – Parcours, 2015.
Alicia Framis (Barcelona, Spain, 1967) lives and works in Amsterdam. Alicia Framis is a multi-disciplinary artist whose work blends architecture, design, fashion and performance. Her work is project based and focuses on different aspects of human existence within contemporary urban society. Born in Barcelona, Framis studied in the Fine Arts School, Barcelona University and in École de Beaux Arts, Paris. She also completed a master in the Institut d’Hautes Etudes, Paris; and another one in the Rijksakademie Van Beelde Kunstende, Amsterdam. She has become known around the world for her performances and actions, such as Loneliness in the City (1999-2000), The Secret Strike Films (2003-2006); an installation accessible to women only, Minibar, at the 2nd Berlin Biennial in 2001; and Anti_dog (2002-2003), realized to represent Holland in the Dutch pavilion at the 50th Venice Biennial in 2003. Recent solo shows include Reading Together at Annet Gelink Gallery, Amsterdam (2014) and Framis in Progress at MMK Arnhem; Galerie I'm TaxisPalais, Innsbruck (2013); Museum of Contemporary Art in Leon; and Centre Contemporary Art Brugge (2014). (Blueproject press-release)
Blueproject Foundation Carrer Princesa 57 - 08003 Barcelona
Image: " Room for Forbidden Books” Alicia Framis
19 january – 17 march, 2017
"Nature, childhood, art history… those are the main references in my work... but ethical-political nuances also play into it.
My imagination is populated by living and dissected animals, landscapes and children, and is currently being enriched with some portraits of my influences from art history and literature. With great reverence and joy, I have painted Grosz, Beckmann, Otto Dix, Thomas Mann and some other people as a love letter to art, but also full of sorrow for the great flaw in the society of that time: non-resistance. Bergman in "The Serpent's Egg" and Haneke's in "The White Ribbon" illustrate very well how close hell is to paradise. Bergman shows how society in Berlin of the 20s began to darken to an eternal winter. Haneke takes us back a further generation and analyzes the society that brought forth the incomprehensible. This society of "good thinking" in the 19th Century gives me a number sweet motifs full of idyllic images, landscapes, poems about love and hate, an Arcadian orgy. For inspiration, I have taken books on poetry and love from the 19th century and "polluted" or "enriched" them: a beautiful package for "noble" content. The same happens to the frames, which are the cradle or the loudspeaker of dirty and blessed painting. The overstraining of paradise and the metaphor of untouched, fresh-fallen snow – that infinite and antiquated white – lend this exhibition its title."
Santiago Ydañez was born in Jaén, 1969. Lives and works in Berlín and Granada (Spain). Graduated in Painting from the School of Arts of Universidad of Granada, Ydañez is one of the most internationally recognized spanish artists of his generation. Santiago Ydañez was awarded the Premio de Pintura ABC in 2002, Premio de Pintura Generación 2002 - Caja Madrid, Beca del Colegio de España in París - Ministerio de Cultura in 2001 and the Beca de la Fundación Marcelino Botín in 1998. Ydañez work is represented in several Institutional Art collections such as: Fundación Botín (Santander), Museo Nacional Centro de Arte Reina Sofía (Madrid), Museo Sofía Imber Caracas, Venezuela. . (Mario Mauroner press–realese)
Mario Mauroner Gallery. Weihburggasse 26. 1010 Viena. Austria
Image: Santiago Ydañez 2016. Acrylic on canvas mounted in antique casket
until 04 february 2017
It is with great pleasure that Mendes Wood DM presents Resonating Surfaces, a group show curated by Catalan artist Daniel Steegmann Mangrané, which is an investigation on the affective dualities of the form in the work of 27 artists. Strongly influenced by his experience in Brazil, the artist has been based in Rio de Janeiro for 12 years, the exhibition uses the inventiveness of Brazilian avant-gardes as a reading lens for a certain international canon, applying both formal and conceptual connections between distinct artworks and the experience of the body in the space shared with the pieces.
“If you take a point and extend it in any direction you get a line, and if you extend this line, you get a surface.
The surface is a bidimensional space, but if you want to flip it and access its other side you have to go through a tridimensional space to get back to the bidimensional.
I keep wondering if, similarly, you want to transform an object you need to go through a fourth-dimensional space.
Many years ago, while still living in Barcelona, I saw a wonderful show of Lygia Clark. At that time you where still able to manipulate her Bichos, so I did. Transforming that strange sculpture I realized it was simultaneously transforming myself: there was not a mere folding and playing, but a dynamic relation of mutual transformations.
It is commonly understood that this fourth dimension necessary to transform any object is Time, but I do not think so. I believe this fourth dimension is Love and everything related to it: Care, Devotion, Tenderness, Sympathy, Affection.
Our body is not only transversed but made of affects, affects that come at play in the strangest ways, deeply entangled in ourselves” Steegmann Mangrané
Artists: Aleta Valente, Björn Braun, Bruce Nauman, Daniel Steegmann Mangrané, David Bestué, Deyson Gilbert, Dominique González-Foerster, Dora Garcia, Franz Erhard Walther, Ignasi Aballí, Jac Leirner, Jason Dodge, Josh Tonsfeldt, Lawrence Weiner, Lenora de Barros, Lucas Arruda, Luis Bisbe, Lygia Clark, Manon de Boer, Pablo Alonso, Pablo Pijnappel, Pamela Rosenkranz, Paulo Monteiro, Wagner Malta Tavares, Wilfredo Prieto and Willys de Castro. (Mendes Wood DM press-release)
Mendes Wood DM. Rua da Consolação 3358. Jardins, São Paulo. SP 01416 – 000 Brasil
Image: Daniel Steegmann Mangrané, Rama partida
LONDON. Pablo Picasso, Joan Miró, Alexander Calder and Julio González “Art Revolutionaries in London” Mayoral Gallery
8th January - 10th February 2017
Mayoral presents an exhibition inspired by the Spanish Pavilion at the 1937 Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne, commemorating 80 years since its inauguration. The original Pavilion marked a crucial moment during the Spanish Civil War (17 July 1936 – 1 April 1939), with the Spanish Republic using it as a platform to demonstrate to the rest of the world the atrocities that were taking place in Spain.
Similar to the original pavilion, this exhibition will feature paintings and sculptures by modernist masters including Pablo Picasso, Joan Miró, Alexander Calder and Julio González. This exhibition in London will also bring together important archival material, such as rare propaganda posters from the original pavilion and a replica of Miró’s infamous work El Segador (The Reaper) which disappeared when the pavilion was dismantled in 1937. Mayoral’s tribute to the Pavilion is curated by Juan Manuel Bonet, Director of the Instituto Cervantes in Paris, and former Director of Museo Nacional Centro de Arte Reina Sofía in Madrid and produced in collaboration with Joan Punyet Miró, historian and grandson of Joan Miró.
The Spanish government sought to use the Pavilion as a means of political propaganda, to reveal the cruelty of Franco’s regime.Participation in the Paris Exposition became an occasion to reflect on the conflict, with the Spanish Government commissioning some of the key artists and designers in the country at that time. The commission stimulated the artists to create some of the most significant artworks of their careers: Picasso’s Guernica, Calder’s The Mercury Fountain, González’s Montserrat and Miró’s El Segador (The Reaper).
The original pavilion was designed by renowned Spanish architects Josep Lluís Sert and Luis Lacasa to assert the validity of the Spanish Republic and openly denounce Franco’s Nationalist regime. The modernist Pavilion stood in bold contrast to the monumental pavilions of the Soviet Union and Germany. Both architects also played a pivotal role in inviting Picasso and Miró to take part in the commission for the Spanish Pavilion. The original pavilion has since been dismantled and a replica was built in 1992 at The Pavelló de la República CRAI Library in Barcelona by the architects Antonio Ubach, Juan Miguel Hernandez and Miguel Espinet Leon.
Art Revolutionaries pays tribute to the Pavilion by including original furniture and an abundance of historical and archival material including letters, press coverage and footage of the Pavilion. Amongst the archival material will be documentation of ways in which British artists such as Henry Moore and Barbara Hepworth showed support for the Spanish Republicans during the Spanish Civil War, and of the tour of Picasso’s Guernica around the UK in 1938. (Mayoral press-release)
Mayoral gallery. 6 Duke Street St James, SW1Y 6BN, London
Image: Joan Miró, Métamorphose, 1936
19 january - 17 march 2017
Sixe Paredes is the master of his own plastic universe, nourished by several disciplines. The spanish artist entered the art world by graffiti writing that he began in the late 80s. In the mid-90s, he experimented painting on canvas and sculpture until 1998, when he feels the need tohave his own workshop. Therefore, he consideres himself as a fine artist.
Over the years, the art of Sixe Paredes evolved to become what it is today : a colorful abstraction which seems very simple, but which is in reality very complex, consistingof often symbolic geometric shapes. The figurative elements also have their place in this pictorial world, by being finely hidden to create a whole. Sixe Paredes’ main sources of inspirations come from his experiences in the urban landscape, melancholy he feels in cities, his concerns about problems arising from the evolution of our societies, of our consciences. In the last few years, it is particularly the Andean and Mesoamerican cultures that intrigued him with their colors flowing, their wisdom and mysticism. A new plastic world is born in Sixe’s studio from this transoceanic interconnection : a multicolored and psychedelic abstraction. This is the pictorial language of Sixe Paredes, playing with shapes and symbolic elements, in order to invent a way to communicate with our ancestors. (QPM press-release)
Alice Gallery. 4 rue du pays de Liège. 1000 Brussels Belgium
Image: Sixe Paredes
NEW DELHI. David Escalona and Chantal Maillard "Where do Birds Die Dónde mueren los pájaros II" Instituto Cervantes
30 january – 20 february 2017
Where do Birds Die is a project that has come out of the dialogue kept between David Escalona and Chantal Maillard over time; a meeting with plenty of small events where the bounds between both artists and their respective creative supports do not separate. Who started? What belongs to each one? Until when? It is not about illustrating a poem, or interpreting a plastic work with words, but breaking away from the usual boundaries and promoting a sphere, either physical or mental, crossed by multiplicities, confluences, echoes or resonances, which leads to reflection. It is important to demonstrate the coexistence of different artistic disciplines throughout history and that, however, they are usually taken separately, in isolated sections. The works included in this project are just residual traces of a meeting favoured through metaphor; traces that are the witness creators offer to the viewer to accomplish their needs, expectations or desires; so they can find an answer or raise new questions.
On the other hand, with the concern of lending or amplifying the voice of the silenced ones, of all those forgotten victims on the sidelines of history, yet unavoidable. They may have left the latent pathos on the faults of History, accidents already warned by thinkers such as Aby Warburg or Nietzsche, seismographs that would end up going crazy. Chantal and David have been knocked over by that trans-historical pathos to make new reinterpretations, to show an iota of that unrepresentable spectral reality that is part of our everyday lives, a wound that is common; a wound that is the same for all of us, fruit of tensions and conflicts, of excessive human violence. What injury is not a war wound and that not come from the whole society was written by Bousquet, the poet-soldier, who wrote it from bed where he spent his life after being hit by a bullet on the battlefield during the First World War.
Where do Birds Die is a strange place, it is the no man’s land where, through poetry, drawing, sculpture and the premises, Chantal Maillard and David Escalona invite to reflect, from the compassion, about the History of Mankind: the history of a perpetual crime.
David Escalona (Málaga, 1981), a graduate in Fine Arts. He is working to get his PhD in UGR at the moment. He has been given many awards, scholarships and support, and he has got solo and collective shows in commercial spaces and prestigious institutions. Its exhibitions and projects have been collected prominently in relevant media.
Chantal Maillard (Brussels, 1951), is a doctor in Philosophy, specialist in Indian Philosophy and Religion from the Banaras Hindu University (Varanasi). Until 2000 she was teaching at the Faculty of Philosophy at the University of Malaga, where she promoted the study of Philosophy and Comparative Aesthetics. Since 1998 she has worked as a critic on the Cultural Supplements of ABC and El País newspapers. She has written several poem books, essays and diaries. In 2004 she was awarded the National Poetry Prize for her book Matar a Platón and in 2008 the National Critics Prize and the Andalusia Critics Prize for Hilos. Her diaries are the choice for writing on multiple registers that turns one's own consciousness into subject of reflection. (Isabel Hurley gallery press-release)
Instituto Cervantes. Hanuman Road, 48. Connaught Place 110001 New Delhi
Image: “Cuando mueren los pájaros” David Escalona
january 19 - march 11, 2017
"Though at first glance my work might look simply like an especially fresh take on the familiar genders of abstract expressionist landscape and still-life, closer examination reveals the language I use to examine memory and personal narratives. The proximity or distance of an object or gestural mark, the clarity or murkiness of detail, can be seen as analogous to the tricks that memory plays on us all, with its gaps and inconsistencies. The way I have chosen to build the compositions is a tool for retrieval, forging connections between disparate memories and making meaning of them through their visual realignment on the canvas. Each composition tells a new story, and the viewer is invited to do the same, filling in missing information by imagining what objects or shapes might be, and what their relationship to one another is. In this way, the paintings act as vehicles for the viewer’s own memory recall and story telling.
I create a fertile ground for experimentation trying to recuperate meaning, imbuing the formal gestures with personal significance to build intuitive links to my own work and other narratives, weaving the stories of my life together with those of others and of the wider world of our own time. Pepa Prieto"
Pepa Prieto is a Spanish born artist currently living and working in New York. She has studied Fine Arts at the University Complutense, Central Saint Martins, and Esscola Massana. Her art is exhibited around the world and her works, ‘A place to get lost’ and ‘The colour of where you are not’, are soon to be shown at The Walter Marciel Gallery and The Slowtrack Gallery respectively. On top of all that she was a professional snowboarder between 1989 and 2005. Pepa was a Spanish half-pipe and slope style champion for several years, part of the Spanish Olympic team and has been ranked 16th in Europe. (QPM press-release)
Xippas Gallery. Rue des Sablons 6 & Rue des Bains 61, 1205, Geneva, Switzerland
Image: "Purple Day", 2016. Acrylic on Canvas.Pepa Prieto
17 january- 15 march 2017
José Manuel Ballester (Madrid, born in 1960), painter and potographer, degree in Fine Arts in 1984 from the Universidad Complutense of Madrid, Spanish Photography Award 2010.
He began his artistic career with paintings focusing on the techniques of the Italian and Flemish Schools of the 15th and 18th centuries. Starting in 1990 he began to combine painting and photography. Among his numerous expositions we would like to point out “Lugares de Paso” (Valencia 2003), “Setting Out (New York 2003) or “Habitación 523” (Museo Nacional Centro de Arte Reina Dofia, Madrid 2005). Together with other artists he participated in numerous exhibitions such as ARCO, ART CHICAGO, ART FORUM GERMANY and PARISPHOTO and cities such as Dallas, Miami, Sao Paolo, Dubai, Peking, Shanghai, Toronto, and many others.
In 1999 he was awarded the Spanish Etching Award. In 2006 he received the Goya Award for Painting of Villa de Madrid and later in 2008 he was awarded the Photography Award of the Comunidad de Madrid. Lately, he received the Spanish Photography Award 2010 on 10 November of the past year from the Ministry for Culture. The jury voted for him by the majority because of his personal history, his very peculiar interpretation of architectural space and light and his outstanding renovation of photographic techniques. His artworks are part of the collections of MNCARS, Marugame Museum for Contemporary Spanish Art in Japan, IVAM Valencia, Art Museum Miami and Cisneros Fontanals Art Foundation Miami, Central Academy of Fine Arts of Peking, Patio Herreriano, 21 Century Museum of Kentucky, Würth Museum, Telefónica Foundation, Banco Espiritú Santo and Coca Cola Foundation among others. (Galería Pilar Serra press-release)
Galería Pilar Serra. c/ Santa Engracia, 6 Bajo Centro. 28010-Madrid
Image: Nocturno en el estudio. José Manuel Ballester
01 january - 30 june 2017
For her project at Les Laboratoires d’Aubervilliers, Paloma Polo is committed to an investigation into the history of political struggles shaping the Parisian Northern periphery. Aubervilliers sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Far from engaging in a nostalgic detour, she pursues personal narrations and social configurations in light of the present reality of Aubervilliers, the city of France that hosts the highest percentage of migrants.
Aubervilliers, Saint Denis and the Parisian Banlieue Rouge at large sheltered thousands of Spanish political exiles since the civil war and throughout Francoism. Hundreds of them lived a ghostly existence, many with counterfeited identifications and some completely clandestine, as they strived in the shadows for the organisation of a movement in Spain to democratically assail a brutally repressive and violent system. The Spanish “economic” migrants of the so-called “Petite Espagne” of Saint Denis and Aubervilliers were also progressively organized.
This underground movement, orchestrated from the periphery of Paris by the Spanish Communist Party, barely left material traces but, most importantly, is scarcely traceable in a national history that has been written by way of a systematic erasure of the exploits that paved the way for what, unfortunately, shifted to a delusive “democratic aperture” in the aftermath of the dictatorship.
Polo is plunging into a dormant memory that has primarily survived through oral transmission and has been sustained by militants that have almost entirely passed away. It is not arbitrary that there is no comprehensive critical recollection, compilation or repository of this decisive historical dimension. Only very few autobiographies attest to these episodes.
Paloma Polo’s proposition is to devise and stage a narrative, a script, pertaining to the emergence of matter for thought in the people, in humane forms of socialization that are on the fringe, bearing the disdain of past recollections, but nonetheless shrouding our being in the world nowadays. The investigative stage, which will encompass a myriad of materials, ideas and conversations, is to constitute the core and the basis for her subsequent artistic gestures and outputs.
Together with her research partner, the art historian and theorist Oscar Fernandez, Polo will conduct archival research, an investigation into personal collections and materials and, most importantly, an interlocution with a series of individuals that are to become central to this project. These interlocutions occur by way of affinities that forge personal relations.
This activity will consolidate in a ”Research Centre” that will centralise, compile, order, coordinate and digitalise the scarce and scatter information on the subject (personal files and archives, histories and photographs, interviews and conversations, books, documents from different archives and other images, films, footage or projects that have been developed, etc). Polo will create a particular and distinct display and method to make these narrations intelligible and available for public consultation and for it to acquire broad visibility and outreach. She will work in partnership with other political, cultural, educational and research institutions. This “Research Centre” (tentative title) will have long-term progress and continuity and will ultimately hosted and regularly updated in a website specifically created for it. An itinerant platform of such “Research Centre” will be created to facilitate its presentation during the two solo exhibitions Polo will have in 2018 : at Centro de Arte Dos de Mayo- CA2M and at the Contemporary art museum – MARCO in Vigo, and other subsequent presentations. (AC/E press-release)
Les Laboratoires d'Aubervilliers . 41, rue Lécuyer. 93300 Aubervilliers
Image “Unrest” Paloma Polo
until 5 march 2017
With a large volume of works by the Spanish artist belonging to Musée National Picasso-Paris, this powerful exhibition organized by Centro Cultural Palacio de la Moneda 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. (CC Palacio de la Moneda press-release)
Centro Cultural Palacio de la Moneda. Av Libertador Bernardo O'Higgins, Santiago, Región Metroplitana. Santiago de Chile
Image: Picasso "Joueurs de ballon sur la plage", 1928
january 7 – february 25, 2017
Laurence Miller Gallery is pleased to present THE BIG APPLE: From Tycoons to Raccoons, featuring over 60 photographs by more than 30 photographers made between 1902 and 2016, celebrating the diversity and energy of New York City. The show title embraces both the earliest and the most recent works in the show: a rare 1903 portrait of the tycoon J.P. Morgan by Edward Steichen, in contrast to a charming view of a family of raccoons in Central Park by Hilary Swift, taken this December.
Much like Manhattan itself, the show will be organized by neighborhood and geography. Central Park is a central theme, and along with Swift’s raccoons will be twins by Garry Winogrand, dancing polar bears by Sylvia Plachy, a drowning scene by Dave Heath, and a brooding woman holding a child by Diane Arbus.
Manhattan as an island is another theme, dominated by three nine-foot panoramas by Kenneth Snelson, featuring the Brooklyn Bridge, the World Trade Center, and the FDR Drive. They will be surrounded by early 20th century views of ferries and ships by Alfred Stieglitz and Wendell MacRae, and recent color abstractions of the Gowanus Canal by Steven Hirsch.
The Empire State Building looms large, a platform for half a dozen bird’s-eye views, including Berenice Abbott’s classic New York at Night and Luca Campigotto’s View Looking North, both capturing the density and the radiance of the city at night. In an unusual treatment, Miguel Angel Garcia’s southern view reveals our unique skyline punctuated with water towers.
Midtown is anchored by another Kenneth Snelson panorama of Times Square, in stark contrast to the tender intimacies portrayed by Betsy Karel. Many other neighborhoods are covered by photographers such as Robert Frank, Louis Faurer,Weegee, Helen Levitt, Jefferson Hayman, Neal Slavin, Lisette Model and others.
Linda Troeller is represented by several colorful interiors on view from her recent monograph Living in the Chelea hotel. (Laurence Miller Gallery press-release)
LAURENCE MILLER GALLERY . 20 West 57th Street. New York, NY 10019
Image: Miguel Ángel García
27 january - 12 march 2017
This exhibition aims to present a broad and diverse series of approaches that deal with ‘how’ art can transform reality, rather than ‘what’ art can deliver to specific audiences. The exhibition explores how artists can expand the nature of the visual arts from being purely representational to becoming more participatory, where the work of art becomes not an object but an action that affects reality. This project explores the ways in which bureaucratic practices affect small farmers and have an impact on their everyday activity.
For some time now, filling in the many administrative forms required by various different public bodies has become an integral part of a farmer’s chores, as necessary as ploughing, sowing and harvesting. “Contestador” (Answering Machine) is inspired by forms of dialogue commonly employed by officialdom to communicate with agriculturalists. Very often when a small farmer needs information, his only way of contacting the organisation in question is via an automated phone service in which he has to follow instructions and choose from the available options given, which generally limit the farmer to responding “yes” “no” or “next”. But what would happen if it were the other way around and it was the farmer who ran the phone service and the public bodies, consultants, insurance companies, banks and the agrochemical and machinery suppliers who had to contact him? This is where “Contestador” comes in: an audio piece operated using a phone number, as if it were a real answering service. Here, a fictitious grape and crop grower called Baudelino Merino uses an automated phone service to answer calls made by a purported public servant, insurance broker, seeds salesperson …and it is he who decides the menu of options and the waiting times.
Through a series of disparate menus and options, we are led through the maze of painstaking “paperwork” that he and his family are forced to deal with. One can ring “Contestador” from any location simply by calling the number below. Calls are toll free from any landline in Spain. It works like an ordinary answering service; you just have to listen to the automated voice and push the buttons of the options you are interested in. This piece is indebted to Spanish domestic drama, popular comedy and vaudeville, with this last-named genre understood literally from the original French “voix de ville” as “voice of the people”. This “voice of the people” will give us a better insight into how modern agricultural policies have brought about a sea-change in the economic and cultural role of the ordinary farmer. Asunción Molinos will further develop her work through a residency conducting research specific to Glasgow and the Scottish context. By meeting and interviewing regional small-scale farmers, farmers’ unions, consumers’ platforms, and others, she will attempt to understand how current bureaucratic practices affect small farmers and mediate their relationships to the soil. The final outcomes of this research will be incorporated into the above-mentioned “Contestador” piece that will be displayed as part of the Forms of Action exhibition in January 2017. (AC/E press-release)
Image: “Contestador” Asunción Molinos
january 11- february 21, 2017
Van Doren Waxter is pleased to present Go Figure, a group exhibition that explores the intersection of select historical and contemporary artists through the vernacular of figurative painting. Spanning a period of over 70 years (1944-2016), this cross-generational survey considers the timeless tradition of figuration as a through line connecting past to present. The included artists employ varying media and pictorial strategies to produce imagistic effects often blurring the lines of representation to create dramatic scenes of unreality.
The contemporary practice of Jeronimo Elespe’s (b. 1975, lives in Madrid) is a focused meditation on the artist’s life at home and in the studio. Regarded for his paintings on aluminum, Elespe’s work merges fantasy with memory in dreamlike renderings of interior scenes and representative portraits of family and friends, the inclusion of which suggests an autobiographical narrative.
Go Figure will include painting, sculpture, works on paper and assemblage from James Brooks, Joseph Cornell, Richard Diebenkorn, Philip Guston, Ed Paschke, Hedda Sterne as well as contemporary artists Kristin Baker, Michael Berryhill, Jerónimo Elespe, Volker Huller, and Sarah Peters. (Van Doren Waxter press-release)
Van Doren Waxter Gallery 23 E. 73rd Street New York, NY 10021, USA
Image: “Hésperides” Jerónimo Elespe 2016
17 january – 17 february 2017
"Contemporarte" comes to Lyon to give you the possibility to admire the most recent photography created in Andalusia: contemporary images with different aesthetics to allow you to value the visual wealth in young creators’ works. Contemporarte is an artistic creation competition organised by the University of Huelva (Spain) jointly with the other public universities in Andalusia, in a common frame called Proyecto Atalaya.
The programme, financed by the Andalusian government, seeks to promote the work of universities on promoting culture, artists and arts programmes on-line, and it works as an observatory of the arts in Andalusia.Born in 2009, the initiative Comtemporarte awards contemporary photography works by authors within the Andalusian university community, who do not receive a standard award, instead they fix a price for their work and judges decide whether the piece deserves to be acquire or not. This way, artists introduce themselves to the standard procedures in the Arts market, and learn to value their own work attending to real world criteria. (I. Cervantes press-release)
Université Jean Moulin Lyon 3 - Manufacture des Tabacs (Lyon) - BU-salle d'actualités. 16, Rue Rollet. 69008 Lyon (FRANCIA)
Image: Reconstrucción II. Mª José Macías Barmejo. Universidad de Málaga
28 january – 21 may 2017
Santiago Ramón y Cajal, considered the father of modern neuroscience, was also an exceptional artist. He drew the brain in a way that provided a clarity exceeding that achieved by photographs. Combining scientific and artistic skills to produce drawings with extraordinary scientific and aesthetic qualities, his theory that the brain is composed of individual cells rather than a tangled single web is the basis of neuroscience today. This traveling exhibition of Cajal’s original drawings was organized by the Weisman Art Museum in collaboration with Drs. Eric Newman, Alfonso Araque, and Janet Dubinsky, neuroscientists at the University of Minnesota and leaders in the field of neuroscience. Dr. Araque was formerly at the Instituto Cajal in Madrid, where Cajal worked and where his drawings are housed.
The exhibit is organized in collaboration with Ricardo Martinez Murillo, neuroscientist and curator of the Cajal Legacy at the Cajal Institute (CSIC) in Spain. Eighty of Cajal’s drawings, many appearing for the first time in the United States, will be accompanied by a selection of contemporary visualizations of the brain, photographs, historic books, and scientific tools. After the debut at WAM, the exhibition will travel to university galleries and museums throughout the United States and Canada. (WAM press-release)
Weisman Art Museum. 333 East River Road, University of Minnesota. Minneapolis
Image: Santiago Ramón y Cajal “The Beautiful Brain”
until january 31, 2017
One day, at the age of 16 Dr. Ashok Aswani decided to enter the cinema theatre instead of going to work. He watched 4 times in a row a movie by Charlie Chaplin and left the cinema determined to dedicate his life to honor the character who, he believed, could inspire a whole new generation of Indian men. He lost his job that day but he started what would become the biggest parade dedicated to the Tramp.
Dr. Aswani could not be the perfect man because the perfect man works and helps making his country great again. The perfect man wakes up early and goes to work, waves at his wife from the car before getting into the daily traffic jam to go to the office, where he will stay for 8 hours in order to provide all for the family. Charlie Chaplin could not be the perfect man either.
In India the industrial revolution never really started and never really stopped but the Western standard of the new perfect man was imposed and embraced on top of an already elitist cultural structure. The results are confusing.
Using the first 10 minutes of the “Modern Times” movie as the script, this series aims to reflect on the quite unique understanding of masculinity in India and the traditional depiction of both, working conditions and the idea of the perfect male citizen. Rio de Janeiro December, 2016
Cristina de Middel was born in 1975 in Alicante to Spanish and Belgian parents, she has studied at the Polytecnic University of Valencia and Barcelona Autónoma University. Her artistic and commercial breakthrough came in 2012 with The Afronauts, a self-published photo book and exhibition documenting Zambia’s little-known and short-lived 1964 space programme. Her other projects include Poly Spam (2009) and Sharkification (2016)..
(Juana de Aizpuru press-release)
Galería juana de aizpuru. barquillo 44, 28004 madrid.
Image: Cristina de Middel: "Samooh", serie: The Perfect Man
january 12 - march 01, 2017
Through her inventions, Susana Guerrero is set upon taking up themes of mythology and utopia (mythopia), bringing together a genealogy of the materials, an anthropology of human experience, guided by the murmur of a dream. She allows a perceptual interpretation of a different kind.
Many of Guerrero’s artworks evoke a contemporary mythology that puts on the same plane the visible physical reality, the substance of dreams and the subconscious, the hidden reality.
There’s a kind of reformulation of ancient mythologies, constituting personal thoughts of the sacred through mythical stories, traditions and legends, superstitions and intuitive revelations. In the process of making the artwork, Guerrero reveals a binding ritual. The choice of every material, the configuration of every shape, of every element, brings a poetic meaning and symbolism to her artwork.
Indications of imaginary blood and path through veins and arteries, active heart, organs out of place yet connected to a life system. Guerrero may posit a relatively fractured or whole woman, or a person in different bodily states. As she makes the crisply graphic work, more figurative forms are mixed with unspecifiable shapes or abstracted forms in parts of her composition.
Her most vivid construction would be derived from a varying “mythopia.” The result is formed with features that may be confrontational or bacchanal. Parts of it may be supposed to urge identification or resist it. In this case, the filling of the space often places a situation akin to a breaking out, a way of purifying the spirit and getting to new ideas. (CCEMiami press-release)
Centro Cultural Español de Cooperación Iberoamericana. 1490 Biscayne Blvd, Miami, FL 33132
Image: Susana Guerrero
until 3 february 2017
We must ask ourselves what happens when a photograph abandons its image and frees itself from its soul. What’s left when a photograph doesn’t point towards a reality outside itself and only points to its substrate? When its residue remains in the shape of some light-sensitive chemicals? What happens when the only reference left to a photograph is photography itself? When the soul of an image - the information- leaves the body- the support- it becomes a ghost. But there are different kinds of ghosts and various kinds of ghost-images. Usually, the ghost-images that inhabit the bastions of memory are the archives.
In Trauma, Joan Fontcuberta proposes the idea of sick images: photographs suffer some kind of damage (pathology) which disturbs its documentary function and disables them to "live" in an archive but gives them an extraordinary plastic uniqueness. From these images, from different Asturian photo archives, Fontcuberta has made an artist's book.
In the line of previous projects (such as Blow Up Blow Up, 2009 and Gastropoda, 2013), which were based on the semiotic inquiry of the photographic image, Joan Fontcuberta’s new work arises from the hypothesis that the images undergo an organic metabolism: they are born, they grow, they reproduce and die to restart again the cycle of life. For this reason, Fontcuberta is interested in the archives, since they contain sick and agonizing images, images that, as a consequence of the transformative biology of time and chemistry, suffer from some type of disorder that disturbs their documentary function and disables them to continue "living" in the archive. These same images, whether they’ve been produced by himself or searched in photographic collections, are subject to a state of trauma. A trauma that, according to Fontcuberta, "brings us to the elegy for what remains of the materiality of chemical photography, an ode to its remains and excrescences." (Angels press-release)
Ángels Barcelona. c/ Pintor Fortuny, 27 - 08001 Barcelona
Image: "Trauma #2897", 2016. Photographic print on Duratrans with LED lightbox.Joan Fontcuberta
LONDON. Greta Alfaro, Maria Cañas, David Ferrando Girault “THE LOOKING GLASS (Debord Revisited, Part 1)” SCAN PROJECT ROOM
january 17th - february 25th 2017
SCAN (Spanish Contemporary Art Network) is pleased to present a curated series of videos by artists Greta Alfaro, María Cañas and David Ferrando Giraut. The works examine themes of voyeurism, memory, death and the reflective qualities of longing. Devises and images are interrogated for meaning and for traces of the lost, the absent or the dead. The technology of image production (and consumption) is present in all the works – not only by implication (how the works were made), but also as a kind of guilty presence, a reminder that the means is also the end, or at least provocation, at times.
Is it already a cliché to mention the omnipresence of total exposure, the pornography of everyday (if edited) experience present in our handheld devices? With technology we are able to perform our own lives to ourselves and many audiences, and to an extent perform beyond our means and lives. We dare each other and ourselves to show more, and more. But perhaps it is the structures that are relevant, rather than the means. The app may be only an amplifier of an existing economy.
2017 marks the 50th anniversary of the publication of The Society of the Spectacle by Guy Debord. Developments in social media, politics and pop culture have made Debord’s text seem frighteningly prescient and newly relevant. Debord exposes the mechanisms by which authentic experience is supplanted by what he calls the spectacle and relates this to the function (and power) within a consumer economy based on desire and a necessary and fundamental lack. Contemporary apps and social media seem to be the inevitable and predicted children of Debord’s text. Even the format of much of the original text seems to anticipate the word count of a tweet – short, focused, repetitive. The Looking Glass is both lens and mirror- it refers to the gaze of the subject who, in reflection is revealed as the object of the spectacle.
Greta Alfaro addresses the iconography and formalism of the baroque - and in particular the feast- as a means of implicating the spectator within the spectacle. María Cañas deploys satire in spliced video collages on love and murder that call to mind the films of Hitchcock and Kubrick and the political collages of Hannah Hoch. David Ferrando Giraut weaves text onto image in an analysis of the absence and the fetishism of the proxy. (SCAN-ARTE press-release)
SCAN PROJECT ROOM. 13-19 Herald Street, London E2
Image: El Cataclismo nos alcanzara Impavidos-HD Video. Greta Alfaro
13 january - 4 february, 2017
Metallic surfaces and reflections have a charming and mysterious quality in the art of self-portraiture. Self-portraiture art is psychological evidence of not always objective reflections of the viewers and their personalities. This series has a spiritual nature and energy to discern the human reaction with the glossy and colourful finish. The illusion of the reflective material almost appearing to be in motion like water, it gives a big visual impact to the wall space; embodying the materiality, light and reflection of infinite space.
With this series of minimal paintings, Jose’s aim is to explore and to pleasure our visual organism, based in the interpretation of our appearance, on the scheme of observation that make possible an emotional response.
José Gómez is a mixed-media artist, originally from Seville and based in London. Since completing his degree in Sculpture at Camberwell College of Arts (UAL) in 2012, Jose has since developed another side of his artistic creativity, with the making of abstract, figurative paintings sculptures and prints. His work has featured in several London group exhibitions – incl., Flesh exhibition at the Espacio Gallery. He presented his first solo show, “Colores dame colores”, at the Salome Gallery last year. Jose is currently working on a new series of paintings, minimal glow foil blocking with the brightness surfaces quality and reflecting position. His practice is based on mixed media works including paintings, sculptures and prints. The use of colourful paints and objects creates a focal point on his emotions having a psychological potential in his work.
Self-Portraits forms part of Just Off the Wall exhibition series which are independently produced by TripSpace Projects and curated by Pam Ceesay. (TripSpace Projects press-release)
TripSpace Projects. Arches 339-340. Acton Mews. London E8
Image: José Gómez
7 december 2016 – 24 february 2017
The International 3 is pleased to announce the launch of Not for Navigation, a solo exhibition by Hondartza Fraga. Taking its title from inscriptions found on illustrative rather than functional maps, Not for Navigation brings together new and existing works that demonstrate the artist’s ongoing exploration of our individual and collective relationship to landscape and an examination of the spatial, temporal, emotional, cultural and imagined distance that exists between ourselves and everything / everyone else.
Alongside screen based works and two new large scale drawings Mappa (Hemispheres) and Blank Orrery; both of which investigate the act of mapping, Not for Navigation will also include the inaugural presentation of Hondartza’s major project 365 Globes. Produced by the artist from 1stJanuary 2015 to 31st December 2015 this work comprises of 365, A5 pencil drawings of earth globes; one made on each day of the year. A new publication of the same name will also be launched to accompany the exhibition. Published by East Street Arts in a limited first edition of 366 copies; echoing 2016 as a leap year, 365 Globes brings together images of all of the drawings alongside an essay commissioned by The International 3, written by Rebecca Morrill (Senior Editor at Phaidon). Books will be available for purchase throughout the exhibition.
Hondartza Fraga’s practice is based on a rigorous approach to the research of her subject matter and her technical abilities enable her to produce work of consistent quality across a range of media, resulting in a practice that is broad yet focused, precise yet flexible. Her work is multi-disciplinary and multi-layered, full of insight, intrigue and undeniable poetry.
Hondartza Fraga was born in 1982 in Cabanas, A Coruña, Spain. Hondartza graduated from a BA (Hons) in Fine Art at The University of the Basque Country (Spain) in 2005; completed an MA in Fine Art at Sheffield Hallam University in 2007 and will embark on a PhD at Leeds Metropolitan University in 2017. Hondartza has exhibited nationally (Leeds,Liverpool, London, Manchester, Sheffield) and internationally (Portugal, Spain, Norway, Istanbul, Italy). Hondartza is currently a studio holder at Patrick Studios (East Street Arts) in Leeds. Hondartza’s most recent solo exhibitions include The Sea Full Stop at Manchester Art Gallery and El Mar Indirecto, Espacio creativo Alexandra, Santander, (International 3 press-release)
The International 3. 142 Chapel Street. Salford, Manchester. U.K
Image: “The leap pone” Hondartza Fraga
17 december 2016 – 29 january 2017
Born in Barcelona in 1951, Isabel Munoz is an internationally renowned photographer whose work is focused on the sensuality of the human form. As a small child, she wanted to become invisible in order to observe without being seen, and from a young age decided to become a photographer. Her work is widely admired and has won numerous prizes and distinctions, including the 2016 the Spanish National Photography Prize, awarded by the Spanish Ministry of Culture. Isabel Munoz’s photographs appear in many important public collections, including the Maison Européenne de la Photographie (Paris) and the New Museum of Contemporary Art (New York).
Tango dancers, Mevlevi Sufis, large apes, bodies in movement or sculpted in stone… in the course of her travels and career, Isabel Munoz has plumbed the recesses of the soul, capturing her subjects’ unique energy with great subtlety and elegance. Simultaneously humble and ambitious, her work enables viewers to connect with the Other through the precision of a movement or the power of a gaze.
Isabel Munoz is fascinated with dance and the expressive power of the human form. Her work perfectly encapsulates the idea of movement, encouraging us to engage with the question of the physical body and its representation. The large-format platinum prints she favours are ideally suited to this exploration, imparting a special vibration to the velvety smoothness of a limb or the folds of a dress. The remarkable delicacy of these prints underlines the sophisticated framing of each shot and its relation to space and texture.
Isabel Munoz’s photographs invite us to discover new horizons of sensuality and sensitivity, a world of memory and fantasy, where light lends an air of mystery to timeless gestures that reveal the eternity of desire and the animal nature of humanity. (CT press-release)
CT Gallery. 112, rue Saint-François. 74120 Megève. France
Image: “Tango” Isabel Muñoz
18 december 2016 – 16 april 2017
The Spanish artist Santiago Sierra participates in the group exhibition Afterwork, curated by Inti Guerrero, with his artwork The Trap
Afterwork is a major group exhibition exploring issues of class, race, labour, and migration in the region and beyond, as well as their corresponding aesthetics and histories. The exhibition is presented in collaboration with Para Site, a leading contemporary art centre in Hong Kong and one of the oldest and most active independent art institutions in Asia. Afterwork premiered in Para Site, Hong Kong in March 2016 and is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim.
Migrant domestic workers are Hong Kong’s largest minority group and one of the most visible components of the city's society. Migrant workers in construction, agriculture, and services, alongside domestic workers also represent a significant social group in Malaysia and other countries in the region. In most of these places, migrant workers’ legal and symbolic status are matters of constant negotiation, reflecting the many complexities behind the continuing nation building processes of our times. The stories of migrant workers in Hong Kong, Malaysia, and elsewhere are crucial narratives that need to be told alongside the growing affluence of many of these societies in the past decades, together with the stories of struggle of what is considered the ‘local’ working class and of other historically disadvantaged groups, and on the backdrop of the different historical waves of migration that have shaped so much of our world.
Afterwork includes the work of artists of different practices, contexts, and generations. Several artists navigate directly the main thematic map of the exhibition; others chose a more personal approach, looking at the presence of domestic workers in households, the public sphere, and the artists' lives. Another group of artists create abstract and poetic landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes.
In addition to the exhibition, Para Site is publishing Afterwork Readings/Babasahin Matapos ang Trabaho/Bacaan Selepas Kerja/工餘, an anthology of migrant and domestic worker literature conceived in collaboration with KUNCI Cultural Studies Centre in Yogyakarta, Indonesia. This major volume about and by migrant workers contains short stories, poems, and excerpts from novels and plays, written by classical literary figures of the region, established contemporary authors, as well as domestic workers. It is printed in four different languages (Bahasa Indonesia, Chinese, English, and Tagalog), with the hope of creating a platform to facilitate the encounter and exchange through literature between the different migrant worker communities. It also aims to bring together the most relevant and important texts on this issue written in our region over the past century, as well as to promote the work of the most promising writers from among the domestic workers community.
Afterwork is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim
ARTISTS: Abdoulaye Konaté, Alfredo Jaar, Beatrix Pang, Brian Gothong Tan, Daniela Ortiz, Eisa Jocson, Elvis Yip Kin Bon, Fan Ho, Gan Chin Lee, Cheng Yee Man (Gum), Harun Farocki, Hit Man Gurung, I Gusti Ayu Kadek, I GAK Murniasih, Imelda Cajipe Endaya,Jao Chia-En, Jean-François Boclé, Joyce Lung Yuet Ching, KUNCI Cultural, Studies Center, Köken Ergun, Lai Loong Sung, Larry Feign, Liliana Angulo, Maria Taniguchi, Melati Suryodarmo, Miljohn Ruperto, Pangrok Sulap, Poklong Anading, Ryan Villamael, Santiago Sierra, Sakarin Krue-On, Sharon Chin, Sun Yuan & Peng Yu
Taring Padi, Xyza Cruz Bacani (ILHAM Gallery press-release)
ILHAM Gallery. LEVELS 3 & 5, ILHAM TOWER. NO 8, JALAN BINJAI. 50450 KUALA LUMPUR
La trampa: https://www.youtube.com/watch?v=1dd2RhZGcmk
Image: La Trampa. Santiago Sierra
27 december 2016 – 28 january 2017
Joaquín Jara, Barcelona, 1977, is a multidisciplinary artist. All of his aspects, from interventions in natural and urban environments to painting, sculpture, and experimental movies, converge on a common objective:
-understanding the creation process of the portrait as a piece.
Within the internal processes which shape a creation, we can witness a dialog between matter (used to construct), intentionality (energy that generates the work), space (in which the expression is executed), and time (the transformation element). These processes and the dialog between them generate a performance in itself, due to unexpected events, which become an existential question; overcoming thought, which is nothing compared with the image of the world captured emotionally, an image that appears as a revelation.
The portrait is displayed as an object subject to internal and external forces, those of the environment, which generate constant changes. Therefore, it will be a representation of the subject processes. An instant inside a sequence of images in continuous transformation. An image saved, which does not illustrate identity, but testifies it. An image without a possible conclusion, as it resides on instability.(Aktivität press-release)
Aktivität Espacio Creativo. Carrer Topazi, 21 08012 Barcelona
Image: Aktivität Espacio Creativo
24 november 2016 – 21 december 2017
Miró produced his first bronze sculptures at the end of the 1940s, after having worked with clay and ceramics alongside Josep Llorens Artigas. Over the next three decades, Miró transposed into bronze this art of assembly initiated during his surrealist period, taking found objects with suggestive shapes and using them to create poetic and burlesque figures that echo his paintings. He went on to produce more than 300 original works, which today are exhibited in the greatest museums in the world. Galerie Lelong, which represents the Estate of Miró, has brought together for this exhibition a very representative selection of small bronzes.All of these sculptures are included in the catalogue raisonné, Miró Sculptures, written by Emilio Fernandez Miró and Pilar Ortega Chapel, published by Galerie Lelong and Successió Miró. (Lelong press-release)
Galerie Lelong. 13 rue de Téhéran 75008 Paris /
Image: Joan Miró. Tête, 1970. Galerie Lelong
12 december 2016 – 29 march 2017
Javier Pérez was born in Bilbao in 1968. His works are characterised by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Pérez reveals his inquiries an d reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism.
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
His work has been exhibited in several galleries and museums, among them: Centre Pompidou, Paris; Museo Guggenheim Bilbao; Pala is de Tokyo, Paris; Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofí a, Madrid; Chapelle du Centre de La Vieille Charité, Marseille; Kunsthalle Wien; Musée d ’ Art Moderne de la Ville de Paris; ARTIUM, Centro – Museo Vasco de Arte Contemporáneo, Vitoria; Carré d ’ Art – Musée d ’ art contemporain, Nimes; Musée d ’ Art Moderne et Contemporain de Strasbourg; and, Musée des Beaux – Arts de Rouen. Javier Pérez lives and works in Barcelona, Spain.(Kochi Biennale press-release)
Kochi Biennale Foundation. 1/1903, Kunnumpuram. Fort Kochi PO. Kerala 682001
Image: Javier Pérez. Vida Latente
december 04 — may 07, 2017
The exhibition presents moments of intersection in the formation of modernism art both in Europe and Latin America.
Pablo Picasso and Diego Rivera were contemporaries, erstwhile competitors, equally ambitious and prolific as artists, internationally famous, and well aware of their larger-than-life personalities. Picasso and Rivera: Conversations Across Time asks how these towering figures of the twentieth century engaged with their respective ancient Mediterranean and Pre-Columbian worlds.
The exhibition compares their artistic trajectories beginning with their similar academic training to their shared investment in Cubism and their return to an engagement with antiquity from the 1920s through the 1950s. By placing 150 paintings, etchings, and watercolors in dialogue with each other and with singular ancient objects, Picasso and Rivera: Conversations Across Time aims to advance the understanding of Picasso and Rivera’s practice, particularly in how their contributions were deeply influenced by the forms, myths, and structures of the arts of antiquity. (LACMA press-release)
Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA
Image: Pablo Picasso, Student with Newspaper (L’etudiant au journal), 1913–14. Los Angeles County Museum of Art
BEIJING. Fernando Sánchez Castillo, Cristina Lucas “BRIC-à-brac:The Jumble of Growth” Today Art Museum
10 december 2016 – 05 march 2017
This exhibition for Today Art Museum’s third Documents aims to explore the process of global economic, social and cultural transformations that the boom of emerging market economies has introduced. It will try to examine various ways in which art has participated in or reacted to some of the transitions involved, and to their effects on culture, society and the individual.
The French expression bric-à-brac is broadly employed to mean jumble, odds and ends, or an uneven group of things, with a certain undertone of confusion. The first word of this idiom coincides by chance with the acronym BRIC – Brazil (7th world economy), Russia (13th), India (6th) and China (2nd) –, launched in 2001 by economist Jim O'Neill to discuss the major global economic role played by these four countries. Despite their current slowdown, the BRICs are the largest emerging market economies in the world, and account for more than 25% of the world's land area and more than 40% of its population. The acronym has come into widespread use to epitomize a historic process that is taking place: the dramatic increase of global economic power of the developing world, which has come to play a leading international role in the post-Cold War era.
This shift is a decisive outcome of globalization that is reshaping the world and therefore having a planetary impact not only in economy, but also in politics, society, the environment, culture and life. It is changing the way in which modernity and colonialism have structured the world. Traditional divisions between First and Third Worlds have exploded, giving way to a mixed, more decentralized distribution of roles. The new situation not only involves the BRIC countries, but many other emerging economies in Africa. Curator: Huang Du,Gerardo Mosquera
Artist: AES+F, Chot Delat, Cinthia Marcelle, Cristina Lucas, Donna Conlon & Jonathan Harker, Fernando Sánchez Castillo, Francesco Clemente,Gonzalo Díaz Cuevas, Jamal Penjweny, Kendell Geers, Marcela Armas, Marcos Ramirez Erre, Marepe, Meiro Koizumi, Mounir Fatmi, Praneet Soi, Sascha Phole, Simryn Gill, Subodh Gupta, Tony Brown, Thomas Hirschhorn, Wilfredo Prieto, Wim Delvoye, Young-hae Chang Heavy Industr. (Today Art Museum press-release)
Today Art Museum, Building 4, Pingod Community, No.32 Baiziwan Road, Chaoyang District, Beijing
Image: “BRIC-à-brac:The Jumble of Growth” Today Art Museum
until 18 march 2017
The project Camins encontrats [Found Paths] proposes to bring together two works from different times by the same artist, the author, the collector, specialists and public in a given place, the Fundació Suñol, and through this exhibition and dialogue to discover and delve into questions about art that arise for us out of this encounter.
In the first of two shows of Camins encontrats, we can discover two opposed works by Joan Rabascall, Franco hace deporte – Autopistas Concesionaria Española S.A (1975) and Del Big Bang al Big Brother (2012). The fact of putting one in front of the other allows us to compare two positions, two situations, two moments that highlight fundamental questions of Rabascall’s artistic practice, while places them in the new context, amplifying the views and questions about them. Both works, despite the technical and stylistic differences, denounce the excesses and hypocrisy of consumerist ideology making use of the same procedures and languages through which it perpetuates itself: the mass media. With this phenomenon, the Rabascall’s work states the emancipatory role of art. (Fundació Suñol press-release)
Fundació Suñol. Passeig de Gràcia 98. 08008 Barcelona
Image: Joan Rabascall “Camins encontrats. Fundació Suñol
SEOUL. Jorge Mañes Rubio “Activating the City. Urban Gastronomy” National Museum of Modern and Contemporary Art
5 december 2016 – 19 march 2017
Jorge Mañes Rubio is in Seoul to participate in 'Activating the City: Urban Gastronomy', a new exhibition at the MMCA, the National Museum of Modern and Contemporary Art. Rubio will be presenting his work 'Street Food Lighting'and kicking off the exhibition with an open discussion together with curator Bora Hong and chef Ara Ahn. 'Activating the City: Urban Gastronomy' includes the work of several artists, designers and activists such as Gordon Matta-Clark, Bonnie Ora Sherk and Jongbuhm Kim. The exhibition imagines design methodology as a device to form relationships among people in consideration of how we shall live, rather than producing new objects or work.
Jorge Mañes Rubio born in Madrid in 1984, he is an award winning visual artist based in Amsterdam. He graduated in Design Products from the Royal College of Art London in 2010, where he confirmed his tireless eager to travel beyond the usual scopes of design. In 2014 he obtained the prestigious TED fellowship. His work explores the unseen. Forgotten places and stories inspire him to create artworks that reimagine and revive these sites as attention-worthy destinations, shining light on social, political or environmental issues from an alternative perspective. Rubio has been a guest lecturer at several international conferences such as TED2014 Vancouver, TEDxMadrid, FRAME Amsterdam or DDW Eindhoven. His work has been exhibited worldwide in galleries, museums and art centers such as PSA Shanghai, 501 Contemporary Art Centre Chongqing, AIAV Japan, Festival Bo:m Seoul, MUDAC Lausanne, CFCCA Manchester, LASEDE Madrid, Initial Gallery Vancouver, Spazio per le Arti Contemporanee del Broletto di Pavia, A+A Centro Pubblico per l’Arte Contemporanea di Venezia, etc. (NMMC press-release)
National Museum of Modern and Contemporary Art. 30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul 030
Image: Jorge Mañes
5 november 2016 – 4 march 2017
New York-based bitforms gallery celebrates its fifteen-year anniversary exhibition at Minnesota Street Project in San Francisco. The curated presentation of works includes currently represented artists as well as those who have shaped the gallery’s identity over the years, demonstrating the program’s continued engagement with technologically informed practices.
Exhibiting artists include Jeffrey Blondes, Daniel Canogar, R. Luke DuBois, Claudia Hart, Yael Kanarek, Beryl Korot, Rafael Lozano-Hemmer, Sara Ludy, Manfred Mohr, Jonathan Monaghan, Mark Napier, Tristan Perich, Quayola, Casey Reas, Daniel Rozin, Björn Schulke, Siebren Versteeg, Addie Wagenknecht, Marina Zurkow, and Zimoun.
Showcasing the full range of the gallery’s program, the exhibition at Minnesota Street Project spans three distinct spaces within the complex. In the main gallery, highlights include new LED wall sculptures by Daniel Canogar, a large-scale interactive work by Rafael Lozano-Hemmer, a sculpture that intercepts WiFi signals by Addie Wagenknecht, a drawing machine by Tristan Perich, algorithmically generated digital paintings by Siebren Versteeg, computer drawings from the 1970s by Manfred Mohr, a video compilation of Mark Napier’s net.flag––one of the first Internet artworks to be commissioned by a major institution, and works on paper inspired by Yael Kanarek’s browserbased World of Awe series. While the earliest works in the show date to the beginning of the 1970s, works by emerging artists––including Sara Ludy, Jonathan Monaghan, Quayola, and Addie Wagenknecht––showcase how a new generation of artists are engaging with contemporary technology. In their respective practices, these artists employ Second Life, computer-generated animation (CGI), lidar (light and radar three-dimensional scanning), and drone technologies. (MSP press-release)
Minnesota Street Project.1275 Minnesota St. and 1150 25th St. San Francisco
Image: ECHO 2016. Daniel Canogar
17 november 2016 – 26 february 2017
The Taylor Wessing Photographic Portrait Prize exhibition includes In Focus, an annual showcase of new work by an internationally-renowned photographer, in this occasion that person is award-winning Spanish photographer Cristina de Middel.
De Middel will be displaying previously unseen prints from a new body of work. The photographs are part of the series Gentleman´s Club, taken of prostitutes’ clients in brothels in Rio de Janeiro, Brazil. By recruiting her sitters through a newspaper advert, de Middel inverted the normal roles of the business by placing herself in a position of power. Sitters were asked about their experience, personal history and motivations.
Cristina de Middel was born in 1975 in Alicante to Spanish and Belgian parents, she has studied at the Polytecnic University of Valencia and Barcelona Autónoma University. Her artistic and commercial breakthrough came in 2012 with The Afronauts, a self-published photo book and exhibition documenting Zambia’s little-known and short-lived 1964 space programme. Her other projects include Poly Spam (2009) and Sharkification (2016). (NPG press-release)
National Portrait Gallery St. Martin's Pl London, WC2
Image: Daniel from the series Gentlemen’s Club by Cristina de Middel, 2016
12 november 2016 – 22 january, 2017
KÖNIG GALERIE is pleased to present The Others, a group exhibition curated by Elmgreen & Dragset and inspired by the gallery’s location at St. Agnes, formerly a Catholic church.
The Others presents fifteen works by twelve artists who have each challenged established ways of portraying the body within Christian iconography. Focusing on the meaning of materiality in Christianity and contemporary art, the show brings together a variety of figurative representations and seeks out the potential for emancipation from moral edicts in religion through art. Forms of bodily resistance and alternative narratives address issues of belief, gender, race, morality and sexuality. With the exhibition title The Others, the gaze is turned back on the participating artists themselves as “the others,” most of them coming from countries with a predominantly Protestant or Catholic history. In a secularized city like Berlin, Christianity, as well as other religions, might seem distant from everyday life. However, Islam has been dominating the news media over the past few years. The title proposes a reality where we are all potentially “the others.”
Art, like religion, depends on a shared language to communicate—a language in which certain material forms connote commonly accepted definitions and associations. Both art and religion can provide visceral experiences in which meaning derives from the material, in contrast to the streams of digital information disseminated on the Internet. Several of the artists in The Others have reworked classic Christian depictions of the heroic, holy or suffering body in order to speak about identities and desires that have historically been condemned or excluded by the Church. (KÖNIG Galerie press-release)
ARTISTS: TACITA DEAN, ELMGREEN & DRAGSET, PEPE ESPALIÚ, MARTIN KIPPENBERGER, KRIS MARTIN, RON MUECK, AIDAN SALAKHOVA, ANDRES SERRANO, SANTIAGO SIERRA, YOUNG-JUN TAK, NASAN TUR, MARK WALLINGER
KÖNIG GALERIEST. AGNES. ALEXANDRINENSTR. 118–121. 10969 BERLIN
Image: “The Others” KÖNIG Galerie
03 december 2016 – 31 march 2017
A photographic project around Quixote and the Spanish-speaking community through places located in the south of the United States.
Barataria is the name of the fictional island Awarded to Sancho Panza, in the book The Ingenious Hidalgo Don Quixote de la Mancha, to govern, as a prank. What if Sancho Panza traveled to the U.S. in 2016? This is a photographic project around Quixote and the Spanish-speaking community through places located in the south of the U.S. The streets and cities have names from Miguel de Cervantes’ book.
Curated by Daniel Garcia and Edgar Melo (These Glory Days collective), Spanish photographers and documentary filmmakers are presenting the final results at the Institute of Hispanic Culture, after passing through Florida and Louisiana, prior to its continuation in Texas.
Edgar Melo is a photographer and documentary filmmaker born in Barcelona (Spain). He graduated from the Danish School of Media and Journalism. He was graphic editor of documentary photography magazine Piel de foto and the collective These Glory Days. As a documentary filmmaker, he has directed the documentary and feature filmCabriante Wavelength, one of the chapters of Transeuropa Caravans, a project funded by the European Commission and the Soros Foundation. He has also worked as a photojournalist and filmmaker for publications such as Lonely Planet, La Vanguardia,El Confidencial, Al-Jazeera TV or RTT.
Daniel García Antón is a documentary filmmaker born in Seville, Spain. He is the author of several short films and medium-length films broadcast on television and released in various international festivals (Visions du Réel, Transcinema Lima, Documenta Madrid, etc.). Currently working on his first feature film, Rest in Peace, Mr. Hopper, a hybrid of documentary and fiction produced by Colibri Studio and filmed in Peru, which will be completed in 2017. Back to Barataria, performed with Edgar Melo, is his first photographic project. (IHCH press-release)
Instituto Cervantes. 1701 4th Street SW. 87102 Albuquerque Nuevo México (ESTADOS UNIDOS)
Image: “Sancho Panza Rd” Daniel García Antón
november 27, 2016 - february 28 2017
I received an e-mail from a man I didn’t know, asking me for my address to send me something by ordinary mail. During the following three years J. kept sending me presents to my address, and later frequent telephone messages. I didn’t know anything about him but his name and that the sender was from Madrid.
As a response to his increasing invasion, I invited him to my place and offered him to stay there for 24 hours without the possibility to get out. During that day I observed all his steps with three hidden cameras. J and I have never met. Estela Sanchís
Image: Estela Sánchis
1 december 2016 – 30 april 2017
The Spanish artist Cristina Lucas radically and critically questions today’s lived reality, creating an intensive and simultaneously highly aesthetic engagement with our world.
Lucas makes democracy, globalization and the mechanisms of power the content of her works. She attentively analyzes fundamental structures in politics and business, revealing the contradictions that exist between official historiography, real history and collective memory.
The exhibition in OK shows sixteen works and is her first major retrospective in the German-speaking region. She establishes a direct relationship to the present with an impressive filmic cartography of all aerial bombardments with civil victims, which she has painstakingly researched around the world and realized with three-channel technology. Cristina Lucas, born 1973 in Jaén /ES, lives and works in Madrid.
In collaboration with MUDAM LUXEMBOURG, a catalogue will be published. Curator: Genoveva Rückert.(OK Centrum press-release)
OK Offenes Kulturhaus Upper Austria. OK-Platz 1, 4020 Linz
Image: Naked in the Museum, Prado 2014. Cristina Lucas
St. PETERSBURG. “Surrealism in Catalonia. The artists of Empordà and Salvador Dalí” Hermitage Museum
9 october 2016 – 05 february 2017
The exhibits include not only paintings, but also works of sculpture and graphic art created by artists from this part of Spain in the period from the late 19th century to the late 20th. For the first time members of the Russian public have the opportunity to acquaint themselves with works by Spanish surrealists, to see and understand the genesis of one of the 20th century’s most attractive and intriguing artistic phenomena.
When people start talking about Spanish Surrealism, they speak about the Surrealism of Catalonia and first and foremost about the Surrealism of Empordà. In the first half of the 20th century, it was the region of Empordà that became the chief centre for Surrealist experimentation in the brilliant flourishing of Catalan art.
The “School of Figueres” emerged in the early 20th century, as a result of the teaching activities of the superb draughtsman and graphic artist Juan Núñez, and had an influence on the group of young artists that included Salvador Dalí. The work of those artists is marked by exceptional realism, and a painstaking, immaculate drawing technique, almost always in graphite or charcoal. They produced still lifes resembling Dutch 17th-century a paintings and depictions of interiors filled with strong contrasts of light and shade and imbued with an enigmatic atmosphere of mystery. It was in Figueres and its environs that Josep Bonaterra, the patriarch of Empordà painting worked. It was there too that Dalí’s talent took shape.
Salvador Dalí (1904–1989), the foremost exponent of Surrealism as a worldwide phenomenon, remained despite his global fame as a universal artist not only a Catalan artist, but even to a significant degree an Empordan – an inhabitant of the towns of Figueres, Cadaqués and Portlligat. He found inspiration in landscapes familiar from childhood, friends and artists with whom he remained on warm terms all his life. Dalí does not encompass the whole of Empordà painting, nor even Empordà Surrealism, but he alone by some incomprehensible means managed to be first to present it to the world and make it famous.
Dalí’s oeuvre is represented in the exhibition by the works The Severed Hand (1928), Exquisite Corpse (1930–33), Retrospective Bust of a Woman (1933), Surrealist Object Functioning Symbolically (1933–70), Soft Skulls and Cranial Harp (1935), Saint Narcissus (1962), Venus with Drawers (1971) and the famous painting Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening from the collection of the Thyssen-Bornemisza Museum in Madrid.
The world first learnt about Cadaqués thanks to the sculptors Carles Ridaura (Motherhood, 20th c.) and Frederic Marès (Female Figure, 1930). Others who worked there were Eliseu Meifrèn, who was passionately fond of the sea and discovered wonderful, secluded little corners of Cadaqués, and Ramon Pichot i Gironès, whose life was spent between a studio in Paris and long seasons in the Catalan town. Cadaqués was home between the world wars to the German artist Siegfried Burmann, who painted landscapes there and also portraits of Salvador Dalí and his sister Anna Maria in childhood. Common features of this constellation of artists are splendid realistic drawing and a fascination with the countryside of Empordà that plays a leading role in their works.
In a list of the most famous and significant Surrealists Dalí is followed by Àngel Planells (Moon on the Seashore, 1947). Other prominent Empordà artists include Esteban Francés (Surrealist Composition, 1932), Jaume Figueras(Surrealist Landscape, 1980), and two figures close to Evarist Vallès and Joan Massanet. It would be stating the obvious to say that to one degree or another all Empordà artists who came after Dalí were subject to his influence.
The curators of the exhibition: the Hermitage curator is Sviatoslav Savvateev, a researcher of the Department of Western European Art; the Catalonia curators are Alícia Viñas and Yuri Saveliev. The State Hermitage Publishing House has produced a catalogue for the exhibition Surrealism in Catalonia. The artists of Empordà and Salvador Dalí with texts by Spanish art historians and art critics. The exhibition is under patronage of V St. Petersburg International Cultural Forum. (Hermitage Museum press-release)
The State Hermitage Museum. Russia, 190000, St Petersburg
Image: Salvador Dalí. The State Hermitage Museum
23 november – 22 january, 2017
Saelia Aparicio Torinos and Leonor Serrano Rivas have been selected by Anya Gallaccio, Alan Kane and Haroon Mirza over thousand of applicants to exhibit their work at Bloomberg New contemporaries. Saelia graduated from the MA Sculpture programme at the Royal College in 2015, while Leonor graduated from the MFA programme at Goldsmiths also in 2015. Their work launched to huge critical acclaim with Bloomberg New Contemporaries 2016 in July at Bluecoat, Liverpool as part of that city’s Biennial. These high-profile national platforms will be followed by the exhibition travelling for the seventh year running to the equally significant Institute of Contemporary Art, London in November.
Since 1949, New Contemporaries has organised an annual, open submission exhibition for graduates emerging from UK art schools. Over this time our annual exhibition has established itself as a significant event in the nation’s art diary and a barometer for new talent. Additionally, as a reflection of the UK’s position as a global centre for studying art, increasingly the artists that we work with come from a plurality of national backgrounds. (ICA press-release)
INSTITUTE OF CONTEMPORARY ARTS. ICA. The Mall. London. SW1
Image: Saelia Aparicio
16 november 2016 - 21 january 2017
The solo show Latitude proposes a reflection on the concept viewed not only as a geographical term but as a state of the body. The French philosopher Gilles Deleuze defines the body by establishing a cartography of it, in which the latitude describes the states of the body’s force to exist, its power “to affect and be affected”. The body is defined by movement, a variation of its ability to act. In David de la Mano’s artworks the latitude is not a specific point anymore, but rather an indeterminate point between origin and destination, an intermediate state between active action and passive enduring. The characters of his paintings, as if moved by a common fate, tell the observer stories about journeys and exploration, narratives of odysseys, exiles, crossings and collective migrations
David de la Mano (1975, Salamanca, Spain) is one of the most important artists of the Urban Art movement. With a degree in Fine Art from the University of Salamanca and PhD studies in Public Art from the University of Valencia, de la Mano is a versatile artist who excels from drawing to sculpture. The artist has started his career in the early ‘90s creating Land Art projects, installations and sculptures in the public space, and since 2008 his attention has focused on mural paintings. The artist experiments with different techniques among which acrylics, watercolours, ink and collage. Through a minimalist style, characterised by the monochromatic use of black, David de la Mano is able to create extremely poetic artworks, a symbolic reflection on humankind. The single anthropomorphic figures of the artist gather together and unite in an eternal and recurring movement; the individuals become the mass and vice versa, and they are driven by their dreams, ambitions, fears, vices, hopes, internal conflicts.. Curated by Giuseppe Pizzuto Critical essay by Clara Amodeo. (Wunderkammern press-release)
Wunderkammern Milano, via Ausonio 1A, 20123 Milano
Image: David de la Mano. Artwork Detail
17 november 2016 – 11 february 2017
Prudencio Irazabal (Puentelarrá / Álava, Spain, 1954) lives and works in Madrid. After studying Fine Arts in Sevilla and Barcelona he completed his studies in Columbia University, New York, where he moved in 1986. This city marks his creative and professional development as a painter. After a period of research confronting the elements of painting in terms of irreducible facts, color and light became the main concern of his work.
In the early 90s he begins to photograph in the microscope cross sections of his old paintings. The intensity, concreteness and material truth he found through those photographs revealed the contrast and the correlation between simple, raw materials and the more inscrutable and transcendent nature of painting. He developed techniques to build massive colors from chromatic ideas that offered the possibility of being unweaved and later reassembled as an illusionistic surface.
Material color, mediated by the transit of light through paper thin layers, becomes in his works a unique perceptual experience belonging to the medium of painting. This merging of translucent layers of color shapes the incoming light while still allowing the eye to traverse them through to the white canvas. Dissolving formal outlines and replacing drawing and form with radiating colors and deep space, his paintings offer rich surfaces that suggest something beyond painting. They appear transparent and candid, but they hide all traces of gesture, process, and, meaningfully, the precise location of color.
Irazabal’s paintings are defined at once by extreme luminosity and complex color. They keep an ongoing challenge to unite the certainty of materiality with the unreliable nature of perception in order to synthesize image, materiality and meaning. He has exhibited his work in New York since the early 90’s. He also presents his work regularly in Germany, Italy and Spain. His Works are in the Collections of the Guggenheim Museum, Bilbao, Fundación Helga de Alvear, Cáceres, Museo Patio Herreriano, Valladolid, Artium Museum, Vitoria, Akzo Nobel Foundation, Amsterdam, H+F Collection, Rotterdam. (Helga de Alvear press-release)
GALERÍA HELGA DE ALVEAR. Doctor Fourquet 12. ES–28012 Madrid
Image: Prudenio Irazabal
26 november 2016 - 26 march 2017
This exhibition is a coproduction between Macba, CA2M, Centro de Arte Dos de Mayo de la Comunidad de Madrid, ARTIUM, Centro Vasco de Arte Contemporáneo, Vitoria, and el Museo Universitario del Chopo, Mexico and the Ciudad de Mexico, curated by David G. Torres. Featuring over sixty artists, both national and international, the exhibition traces a journey through the influence of punk in contemporary art and echoes the importance of its presence as an attitude and as a referent for many creators. It includes installations, documentary excerpts, multiples, photographs, videos and paintings, together with a section documenting the origins of punk and its vestiges in the present day.
Some of the themes addressed include noise, denial, violence, nihilism and sexuality. Dissatisfaction, nonconformity, the loss of faith in progress and a fierce criticism of the icons of the economic and social system appear in the work of these creators.
Punk was born in London and New York between 1976 and 1978 as an explosion of discontent and dissatisfaction towards a situation without a future, which immediately caught on and spread geographically. A rage that still resonates today. The journalist and music critic Greil Marcus outlined this for the first time in 1989, in Lipstick Traces. A Secret History of the Twentieth Century, a journey through the history of the antecedents of the movement, going back to Dada and Situationism. The exhibition draws on this book and performs the same exercise in reverse: a prospective exercise that looks for vestiges of punk in the artists of today.
In this exhibition, punk appears as an explicit reference in many artists; in the use of elements such as noise, cut-out typography, anti-design and the aesthetics of the ugly; or in the inclusion of explicit references to musical bands. But it also shows traces of punk as an attitude: denial, opposition and destruction; the do it yourself; the reference to fear and horror in a society that alienates individuals; the same alienation that provokes psychotic states; the fondness for anything outside the norm; nihilism; criticism of the economic system and anarchy; or the demand for sexual freedom itself, the body as a place of battle.
Artists: Carlos Aires, Martin Arnold, Fabienne Audeoud, Bill Balaskas, Jean-Michel Basquiat, Laurent P. Berger, Chris Burden, Tony Cokes, Jordi Colomer, Brice Dellsperger, Christoph Draeger, Jimmie Durham, Tracey Emin, Mario Espliego, Ant Farm, Hans-Peter Feldmann, Claire Fontaine, Chiara Fumai, Iñaki Garmendia, Kendell Geers, Gelitin, Nan Goldin, Douglas Gordon, Dan Graham, Eulàlia Grau, Guerrilla Girls, Antoni Hervas, Mike Kelley, Martin Kippenberger, João Louro, Christian Marclay, Raúl Martínez, Raisa Maudit, Paul McCarthy, Jonathan Messe, Jordi Mitjá, Joan Morey, Janis E. Müller, Matt Mullican, Itziar Okariz, João Onofre, Antonio Ortega, Tony Oursler, Mabel Palacín, Juan Pérez Aguirregoikoa, Raymond Pettibon, Maria Pratts, Tere Recarens, Jamie Reid, Tim Reinecke, Martín Rico, Aida Ruilova, Pepo Salazar, Santiago Sierra, Federico Solmi, Natascha Stellmach, Gavin Turk y VALIE EXPORT. (CCEMX press-release)
Museo Universitario Del Chopo, Santa María la Ribera, Ciudad de México, Méxicohttp://ccemx.org
Image: Carlos Aires
october 28, 2016 – february 19th, 2017
This exhibition by Isabel Coixet opens on October 28th at the Campredon Centre d’art, in France. The exhibition includes 52 portraits of actors, actresses, writers and directors of Catalan cinema taken during the shooting of her movies. Photographer and director Isabel Coixet decribes her series with this poem: Faces are my landscape. Not walls, nor sunsets. Not even oceans or streets or skyscrapers. Every face that I have shot is a fragment that I’ve loved. A window on others. To those who have let me glimpse at their hearts and who have given me some instants. An extract of what they are. A pure, unpolished, undistilled version. I remember with an unprecedented precision – a
precision I don’t usually have to remember where the car keys or the cellular are – the exact moment in which I took each of these photographs. The degree of freedom
and alcohol. The effervescence. How I felt behind the camera. The temperature. The air of the time. The Smell. All this faces are with me. I love them. I can’t help it.
Campredon Centre d’art. 20 Rue du Dr Tallet. 84800 L’Isle-sur-la-Sorgue. France
Image: Penélope Cruz. Isabel Coixet
LONDON. Andrés Jaque and Ana López “Fear and Love: Reactions to a complex world” The Design Museum Kensington
24 november 2016 – 23 april 2017
'Fear and Love: Reactions to a complex world' is an exhibition of the new Design Museum in London. It consists of a series of eleven major new commissions by some of the most innovative practitioners in design and architecture. Each commission is intended to be a powerful statement about the potential of design today. The ambition is for this to be a landmark exhibition presenting cutting-edge positions that define our time. The practitioners include London-based fashion designer Hussein Chalayan, the architecture practice OMA, founded by Rem Koolhaas, the artistic director of Muji, Kenya Hara, and the Spanish –with the support of AC/E– Andrés Jaque and Ana López. The eleven installations explore a spectrum of issues that define our time – from protecting the environment to network culture and sentient robots. The exhibition asserts that design is deeply connected not just to commerce and culture but to urgent underlying issues – issues that inspire fear and love. This is a bold, multidisciplinary exhibition that aims to capture the mood of the present and establish the Design Museum as the home of design debate. . (AC/E press-release)
The Design Museum Kensington. 224 - 238 Kensington High Street. London
Image: 'Fear and Love: Reactions to a complex world' The Design Museum Kensington
17 november 2016 – 21 january, 2017
Jaume Plensa will have his first solo show in Galeria SENDA, after 7 years without an exhibition in his hometown, Barcelona
Jaume Plensa born in 1955 in Barcelona, Spain. Works and lives in Barcelona, Spain. This sculptor from Barcelona presents a work of friendly confrontations: among dark and light; between the imprints of the past and the opening towards the future; between natural formations and man’s creation, and between the immensity of noise and the most intimate realms of silence. Besides being one of the maximum advocates for the actual sculpture scene, Jaume Plensa is known internationally for his dedication to art in public spaces. The sculptor calls the need to decompose reality and affirm nature to obtain his objective: “introduce beauty again into society” (Galería Senda press-release)
Galería Senda,Trafalgar 32. 08010 Barcelona
Image: Jaume Plensa, Bosc Blanc (Lou) 2015
november 18, 2016 - january 20, 2017
One of the starting points concerning the painting series “Uncertain mountains” are the drawn maps of the japanese cartographer Ino Tadataka (1745/1818). Maps, in which the rules of perspective are being avoided. Based on the triangular connection Japan-Barcelona-Cologne, 100 kubik gallery presents Jordi Fulla’s (*1967, Barcelona) artworks, which again and again refer back to nature and invite the spectator to question his own gaze at the world through manipulated realities.
In a world where nothing is what it seems, Jordi Fulla (Igualada, Barcelona 1967) offers us landscapes where the senses interweave, and the gaze becomes tactile. Where our perception of the territory becomes a game of chance between the real and the fictitious, representation and appearance, where, in the end, we are presented with a window that allows a new vision to appear. The artist combines the use of the airbrush with drawing, graphite and charcoal, to grant his firm, subtle and elegant trace greater precision.
Jordi Fulla has a long career of exhibitions in Spain and regularly participates in prominent art fairs and exhibitions in galleries and foreign institutions. He has participated in International art fairs such as Arco,Madrid, Art Cologne, Art Chicago, Artissima, Art Paris, Zurich, Loop in Barcelona and has exhibited in galleries abroad: Tokyo and Fukuoka (Japan); Berlín, Köln and Frankfurt (Germany); Chicago, Baltimore and Miami (USA); Paris and Montrouge (France); Liverpool (England); Amsterdam (Holland); Turin and Milan (Italy); Lisbon (Portugal). (100 kubik press-release)
GALERIE 100 KUBIK. Raum für spanische kunst. Mohren Str. 21. 50670 Köln
Image: Jordi Fulla “Uncertain mountains”
3 november 2016 – 1 february 2017
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. While we wait for the exhibition to reach Spain, we offer you a preview of 16 works. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators. The exhibition #the_color_of_optimism features 67 works by artists. Ricardo Cavolo, Carla Fuentes (Littleisdrawing), Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen y María Simavilla. (CCEMX press-release)
Centro Cultural de España e
n México. Pasaje cultural Guatemala 18- Donceles 97. Colonia Centro Delegación Cuauhtémoc, 06010 México, D.F
Image: Paula Bonet
13 october 2016 – 5 march, 2017
Whoever visits museum Beelden aan Zee this winter can marvel at surprising sculptures by Pablo Picasso (1881 – 1973) and enjoy the warm, Mediterranean colours of his ceramic works from the years that followed 1947. Displayed in the exhibition will be unique examples in ceramic together with exceptional sculptures from the best private and museum collections of Europe. Some works have never been seen before in the Netherlands. As compared with his paintings, in the course of the years Picasso’s sculptural oeuvre has been given little attention.
Quite justifiably, Picasso is regarded as one of the pioneers of modern sculpture. As the first he introduced the ‘open’ sculpture: a work that consists of not one but of a number of forms. With his cubist still lifes he was the first to introduce everyday objects as a theme, and again as a first he dared to replace the traditional sculpting materials – stone, wood and bronze – with non-sculptural resources such as tin, iron and objets trouvés.
There is a great deal of speculation as to the reason why in the years following World War II Picasso developed a great interest in ceramics. It was particularly circumstances of a personal nature that were given a reasons for this, such as the influence of his new partner Françoise Gilot, or his homesickness for Spain. In 1945 Pablo Picasso’s renown was at its zenith. Via his friend Man Ray he discovered Antibes, where he had an atelier in the centuries-old Château Grimaldi (now the Musée Picasso), which lies directly on the Mediterranean Sea. At that time Picasso discovered the nearby village of Vallauris, the centre of pottery making.
The artist, who had for years complained about the transience of paint, was attracted by the everlasting durability, plasticity and sparkle of ceramics. Virtuoso that he was, Picasso chose the existing shape of the vase as his starting point, projecting his images onto it. He folded the ‘flat’ images as it were around the vase, where it took on the shape of a woman, an owl or a hand. The themes in Picasso’s oeuvre, and thus in his ceramics too, are of great simplicity. Women play a central role, but animals also appear frequently in his work. As a fanatic enthusiast of Spanish bullfighting, which too was popular in the South of France, Picasso also decorated his ceramics with bulls, toreros, picadors and horses. Whilst he was at work in Antibes an owl flew into Château Grimaldi. Picasso made the small nightbird his favourite model.(Beelden aan Zee press-release)
Museum Beelden aan Zee. Harteveltstraat 1. 2586 EL Den Haag. The Netherlands
Image: Picasso “Tanagra aux mains jointes” All images courtesy of Beelden aan Zee
19 october 2016 – 31 january 2017
The portraits of Pierre Gonnord celebrate the strength of the human condition that invite you to feel connected to it through the image of the faces of Asturian miners. (I.Cervantes press-release)
Instituto Cervantes. 326-330 Deansgate, Campfield Avenue Arcade. M3 4FN. Mánchester Lancashire. U.K
Image: Pierre Gonnord
13 october 2016 - 5 february 2017
The show examines the social and artistic context of fashion design as part of the identity of the twentieth century and its aesthetic milestones. It features dresses, headwear, photographs, sketches with fabric samples and documents from the Museo Cristóbal Balenciaga in Getaria, which establish a dialogue with masterpieces from the collections of the Museo de Arte Moderno. Javier González de Durana, curator of the show, has devised an academic programme of lectures and sessions in connection with the exhibition. (MAUG press-release)
Museo de las Artes Universidad de Guadalajara, Juárez 975, C.P. 44100Guadalajara, Mexico
16 october 2016 – 19 march 2017
Through the works of over 50 international artists in a showing that will span the entire exhibition area of the museum - over 3000 square metres - the exhibition will be set up as a kind of exercise of distance which will incite us to take a look at our present from a great distance.
Along the way the audience will experience the feeling of being projected thousands of light years away to view our current world as if it were a fossil, geological eras from the present time, resulting in a feeling of being suspended in a limbo between a now distant past and a still distant future.
Throughout the exhibition, many expressions and artistic languages will be interconnected: music, theatre, cinema, architecture and dance represented not just as side events but as integral moments of the show, helping to build an immersive and captivating narrative.
The exhibition 'The End of the World' will be accompanied by a catalogue published in two languages, Italian and English, as well as a series of conferences and debates which will develop the various themes explored in the exhibition including scientific, philosophical and literary aspects, from more recent theories of physics to the prehistoric, and from science fiction to ecology and sustainability. Curated by director Fabio Cavallucci
Artists: Adel Abdessemed, Jananne Al-Ani, Darren Almond, Giovanna Amoroso & Istvan Zimmermann, Aristide Antonas, Riccardo Arena, Kader Attia, Francis Bacon, Babi Badalov, Fayçal Baghriche, Francesco Bertelè, Rossella Biscotti, Björk, Umberto Boccioni, Kerstin Brätsch, Cai Guo-Qiang, Julian Charrière & Julius von Bismark, Ali Cherri, Analivia Cordeiro, Isabelle Cornaro, Vincenzo Maria Coronelli, Hanne Darboven, Pippo Delbono, Marcel Duchamp, Marlene Dumas, Jimmie Durham, Olafur Eliasson, Federico Fellini, Didier Fiuza Faustino, Lucio Fontana, Carlos Garaicoa, Adalberto Giazotto, Arash Hanaei, Camille Henrot, Thomas Hirschhorn, Joakim, Polina Kanis,Tadeusz Kantor, Tigran Khachatryan, Robert Kusmirowski, Andrey Kuzkin, Volodymyr Kuznetsov, Suzanne Lacy, Ahmed Mater, Boris Mikhailov, NASA, Henrique Oliveira, Lydia Ourahmane, Pëtr Pavlensky, Gianni Pettena, Agnieszka Polska, Pablo Picasso, Pussy Riot / Taisiya Krugovykh, Qiu Zhijie, Józef Robakowski, Batoul S’Himi, Fari Shams, Santiago Sierra, Hiroshi Sugimoto, Unknown-lower paleolithic period, Unknown-upper paleolithic period, Luis Urculo, Emmanuel Van der Auwera, Ekaterina Vasilyeva & Anna Zubkova, Andy Warhol, Ingrid Wildi Merino, Andrzej Wróblewski, Alik Yakubovich, David Zink Yi.(Centro Pecci press-release)
Centro Pecci Prato. Viale della Repubblica, 277, 59100 Prato PO, Italia
Image: Luis Urculo
22 october 2016 – 9 april 2017
With a career spanning five decades, Antoni Miralda (Terrassa, Spain, 1942) has turned something as universal as food into a creative universe. Having moved to Paris in 1962, Miralda pioneered a type of artistic practice that centred on the collective rituals that celebrate the ceremonial act of eating by using colour and its symbolism. The critic Pierre Restany valued his individual work, as well as his collaborations with artists such as Daniel Spoerri, Joan Rabascall, Dorothée Selz and Jaume Xifra. In 1972 Miralda moved to New York where he initiated a series of participative projects based on the fusion of cultures and their popular manifestations. As Umberto Eco wrote in 1985: ‘Miralda wanders the world recreating the old ritual of celebration.’
Miralda has developed a method based on participation and on the ritual and ceremony related to gastronomy. Employing a non-conformist language, baroque and full of humour, that celebrates the senses and brings art close to life; he undertakes an ethnological exploration of human behaviour in his work.
The exhibition MIRALDA MADEINUSA brings together all the projects of the artist linked to the United States. Curated by Vicent Todolí and produced by MACBA, the exhibition will run from 21 October 2016 to April 2017 in Barcelona. In close collaboration with the artist and his archive, it will document for the first time and in a comprehensive manner the fourteen projects made by Miralda in the United States from the mid-seventies to the late nineties. The most significant installations will be reconstructed showing sculptures, drawings, photographs, visual recordings, sketches and other material. This will highlight the complexity of his projects and the collective nature of the artist’s methodology
Among the most representative works are Breadline (1977), a monumental line of bread presented at the Contemporary Arts Museum, Houston; Wheat & Steak (1981), a food parade along the streets of Kansas City, an exhibition at the Nelson-Atkins Museum and a special event at the Board of Trade of this city; El Internacional Tapas Bar & Restaurant (1984–86), a social and artistic experiment made with the restauranteur Montse Guillén in New York’s TriBeCa; and Honeymoon Project (1986–92), a symbolic wedding between the Statue of Liberty in New York and the Columbus Monument in Barcelona, performed in several locations. The exhibition will also include the large installation belonging to the MACBA Collection, Santa Comida (Holy Food), 1984–89, based on the legacy of Afro-Caribbean culture in America today. Curator: Vicent Todolí. (Macba press-release)
MACBA. Museo d´art contemporani de Barcelona. Plaça dels Àngels, 1, 08001, Barcelona, España
Image:Antoni Miralda. MACBA
october 1st, 2016 - february 5th, 2017
The exhibition, curated by Montse Aguer i Teixidor, the director of the Centre Estudis Dalinians at the Fundación Gala-Salvador Dalí, presents the Spanish master’s grand oeuvre, through a selection of major works that shows the extent to which Dalí was inspired by the tradition of the great masters from the time of Raphael and Michelangelo. More than 150 works have been loaned by the Museo Fundación Gala-Salvador Dalí di Figueres, the Dali Museum of St. Petersburg in Florida (the two most important institutions for work by Dali), and the Vatican Museums for the exhibition.
The exhibition points up the importance of Italy, of the Renaissance, and of Michelangelo in particular, in the work of Salvador Dalí. Among the various sections of the show is a selection of extraordinary little-known works, including four untitled works on show for the first time: Moses after the tomb of Julius II by Michelangelo; Christ after the Palestrina Pietà attributed to Michelangelo; Giuliano de' Medici after the portrait of Giuliano de' Medici by Michelangelo and the Crouching Boy after Michelangelo, which were among his last creations in the eighties. These works, which are presented for the first time as a stylistic and thematic corpus, allow us to analyse Dali’s techniques and ideas at that time, and to demonstrate how his preoccupations continued to find expression in his art. Examination in more depth of the later stages of the artist’s career, about which little is known, offers insights into the most distinctive aspects of Dali’s thinking, mediated by an expressivity in pursuit of immortality. (BLU press-release)
Image: Moses after the tomb of Julius II
08 october 2016 – 14 may 2017
Taking up the entire lower level of the museum, her exhibition will be organised around the ideas of capitalism and globalisation at the beginning of the 19th century, including the video installation Philosophical Capitalism (2014-2016). This major work takes the form of ten projections of interviews carried out by Cristina Lucas, in which she asks her interviewees about the philosophical ideas that relate to their various professional fields. For example, what does the concept of Beauty represent to a cosmetic surgeon, or that of Space to an estate agent, or that of Truth to a public notary? By inserting these philosophical questions into a journalistic interview, the artist skilfully grasps the relationships that exist between a concept and an economic activity, as well as the way in which the capitalist system, using companies as intermediaries, colonises the objects of our thoughts and thus influences the way in which we apprehend the world.
Wishing to anchor her work in a local context, the artist decided to pursue this project – which was originally conceived in 2014 for the Matadero arts centre (Madrid) – in Luxembourg, carrying out five new interviews here with an architect, a journalist, a lawyer, a watchmaker and a politician.
In addition to this important video installation, the public will be able to encounter new works specially conceived for the exhibition at Mudam. As a way of bringing to light the consequences of capitalism for our vision of the world, Cristina Lucas will present an environment that questions our perception of time, and an installation about the tendency of the capitalist system to transform everything, right down to the set of chemical elements known so far, into merchandise governed by the law of supply and demand. (Mudam Luxembourg press-release)
Mudam Luxembourg. Musée d’Art Moderne Grand-Duc Jean. 3, Park Dräi Eechelen. L-1499 Luxembourg-Kirchberghttp://www.mudam.lu
Image: Cristina Lucas, Philosophical Capitalism, 2014 © Photo : Cristina Lucas
9 october 2016 – 29 january 2017
Modern Spanish Art from the Asociación Colección Arte Contemporáneo presents the most comprehensive survey of Spanish modern art to be shown in the United States in 50 years. The exhibition, which features more than 90 works of art dated from 1915-1960 by approximately 50 artists, is drawn predominantly from the Asociación Colección Arte Contemporáneo (ACAC),one of the most significant repositories of Spanish modern art in the world, with select masterpieces from the renowned collection of the Meadows Museum. The collaboration and exhibition mark the first time many of these works will travel to the U.S., and the first opportunity for American audiences to experience the exceptional breadth and depth of the ACAC’s modern art collection.
The ACAC, which was formed in 1987 by a group of private companies in Spain, offers the only complete visual narrative of the development and evolution of Spanish art, from the beginnings of modern art to the present, through the work of many of the most important artists of the time. Leveraging the exceptional scope of the ACAC, the exhibition explores five distinct trajectories taken by Spanish artists of this period. Among the artists featured are Eduardo Chillida, Óscar Domínguez, Pablo Gargallo, Julio González, Antoni Tàpies, Joaquín Torres-García, Josep de Togores, and Jorge Oteiza, who were little appreciated in their time but today have found international acclaim; Rafael Barradas, Leandre Cristòfol, Ángel Ferrant, Alberto Sánchez, and José Guerrero, who influenced the practice of their contemporaries in the U.S. and Spain alike; and artists, who—though critical to the history of modern art—remain lesser-known, including Alfonso Olivares and Martín Chirino. Works by these artists, and many more, are further augmented with masterpieces by some of the most famed Spanish modern artists, drawn from the collection of the Meadows Museum, including Salvador Dalí, Juan Gris, Joan Miró, and Pablo Picasso.
This exhibition has been organized by the Meadows Museum and the Asociación Colección Arte Contemporáneo in collaboration with Acción Cultural Española. BBVA/Compass is the main Supporting Corporate Sponsor, with the special collaboration of Técnicas Reunidas, S.A.; Fundación Aon España; Fundación ACS; and Gas Natural Fenosa. A generous gift from The Meadows Foundation has made this exhibition possible. (Meadows Museum press-release)
Meadows Museum. 5900 Bishop Blvd. Dallas, TX 75205
Image: Oscar Dominguez. Birds 1947. (ACAC)
6 october 2016 – 5 february, 2017
The exhibition will contain paintings, sculptures, drawings and prints from all periods of the artist’s long career. It is being curated by Elizabeth Cowling, Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.
When still only in his early teens, Picasso made self-portraits and portraits of members of his family that reveal a precocious gift for suggesting character and mood as well as catching a likeness. Caricature, which enjoyed great popularity in the late nineteenth century, served as an outlet for his satirical humour and also encouraged bold experiments with distortion, exaggeration and symbolism – a trend reinforced by his discovery of El Greco and anti-naturalistic avant-garde styles, and his growing inclination to work from memory, sometimes aided by photographs, rather than the posing model. By the time he settled in Paris in 1904 Picasso had produced a large body of portraits of remarkable conceptual and emotional variety. Because he almost invariably depicted people in his intimate circle, he was free from the usual obligations and constraints of the artist working to commission and did not hesitate to exploit the full range of his innovative styles and techniques. But even when at his most transgressive and expressionistic, he continued to make exquisite drawings from life in a classic, naturalistic style. Dramatic shifts in mode and style are indeed a recurrent feature of his prolific portraiture of the women in his life..
For all his restless originality, Picasso remained in constant, searching dialogue with the art of the past, habitually using traditional formats and poses (bust, half-length, full-face, three-quarter view, and so on), and embedding subtle allusions to old-master portraits that had some bearing on his vision of his subject’s physical type, personality and relationship to him. In later life, Picasso thought of favourite predecessors as intimate friends-cum-collaborators; he did not scruple to caricature them or to indulge in fantasies about their sex lives that mirrored his own obsession with the interplay between eroticism and creativity. His late suites of ‘variations’ after Velázquez’s Las Meninas and Rembrandt’s The Prodigal Son – also represented in our exhibition – allowed him to probe imaginatively supreme masterpieces that involved self-portraiture, and to ruminate on the complex psychological relationship of artist and sitter, his purposes as a portraitist, and the viability of portraiture within the supposedly hostile environment of contemporary art. (NPG press-release)
National Portrait Gallery. St.Martin´s Place. London WC2
Image: Portrait of Olga Picasso. Picasso 1923
30 september, 2016 – 28 january, 2017
The exhibition covers a six-decade period in Joan Mirós's career - from 1924 to 1981. It focuses in particular on the transformation of pictorial languages that the Catalan artist first developed in the mid-1920s. The exhibition considers his artistic metamorphoses across the mediums of drawing, painting, collage and work in tapestry.
Miró’s visual thinking and the ways in which he negotiates between optical and tactile modes of sensation is examined in detail, as are the artist’s working processes.
The exhibition comprises around 80 works by Joan Miró from the collection of 85 works, most of which have never previously been seen by the general public, including six of his paintings on masonite produced in 1936 and six "sobreteixims" (tapestries) of 1973. The exhibition is accompanied by a fully-illustrated catalogue with a lead essay by the curator.
Suzanne Cotter, Director of Serralves Museum, stated about the exhibition: "We are delighted to be able to contribute to a greater awareness and appreciation of the work of Joan Miró through what will be an authoritative and unique presentation of this singular collection”. The exhibition ‘Joan Miró: Materiality and Metamorphosis’ is organised by the Serralves Museum of Contemporary Art and is curated by Robert Lubar Messeri, with architectural design by Álvaro Siza Vieira. (Casa de Serralves press-release)
Casa de Serralves, Rua de Serralves 1052, Porto
Image: Casa de Serralves. Joan Miró “Materiality and Metamorphosis”
27 september 2016 - 22 january 2017
Jorge Oteiza (Orio, Guipúzcoa, 1908 - San Sebastian, 2003) is certainly one of the sculpture leaders of the second half of the twentieth century, with a clear vocation for experimentation and theoretical reflection.
The exhibition shows a journey through all stages of the sculptural work of Oteiza, from the archaic forms of the first pieces to the latest series; and, also, wants to discover various facets of his career, ranging from poetry or architecture to the education or cultural agitation. (La Pedrera press-release)
Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona
Image: “desocupación no cúbica del espacio” Jorge Oteiza
8 september 2016 – 1 february 2017
The Mexico City Museum of Modern Art's new show devoted to painter Remedios Varo aims to explore the "deep waters" of her sensibility by presenting some of the Spanish surrealist's less widely known works.
The exhibition eschews the typical focus of Varo shows on surrealism or literature in favor of what philosopher Miguel de Unamuno called "intrahistory," curator Marisol Argüelles told EFE. In this view, "the subhistorical data are similar to the sea's deep, calm waters, while historical data such as great events are the waves and the surf," she said.
Varo (1908-1963) fled her adopted home of Paris during World War II and spent the rest of her life in Mexico. The show includes all 39 works in the museum's collection by the artist, which were donated in 2002 by her husband, Walter Gruen, and Anna Alexandria Varsoviano.
Included in the exhibition are writings from Varo and people who knew her that shed light on the motivations behind some of the works.Such is the case with "Musica del bosque" (1963), the only drawing that did not progress to an oil painting, where visitors may learn that the man depicted represents Gruen standing in a forest in his native Austria.
Photographer Eva Sulzer's comments reveal that "El gato helecho" (1957) was inspired by a dream of hers that she shared with Varo. The exhibit includes "Autorretrato" (1951), the artist's only selfportrait, "though there are those who say that all of Varo's characters are herself," Argüelles said. (MAM press-release)
MAM. Museo Arte Moderno. Paseo de la Reforma y Gandhi S/N. Bosque de Chapultepec. Ciudad de Mexico
Image: Roulotte. 1955 Remedios Varo
10 september - 11 december, 2016
Sao Paulo Biennial, established by the Sao Paulo Biennial Foundation, is one of the most important international institutions in the promotion of contemporary art and is hailed as one of the leading contemporary art events. It showcases the output of both Brazilian and foreign artists.
The 32nd edition of Sao Paulo Biennial will take place from 10 September to 11 December 2016 at the Ciccillo Matarazzo pavilion and will be curated by Jochen Volz, head of programmes at the Serpentine Galleries in London, with the assistance of Lars Bang Larsen, Julia Rebouças, Gabi Ngcobo and Sofia Olascoaga. This team of curators have chosen as the theme of this year’s biennial ‘live uncertainty’ to explore different ways of living with the unknown through ecology, the cosmology of beginnings and ends, extinction, collective knowledge, evolutionary myths and vital practices. The works of art featured in this edition, more than objects or expressions in time and space, must represent a vision of the world that can offer everyone tools and strategies for living with uncertainty.
The biennial features 90 artists and groups, among them the Spaniard Xabier Salaberría, who has the support of Acción Cultural Española. Salaberría’s sculptural practice is based on both research and the experimental spirit and is fully in tune with the theme of the event. He has produced a new work specifically for the biennial – an installation that is both an artwork and an element that both hinders and guides visitors on their way around. (AC/E pess-release)
Parque Ibirapuera, Portão 3, Pavilhão Ciccillo Matarazzo – São Paulo-SP – Brasil
Image: 32ª edición de la Bienal de São Paulo
22 september, 2016 - 26 february, 2017
The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, will present a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.
Curated by the Museo’s Deputy Director of Art, João Fernandes, the show will centre on the problem of form as both the particular way of understanding artistic creation and a process that assimilates its own transgression. To Badiola, the art form is always a “bad form” which, at the same time as it creates a vision, denies recognition. The artist works against culture, dismantling conditions of visibility and invisibility. The museum device, conceived from a curatorial process which has involved seven other close artists, gives shape to a kind of text-exhibition that enables at once simultaneity and a certain linearity, developing dialogue relations and references that cross through different works. Furthermore, a chronological reading becomes complex by dint of structural meta-comments and leaps in time that put forward possible developments or invoke forgotten origins.
After graduating from the Faculty of Fine Arts, Bilbao, Txomin Badiola worked at the same school as a professor between 1982 and 1988. He has put together a catalogue raisonné of Jorge Oteiza’s work and curated his exhibitions at the Caja de Pensiones Foundation in Madrid and Barcelona, and the Museo de Bellas Artes, in Bilbao, in 1988, as well as the show Oteiza. Mito y Modernida (Oteiza. Myth and Modernity), curated alongside Margit Rowell, for the Guggenhein Museum in Bilbao and New York in 2004 and 2005, and for the Museo Reina Sofía in 2005.
Awarded the Gure Artea Prize in 1986 and the ICARO Prize for outstanding young artist in 1987, his work has been the subject of solo and collective exhibitions, most notably PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 ejercicios 40 días 8 horas al día at León’s MUSAC in 2010; La Forme Qui Pense at the Museé d'Art Moderne de Saint-Étienne, France, in 2007, and Malas Formas 1990-2002 at MACBA, Barcelona, and the Museo de Bellas Artes, Bilbao, in 2002. (MNCARS press-release)
Palacio de Velázquez. Parque del Retiro. Madrid
until 1st may 2017
Now in its sixth year, the critically acclaimed Sculpture in the City returns to the Square Mile with contemporary works from internationally renowned artists.
Sixteen artworks in 19 locations ranging considerably in scale - from a seven-metre high cast iron head, to a series of delicate and playful lead paper chains - are thoughtfully placed between iconic architectural landmarks such as the Gherkin and the Cheesegrater. Wander the City's public spaces and stumble upon world-class public art, on an urban canvas recognised across the globe.
“Laura” (2013) is part of Jaume Plensa's on-going series of portraits. Each sculpture is drawn from a particular model of a young girl, whose image is then elaborated into a more universal symbol for dreaming and aspiring. Part of the technical process involves photography. The essence of the photograph – a moment caught in time – belies the architectural volume of the final form.
'Laura' hovers between childhood and nascent womanhood, personifying an individual future and being symbolic of the future of humanity. Each sculpture has a spirit that communicates to us across cultures and identities. When the viewer first sees Laura, her silhouette stands out against its surrounding, but when the viewer moves closer Laura appears to shift her orientation. The play on form and perception and a slippage between volume and image are part of Plensa's great contributions to postmodern sculpture
This year, discover exciting works by: Anthony Caro, Benedetto Pietromarchi, Enrico David, Gavin Turk, Giuseppe Penone, Huma Bhabha, Jaume Plensa, Jürgen artenheimer, Lizi Sánchez, Mat Collishaw, Michael Lyons, Recycle Group, Sarah Lucas, Shan Hur, Ugo Rondinone, William Kentridge & Gerhard Marx. (Sculpture in the City press-release)
Sculpture in the City. St. Mary Axe Gherkin
Image: Copyright the artist; Courtesy Galerie Lelong; Photograph by Nick Turpin