Spanish contemporary art worldwide
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11 february – 16 april, 2016
Throughout his prestigious career, Lacalle has created a prolific body of work, in which he has balanced the use of painting and drawing, to debate the idea of making sense of the meaning of painting from the end of the XX century to the present day, in the midst of the post digital image era, while carrying the legacy of Spanish painting tradition.
In the last three years, Lacalle has radically shifted his work, expanding his introverted gaze towards an outer landscape. Escaping the simplicity of “working on and from an archive of documentary images”, a commonplace in the era of advanced information, he observes and paints the landscape as a symbolic space, devastated after the War. That is, as an observation of the fact that the last fifty years of apparent world peace have actually been the most belligerent. The post-colonialist revolutionary movements for national liberation, the struggle against the right-wing Latin American dictatorships, the African tribal contingencies, the ethnical and religious conflicts in the Balkans, or the several armed incursions in the Middle East are examples of this.
Abraham Lacalle comes back to the subject of war painting to remind us that its epic time has not yet passed. In a time in history in which the virtual distance from the western viewer simulates an apparent safety from any danger, the artist makes a gesture that alludes to the proximity of war, and the fact that nobody comes out of it a winner.
Thus, he widens the spatial perspectives of his new works, creating a sensation of an expansive field that invades us, as in Batalla con mis entrañas (2016), or in the sketched drifts of a sniper’s grey room stalking us.
ABRAHAM LACALLE (Almería, 1962, and based in Madrid, Spain) has shown his work in over a hundred institutions and galleries, amongst which the Museo Nacional Centro de Arte Reina Sofía (2005), CAC Málaga, and CAAM (2015). He is represented by Marlborough Galleries (New York, Madrid, Barcelona, Londres, Tokio), Galeria Juan Silio (Santander), and Nova Invaliden Galerie(Berlín). (Nova Invaliden press-release)
Nova Invaliden Galerie, Schönleinstrasse 25 . Berlin, Germany
Imagen: Abraham Lacalle
02 february – 01 april, 2016
Arredondo \ Arozarena is proud to present Luis Úrculo’s solo exhibition titled ‘Las Cosas’. This exhibit is a collection of possibilities and results presented in diverse formats such as video, sound works, drawings, among others. It is an analysis on Úrculo’s connection with the domestic, structuring a language in which memories, intimate obsessions and diverse mental images are built through actions with objects, where the behavior of materials, its morphology and their phenomenology are the main elements to communicate these series of outcomes.
Luis Úrculo (Madrid, 1978) is interested in all that is peripheral to architecture, the processes, developments and approaches that can be manipulated, sampled and translated into other scales, adapting to the composition of the project, creating new scenes / experiences / expectations not contemplated previously. He lives and works between Mexico City and Madrid.
Among his latest exhibitions are “Reconstructions: Recent Photographs and Video from the Met Collection” at the Metropolitan Museum of Art, NY, “Unseen Daily Life” at the Tokyo Wonder Site in Japan, “Chatter: Architecture talks back” at the Art Institute of Chicago and his solo exhibition at the Museo de Arte de Chile, “Estados de Reposo”. (Arredondo/Arozamena press-release)
Galería Arredondo/Arozamena. Praga #27, Col. Juárez CP. 06600, México DF
Image: Luis Urculo
february 26 - april 10, 2016
Blasco's new large-scale architectural environment is an impressive structure that merges conceptual and physical spaces, actively encouraging viewers to become adventurous participants. 'Above and Under L-Train’ invites the audience to ponder the complexities of systems hidden beneath the surface. It strives to capture the disorienting appearance of integration of visceral forces that may not be easily perceivable and create an atmosphere of uncertainty.
Isidro Blasco combines architecture, photography, and installation to explore physical and psychological terrains. Blasco uses digital images and building materials to create large- and small-scale architectural environments and three-dimensional reconstructions of neighborhoods, producing snapshots of cityscapes that play with perception. Beginning with a viewpoint of a building, or an interior or exterior space, Blasco takes photographs and pieces together images into photo-sculptures, reminiscent of Cubist collages with their multitudes of angles. Blasco’s slight distortions of perspective produce scenes that can appear both recognizable and unfamiliar. “I connect my experience as an outsider who walks the streets and interacts with the city with my more intimate feelings about closed and private spaces,” he says.
Isidro Blasco (b. 1962 in Madrid) lives and works in New York. He exhibits widely both at home and internationally. Recent solo museum exhibitions include Museu Metropolitano de Arte, MuMa. Curitiba, Brazil (2014), Aqui Huidizo, Comunidad de Madrid, Alcala 31. Madrid, Spain (2010), Center for Art and Design, The College of Saint Rose, Albany, NY (2007), Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2004), Museo Patio Herreriano, Valladolid, Spain (2003), Museo de Arte y Diseño Contemporáneo, San José, Costa Rica (2000), Queens Museum of Art, Bulova Center, Queens, NY (1999) as well as "Tribute and Memory" at the Centro Cultural Palacio La Moneda in Santiago de Chile, 'Stretching the Truth' at the John Michael Kohler Arts Center, Sheboygan, WI, La Construcción del Paisaje Contemporáneo at the Centro de Arte y Naturaleza, Huesca, Spain, and 'Substance and Light: Ten Sculptors Use Cameras' at the Museum of Art, Munson-Williams Proctor Arts Institute, Utica, NY. He is a recipient of the prestigious Guggenheim Foundation Fellowship in Visual Arts (2000). His work is in the collections of the Museum of Modern Art and Whitney Museum of American Art in New York, Baltimore Museum of Art, Chicago Institute of Contemporary Art, and several museums in his native Spain as well as in many private collections. (Black & White press-release)
Black & White/ Project Space. 56 Bogart Street. Brooklyn New York 11206
Image: Isidro Blasco. Black & White/ Project Space
3 – 20 february, 2016
Artist José Carlos Naranjo Bernal has been shortlisted for The Columbia Threadneedle Prize and his work will be showcased among other five artists from early February.
The Columbia Threadneedle Prize showcases the very best in new figurative and representational art. This year, in a further exciting new development, many of the works selected for the Columbia Threadneedle Prize exhibition at Mall Galleries, will be invited to go on tour to Palazzo Strozzi in Florence, the city’s largest temporary exhibition space, for a special four-week exhibition opening in July 2016.
The work of José Carlos Naranjo Bernal responds to a new pictorial trend based on the construction of a new figurative language itself, the product of the younger generation. He is a well-known admirer of Goya´s art work, as proven in the references to the great maestro in his paintings. “El Mameluco, después de la batalla” is a clear example where he tries to represent the peace in contrast of the brutal scene in “El dos de mayo de 1808 en Madrid”. (The Mall galeries press-release)
The Columbia Threadneedle Prize . Mall Galleries. 17 Carlton House Terrace. London SW1Y 5BD
Image: José Carlos Naranjo Bernal. El Mameluco (After the Battle)
7 february – 8 may, 2016
La Práctica is a programme run by Beta-Local, a not-for-profit organisation that supports and promotes aesthetic practice and thought. It is a research and production programme aimed at artists and other cultural agents and lasting between three and nine months. It is designed specifically to establish new conditions, relationships and approaches for production in the art circuits. The working method consists of a critical and practical atelier in Puerto Rico based on the current scene in the tropics and the Caribbean. It has a flexible structure whereby each person brings to the table his or her practice and projects, which are discussed, criticised and developed through an open process. The programme requires active participation and the participants share processes, texts and ideas with the group.
Spanish artist Julia Morandeira is taking part in this programme with the support of AC/E, with a curatorial research project on artistic and cultural practices that reflect, explore or illustrate the figure of the cannibal and cannibalism. (AC/E press-release)
Beta-Local . La esquina. Calle Luna 208 esquina San Justo. Viejo San Juan. San Juan, Puerto Rico 00901
Image: La Práctica. Beta-local
11 february – 24 march, 2016
There Is neither Pine nor Apple in Pineapple is a play on words. This game reflects the way we have to juggle with expression when living in a foreign land rescuing unusual or invented terms. This show translates this circumstance into a multicolored experiment.
Vanessa Donoso López holds a studio as a studio member at the Temple Bar Gallery and Studios, Dublin. Her most recent solo shows are Eye before E except after see (Limerick City Gallery) and Daily disagreements over small things (Kevin Kavanagh Gallery at the Barcelona Contemporary art fair SWAB, Barcelona, Spain). She is currently working on her new solo shows for the SUPERMARKET art fair with The Ormston House, Limerick, in Stockholm, April 2016 and in the LAB, Dublin, September 2016.
Catalan born Vanessa Donoso López has lived away from the country of her birth for 12 years during which time she has lived in England and Ireland. It is this sense of lost and found that infuses her exhibition, Eye before e, except after see which opens on 16th July at the Limerick City Gallery of Art.
Lopez’s work focuses on a mental state described as Persistent Immigrant Homesickness. Away from home people will almost certainly miss something about their home-place making home-sickness a near-universal experience. An investigation of homesickness may be an important tool for developing strategies needed to improve the quality of life for those who are forced to travel as refugees or economic migrants. (I. Cervantes press-release)
Instituto Cervantes - Sala de Exposiciones. Lincoln House, Lincoln Place. 2 Dublin
Image: Vanessa Donoso López
10 february – 1st april, 2016
The Golden Hands Gallery proudly presents it´s fourth exhibition. With these three artists we are able to present some of the most prolific european urban artists today: Sixe Paredes, Pablo `SOZYONE`Gonzalez, HONET
Sergio Hidalgo Paredes, also knowed as Sixe Paredes or Sixeart, 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)
Golden Hands Gallery. Kaiser-Wilhelm-Straße 87 . 20355 Hamburg, Germany
Image: Sixe Paredes
4 – 27 february, 2016
Fernando Cuétara (Madrid 1969). Self taught Artist who Has managed to create his own personal pictorial language based on the study and passion for the arts and his inexhaustible curiosity engine to look, feel and transmit. Harmony, in every sense of the word, is the great protagonist of Fernando’s latest work. Through it, he gradually evolves towards the equilibrium of the human spirit with a strong and particular new aesthetic code, in which the viewer can sense a universal magnetic essence based on simplicity and the most absolute harmony. (CCCEMiami press-release)
CCEMiami. 1490 Biscayne Boulevard Miami
Image: Fernando Cuétara
16 february - 13 march, 2016
Contemporary Spanish artist, Ernesto Cánovas, will present Multiplied, his forthcoming exhibition at Halcyon Gallery, London. This brand new series of work uses large scale mix-media on wood panel painting as part of Cánovas’ ongoing exploration into cinema, abstraction and found imagery.
Influenced by recent popular culture, Cánovas combines decontextualised visual media to create a unique narrative sequence. By introducing abstract colour panels into the composition, Cánovas breaks down the boundaries between light, colour, form and abstraction. The contrast between natural and man-made is highlighted through the use of applied materials to the wooden canvas, which range from graphite drawings, acrylic, mixed media, enamel paint and resin. Some of the work on display is a collaborative partnership between Ernesto and his wife, Polish artist Gracjana Rejemer-Cánovas.
The artworks resonate a feeling of calm nostalgia - created as the artist adds and removes layers from the wood panel on which the images are transferred, they appear faded and worn like a snapshot or flash of an event’s memory. In an interview with Brit Es Magazine, Cánovas notes that “Historic events shouldn’t be forgotten and reflecting on these from time to time is a positive thing, not least because it helps us to avoid repeating the mistakes of the past. Today’s events are tomorrow’s history.”
Colin Greensdale, Director at the Royal Scottish Academy of Art & Architecture, writes in his essay on Cánovas’ work that “He wrestles with apparent effortless ease to combine imagery and colour, delivering us dreamlike instances to confuse us with partially remembered moments and clear periods of calm. A series of works by Ernesto is indeed a multiplied task. Developing and pushing themes in subtle directions; re-thinking, re-engaging, reproducing and each time delivering a unique instance….a resonating perfect moment caught in time for enjoyment and reflection.” (Halcyon gallery press-release)
Halcyon Gallery. 144-146 New Bond Street. London. W1S 2PF
Image: Ernesto Cánovas
26 january – 12 march, 2016
“With a minimalist approach and a precise composition, the artist creates his visual poems, like small photographic haikus.”
Born in 1958 in Madrid, Chema Madoz has been spending the last thirty years creating a body of work that manages to escape the trends of artistic photography while constantly honoring it with the most beautiful tributes.
In the influence of Surrealism, the photographer becomes a sculptor, on a line stretched between the real and the imaginary. By transforming objects, often utilitarian, playing with collage, juxtaposition, reflections, he then brings chaos in everyday life and seems to allow silent things to express their innermost desires. The views from his studio, photographed by Pablo Zamora for El Pais, show us a cabinet of curiosities both orderly and fanciful. We can spot some of the subjects of his photographs: a terrestrial globe
-disco ball, a tie made out of rococo frames or a shoe with The Eiffel Tower as a heel. Some objects regularly return: scales, watches, musical notes, mirror or chess are also symbols of the human condition.
The choice of black and white separates even more theses objects from the real world, the monochromy makes them timeless and allows us to focus on their shape, texture, and tones, like coming back to the origins of photography, when the long exposure of the daguerreotype forced the photographer to choose immobile subjects. Far from being a tribute to materialism or to consumer society, theses portraits of objects by Chema Madoz are a call to reconsider their use and their beauty. Magician of the silver printing, Chema Madoz prints his pictures in warm tones, playing with the small and large, with a format and an edition always carefully chosen according to the subject of each photograph. Text by Florence Pillet. (Galerie EstherWoerdehoff press-releasse)
Galerie EstherWoerdehoff. 36, rue Falguière, F-75015 Paris
Image: Chema Madoz
17 - 26 february 2016
This exhibition captures the pivotal moment the Spanish art scene in London is currently going through, as well-established artists are being joined by a great number of newcomers seeking to progress in their respective careers and contribute to the cultural melting pot that defines this city.
Due to an event organised by the Spanish Embassy in 2014, Hernandez had the chance to meet a wide range of proffesionals in the art field and change impressions regarding differernt projects. It was then when he realised that the contribution that the Spanish talents are making to London’s multicultural mosaic had to be reflected in an exhibition and a book of black and white portraits, conceived as a time capsule for future generations.
During nine months Hernandez moved around London, portraying fifty Spanish artists in their work environment and, camera in hand, inviting them to talk about their particular vision of this city. All these conversations and images are gathered in the book Arte en Movimiento, which will be launched in February 2016.
As a complement to this exhibition, there will be a debate between the photographer and some of the artists that have participated in this project at the 12-Star Gallery on 23rd February 2015 at 6pm.
Lorenzo Hernandez started his career at the age of thirteen and has lived and worked in Barcelona, Madrid, New York, Paris and Milan, among other places. After having lived in London in the 1980s, he returned to this city in 2013. His most recent projects are the books LONDONvista and Manifashion, published by Aurora Boreal®. He is currently working on a book of portraits of Latin American writers. (12 star gallery press-release)
12 Star Gallery is located at Europe House, 32 Smith Square, London SW1
Image: Lorenzo Hernández “Jesús Montero writer and film maker. Art on the move”
9 february – 10 april, 2016
The exhibition is dedicated to a Spanish sculptor Julio González (1876-1942, b. Barcelona) who has been most respected as the father of all iron sculpture of the 20th century. His abstract forged and welded open-form constructions in iron made a definitive impact on the development of contemporary sculpture. It is known that in 1920s the collaboration with Picasso, an old Spanish friend, especially brought out the innate talent of González and encouraged to devote himself wholeheartedly to sculpture.
Comprised of approximately a hundred pieces from the collections of the IVAM and Philippe Grimminger, the exhibition illuminates the artistic career of González for the first time in Japan. (Mie Prefectural Art Museum press-release)
Mie Prefectural Art Museum. 11 Otani-cho, Tsu-shi, Mie-ken, 514-0007, JAPAN
Image: IVAM. Julio González. Sitting Woman, IVAM
5 february - 19 march 2016
Feeling In The Eyes explores the ever evolving notion of materiality in the context of our accelerated present, specifically through the post-internet condition.
The nature of materiality, initially understood as physicality of things, has taken on new meanings through time and advancements in technology. Whilst it is easy to think of the Internet, as some kind of invisible, immaterial force, it is crucial to bear in mind that the online world is as physical as the fibre optic cables, the technology allowing us to transmit data, between people across the globe, modulated onto light waves, stored on servers, and interfaced with on screens and devices. At the same time, as the relation between the media and the user re-elaborates itself in new and perhaps unpredictable ways, materiality in the post-internet condition remains plastic, mutant at all times. Like a cloud, that can only be analysed as a whole, its pieces torn apart will not present the same properties by themselves. Its physical essence emerges through the continuum of networks across space and time, while its performative character comes to light through a contingency of connotations.
Departing from the idea of the Internet environment as a material which is fluid, plastic— a distributed, dislocated entity within multiple temporalities, the works in the exhibition explore the notion of materiality as something that is ever changing, endlessly reconfigured in this free flowing zone of re-negotiation. The impact of materiality in these terms is not only sociological, but economical, political, existential, psychological, epistemological: it is total beyond a label which is meant to mark a certain, already passed, historical-cultural moment. (ext. Jane Bennett, Vibrant Matter, 2009). Artists: Nina Beier, David Ferrando Giraut, Will Kendrick, Seth Price, Rustan Söderling. Curator: Stella Sideli
David Ferrando Giraut (1978, Negreira ES) lives and works in Gijón ES and London UK. He holds a MA Fine Art from Goldsmiths College, London UK (2008). He participated at the LUX Associate Programme, London UK in 2010-2011. His work focused mainly on video, sound and installation, combines the hybridisation of natural elements, technology and sociopolitical organisation through history; the tensions between representation and represented reality, and aesthetic experience as cognitive tool. Recent selected exhibitions include: MACO 2013, Mexico City; ARCOmadrid 2013; “Cristalino”, Galería Bacelos, Madrid and Vigo (2012); 41 International Film Festival Rotterdam (2012); “Swollen Jungle”, Union Gallery, London (2012); “The Fanstasist”, MACUF, A Coruña (2011); “Topophobia”, Danielle Arnaud Gallery, London, The Bluecoat, Liverpool and Spacex, Exeter (2011-2012); “Against Gravity”, ICA, London (2010); “Journeys End in Lovers Meetings”, Galería Visor (2010), Valencia and 10/12, Brussels (2011); “Time Capsules”, The Gallery Soho, London (2011) “Everything is Out There” in Inéditos 2010, La Casa Encendida, Madrid; “Between a Hole and a Home”, James Taylor Gallery, London (2010); “Strange Things Are Hapening”, ASPEX, Portsmouth (2009), or “Situación” CGAC, Santiago de Compostela (2008). (tenderpixel press-release)
Tenderpixel, 8 Cecil Court. London WC2N 4HE
Image: David Ferrando Giraut. “Second Nature, 2014” video still
10 february – 5 march, 2016
Plus One Gallery is pleased to announce the solo show of gallery artist, Javier Banegas(b. 1974, Madrid, Spain)
This exhibition features new paintings which continue to examine Banegas’ interest in depicting used objects, devoid of human presence but reminiscent of their trace. The works adopt the popular hyper realist tendency of dramatically increasing the scale of the actual object, which in turn abstracts the still life paintings.
The artista works in a traditional hyper realist manner, yet his subject matter takes analternative turn.
New paintings,‘Clips Box’ ‘Colours VIII’ ‘Colours IX’ ‘Shavings VII’and ‘Shavings VI’ explore Banegas’ key conceptual concerns; pencil shavings, ink, paint pots and boldly coloured paper clips.
Present in all his works is the essence of human interaction, these used objects denote a passing of time, one that has been stopped and captured. Just as you would paint flowers in full bloom Javier Banegas paints objects in a period of transition. The difference being that the objects he paints are inanimate, therefore they are not suspended in life but instead are captured after action.
"In this world of globalised instant images, painting continues to maintain a significant role in recording the permanence of emotion, the footsteps of man through the world that he inhabits and the objects that surround him. I avoid creating the spectacular images in order to create those which encapsulate these areas." Javier Banegas. (Plus one press-release)
Plus One Gallery. 89-91 Pimlico Road, London SW1W 8PH. United Kingdom
Image: Colour VII. Javier Banegas
6 february – 24 april, 2016
Birthdays, visits from relatives, baptisms, first day at school, holiday trips, last day at school—photo albums canonize special family events to collective narratives and visualize individual life stories. They are an affirmation of one’s own origins, important props for memories and breathe new life into long-forgotten incidents. However, what happens when a crucial protagonist is missing from this narrativeone’s own father? How does his absence influence one’s own childhood memories? Can one create the absent photographs of him in retrospect? And can one revive memories through visual reenactment? Verónica Losantos has no photos from the time she shared with her father and the absence of these photographs prompts her to fill the gaps in her memory herself. With her artistic appropriation, reconstruction and association of the past, Verónica Losantos reveals the fleetingness and lack of definition inherent in the act of remembering.
Verónica Losantos, born 1984, studied audiovisual communication and media at the University of Burgos and photo design at the Lette Verein in Berlin. In 2013 she won the 2nd prize of the Close Up! photography competition held by C/O Berlin. Her works have been exhibited in Freies Museum Berlin, the gallery World in a Room, the Contact Photography Festival in Toronto and in the gallery f5,6 in Munich. She is currently working as a freelance photographer in the field of education at the Society for Humanistic Photography. Verónica Losantos lives in Berlin. (C/O Berlin press-release)
C/O Berlin Foundation . Amerika Haus . Hardenbergstraße 22–24 . 10623 Berlin
Image: Verónica Losantos
11 february - 22 may, 2016
Les Abattoirs, Toulouse, presents a selection of around sixty works by Antoni Tàpies from the collection of the Fundació Antoni Tàpies
The exhibition, produced in collaboration with our institution, will be the most important to be shown in a French museum since the artist’s death in 2012. By exchanging their collections, the two museums can offer their public a unique opportunity to enjoy artists of different nationalities who were committed to experimentation and the redefinition of painting in the post-war period and the 1950s. Their rapid international projection was unprecedented in modern art. The implication of art critics and gallerists such as Tapié and Stadler, who supported artists like Tàpies, Fontana, Burri, Coetzee and the Gutai group, among others, is proof of a network of aesthetic and intellectual affinities that also gave rise to important collections.
Rather than follow a chronological order, this exhibition is structured in seven itineraries inspired by an oeuvre: the ‘Natural History Series’, from 1951, is followed by ‘Complementary’, ‘Combinations’, ‘Obverse’, ‘Presentation’ and ‘Quotidian’, plus ‘Speak, Speak’, the title of the exhibition as well as one of the more relevant works in the selection. The Toulouse public will be able to appreciate the power of experimentation in the work of the Catalan artist throughout his career and his commitment to contemporaneity, for which he was afforded a prominent place among modern artists.
Les Abattoirs will focus on Tàpies’ contemporaneity with a special installation of some of his sculptures, distributed on a structure conceived in 2012 by the French artist Guillem Leblon. This exhibition, together with that at the Fundació Antoni Tàpies, marks a historic moment of collaboration between institutions whose heritage is particularly relevant for understanding post-war Europe. (Fundación Tápies press-release)
Les Abattoirs de Toulouse, 76 allées Charles-de-Fitte. 31300 Toulouse.
Image: “Parla Parla” Fundación Antoni Tápies
10 february – 6 march, 2016
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists – Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba – have been selected for the show. (I. Cervantes press-release)
Instituto Cervantes, 3, Mohamed Torres. Tetuán
Imagen: Isabel Muñoz
4 february – 6 march, 2016
In 1964 the newly independent nation of Zambia began a space program with the intention of putting the first African on the Moon. The program
was short-lived, but it reflected the excitement and ambitions of a young country. Starting with that story, the Spanish artist, Cristina de Middel
created The Afronauts, a body of photographs, drawings and related sculptures. The Afronauts is a smart and charming show. Rather than ridiculing Zambia’s ambitions, Middel compares them to the dreams of other nations and peoples. She shows how photography promotes both fact and fiction — and how ultimately this helped fuel the space race. Cristina de Middel (b.Alicante, Spain 1975) is a photographer whose work investigates photography’s ambiguous relationship to truth. Blending documentary and conceptual photographic practices, she plays with reconstructions and archetypes that blur the border between reality and fiction. De Middel’s work shows that fiction can serve as the subject of photography just as well as facts can, highlighting that our expectation that photography must always make reference to reality is flawed.
De Middel has exhibited extensively internationally and has received numerous awards and nominations, including PhotoFolio Arles 2012, the Deutsche Börse Prize, POPCAP’ 13, and the Infinity Award from the International Center of Photography in New York. (Centre for Photography press-release)
Perth Centre for Photography . 18 Colin Street, West Perth
Image: Cristina de Middel, The afronauts
4 february - 5 march, 2016.
This will be the first showing of the artist’s works in vinyl in the United States, a body of work that complements his established sculptural practice. Rodríguez Caballero is known for his compelling and rigorous methods of defining space, light and color using various metals in the way another artist might manipulate fabric or paper.
Rodríguez Caballero began his artistic career as a painter, but moved on from the medium to explore his pervasive and dynamic fixation on the impact of light. As a sculptor, he folds aluminum, bronze, copper, or brass in order to create planes which capture light as a multiplicity of gradients. These metal works, whether freestanding or wall-mounted, engage with their surrounding space and utilize light as an essential material element. The artist extrapolates this notion through these new works in vinyl, in which he allows light to permeate the complex arrangements of translucent polychromatic strips. Through this process, the works achieve varying depths encouraged by tone, composition and texture. They present a rich contradiction as they possess both a sense of reticence and immediacy. Seemingly understood at first glimpse, these works in vinyl reveal themselves to the viewer as arrays of distortions, as compositions of various depths. Each of these works becomes a play of its surrounding light.
Born in Pamplona, Spain, in 1970, Rodríguez Caballero currently lives and works in Madrid and New York. The artist most recently exhibited his diverse body of work in the Citadel of Pamplona, Spain. The exhibition, entitled Citadelle showcased over 70 works ranging from wall-mounted pieces to sculpture of monumental scale. These works were displayed throughout the open spaces and the rustic chambers of the renowned 16th Century fortress. In 2011, the Museo Würth La Rioja in Spain organized Glaciers, a seminal exhibition that included the artist’s works in several formats: aluminum, Plexiglas, vinyl, paper and enamel. Rodriguez Caballero’s work is represented by reputable museums and private collections throughout the United States, Europe, Central and South America. The artist has received numerous awards for his sculpture and his works on paper. (Marlborough Gallery press-release)
Marlborough Gallery. 40 West 57th Street. New York, NY 10019
Image: David Rodriguez Caballero ”7.november.2015”
february – april, 2016
The Design Museum Dharavi is a new cultural institution that celebrates the creative potential of Dharavi, a 3sq km informal settlement located in the heart of Mumbai.
Around 1 million people live in Dharavi, and despite the tough conditions they live in, they are capable of creating, designing, manufacturing and commercializing all kinds of goods and products. We want to give these objects a platform so they can be recognised by makers and locals from Dharavi, the city of Mumbai and the rest of the world. The main mission of Design Museum Dharavi is to showcase local talent through a nomadic exhibition space, employ design as a tool to promote social change and innovation, and to change the negative perception of similar informal settlements around the world.
Dharavi’s unique environment calls for a unique solution, which inspired us to create a nomadic museum. For two months, starting February 2016, Design Museum Dharavi will open its doors on different locations throughout this homegrown neighbourhood. Not only showcasing the skills of local talent, but also creating a place where makers can find potential clients, teach workshops to the rest of the community and take their own practice one step further.
Jorge Mañes Rubio. Born in Madrid in 1984, Jorge Mañes Rubio 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.
Design Museum Dharavi is an initiative by Jorge Mañes Rubio (Seethisway), Amanda Pinatih (MADE Pinatih), Rahul Srivastava & Matias Echanove (URBZ) (Seethisway press-release)
Image: Design Museum Dharavi
28 january – 29 february, 2016
Albert Llobet (b. Figueres, Girona 1988) has always seen art as a medium to express these internal and abstract emotions that are difficult to express in any other language. The evolution of his technique is based on discovery and creating new ways to treat the canvas, transforming them into living collages.
The latest group of works in this evolution starts with a white canvas. Through a series of actions, he intends to explore beyond the white discovering all the colors that balance within the white in contrast to other colors. In the perfect equilibrium between them a provocative, energetic, and robust textures are created. These textures transmit to the public the need to find within their internal meaning. (Lecrec gallery press-release)
Leclerc Contemporary. 19 Willard Rd. Norwalk, CT 06851
Image: Albert Llobet
until 1st march 2016
The exhibition presents work from artists who use and translate their experience of the urban environment.Showcasing a range of different processes; including drawing, painting, photography, print, and collage.
Each work is connected by a shared experience of living in London. Whether this causes the artists’ to look inwardly or outwardly for source material, the works explore themes that can evolve over time when living, working in, and responding to the city.
Marta Corada (b. La Rioja, Spain 1984) is a photographer and artist whose documentary work in blurs the boundaries between storytelling and fact. Her constructed images are based on documentary photographs of real situations, which are later manipulated by the artist. This approach frees photography from restrictions of the single exposure, using enduring compositional methods to select characters and visual elements that all existed in the place that we see them, just not all at the same time. In this way she produces highly considered images from documentary photographs.
No models or actors are used, there is no direction of the action or manipulation of the scenes. Post Memories represents documented real moments taken out of time to create scenes that never existed, yet nothing has been added or invented. This contradiction conjures stories behind each individual, examining the way we perform and interact with each other in different environments, cultures and communities. Our memories and perception are challenged so to reassess what we consider real
Featuring the artists:Trevor Burgess, Stephen Carter, Marta Corada, Connie Gallagher, Ben Hart, Chloe Hough, Natwood, Sinead Thorpe. Curator: Connie Gallagher (Spinach Gallery press-release)
Spinach, 144 Liverpool Road. London N1 1LA
Image: Marta Corada
29 january - 15 may, 2016
An interplay of paradoxes relating to the age we live in through invisible, imaginary and virtual presences is revealed in the exhibition El futuro no es de nadie todavía (The Future Belongs to No One Yet) by the Spanish artist Eugenio Ampudia.
The show presents a selection of works through which the artist and the curator Blanca de la Torre set out to reveal all the invisible layers of everyday life by inviting the spectator to experience the work as a trigger of thought and the structures and system we inhabit.
It takes visitors around a number of pieces, some already iconic, others hitherto unseen, on a journey tinged with irony that speaks of the need to see beyond, to open other possible doors inside our everyday situation.
Eugenio Ampudia (b. Valladolid. Spain 1958) is currently one of the most renowned Spanish artists. His work, produced from a critical approach, explores artistic processes, the artist as promoter of ideas, the political role of creators, the meaning of the artwork, strategies that enable it to be put in place, its production, promotion and consumption mechanisms and the efficiency of the spaces allocated to art, as well as the analysis and experience of the viewer who gazes at and interprets them. (AC/E press-release)
Museo de Arte Carrillo Gil. Av. Revolucion 1608, esquina Altavista, Col. San Ángel, México D.F.
Image: Eugenio Ampudia.
24 january – 15 may, 2016
One of the world’s foremost living sculptors, Spanish artist Jaume Plensa (b. 1955) has created large-scale artworks related to the human figure for public places around the globe. This exhibition, the artist’s largest to date in the United States, features numerous indoor as well as outdoor installations, engaging viewers even before they enter the Museum. Interested not only in the visual arts but also in literature, psychology, biology, language, and history, Jaume Plensa creates sculptures and installations that unify individuals through connections of spirituality, the body, and collective memory. He uses a wide range of materials—including steel, cast iron, resin, light, sound, and more—to lend physical weight and volume to multiple components of the human condition and soul. This exhibition was organized by Cheekwood Botanical Garden and Museum of Art. (Tampa Museum press-release)
Tampa Museum of Art. 120 W. Gasparilla Plaza, Tampa, FL
Image: Jaume Plensa, Paula, 2013
until 26 of march, 2016
As in every book, as each chapter begins, a plot develops and new characters are added to join up with those already existing. In the last 3 years, OPEN WALLS Gallery has continued to explore the world of urban art, a world which is no longer limited just to the street and the street art practice.
This spirit of open-mindedness has evolved within our gallery program, allowing our artists to develop and pursue their own vision. The frontiers have been opened up, limitations with regards to style and practice have been erased and with that the family has grown larger. “Collection” brings together rare, classic and previously unreleased artworks from OX, Alias, Vermibus, BR1, SP38, JUST, Jordan Seiler, Thomas Von Wittich, Alaniz, Aïda Gómez, Giacomo Spazio and Anton Unai.
Spanish street artist Aïda Gómez redefines her urban surrounding by playing around with common viewing habits and establishing her very own rules. Aïda Gómez was born in Madrid in 1986. She studied sculpting at Kunsthochschule Weißensee in Berlin and fine arts at the UCLM in Cuenca, Spain. Between 2006 and 2011 Aïda Gómez worked as part of the La Pluma Eléctri*k street art collective.
Anton Unai personifies the creative philosophy represented by Joseph Beuys’ legacy: a profound belief in the sanctity of spontaneity, the poetry of chaos, and the rejection of traditional academia. A self-taught artist, Unai’s installations are often the result of weeklong “actions,” improvised and created on-site using mostly found objects, or “golden garbage,” salvaged from the streets of Berlin. Anton Unai was born in 1974 in Spain and lived in several European countries before moving to Berlin. His work has been exhibited internationally. (Open Walls press-release)
Open Walls Gallery. Schröderstr. 11.1 10115 Berlin
Image: Aïda Gómez
until 14 february, 2016
Gathering 40 international artists, the exhibition The Importance of Being... will travel to four important museums in Latin America along one year and a half, offering a vast panorama of thecontemporary art scene in Belgium, without intending to encompass thoroughly. Plural discourses and transversal approaches through a wide range of artistic supports make it possible to highlightnowadays crucial problematics worldwide in order to think on possible connections with other latitudes while mapping similarities and differences. The goal has been to go beyond the notion of Belgium. It is a departure point as alaboratory/platform with specific but also global cultural dynamics and geopolitical approaches, in the center of Europe on the decision-making and towards the rest of the world. In this sense, subjects related to power and memory, to the binomial identity-alterity, conflicts and borders, human relations with both the technosphere and the biosphere in the context of the globalization are developed on the exhibition. In this sense, the exhibition proposes five conceptual trends establishing a strong thread between the selected artworks. Curator: Sara Alonso Gómez
1958, Mieres, Spain. Lives and Works in Brussels, Belgium. Angel Vergara’s work includes a wide range of media and disciplines: representations, drawings, paintings, videos and installations. Audiovisual materials play an important role in most of his exhibition and constitute a substantial part of his work.
His performances are public sometimes, Vergara walks brush in hand, tracing the outline of people and objects around, interacting socially with the environment. His work reveals the essential tension to which the artist is exposed from the moment he start creating. To this end, he maintains a constant dialogue with other works of art and artists. For the Belgian Pavilion at in the Venice Biennale (2011), Angel Vergara created a special project entitled “Feuilleton, Les sept péchés capitaux” based on the theme of the seven deadly sins: envy, anger, intellectual laziness… This theme is used as a leitmotif and applied to today’s society. (MAM press-release)
Artists: Marcel Broodthaers, Chantal Akerman, Francis Alÿs, Charif Benhelima, Guillaume Bijl, Michaël Borremans, Dirk Braeckman, Jacques Charlier, David Claerbout, Leo Copers, Patrick Corillon, Cel Crabeels, Berlinde De Bruyckere, Jan De Cock, Peter de Cupere, Carl De Keyzer, Raoul De Keyser, Edith Dekyndt, Wim Delvoye, Fred Eerdekens, Jan Fabre, Michel François, Kendell Geers, Johan Grimonprez, Ann Veronica Janssens, Marie-Jo Lafontaine, Jacques Lizène, Kris Martin, Hans Op de Beeck, Walter Swennen, Pascale Marthine Tayou, Ana Torfs, Joëlle Tuerlinckx, Philippe Vandenberg, Koen van den Broek, Anne-Mie Van Kerckhoven, Koen Vanmechelen, Lieve Van Stappen, Bruno Vekemans, Angel Vergara Santiago.
MAM. Av. Infante Dom Henrique 85 / Parque do Flamengo / 20021-140 / Rio de Janeiro RJ
Image: Ángel Vergara
january 23 – may 30, 2016
A multifaceted, multi-disciplinary exhibition that explores the complexity of snow and ice through the lens of artists, featuring the collaborative artistic duo of Walter Martin and Paloma Muñoz.
32°: The Art of Winter features winter inspired works of art in an array of mediums, from the late-nineteenth century to present day. Artworks ranging from Claude Monet’s Grainstacks, to contemporary photography, sound pieces, digital art, games and ephemeral sculptures will be located both inside the gallery space and on the Museum grounds.
This multifaceted, interactive exhibition provides visitors with the opportunity to explore and experience the complexities of snow and ice. The exhibit embraces the dialogue between fine art, decorative art, and digital art, challenging visitors to rethink their perceptions of the seemingly simple matters.
Curator Carolyn Bauer actively sought out international and contemporary artists while digging deep into the rich collections of Shelburne Museum to explore the themes of aesthetics, ephemerality, nostalgia, and climate change. (Shelburne Museum press-release)
Shelburne Museum, 6000 Shelburne Rd, Shelburne, Vermont 05482. USA
Image: Walter Martin and Paloma Muñoz Traveler 46 at Night, 2003, snowglobe
15 january – 13 march 2016
“Soul of Paper” of renowned Spanish artist Cristobal Gabarron. It features sixty-nine paintings and six monumental sculptures curated by philosopher Sami Naïr of The Alhambra Towers Group, currently on show in the Museum gardens and recently exhibited at the Beijing Today Art Museum after completing its world city tour which began in 2009. The other 10 sculptures from this group are currently on show at Nixia Auditorium-Guangdong Museum Plaza in Guangzhou.
The paintings are distributed throughout all the interior galleries of the museum, creating a very unique single-artist show, in which visitors can enjoy two previously unexhibited series from 2010. The Africa Paintings are made up of twenty oil-on-paper works that Gabarron created following a scientific trip he made to Kenia and Tanzania with a group of anthropologist. The other forty-nine oil-on-paper paintings – The Blue House – depict an intimate and idyllic refuge of the artist, a journey through another dimension where humans live in harmony with their souls.
Born in Mula (Murcia), Spain, Cristobal Gabarron received his early artistic training in Valladolid before pursuing his career in France and Italy. He currently divides his time between Spain and the United States. Gabarron centers his work on the idea of the life of individuals and the coexistence and development of human values. Throughout his 50-year career, Gabarron has been commissioned by public and private organizations across the world to create noteworthy and unique art pieces for special occasions, for example, the Olympic Mural for the Barcelona Olympic Games (1992), the Encounter Mural for the Universal Exhibition of Seville (1992) or the sculpture Atlanta Start (1996). His collaboration with the United Nations has spanned most of his career, starting in 1986, when he designed the World Peace Stamp to celebrate the UN International Peace Year, and continuing with his artwork for the UN New Millennium Summit (2000) or the Millennium Chapel (2001), and in October 24, 2015, a monument entitled “Enlightened Universe” exhibited in New York’s famous Central Park, and unveiled by UN Secretary-General Ban Ki-moon in celebration of the UN’s 70 Anniversary. Prominent cultural institutions like the IVAM – Valencia Institute of Modern Art-, the Museum of Modern Art in Gdansk, Poland, or the Oscar Niemeyer International Cultural Center in Spain have held retrospective exhibitions of Gabarron’s work. This is Gabarron’s eighth exhibition in China in the past sixteen months, an uncommon honor for any contemporary western artist. (Chengdu MOCA press-release)
Chengdu MOCA. C1, Tianfu Software Park,. Tianfu Avenue, Chengdu,P.R. China
Image: Chengdu MOCA
19 january - 27 march 2016
This exhibition’s approach follows the clear, concise criteria of its curators, Carolina Bustamante and Francisco Godoy, whose insurgent voices stem from a biographically-specific position of empathy with the subjects and issues addressed within Madrid’s Casa Encendida. Their empathetic position gives a different perspective to the generally pejorative use of the term "sudacas" or "South American migrants" and adds to the power of their critique. Placing the focus on the Spanish State, one of whose cultural institutions is sponsoring the exhibition, they attempt to create a "means of uncovering and pointing out the window dressing behind the inconsistency between migration policies and economic policies, which continue to perpetuate the logic of colonial ideologies".
Artists: Laura Ribero, Ana Álvarez-Errecalde, María Galindo/Mujeres Creando, Rogelio López Cuenca, Magdalena Correa, Lucía Egaña Rojas, Runo Lagomarsino, Daniela Ortiz, Xose Quiroga, Miguel Benlloch, Guillermo Gómez-Peña, Paula Heredia, Coco Fusco, Juan Pablo Ballester, Konstanze Schmitt, Stephan Dillemuth, Territorio Doméstico, Francesc Torres, Eduardo Otero, Fernando Debas Dujant, Xatart a.s. y Jean Laurent Minier. (Aecid press-release)
Centro Cultural de España en México. Pasaje cultural Guatemala 18- Donceles 97. Colonia Centro Delegación Cuauhtémoc, 06010 México, D.F
Image: Crítica de la razón migrante
14 january - 26 march, 2016
ta.bu, the 16th exhibit on display at Maison Particulière, ushers in the fifth anniversary of this art center.For ten weeks, close to one hundred works of art on view among the rooms will showcase themes such as men’s and women’s sexuality, sadomasochistic practices, debauchery, hidden parts of our bodies, death, religion as a “powerful vector of proscription,” unease over disease, aging or unsightly bodies... subjects that could not be more “repulsive.”
Taboos are individual or collective. For one and all concerned, taboos pertain to the forbidden. Taboos are inherent in societies and in mankind, and all taboos are rooted in the fear of danger.
Taboos are great in both number and power; they reveal the paradox within a modern society that believes itself to be rid of taboos. For censorship does still exist. While we feel more liberal and open minded about some things – Nabokov’s Lolita is no longer forbidden – we turn our gaze and veil our eyes to others: for instance, it is still difficult to mention or depict women’s menstruation in public.
In January 2013, for the exhibit Sex, Money, and Power, we wrote, “we live in an era of dematerialized forms of money, in an era of outrageous powers, of blatant and unashamed sex.” ta.bu is the reverse image of that prior exhibit, for which Kendell Geers served as our guest artist. In a rare effort to mirror that exhibit, we wanted to give him carte blanche for ta.bu, where he was provided full use of one of the display windows in the house. (Maison Particuliêre press-release)
Carlos Aires (Ronda, Málaga 1974) currently lives in Spain, his work developped his aesthetic of ambiguity and analytical attitude to the way we perceive the reality around us. From collage to photography, video and performance, shows a provocative art, full of concern and skepticism. We dipped into a disturbing and questionable reality, where regular myths lose their meaning, the story takes new nature and gives space to the truth lies halfway. Carlos Aires liked propose games to the public, to find out how many and what might be the different ways of reading an image, a video, a performance, to interpret a situation
Maison Particulière asbl - Rue du Châtelain 49, 1050 Bruxelles
Image: “Disaster” 2014. Carlos Aires
PARIS. Angel Marcos “Bruxelles à l’infini. Photographies de La Collection Contretype” Centre Wallonie-Bruxelles
29 january – 24 april 2016
Artist residences have a dual purpose: to enable the artist to have time to reflect on his/her work, and secondly to question the stage of development achieved by his/her artistic research. This exploration should never be in response to a commission, as projects developed as part of a residence should seek to continue to develop the artist’s own corpus and interests. In addition, the specific nature of the geographic context of the creative works (i.e. Brussels) is taken into account. Based on the fulfilment of these two conditions, resident photographers are encouraged to record memories of their time in residence. This series of residences has enabled a rough portrait of [Brussels] to be put together in order to get to know the city. This is not about quoting the city as the subject, but rather an acknowledgement of the city’s constant presence as a place in which people live and are creative, with its own artistic practices
Artists: Alain Paiement, Bernard Plossu, Barbara Et Michael Leisgen, Angel Marcos, Isabelle Arthuis, Marie-Noëlle Dailly, André Cepeda, Karole Biron, Elina Brotherus, István Halas, Sébastien Reuzé, J.H. Engström, Hicham Benohoud, Philippe Herbet, Sébastien Camboulive , Projet: Bruxelles: Luca Etter, François Goffin, Sarah Morisssens, Armand Quetsch, Andreas Weinand , Isabelle Hayeur, Chantal Maes, Daniel Desmedt, Satoru Toma, Sári Ember, André Cepeda Et Eduardo Matos, Marie Noëlle Boutin, Rui Calçada Bastos Et Noé Sendas , Erika Vancouver, Vicente De Mello, Barbora Pivokovà, Enikö Hangay, Ieva Epnere. (Centre Wallonie-Bruxelles press-release)
Centre Wallonie-Bruxelles - 127-129, rue Saint-Martin 75004 Paris
Image: Angel Marcos, La chute 16, 2000
21 january – 29 february, 2016
In art, one of the most common issues is the landscape. But, shall we understand this as an inert space, ideologically neutral or as dynamic, changing, subjectivized by the look of the artist and the viewer? In the contemporary world the landscape is a mental and intellectual construction, where cultural and aesthetic factors help the vision of the territory. And precisely because the landscape "constructed", there are so many readings that may arise from the same physical space, the different levels of analysis or intellectualization of the territory. This is the subjectivity of the gaze. The territory is made up of elements, objects and spaces. It is there even if you are not looking it. The landscape, however, is what it is because we look a certain way, with an intellectual intent, aesthetic and social. The exhibition 'Behind the landscape' proposes to stop a series of works by accumulating data, mapping the territory or the redefinition of the image, dive beyond the obvious and show the diversity of readings in a world in permanent state rate.
Miguel Angel Garcia is a photographer and visual artist who has developed his activity on the experimentation and fusion of disciplines and techniques around the world image. His latest projects are characterized by an intense documentary work. He is focusing on a reinterpretation of the territory, accumulating meanings in the images into layers, as a synthesis and reflection on what each photograph shows and hides. (I. Cervantes press-release)
Organized: Instituto Cervantes with BASU foundation for the arts.
Instituto Cervantes of New Delhi. 48, Hanuman Road. Connaught Place. New Delhi 110 001
Image: Calcuta. Miguel Ángel García
9 january– 27 february, 2016
Michel Rein Gallery is pleased to present X-VILLE (2015) in its installation format.
X-Ville (2015), a homage to the urban architect Yona Friedman, is in context with the mutual questionings that Jordi Colomer evokes in the interview with Jordi Colomer by Nicolas Féodoroff / Festival FID MARSEILLE in july 2015. Your interest for town planning, the town and its uses, is a common theme in all of your works, films, photographs or installations. Produced during a residency in Annecy, in XVille you attend to the work of the architect and town planner Yona Friedman, more specifically to his work Utopies réalisables (achievable utopias) (1974) for whom every society is in some way an achieved utopia.
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these. Some of the more recent work do research on the many facets of utopia or dystopia and its relationship with fiction and history; At L' avenir (2010), we follow a group of pioneers in a free interpretation of the Phalanstery project of Charles Fourier. Prohibido cantar / No Singing (2012 ) superimposes imaginary cities and unrealized projects . Here the founding of a city, evokes the failed mega - projects of casino-citiy in Spain ( as Gran Scala, Eurovegas ) and at same time the City of Mahagonny described by Bertoltd Brecht in the moment that Las Vegas began. La Soupe Americaine / The American Soup on the provisional postwar shelters (Normandy , 2013 ) or The Svartlamon Parade ( Trondheim , Norway, 2014 ) incorporate archive footage to place the present in a critical position. (Michel Rein press-release)
Michel Rein Gallery. 42 rue de Turenne F-75003 PARIS
Image: “X-Ville”. Jordi Colomer
january 19 - february 9, 2016
The dreamy, ephemeral mixed-media creations of Spanish artist Carmen Calvin are both subtle and profound, integrating beautiful combinations of colors and a strong sense of rhythm within recognizable figurative themes. Combining various materials including oil, watercolor, synthetics, and pencil, Calvin has established the technique of grisallas as a hallmark of her work, where gray shades and scales are used to create a nuance of expression. A former teacher of classic ballet, Calvin draws from her rich experience and deep understanding of the intersections and juxtapositions of rhythm, plasticity, and the beauty of forms in her work.
While Calvin’s paintings are visually stunning, their real power lies in the depth of expression offered to the viewer. In a way, the paintings have become another manifestation of the dance, a medium in which artist and audience can connect in the realm of human feelings, emotions, and common experience. As Calvin elaborates, “I found that, as in the ballet, I was connecting my interior feelings with those of other persons through my paintings.” Carmen Calvin currently lives and works in Madrid, Spain (Agora press-release)
Agora Gallery. 530 West 25th Street New York, NY 10001
Image: Carmen Calvín
SAO PAULO. Daniel Steegmann Mangrané “Kingdom of all the animals and all the beats is my name” Mendes Wood DM
until 20 february 2016
Mendes Wood DM has the pleasure of presenting Reino de todos os animais e de todos os bichos é meu nome [“Kingdom of all the animals and all the beasts is my name”], the third solo exhibition at the gallery by Catalan artist Daniel Steegmann Mangrané. The set of works displayed features two pieces never before seen in Brazil alongside a new body of work on the walls.
Produced in 2013-2014 for the 2015 Triennial at the New Museum: Surround Audience, curated by Lauren Cornell, Phantom (kingdom of all the animals and all the beasts is my name) and Spiral Forest (kingdom of all the animals and all the beasts is my name) explored the same locale of tropical Brazilian forest through two divergent technologies. While Phantom uses one of the most advanced digital techniques, Spiral Forest was created with analogical and mechanical technologies, some of which are nearly obsolete.
To produce Phantom, Steegmann Mangrané worked with the London-based company ScanLab. Together, they scanned a piece of the forest, creating a point cloud of extremely high resolution. ScanLab then used an application called Unity to read the scan, making it accessible via a pair of virtual reality glasses. A set of optitrack cameras track the position of the spectator in the space, enabling the viewer move through the virtual forest.
To create Spiral Forest, the artist collaborated with engineers Nicola di Chio and Stefan Knauer, who constructed a Gimbal (a hinged device which allows an object to rotate on the same axis) activated by the motor of a 16 mm camera. By turning on the camera and starting to film, the gimbal rotates its three axes (pan, tilt, roll), conducting the filming process while executing interlinked movements. The sequence of movements was based on a mathematical calculation between angles of rotation and frames per second that guarantees all the possible combinations of movements and directions.
The differences between the two works are not limited to a mere digital – analogical binomial, but rather investigate two ways of apprehending opposites. While Phantom is set in a lit room, the image is fixed and the spectator moves throughout the real and virtual space; Spiral Forest is projected in a dark room, where the image is in motion and the body of the spectator is immobile.
Daniel Steegmann Mangrané was born in 1977 in Barcelona, Spain. He studied at the Escola de disseny i art, and the Gris ART School of Photography, both in Barcelona, Spain. The artist lives and works in Rio de Janeiro.
His work has been included in numerous group shows and biennales, among them: Ir para volver, 12th Biennal de Cuenca, Ecuador (2014); Anti-Narcissus, CRAC Centre Rhénan d'Art Contemporain, Alsace, Altkirch (2014); Weather Permitting 9th Mercosul Biennial, Porto Alegre (2013); Suicide Narcissus, Renaissance Society, Chicago (2013); Unique Forms of Continuity in Space, 33° Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo (2013); Utopien Vermeiden, Werkleitz Biennale 2013, Halle (2013); Tropicalia Negra, Museo Experimental el Eco, Universidad Nacional Autónoma de México, Mexico DF (2013); The Imminence of Poetics, 30th Bienal de São Paulo, São Paulo (2012). Steegmann Mangrané was nominated for the prestigious PIPA Prize for Latin American artists in 2012, 2013 and 2014. He has received numerous prizes and fellowshipsne in the other. (Mendes Wood DM press-release)
Mendes Wood DM. Rua da Consolação 3358. Jardins São Paulo Brazil
Image: Phantom, Daniel Steegmann Mangrané. Mendes Wood DM
23 january - 12 june 2016
This immersive and enriching multi-media exhibition will tell the story of the unlikely alliance between two of the most renowned artists of the twentieth century: brilliantly eccentric Catalan Surrealist Salvador Dalí and American entertainment innovator Walt Disney.
Presented through a multimedia wonderland of original paintings, story sketches, conceptual artwork, objects, correspondences, archival film, photographs, and audio – this comprehensive exhibition showcases two vastly different icons who were drawn to each other through their unique personalities, their collaboration on the animated short Destino – which, regrettably to both Disney and Dalí was never completed during their lifetimes – and their enduring friendship.
Born three years and half a world apart, both Disney and Dalí bore boyhood imaginations grounded in their upbringing in the 1900s, encouraging their lives, careers, and legacies to be paralleled on a profound level. A deeper look into the lives and artistic prominence of the Surrealist and the dreamer—highlighted by hand-written letters and alongside filmed dramatizations and audio re-creations—will show just how alike these two innovators were in blurring the lines between reality and dreams.
“Disney and Dalí heralds a new era in art exhibitions,” said Dalí Museum Executive Director, Hank Hine. “Visitors can expect a multi-sensory environment of moving image, soundscapes, and the transformative aura of exquisite individual paintings. Disney and Dalí broke new ground as artists—the Walt Disney Family Museum and The Dalí will deliver a brave new world of experience.”
Disney and Dalí: Architects of the Imagination is co-organized by The Walt Disney Family Museum and The Dalí Museum, with the collaboration of the Gala-Salvador Dalí Foundation in Figueres, Catalonia (Spain), and The Walt Disney Studios. The exhibition is guest-curated by filmmaker Ted Nicolaou. (Dalí Museum press-release)
Dalí Museum. One Dali Blvd, St. Petersburg, FL 33701, USA
Image: Salvador Dalí, Study for Sentimental Colloquy (1946). © Salvador Dalí. Fundació Gala-Salvador Dalí
15 january -19 march 2016
Artist Núria Güell has created an international fiscal disobedience consultancy against the Troika that will be the subject of her solo exhibition here at Project Arts Centre in 2016.
The artist in collaboration with Catalan activist Enric Duran has created an agency that will consult on the complexities of tax avoidance, playing within the rules of the European Union’s single market.
The consultancy advises on strategies borrowed from international financial tax assessors that reduce the tax liability of neoliberal companies.
Created in the context of our year-long programme of exhibitions and events conceived around REBELLION, contemporary artist Núria Güell will be exhibiting this agency as the latest project in her ongoing commitment to conceptual art and political and social a ctivism
Núria Güell uses her artwork for political and social activism, believing that art holds the power to rethink ourselves as a society. Through installation, writing, performance, and video, Güell rethinks the ethics practiced by the large institutions that govern our society and suggests alternative methodologies.
Some of her projects have included publishing a book explaining how to expropriate money from a bank, entering into a marriage of convenience in order to give legal status to an individual, and creating a company to hire a construction worker to demolish doors to enable squatting.
She graduated from the University of Barcelona with a degree in fine art and continued her studies under Tania Bruguera at Behavior Art Master in Cuba. Her work has been exhibited in biennials in Havana, Pontevedra, Ljubljana, and Liverpool, as well as in the Print Triennial of Tallinn, and her projects exhibited in Museums and galleries around the world, including recently the VanAbbemuseum, Eindhoven, and the Irish Museum of Modern Art. (Project Arts Centre press-release)
.Project Arts Centre. 39 East Essex Street. Temple Bar. Dublin 2
Image: Núri Güell
11 december 2015 – 29 february 2016
Writing about his work, José María Yturralde (b. Cuenca, 1942) declares, “My intention has been to achieve an atmosphere of fluid transparency, of communion with a kind of slowly expanding energy, and that energy refers to sensibility and emotion, to a poetic experience. Perhaps there is a spiritual or mystical element, but I don’t believe that the sensuality, the mere life, the here and now of this event is specifically religious or sacred.” The empty space between his creations is just as important as the pieces themselves, inviting constant reflection on the limits of his work.
For Fernando Francés, director of the CAC Málaga, “The Renaissance spirit is not limited to one historical period, but rather has gradually taken root over the centuries leading up to the present day. To speak of José María Yturralde is to speak of art, science and metaphysics, and therefore his attitude has a great deal in common with the complex, comprehensive stance of the Renaissance man, even with Da Vinci himself. Yturralde is an artist of tremendous erudition, both scientific and humanistic, and keen sensibility, who firmly believes in the possibilities of painting and has managed to infuse his compositions with a metaphysical, spiritual dimension. His creative talent is unique in the context of Spanish contemporary art.”
Visitors to the show will be able to admire approximately ten paintings, most of them produced especially for this exhibition. In his canvases, Yturralde uses concepts borrowed from art, science and metaphysics to explore fields related to numerology, the transcendental, and the invisible world around us and translate his findings into pictorial language.
His works are characterised by the use of chromatic transitions and a wide range of vibrant colours, masterfully applied to heighten the contrast between them. In his paintings he focuses on themes such as space, the void, time, energy, light, the universe and matters beyond the bounds of experimental science. His work can be defined as analytical, rational, scientific and semi-transcendental.
Yturralde admits to a fascination with the field where the languages of science and art intersect, which explains his interest in kinetic and Op art. For inspiration, he often turns to artists and painters like Mark Rothko, Mondrian, Albers, Kandinsky, Barnett Newman and Brice Marden. Contemporary architecture, film, poetry, music, art and eastern philosophy also influence his work and are often questioned in his paintings.
Yturralde’s creations are a pictorial meditation on the concepts of the void, the beginning and end, and the universe, all frequent themes in his oeuvre. The artist’s choice of textures and chromatic transitions is motivated by a need to express his personal feelings, preoccupations and questions. Much more than mere objects, Yturralde’s paintings capture his emotions and spread beyond the physical boundaries of the picture plane, attempting to create a thought-provoking atmosphere that encourages spectators to wonder what lies beyond the tangible, visible realm and perhaps even be transported to a level of transcendental existence.
José María Yturralde lives and works in Valencia and is considered one of the leading exponents of Spanish contemporary art. With a BA and PhD in Fine Art from the Polytechnic University of Valencia, he is a fellow of the Royal Academy of Fine Arts of San Carlos of Valencia, professor of Painting at the Polytechnic University of Valencia’s Faculty of Fine Arts, and member of the Social Council of the Polytechnic University of Valencia. (CAC press-release)
CAC. Centro de Arte Contemporáneo. C/ Alemania, s/n 29001 Málaga Spain
Imagen: Eirene (serie Enso), 2015. José María Yturralde
7 january – 27 february 2016
Laurence Miller launches its 2016 program with PARIS PHOTO REVISITED, a reinstallation of our stand at last month’s Paris Photo.
After 19 years, Paris Photo has become the largest and most prestigious of all the art fairs worldwide devoted to photography. However, the fair was unexpectedly cut short this year. In the wake of the terrorist attacks that struck the heart of Paris on the night of Friday, November 13th, the French Ministry of Culture closed all public buildings in Paris, including the Grand Palais, where PARIS PHOTO was being held. Approximately 25,000 visitors had been expected at the show that weekend.
PARIS PHOTO REVISITED provides a unique opportunity to view the works that had been on exhibit at our stand, paying tribute to the many artists who made great efforts to produce and deliver the works we had on display, and the consignors who generously lent us works for sale.
The ten large-scale color photographs from the series "Independencias, produced between 2009 and 2012, are based on panoramic photographs taken by Garcia from culturally symbolic watchtowers in the twenty seven capitals of the European Union, such as the Pompidou Centre in Paris, the Acropolis in Athens, St. Paulâs Cathedral in London. Garcia then digitally paints the images, initially blanketing them in white as if seen through a snow storm, which gives all the cities a unified appearance. This is followed by the selective application of red pigment to extract repeating infrastructural details such as smoke stacks in Paris, skylights in Berlin and London, chimneys in Vienna and Stockholm. This combined intervention of concealment and rescue highlights the contradictions between individualism, national identity, and the larger membership in a political union of many nations and cultures. The final prints act as a sort of x-ray of the in-dependencies of all the European capitals. Europa I and Europa II, present an accumulation of all the 27 European capitals in two synthesized, superimposed images, furthering the concept of the European city as part of a common unified dynamic community while at the same time a place for both personal independence and national identity.
Miguel Angel Garcia was born in Madrid in 1952 and lives and works in Cantabria, Spain. He is a photographer and visual artist with training in economics and agricultural design. He has exhibited widely in Europe and in South America, with over thirty one-person and 15 group exhibitions within the past 8 years. His photographs have been presented at Paris Photo, Madrid Photo and the Hot Art Fair in Basel. This month he was one of 50 photographers to be selected from 2500 entries for the Syngenta Photography Award.
Artists: Ray Metzker, Toshio Shibata, Bruce Wrighton, Denis Darzacq, Denis Darzacq + Anna Lüneman, Simone Rosenbauer, Luca Campigotto, Miguel Angel García, Kazuo Sumida, Fred Herzog. (Laurence Miller Gallery press-release)
Laurence Miller Gallery, 20 West 57th Street. New York, NY 10019
Image: Miguel Ángel García. Independencias XIX. Vienna. 2011
15th january – 13th march, 2016
Due to an injury, he had to abandon his promising career as a footballer only to become one of the most famous sculptors in the world. His works can be found in the collections of many prestigious museums, such as the Museum of Modern Art in New York. A large presentation of works by Basque artist Eduardo Chillida will soon open in Wrocław.
Born in San Sebastián, Eduardo Chillida initially devoted himself to football. When a serious injury cut short his career in Real Sociedad, he moved to Paris, where he began his artistic practice amongst other avant-garde artists.
In Wrocław, Chillida’s exhibition under the title Sonoridades [in Polish: Brzmienia] will feature 40 works. Beyond doubt, Chillida was a master of form, creation, experimenting with materials as well as an outstanding art theoretician and a connoisseur of life, says Inés R. Artola, the curator of the exhibition. The quality of his sculptures and graphics situates him among the most important artists in the world, and his influence on artistic milieus is still visible today.
The presentation of Chillida’s sculptures in Wrocław will be accompanied by two sound installations by composer Gorka Alda. During the finnissage in March, we will hear cycle of pieces composed especially for this occasion by José M. Sánchez-Verdú. They will be performed by accordionist Iñaka Alberdi and the saxophone quartet Sigma Project. Gorka Alda’s composition titled Elogio de la luz XX [Praise of Light XX] will be played in the exhibition room with the alabaster sculpture while the room with the iron works will reverberate with his composition under the title Besarkada. Electronic music will smoothly harmonize with Chillida’s artworks.
The exhibition is prepared in cooperation with the Chillida-Leku Museum in the Basque Country, which is devoted to the artist. His works have already been shown in Poland (2004) in the Silent Music exhibition in the National Museum in Wrocław and the Centre for Contemporary Art Ujazdowski Castle in Warsaw. Those shows featured more than a dozen sculptures and drawings from different periods of his practice. curators: Inés R. Artola, Ignacio Chillida. (Awangarda Gallery press-release)
Awangarda Gallery, Wita Stwosza 32. Wrocław,ul. Poland
Image: Eduardo Chillida, Grasse, 1984, foto: Hans Spinner
13 january - 6 february 2016
This exhibition will showcase a selection of recent paintings by; Jacques Bodin, Mike Briscoe, Paul Cadden, Pedro Campos, Patricia Casanova, Daniel Cuervo, Paul Day, Gustavo Fernandes, David Finnigan, Nourine Hammad, Alexandra Klimas, Carlos Marijuan, Tom Martin, Elena Molinari and Ben Schonzeit.
Still Life has been a well practiced subject in art for centuries and although the featured objects have slightly changed over time, the type of object remains very similar. Jacques Bodin, Pedro Campos and Elena Molinari all create paintings within this genre. These paintings display everyday objects, which either celebrate our material pleasures such as food and wine, or more traditionally portray the ephemerality of these pleasures and of the brevity of human life, such as a moulding piece of fruit. Still Life works give us the opportunity to hone in on the extreme beauty that lies within everyday objects we so often overlook.
Hyper realist artists adopted landscape as a subject matter within their realms too, creating beautiful natural landscape paintings as well as adapting the subject and creating urban landscapes and cityscapes. Gallery artists Mike Briscoe, Paul Cadden, David Finnigan, Gustavo Fernandes, Carlos Marijuan and Daniel Cuervo all create work in this field. Cadden is influenced by scenes of everyday life, particularly those of other cultures. He strives to create an emotional, social and/ or cultural impact through his hyper realistic approach and he aims to ‘intensify the normal’.
This exhibition gives the visitor an opportunity to see some of the most talented contemporary Hyperrealist works alongside one and other. The clever interaction between works produced (mainly) in the same medium against highly contrasting styles, subject matters and colour-schemes allow each individual an artistic freedom, resulting in exceptionally engaging works. (Plus One Gallery press-release)
Plus One Gallery, 89-91 Pimlico Road. London SW1W 8PH. United Kingdom
Image: Pedro Campos "Coke Trilogy II"
21 January - 12 February 2016
To celebrate the 60th anniversary of the creation of Joan Miro’s studio, founded in 1956 in Mallorca (Spain), Mayoral Gallery presents an immersive exhibition recreating the space, which has become a symbol. Dozens of canvases, unfinished paintings, personal belongings and furniture will create a faithful reproduction of the studio that once was the artist’s universe, the place where he could escape from the world and find his inspiration.
For the recreation of the studio, designed by architect Josep Lluis Sert, they have counted on the photographs taken by Jean Marie del Moral in the seventies along with Miro’s grandson, Joan Punyet Miró, childhood memories. Original drawings and correspondence, facsimiles, photographs, video, unpublished documents and Miro’s working materials will be shown as part of this exhibition. (Mayoral press-release)
Mayoral, 6 Duke Street. St James's. SW1Y 6BN London. United Kingdom
Image: Jean Marie del Moral
21 january – 25 march, 2016
Antoni Taulé born 1945 in Sabadell, Catalonia. Architect by training, performer and street artist during the Sixties, his art has been labelled as a representative of the “new figurative” movement. He paints classical empty buildings and interiors: ballrooms, office receptions, halls of the Louvre museum, chambers of the Prado, the Palace of Versailles, monumental spaces that fuse reality and fiction under a fleeting atmosphere of light.
His unique creative universe mixes scientific and mathematical concepts and a passion for art from the past, Italian, Dutch and Spanish old masters, especially Diego Velázquez and Francisco Goya. It has inspired numbers of writers and critics, like Jean-Christophe Bailly or Julio Cortázar who were fascinated by Taulé’s rooms and tables.
As Taulé says : "The building is actually just like a person. It has a heart, lungs, a nervous system, intestines, and eyes ... I am fascinated with what one can see, with the reason why does one look at it or avoid looking, and how one reflects upon what he sees. In one word my work is about how a man functions." (Photo 12 press-release)
Image: Antoni Taulé
until 14 february 2016
Rogelio López Cuenca, Nerja 1959, focuses his artistic practice on the analysis of mass media, the construction of identities and cultural criticism. He develops this work by means of publications, courses, exhibitions, interventions in public urban spaces, on TV or on the Internet (www.malagana.com), resorting to his own processes not only of visual arts but also of literature and social sciences.
RADICAL GEOGRAPHICS develops a constellation-essay from different projects in collaboration with other artists, students and researchers from different disciplines in European and American cities (Málaga, Lima, Rome, Mataró, Mexico City, Valparaiso,…) incorporating documentation from a processing critical cartography about Valencia.
All this projects are challenged and questioned by the city itself –urban as the concept key for a modern world experience– and cities particularly like the places where reality and imagination stands out; official history and lost memories; violence and the way it becomes real over a landscape and its inhabitants. But also disobediences that venture into other geographies. Other possible histories.The fabric of a third space in course. (IVAM press-release)
Image: Rogelio López Cuenca
1 january – 15 march, 2016
The quest to subvert the logic of the museum through the construction of mobile devices has a long tradition. Since Marcel Duchamp’s Boîte-en-valise(1941), many artists have tried to move the field of aesthetic experience beyond the limits of the museum. In recent years, museums have co-opted this strategy with devices intended to make art “portable.” Instead of extending the linear feet of the museum’s walls, the devices in This Is Not a Museum make nomadic exhibitions as a platform for direct participation. This exhibition showcases more than 50 of these projects from various cities around the globe.
Artists representing This Is Not a Museum: Portable and Lurking/Esto no es un museo. Artefactos móviles al acecho - Call for Projects; Washington, D.C. include: Calder Brannock, Lisa Bulawsky, Michael Dax Iacovone & Michael Blasenstein, Caitlin Cass, Billy Friebele and Joe Reinsel. Curator:Martí Perán. Production:Centre d’Arts Contemporànies de Vic (España) Acción Cultural Española. (AC/E press-release)
Museu Nacional de Brasilia. Setor Cultural Sul 2 - Asa Sul, Brasília. Brazil
Image: “Esto no es un museo. Artefactos móviles al acecho”
until 27 february, 2016
The exhibition, in addition to the 160 art pieces created by the artist in 2010 of “Girl that couldn’t reach the moon”, there are three large oil on canvas of 340 x 130 cm. of the series Liof (Liof 4, 5 y 6), and the sculpture group “The Mysteries of Columbus”, exhibited in the outdoors of the Museum.
To celebrate the 2nd anniversary of the Museum, in the city of Chonwgu, Cristobal Gabarron has created a sculpture of white marble, named Metamorphosis. This art piece is becoming part of the permanent collection of this new museum of contemporary sculpture, which brought together the avant-garde sculptors of Southeast China.
The Spanish Ambassador in China, Mr. Manuel Valencia, the Counsellor for Cultural Affairs in the Embassy, Ms.Gloria Minguez, the Director of Today art Museum of Beijing, Mr. Alex Gao (where currently, and until the December 20th, Gabarron exhibits his art work) were presented the commemorative act, along with several art universities deans and the Mayor of the city where the Museum is located.
Previous to the Dingli´s Museum exhibition, Gabarron met local and national artists to discuss the contribution of this sculpture to public areas. The Chinese participants and the exhibition curator, have both highlighted the important contribution of the Gabarron´s sculpture in making art accessible to the general public. (F. Gabarrón press-release)
Dingli Art Museum. Quanzhou, Fujian, China
Image: Silencios de Colón. Cristobal Gabarrón
12 december, 2015 – 27 february, 2016
Hangar, Center for Artistic Research is pleased to present Plagiarizing the Future, with João Maria Gusmão and Pedro Paiva, Letícia Ramos, Marlon de Azambuja, Elena Bajo, Jordi Colomer, Edouard Decam, Louidgi Beltrame and Rosa Barba.
Curated by Andrea Rodríguez Novoa and Bruno Leitão, the exhibition focuses on dissident artistic practices in which fiction is used as a tool of debate, social construct and envisionments of future artistic research tools and as such it is a speculative object.
Works that nominate events and proposals of speculative nature that anticipate the future as copies of what still doesn’t exist anticipating it by idealization and projection.
The exhibition explores social construct through fiction and artistic dystopia while proposing future utopias. The investigation is on the way in which the narratives in literature and in science fiction cinema make evident the fine line that separates utopias from dystopias but instead of creating ghosts anticipate what’s to come. (Hangar Lisboa press-release)
HANGAR Centro de Investigação Artística. Rua Damasceno Monteiro, 12. Lisboa, Portugal
Image: Jordi Colomer. Plagiarizing the Future
4 december, 2015 - 4 march, 2016
Our studio and the foundation work like reflections where practice and research are combined under one roof. The foundation is an Experimentation Centre, a platform for investigation in collaboration with cultural centres worldwide, international exchanges and residency programs; also serving as a research support for the main studio itself.
Within this context, CLICHY - MONTFERMEIL METRO STATION is also supported by the current student projects which are taking place in the Foundation during our master program, in collaboration with the Universitat Politécnica de Catalunya (UPC). The Grand Paris is an ambitious project which aims to improve the existing transport network and regenerate the suburban neighbourhoods significantly.
Our station of Clichy Montfermeil is located at the border of the two suburb small towns: Clichy-sous-bois and Montfermeil, and is an important pole of connectivity between the metro network, the new tram line and other bus lines. This suburban rundown area has been shadowed by the development of the rest of the city, losing importance over time and becoming a scene where violent riots and other dramatic events took place in 2005.
This new station will connect Paris to Clichy-sous-bois and to Montfermeil, incorporating it into the Grand Paris metro network, becoming an intrinsic element for the renewal of these satellite areas. It will provide inhabitants new and easy ways to access their working places, all over the Ille de France region. For its relevance and location, this station is currently considered as an emblematic pit stop for the Grand Paris. Our station will give a new identity to the place and a new way of living the city, where the culture of the inhabitants of the area is reflected in the architecture through colour, joy and optimism. (I. Ramon Llull press-release)
Bi-City Biennale of Urbanism\Architecture. Block A302, Shenzhen Sculpture Academy, No.8 Zhongkang Rd, Shangmeilin, Futian District, Shenzhen, China518049
Image: Futura estación de metro Clichy-Montfermeil
12 december, 2015 - 21 february, 2016
In the essence of the architectural project or the final built work resides an inherent duality: the place and the architect. The place always imposes itself, and architects adapt our method, gaze and, with it, a personal interpretation that will prevail during the process.
This duality between the immovable state of reality –the context and the territory-, and our interpretation of it is combined in the project and, finally, is realized in the built work. The architectural work as a combination of matter and light.The volume –matter- in as far as the inanimate object: silent and still. And light –indefinite space-, like a void defined by matter: alive, moving, dynamic.
In order to reach this symbiosis between matter and light, between the definition of space and the habitable space, the architect works in a place with a context, a place that imposes itself and that cannot be ignored and that must be addressed. This architectural process is managed through many types of documents. A language is generated by the architect –personal- and specific –from the place- that – beyond being used by the architect to build- is the origin of a story that, in some cases, will arrive at its ultimate goal: to become spaces can be inhabited by people and can shelter new stories.
As an architect, I live in a duality between the craft and education; between practice and method. The process feeds the ultimate goal of becoming a building, and the built work, feeds the process and the entire architectural project.Therefore, how a place is reached is of as much importance as simply reaching a place.
Because its interpretation through process will become more tangible with the human condition, with time. If the solid is not defined, there can be no habitable void. Without matter, there is no light, and therefore, no life. Nor architecture. Recognizing a place and the process of adapting ourselves to it affords the architect the ability to provide it with life. It gives us the opportunity to bring matter to life through a correct interpretation of light.(MAM press-release)
MAM. Av. Infante Dom Henrique 85 / Parque do Flamengo / 20021-140 / Rio de Janeiro RJ
Image: Police Station Salt. Estudio Josep Ferrando
11 december 2015 – 28 february 2016
Every two years NN Contemporary Art hosts its Open Exhibition of work by artists from across the world in a wide range of media. The show is selected by a changing panel of judges; this year’s panel were Ruth Claxton (Artist and Associate Director of Eastside Projects) and Matthew Shaul (Artistic Director of UH Galleries and Deputy Director of UH Arts). 112 artists responded to the open call submitting 225 individual works. From this selection the judges chose 35 artists to feature in the exhibition.
The Open Exhibition launches at NN on 10 December 2015 at 6pm and visitors will be able to see a wide range of artworks: from a CGI kebab shop window to political text work, from an abstracted daffodil to pencil drawings of Arnold Schwarzenegger moving mountains and much more from Ireland Norway, USA, and the UK.
The Open is a selling show and gives visitors the opportunity to buy the artworks in the exhibition by emerging and leading artists. Visitors will be able to ask the gallery front desk for a price list an NN can arrange delivery of the artwork to homes, offices or as gifts after the close of the exhibition.
Artists: Adrian Bayes, Anna Katarzyna Domejko, Arabel Rosillo De Blas, Barnaby Lewer and Tristan Deratz, Elvis Dread, Brendan O’Neill, Charlie Billingham, Chloe Feldman Emison, David Theobold, Dawn Giles, Emma Brack, Faye Spencer, Grant Petrey, Ikran Abdille, Jade Hanley, James Paddock, Janet Milner, Jessica Harby, Jodie Wingham, Jonathan McCree, Joshua Uvieghara, Kennis Chan, Kevin McCully, Melissa Campbell, Nikkita Morgan, Priya Baxter, Ramona Zoladek, Ryan Brown, Sarah Hill, Silvia Lerin, Steve Ruiz, Susan Phillips, Tom Climent, Tyrone Williams, Valentina Casalini. Selected by: Ruth Claxton, Mathew Shaul.
Silvia Lerin was born in 1975 in Valencia, where she studied at the School of Art. Numerous solo and group exhibitions followed, including the Polytechnic University and the La Nave Gallery in Valencia, in the Berlin gallery Sophia Edition and various art fairs. Her work has been honored with numerous awards, most recently the first Price of the Real Academia de Bellas Artes de San Carlos in Valencia (2011) Silvia Lerín´s works are in numerous municipal and private collections in Spain and Europe. (NN Contemporary Art press-release)
NN Contemporary Art. Number Nine. Guildhall Road. Northampton. NN1 1DP, UK
Image: Open Exhibition 2015. NN Contemporary Art
16 december, 2015 - 27 february, 2016
Os adeuses. Photographs by Alberto Martí is an exhibition that recreates images of a relatively recent historical fact: The Galician exodus to America between 1957 and 1963 from the ports of A Coruña and Vigo and subsequent return to Galicia
Alberto Martí Villardefrancos (A Coruña, 1922) is considered a "portrait of human stories". Each of his photographs has emotion, feeling, freshness and naturalness. This selection by the exhibition curator, José Caruncho, allows us to see images in many cases never before revealed, moments to remember and reconstruction of the past who were actors or spectators of emigration of those years, a phenomenon that represented a full lighting and shadowing process but it was one of the fundamental aspects of Galician contemporary history because it affected all facets of their social economic and political life.
The title "Os adeuses" (Goodbyes) perfectly symbolizes the world of the feelings that accompanied persons, crates, bales and bags, recording them forever in the collective memory. With over 70 years dedicated to photography -50 of them worked as a reporter for La Voz de Galicia, Alberto Martí has received numerous national and internacionals awards at speeds as Madrid, Barcelona and Buenos Aires, and part of his work is published a monograph published by the City of a Coruña. (I.Cervantes press-release)
Cámara Sete - Centro de fotografía Contemporánea de Belo Horizonte. Av. Afonso Pena 73730130002 Belo Horizonte Minas Gerais (BRASIL)
Image: Alberto Martí. “A Coruña 1957”
Sao Paulo. 25 november, 2015 – 31 january, 2016. Madrid. 17 december, 2015 – 01 may, 2016
The exhibition (Cervantes, a contemporary spirit), organised by AC/E and the Instituto Cervantes, shows the photographs produced by José Manuel Navia in connection with the celebration of the 400th anniversary of the death of Miguel de Cervantes in 2016. For this project, Navia followed in Cervantes’ footsteps, visually capturing the places and paths trodden by the great author throughout his life – a troubled and uncertain life that is also revealed to us in a veiled manner in his works.
The photographs that make up the exhibition – between 60 and 80 – are mostly new, taken especially for this purpose. The project is based on the act of photographing the main places linked to Miguel Cervantes’s life, the traces of a lifetime, so that the end result is not just another collection of pictures of different places but a series of photographs that embodies the personal gaze of a traveller who wishes to embrace Cervantes’s real and literary territory through image. The photographs are accompanied by detailed texts and literary quotes that refer to the author’s life as well as to his works. (I.Cervantes press-release)
Instituto Cervantes. Av. Paulista, 2439 - Planta baja. 01311-300 São Paulo
Instituto Cervantes. c/ Alcalá, 49. 28014 Madrid
Image: Calatrava. José Manuel Navia
5 december, 2015 – 14 february, 2016
The CRP is pleased to present the first solo exhibition in France by Spanish artist Jorge Ribalta with the project Renaissance. Scènes de la reconversion industrielle dans le bassin minier du Nord – Pas-de-Calais (Renaissance. Scenes of Industrial Conversion in the Nord– Pas-de-Calais Mining Region], created during his residency in the region in the spring of 2014.
Following Ribalta’s series Sierra Minera created in 2010 in Murcia, Spain, exploring the La Unión mining region, which has been remade into a centre of flamenco culture the Renaissance project takes the form of a tour of the industrial monuments of Nord– Pas-de-Calais. This project is based on photographic observation of a number of sites in the region, making up significant documentation of the “renaissance” of these industrial landscapes, which are becoming monuments, museums or theme parks.
Jorge Ribalta (Barcelona 1963).After studying in the University of Barcelona School of Fine Arts, started a fruitful career abroad. First in Nice, where he obtained the Award from the Jeune Création Européenne (Prix de la Villa Arson) Art Jonction 89. On the following year he settled in New York thanks to a scholarship. In 1990 he went back to Nice, in the Villa Arson. In 1992 he was a visiting artist at the Slade School of Art (University College) in London and in 1996 of the School of the Art Institute of Chicago. In 1997 and 1998 he participated in the International Studio Program of New York. Ribalta directed from 1999 to 2009 the Department of Public Programmes of the MACBA (Contemporary Art Museum of Barcelona), and has edited several reference books through the publishing house Gustavo Gili.ob Tuggener, and many others.(CRP press-release)
Centre Régional de la Photographie Nord – Pas-de-Calais. Place des Nations . 59282 Douchy-les-Mines, France
Image: Jorge Ribalta
26 november – 30 december, 2015
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service,allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed.
"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, betweeimate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Sciences Po Bordeaux press-release)
Hall de Sciences Po Bordeaux. Université Bordeaux
Image: After Schengen, Ignacio Evangelista
20 november 2015 - 21 february 2016
An interplay of paradoxes relating to the age we live in through invisible, imaginary and virtual presences is revealed in the exhibition El futuro no es de nadie todavía (The Future Belongs to No One Yet) by the Spanish artist Eugenio Ampudia.
The show presents a selection of works through which the artist and the curator Blanca de la Torre set out to reveal all the invisible layers of everyday life by inviting the spectator to experience the work as a trigger of thought and the structures and system we inhabit.
It takes visitors around a number of pieces, some already iconic, others hitherto unseen, on a journey tinged with irony that speaks of the need to see beyond, to open other possible doors inside our everyday situation.
Eugenio Ampudia (b. Valladolid. Spain 1958) is currently one of the most renowned Spanish artists. His work, produced from a critical approach, explores artistic processes, the artist as promoter of ideas, the political role of creators, the meaning of the artwork, strategies that enable it to be put in place, its production, promotion and consumption mechanisms and the efficiency of the spaces allocated to art, as well as the analysis and experience of the viewer who gazes at and interprets them. (AC/E press-release)
MACO: Calle Macedonio Alcalá 202, Centro, Oax. Mexico
Image: Eugenio Ampudia.
november 25, 2015 – march 30, 2016
The figurative paintings of the Spanish artist Paco Pomet (b. 1970) transform mostly anonymous graphic sources into examinations of history, memory, and the absurd. Elements of subversion, at times subtle, then flagrant, imbue his compositions – usually monochromatic landscapes and portraits – leaving the viewer both intrigued by their accuracy and technical mastery, yet puzzled by their iconology.
A native of Granada, Pomet is a mid-career artist with an international reach, a prolific artistic output, and one who is commanding increasing scholarly attention for his already impressive oeuvre. Charged with denotative and connotative meaning, his work pleases the eye while provoking the mind, making sometimes surprising statements. As the artist, he is the first cause, the one who transforms his concerns into an image, allowing the viewer to deductively and inductively translate that effect.
Pomet’s work is embedded in the contemporary visual culture of intensive production of images yet also goes against the current, vindicating the use of the imagination to challenge the commonly obsolete perception of reality. In his paintings, the artist distorts the meaning of the image he reproduces through different ways: by integrating an element – often humorous – that is out of context within the subject that is depicted; by deforming characteristics or physical extremities of the beings he portrays; by playing with scale; or by using bright, almost unreal, colors. The result is a hilarious if not shocking or mysterious composition that invites the viewer to search for meaning, a playful proposition that reflects Pomet’s ultimate interest in “nourishing an active naiveté for looking at everything anew,” far from conventions.
A prominent characteristic of Paco Pomet’s oeuvre is the almost tangible presence that the dimension of time commands in his paintings. The artist’s fascination with the technological revolution of the first half of the twentieth century, and the innovative spirit from which it arose, is translated in his work through the representation of inventions of this era, often infused with an anachronistic twist. Other recurring themes in Pomet’s oeuvre are his “grotesque” propositions; his incorporation of elements of Americana; compositions of non-sites; and the capturing of situations immediately preceding a fatal event.
Pomet’s oeuvre relates to the work of René Magritte (Belgian, 1898 – 1967) which bears enigmatic yet surreal elements. His painterly style is aligned with that of the postmodern artist Mark Tansey (American, b. 1949). Pomet also joins Gerhard Richter’s (German, b. 1932) interest in ‘photo-painting,’ naturalizing the illusionistic space and equalizing the oeuvre’s information through the blurring of its background. In Spain, his work shares with Ángel Mateo Charris’ oeuvre (b.1962) its inspiration in comics and Pop-Art, and with that of his former studio colleague, Santiago Ydáñez (b. 1969), its technical freshness. Paco Pomet is the first retrospective museum exhibition of the artist’s work in the U.S. (Artis-Naples press-release)
Artis-Naples. 5833 Pelican Bay Boulevard. Naples, Florida
Image: Paco Pomet. La Tierra Prometida, 2010
30 november 2015 - 30 april 2016
Spanish designer Jaime Hayon (b. 1974) is one of the most acclaimed designers worldwide, and Time Magazine recently listed him as one of the 100 most relevant creators of our times.
Hayon's work is driven by an irresistible urge to create his own world where amusing, fantastic, and narrative elements combine with a keen eye for detail and finishing.
The exhibition will present the range of Hayon's work over the past ten years, from early works (2003) with which he took the world of design by storm when he created a dreamlike space comprising ceramic cactuses and strange animals, through the complex and intricate paintings and drawings that characterize him and include patterned portraits and drawings of animals and machine parts, to special projects he created for leading design companies such as Baccarat, Lladró, and Magis.The exhibition premiered at the Groninger Museum in Holland. (AC/E press-release)
Design Museum Holon. Pinhas Eilon St. 8 Holon, Israel
Image: Jaime Hayon. Green Chicken
until 27 marzo 2016
Miserachs Barcelona presents an exciting journey through time, an adventure in which the phantasmagorical character of the photographs is sometimes pure archaeology and at other times the present day. In the exhibition the images of Barcelona, blanc i negre come alive, constantly changing like the continual transformative energy of the city and its people. As with the photobook, the exhibition Miserachs Barcelona presents urban experiences that are as fluid and instantaneous as the photos, forever incomplete and imperfect, yet retaining the ephemeral and resisting oblivion.
In September 1964 the photographer Xavier Miserachs, a native of Barcelona, published his major work, Barcelona, blanc i negre, a photobook bringing together nearly four hundred of his photographs. At the age of only 27, he was already a veteran photographer, a member of the Agrupació Fotogràfica de Catalunya (Photographic Association of Catalonia) since 1952, who had exhibited and won prizes as an amateur photographer. From 1961, Miserachs worked professionally in advertising, photojournalism and, above all, street photography, ‘the pleasure of wandering around trying to represent what to me seemed distinctive and significant about the place’.
In Miserachs Barcelona, the viewer encounters the photos of Barcelona, blanc i negre arranged in the form of large murals, shop-windows, enlargements and projections. It opens with a twilight panorama, both unreal and documentary, that refers to the distant horizons of the cinema. Next, you enter the city, recreated in a Meccano-like construction that evokes the style of exhibition displays during the years in which Miserachs prepared his photobook. It is a model that began in the lecture halls of the Bauhaus and reached its photographic zenith with the portable structures used for The Family of Man. Later, you can literally walk through the pages of Miserachs’ photobook and the crowded streets and squares of a Barcelona without tourists, thanks to large three-dimensional enlargements that transform the space into a stage design in which the viewer becomes an active participant. A further space is dominated by changing projections, in which the viewer is immersed in a past and present that constantly merge. Finally, Barcelona, blanc i negre is displayed on a screen in full detail. Here we also find copies of the photobook and the meandering itineraries followed by Miserachs during its preparation. Curator: Horacio Fernández. (MACBA press-release)
MACBA . Plaça dels Àngels, 1 . 08001 Barcelona
Image: "Festes de Gràcia, Barcelona", 1964
14 november 2015 - 17 january 2016
Jakarta Biennale 2015 aims to promote a continuous reading of the development of the idea of the city, which is viewed as a complex and dynamic area that reacts to both local and global changes. The Biennale amplifies the observation of sociocultural phenomena within the scope of a specific time and space. Furthermore, in the artistic context, the Biennale plays a very prominent role in challenging the latest trends in relation to the development of cultural, social and political matters both in Indonesia and internationally.
The theme of the 16th edition of Jakarta Biennale, curated by Charles Esche, is ‘Maju Kena, Mundur Kena: Learning in The Present’. This year’s event features a broad-ranging programme that includes a general exhibition, projects in public spaces, night events, exhibitions of young artists, workshops and other educational activities and symposia, as well as the publication of a catalogue. The aim is to explore the significant cultural influences found in the present of Indonesia and how they shape the image of today’s world. For this purpose it is divided into three core exhibition sections: ‘Indonesia in the 80s’, ‘The contemporary international in Jakarta’ and ‘Young Indonesian artists now’. The curators will weave three subject strands across these three exhibition elements: ‘Learning’, ‘Water’ and ‘History today’, which will cross over the abovementioned sections to allow visitors to discover them from the viewpoints of different generations.
The Spanish artist Juan Pérez Agirregoikoa has been invited by Jakarta Biennale Foundation to take part in the Biennale, with the support of AC/E. (AC/E press-release)
Jakarta Biennale. Jl. Amil Raya No. 7 A Pejaten Barat,. Pasar Minggu Jakarta Selatan. Indonesia
Image: Jakarta Biennale 2015
november 7, 2015 - february 14, 2016
Office Space cleverly subverts contemporary office culture as a means to explore labor practices in the 21st century post-industrial economy.
As offices become mobile, the nine-to-five becomes a nonstop 24-hour cycle, and the service and information economy predominates, this exhibition reflects on the rise of "immaterial labor" in developed countries. Through video, sculpture, painting, and installation, the artists in Office Space interrogate universally recognized aspects of office architecture, design.
Ignacio Uriarte (1972) was born and grew up in Krefeld in Germany. He studied business administration in Madrid and Mannheim, then worked for various corporations in Germany, Spain and Mexico. There, he graduated in audio-visual arts from the Centro de Artes Audiovisuales in Guadalajara, Mexico. He left the corporate world ten years ago and dedicated himself fully to art, calling his work “office art”, and moved to somewhat more artist-friendly Berlin in 2007. Uriarte draws inspiration from 'the little creative moments' within office routines. The two-channel video Blue Ribbon takes as its starting point the simplest of all office doodles: filling out squares on graph paper. Whether monumentalising the 'cascade' function in Windows by spacing sheets of paper over a wall, or drawing shapes with two different shades of black marker pen, Uriarte uses administrative tools to restore creative agency to the office worker.
Artists include: Cory Arcangel, Mark Benson, KP Brehmer, Joseph DeLappe, Alex Dordoy, Harun Farocki, Bea Fremderman, Idle Screenings (with works by Stephanie Davidson, Jacob Broms Engblom, Manuel Fernandez, Paul Flannery, Kim Laughton, and Jasper Spicero), Joel Holmberg, Josh Kline, Pil and Galia Kollectiv, Julien Prévieux, Laurel Ptak, Sean Raspet, Mika Tajima, Pilvi Takala, Ignacio Uriarte, Andrew Norman Wilson, and Haegue Yang. (ybca press-release)
Yerba Buena Center for the Arts. 701 Mission Street. San Francisco, CA 94103
Image: Ignacio Uriarte
30th october, 2015
Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)
Image: Olmo Blanco
october 25, 2015 – february 15, 2016
This major retrospective of Joaquín Torres-García (Catalan-Uruguayan, 1874–1949) features works ranging from the late 19th century to the 1940s, including drawings, paintings, objects, sculptures, and original artist notebooks and rare publications. The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist’s career, with emphasis on two key moments: the period from 1923 to 1933, when Torres-García participated in various European early modern avant-garde movements while establishing his own signature pictographic/Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.
Torres-García is one of the most complex and important artists of the first half of the 20th century, and his work opened up transformational paths for modern art on both sides of the Atlantic. His personal involvement with a significant number of early avant-garde movements—from Catalan Noucentismo to Cubism, Ultraism-Vibrationism, and Neo-Plasticism—makes him an unparalleled figure whose work is ripe for a fresh critical reappraisal in the U.S. (MOMA press-release)
MoMA. Museum of Modern Art. 11 West 53 Street New York, NY 10019
Image: Joaquín Torres-García. Construction in White and Black. 1938.
23 october 2015 – 28 february, 2016
What lies beyond? Beyond speaks of the existence of a place where you can keep on going, somewhere you get to after crossing a boundary. Beyond our lives, heaven or hell lies in wait for us; or maybe limbo or purgatory; or even reincarnation or simply nothing. Beyond is the place from which some people claim to receive messages revealing the mysteries of the future, signs they believe to be true however imprecise. In the 1980s this town of Móstoles, on the outskirts of Madrid, where the young Fernando Sánchez Castillo lived, was beyond. A periphery that marked the boundaries of the expansion of the city, and the same periphery where, thirty years later, now stands CA2M a contemporary art centre where one can revisit that very memory.
Beyond our lives, when our bodies are no more than ashes, all that is left is our memory and our image. Art enables this permanence and sculpture is a form of resurrection in marble or bronze. In fact, statues were and continue to be the way emperors, popes and kings defy the final frontier that separates the here from the beyond. Sculpture is an exercise in power. The image in itself became increasingly more available to more and more individuals, and, over the last two hundred years, it became within anyone’s grasp. However, sculpture remains the final redoubt within the reach of the chosen few. So, for that reason, it still offers the promise of immortality: a sculptor strives to achieve eternity for the sitter and, in consequence, for himself.
An artist must always go beyond. Corto Maltese, the character invented by Hugo Pratt, used to say that one always has to go that little bit further, to cross over the line time and again. And it is precisely this obsession that the exhibition wishes to explore: for each existing work, there is another one that relocates that same idea a little bit beyond. Another step forward. Following the same thread in order to push the result a little further or, at the very least, to distance it a bit more from its starting point. Fernando Sánchez Castillo continues to go one step beyond. The first step taken in this exhibition is a rethinking of the meaning of the monument and its power to commemorate and invoke. In the second step he transforms this suggestion into something more subtle, more redolent, leading it along the path of memory. Making use of much more immaterial elements (a specific quantity of air, data culled from research, …), he returns to the present elements from the past which are almost forgotten, turning them into relics. Finally, in the third step he engages directly with history, deploying structures to uncover its tensions and its dramas.
Fernando Sánchez Castillo (Madrid, 1971) graduated with a BA in Fine Arts from Universidad Complutense de Madrid and an MA in Philosophy and Aesthetics from Universidad Autónoma de Madrid. His practice is primarily focused on History and, above all, on how it is depicted in art. His works question not only the events of the past but also how they are interpreted. Yet many of these questions have no answer. Instead, they operate like circles revolving around a thorough analysis of power and the ways it manifests itself in society. His critical gaze on the use of violence by the State runs parallel to his abiding concern with observing how art has been used to express power. Many of his works speak of the army and the police; of murderers and victims. At once, many others focus on how art itself has created a huge sounding box, charged with symbolism, to sustain these very ideas. Curator:Ferrán Barenblit(Ca2m press-release)
Centro de Arte 2 de Mayo. Avda. Constitución, 23. 28931 Móstoles. Madrid
Image: “Más Allá” Fernando Sánchez Castillo
opening the 20th of october 2015
Beginning October 2015, at the occasion of its 30th anniversary, the national Picasso Museum-Paris will present a new exhibition of its collections titled, “¡ Picasso ! The anniversary exhibition” Making use of the variety of spaces offered within the Hôtel Salé, a nearly 2,500m2 space spanning 5 stories, the exhibit will present the artist’s productions in a re-envisioned organization. Almost 900 works and documents will display the richness and diversity of the museum’s collections: paintings, sculptures, drawings, engravings, ceramics, and illustrated books, in addition to works from the personal collection, photographs, and written archives. Centering on the notion of the creative process, the exhibit will attempt to shed a new light on the artist’s work and to understand the genius of Picasso by closely examining his influences, his models, his workshops, and his intimate and friendly social environment.
The ¡ Picasso ! anniversary exhibition presented on the five floors of Hôtel Salé illustrates the continuity and deep unity of the collection and the history of the museum. The Musée National Picasso-Paris has the world’s largest public collection of Pablo Picasso’s work, covering all his creative periods and all fields, including “Picasso’s Picassos” straight from the artist’s studio. Pablo Picasso’s personal archives and the museum’s archives are at the heart of this exhibition project. They echo the masterpieces and, as most of them have never been exhibited before, give a different interpretation of the life, creative process and circulation of the master’s artworks
A large visual collage invites visitors to go on a tour of the five floors of Hôtel Salé starting with the history of the museum (basement), discover a chronological presentation of the major works (ground floor and 1st floor), then “Pablo Picasso – public figure” (2nd floor), and meet the “private Picasso” (3rd floor). This is a contemporary interpretation of Picasso’s works that alternates between rooms featuring dense displays and more intimate sequences.
The exhibition at a glance :4 distinct parts: the history of the museum, the collection masterpieces, Picasso the public figure, Picasso the private figure, 105 paintings (including 86 by Picasso),92 sculptures (85 by Picasso) including 22 ceramic pieces, 13 objects and 1 textile artwork, 192 graphic artworks (186 by Picasso) including 94 photographs, 1 contemporary installation, 4 films and about 30 INA extracts, 314 archives including 223 documents and correspondences, 38 periodicals, 31 publications and 22 objects (Picasso Museum press-release)
Musée Picasso Paris, 5 rue de Thorigny. 75003 Paris
Image: Picasso Museum Paris
october 28, 2015 - march 14, 2016
In october the Museo Nacional Centro de Arte Reina Sofía will present an exhibition devoted to Ignasi Aballí (Barcelona 1958). The output of this Catalan artist offers a conceptual reflection on the representation and perception of mediums such as painting, the object, photography, fiction, film and video. His work, which started in the 1980s, invents and reorganises texts, images, materials and processes, exploring presence and absence, the material and immaterial, the visible and the invisible, transparency and opaqueness, appropriation and creation to relate the overabundance of images in modern-day society to the lack of meaning we can assign to them.
The show mainly focuses on his output over the last ten years, although it does feature lesser-known pieces from periods of his work that came before. It offers a journey through the artist’s aesthetic ideas, which question the conventional systems that represent the artwork through photographs, videos and installations, sculptures, paintings and collages, and with an eclectic display of unconventional materials such as leaves, dust, rust, metals, newspaper cuttings and scraps of bank notes, which all become fragments of the critical poetics of conditions representing life and art in the contemporary world.
Among the themes addressed by Aballí’s work, we can highlight the analysis of language and, more specifically, the relationship between text and image, between words and things, or between objects and the terms that define them. In the exhibition these concepts are illustrated by works that include the Cartas de colores [Teoría] (2007) series, and the Vitrinas CMYK (2010) pieces, four display cases – one for each ink colour used in the printing process – whereby the conventional support of the artwork becomes the actual work, whose function is not to show but rather “demonstrate” the paradox of what remains unseen.
Another chief concern in Aballí’s work is the dichotomy between presence and absence as he ponders the notions of disappearance, transparency, invisibility and illegibility. This results in a series of works where, aiming to insinuate more than affirm, only the presence of objects is evoked; a unique game with the viewer that involves the search for reality and fiction, the visible and invisible, the transparent and the opaque, for what is shown and what is concealed. A clear example of this practice can be seen in the series Tomar medidas (2010), where measuring instruments take centre stage, Entre líneas (2011), an installation based on the empty and illegible space of texts, and the one devoted to double readings Dobles lecturas (2010), alluding to writers such as Bernhard and Joyce.
Lastly, it is worth noting the artist’s need to classify and order, perhaps the most intrinsic characteristic in his work. We come across an artist who collects, draws up an inventory and meticulously assembles pieces of information from newspapers and compiles captured images ad infinitum. We are referring to series like Terminologías básicas del color , Listados , Mapamundi and Inventarios , all produced between 1998 and 2015, where, at first glance, the persistent repetition of identical motifs leads to the appearance of difference. (MNCARS press-release)
Museo Nacional Centro de Arte Reina Sofia Edificio Sabatini, Planta 3
Image: Ignasi Aballí Mapamundi 2010, 2011. Collage sobre papel
07 October 2015 - 29 February 2016
The twenty or so solo or group exhibitions since 1973 that have focused on the study of the posterity of Pablo Picasso’s oeuvre testify to its impact on contemporary art.
The exhibition at the Grand Palais takes a simultaneously chronological and thematic approach to the critical and artistic highlights of Picasso’s career and the myth that gradually built up around his name.
From Cubist still lifes to the Musketeers in the exhibitions in Avignon in 1970 and 1973, the exhibition is punctuated by works by Picasso from the collections of the Picasso Museum in Paris, the Musée National d’art Moderne, and the artist’s family. They are presented in a way reminiscent of the artist’s arrangements in his studios and the exhibitions that he personally supervised (Georges Petit gallery in Paris in 1932, Palais des Papes in Avignon in 1970, and 1973).
The great stylistic phases (Cubism, last work), and emblematic works by Pablo Picasso (Les Demoiselles d’Avignon, Guernica) are put alongside contemporary creations, grouped by artist (Hockney, Johns, Lichtenstein, Kippenberger..), or by theme, in a great variety of media and techniques (video, painting, sculpture, graphic arts, film, photography, installation). General curator : Didier Ottinger, assistant director of the Musée national d’Art moderne - Centre Pompidou. Curators : Diana Widmaier-Picasso, art historian. Emilie Bouvard, curator at the Musée national Picasso-Paris
Exhibition design : bGc studio
An exhibition organised by the Réunion des musées nationaux – Grand Palais, the Centre Pompidou and the Musée national Picasso-Paris.(Grand Palais press-release)
GRAND PALAIS, GALERIES NATIONALES. 3, avenue du Général Eisenhower. 75008 Paris
Image: Gjon Mili, Portrait of artist Pablo Picasso, 1948 © Gjon Mili/The LIFE Premium Collection/Getty Images © Succession Picasso 2015
6th october, 2015 – 13th february, 2016
From 6th October to 13th February of 2016, the Foto Colectania Foundation demonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from its own collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance, if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "
The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of this exhibition are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself. Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.
The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection. Presented in several towns around Barcelona thanks to a program of traveling exhibitions organized by the Diputació de Barcelona, "Face to Face" culminates with this presentation in the main city after being revised and enlarged for the occasion.
Participant photographers: Helena Almeida, Manel Armengol, Atín Aya, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fundació Foto Colectania press-release)
Fundació Foto Colectania. Julián Romea 6, D2. 08006 Barcelona
Image: Humberto Rivas, María, 1979
1 – 30 october, 2015
Closed Paradise explores themes of nature and extinction. The exhibition’s title refers to a banishment from a paradisiacal state, both metaphorical and literal, that mirrors our current environmental situation. This cross-cultural and multidisciplinary exhibition focuses on the legacy of earth’s natural resources and states of erosion and extinction due to human activity. Closed Paradise features works by Javier Viver, Jose Val del Omar and Lili Chin.
Viver will create a Rainbow site specific installation of melting colored wax on the window panes and use objects molded from casts of plant species and an herbarium to compose The Eurasia Archive of Extinct Plants. In this way he drafts a reflection about the paradoxical co-existence of the ephemeral and the eternal, memory and the imagination.
Chin uses drawing, installation and Super 8 film in a meditative process to investigate states of growth and decay in wild and pastoral terrains . For this exhibition she will include a social sculpture – a garden of donated plant cuttings collected in an open call. Her work expresses concern with vanishing landscapes, preservation, memory and the sublime.
Val del Omar’s work includes a selection of films composed by Javier Viver for Val del Omar’s PLAT laboratory installed in the Reina Sofia National Museum, Madrid. These films reference The Alhambra, the Moorish palace in the South of Spain, a place he called the closed paradise. It was the hidden place Val del Omar often visited, and filmed as the lost paradise.
Viver is based in Madrid and Shanghai, while American artist Chin lives and works in New York City. The two met at the Swatch Art Peace Hotel Residency in Shanghai and discovered they both shared a mutual admiration for the work of José Val del Omar. Through this project, these artists create a cross-cultural reflection on culture, exploitation, memory and preservation.
With the support of the General Consulate of Spain in New York..(The Clemente press-release)
The Clemente. 107 Suffolk Street. New York, NY 10002
Image: Closed Garden. José Val del Omar
september 27 - march 13, 2016
José Carlos Casado´ EAF15 installation, "TRADE", is inspired by the artist's 2014 residency in the archipelago of Svalbard, in the Arctic Circle. While there, he witnessed how the effects of extreme climate change have uncovered new routes for polar exploration, opening the floodgates to conflicts over natural resources. Casado identifies this transformation of natural resources into objects-for-trade as an act of violence against nature--a terrorism of sorts. His brightly hued metal skins, each a unique texture created through an intense digital investigation of image details from human flesh, simultaneously represent precious stones and parts of the body, linking the exploitation of natural resources with human brutality, creating uncomfortable parallels between climate change, terrorism, and war.
José Carlos Casado (Málaga 1971) is a multimedia artist from Spain. A MFA graduate of the School of Visual Arts, he has been based in New York for 15 years.
He uses technologies to create art involving video, 3D animation, photography and sculpture. His work has been shown in multiple solo and group shows internationally and has won numerous prizes and recognitions, including a grant from Picasso Foundation, a scholarship from LaCaixa Foundation, MIT's Leonardo Excellence Award, and two New York Foundation for the Arts Fellowships.
Fifteen years ago, Socrates Sculpture Park inaugurated the Emerging Artist Fellowship (EAF) Exhibition and launched what would become an annual exhibition of “artists to watch.” By providing an open studio along with financial, administrative, and technical support, the EAF program offers a rare opportunity for the realization of original, large-scale complex work. From May through September, EAF artists worked on-site, negotiating the physical and conceptual challenges of production in the park’s outdoor studio space, becoming energetic fuel for the park’s popular summer programming.
This year’s Emerging Artist Fellows were selected through a highly competitive process that attracted over 350 applications, a record number for the program, by the park’s 2015 Curatorial Advisors, Gary Carrion-Murayari (Curator, New Museum) and Nora Lawrence (Curator, Storm King Art Center). (Socrates Sculpture Parka press-release)
Socrates Sculpture Park. 32-01 Vernon Blvd, Long Island City, NY 11106
Image: José Carlos Casado
september 14, 2015 – february 7, 2016
Picasso Sculpture is a sweeping survey of Pablo Picasso’s innovative and influential work in three dimensions. This will be the first such museum exhibition in the United States in nearly half a century.
Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status for Picasso. He approached the medium with the freedom of a self-taught artist, ready to break all the rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished the sculptures' company and enjoyed re-creating them in a variety of materials and situations. Picasso kept the majority in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his work. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which until now was the first and only exhibition on this continent to display a large number of the artist’s sculptures.
Picasso Sculpture focuses on the artist’s lifelong work with sculpture, with a particular focus on his use of materials and processes. The exhibition, which features more than 100 sculptures, complemented by selected works on paper and photographs, aims to advance the understanding of what sculpture was for Picasso, and of how he revolutionized its history through a lifelong commitment to constant reinvention. The exhibition is organized in chapters corresponding to the distinct periods during which Picasso devoted himself to sculpture, each time exploring with fresh intensity the modern possibilities of this ancient art form. Organized by The Museum of Modern Art in collaboration with the Musée national Picasso – Paris. Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, The Museum of Modern Art; with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso – Paris. (MOMA press-release)
The Museum of Modern Art. 11 West 53 Street. New York, NY 10019-5497
Image: Pablo Picasso. Bull. Cannes, c. 1958
2 april – 29 may, 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda
december 19, 2013 - january 31, 2014
The Cultural Department of the Embassy of Spain in Rabat, in collaboration with the Instituto Cervantes, the Centre d´Art Moderne and the Regional Department of Culture Tangier - Tetouan, presents the exhibition " A Thousand Faces " Photography, painting and video installations by six women artists from Morocco and Spain , Safaa Erruas, Maria Gimeno, Amina Benbouchta , Zoulikha Bouabdella, Jamila Lamrani and Clara Carvajal.
" Thousand Faces " is a meeting between a group of Moroccan and Spanish artists intended to serve as a platform for exchange of ideas and experiences” (Cervantes Institute press release)
Modern Art Centre ( Tetouan ) Avenue Al Masira. 93000 Tetuán, (Marruecos)
Image: “Nomadismo” Clara Carvajal