Get Adobe Flash player

Publicidad

Spanish contemporary art worldwide

 

MADRID. Lisette Pons “The African Elephant Disappearing cultures. Photography and Evolution capturing time” Museo Nacional de Ciencias Naturales

until 3 september 2017

In the oeuvre photographer Lisette Pons (Barcelona 1955) presents at MNCN, she analyses the issue of the survival of the great African elephant and of Maasai culture. Through profound immersion in silence and reflection, she investigates "evolution".

The elephant, "an example of untiring perseverance and eternal determination"; the Maasai tribe, "ancestral values that make us all equal."

Her work and creation of images in the darkroom take her on a journey through time and space, constantly in the presence of "the frailty of memory". Without resort to the advantages of digital technology, she shows us her long journey through photography.

This exhibition invites us to enjoy the results of the artist's personal and professional evolution. Lisette Pons who, in her untiring quest, takes her photography one step further through her processing innovations and use of materials.

 An exhibition in which science and art merge to portray an aesthetic excursion for the sake of insight. . (MNCN press-release)

Museo Nacional de Ciencias Naturales. José Gutiérrez Abascal, 2. 28006, Madrid (España)

http://www.mncn.csic.es  http://www.lisettepons.com

Image: Lisette Pons. 

DALLAS. “Picasso/ Rivera: Still Life and the Precedent Form” Meadows Museum

august 06 — november 05, 2017

A group of four paintings and one print explores the story of spirited rivalry and visual dialogue taking place between these artists in 1915.

A focused exhibition, Picasso/Rivera: Still Life and the Precedence of Form, explores the story of spirited rivalry between Picasso and Rivera through the lens of selected works, notably Picasso’s Still Life in a Landscape (1915) from the Meadows Museum’s collection, and Rivera’s Still Life with Gray Bowl (Lyndon Baines Johnson Presidential Library, Austin), painted in the same year. Together with a key work by each artist generously loaned from the Columbus Museum of Art, this group of paintings outlines the visual dialogue taking place in 1915 between these two giants of modern art.

Beyond the rich anecdotes regarding the relationship of the two artists, this group of paintings provides an opportunity to find parallels as well as deviations between these canvases. In spite of limited wartime resources, 1914-15 proved to be a fecund era of creativity for both Picasso and Rivera. (Meadows Museum Press-release)

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

https://meadowsmuseumdallas.org

Image: Pablo Picasso (Spanish, 1881-1973), Still Life in a Landscape, 1915. 

BERLIN. Francesc Abad “Strategy of precarity “ Kunstverein Tiergarten

11 august - 16 september, 2017

The intention behind the exhibition Strategy of precarity is to serve as an epilogue to the artistic career of Francesc Abad (Terrassa 1944), including his latest works, mostly unedited. In this sense, the exhibition project is organised along four main aesthetics research axes. On one hand, Francesc Abad presents a selection of Els Diaris del Pensar, a work in progress which began years ago, and through which he focuses on historical events of the recent past. In contrast, with Les costelles del segle the artist offers a critique of present times. Moreover, and linking these two lines of research, namely the recovery of the historical past and the constant reinterpretation of contemporary times, Abad has focused part of his interest in exploring the concept of utopia, and more specifically in the theories of Ernst Bloch. Thus one of the central issues of concern for the artist lies precisely in rethinking the present-day validity of utopia, considering we live immersed in a political-economic system that denies everything which makes us human, and which even cancels out our dreams. Finally, Les nòmines, where Francesc Abad investigates what  the term "employee" means within in the context of the field of creativity. At a time when productivity is closely linked to economic gains, the artist asserts the importance of "futility" and the subaltern as a subject who lives outside the economic dictates which mark the pace of our time.
The exhibition arises from the desire to find other ways to classify and understand reality. It is a kind of captain's log for our times. The exhibition may be defined as a essayistic journey, in Francesc Abad's characteristic style of voyaging, sailing across from the experience and legacy of a collective past. Thus, time itself is situated in the very nucleus of Abad's captain log. (AC/E press-release)

Kunstverein Tiergarten Turmstraße 75 EG . 10551 Berlin 

http://www.kunstverein-tiergarten.de  http://www.francescabad.com

Image: Francesc Abad “Estrategias de la precariedad “

METZ. Daniel Steegmann Mangrané “Infinite Garden, From Giverny to Amazonia” Centre Pompidou

until august 28, 2017

The exhibition Infinite Garden, From Giverny to Amazonia depicts nature in the perspective of a metaphorical spring. Germination, blossoming and degeneration suggest the cycles of Earth, where the winter stop is the promise for future revolutions.

Fertile ground of forms, the garden inspires artists with morphologies and fantastic metamorphoses revealing the intelligence of a nonhuman world. The explorations of the Earth lead to the ends of the known nature towards unspoiled territories that become new reserves of forms and motifs. Thus, fantasizing the exotic nature, Dominique Gonzalez-Foerster creates a tropical diorama, Mangrovama, 2017, a proliferating garden-library in line with a series of installations inspired from an illusionist’s devices of the 19th century. The Brazilian Ernesto Neto takes the Forum of the Centre Pompidou-Metz with a monumental sculpture, Leviathan-Main-Toth(2005), whose membranes take the shape of a biological landscape on a building scale.

The garden is also the place of genetic bifurcation which alters determinisms in favor of evolution. Claude Monet creates hybrids and gets plants from all over the world, triggering the ire of the local farmers who fear poisoning by these foreign flowers. A century later, Pierre Huyghe creates “condensates of Giverny” in Nymphéas Transplant (14-18), 2014, a climate-programmed aquarium. If acclimation awakes the naturalists’ curiosity, it also serves the interest of a “botanic of power”, working on the colonization then the eradication of “green pests”. Beyond the exoticism, the tropical and biomorphic alternatives of Roberto Burle-Marx or Lina Bo Bardi in Latin America and in Brazil revivify the functionalism of the European modernity.

At a time of intense intermixing, melting pot and migration phenomena which constantly reconfigure the biodiversity, the original fence of the garden, being material or conceptual, needs to be revaluated. The exhibition takes the garden out of itself, going beyond the dialectic on which Michel Foucault had articulated during his conference “Of Other Spaces” in 1967, his heterotypic definition of the garden as “the smallest parcel of the world” and as the “totality of the world.”

For Infinite Garden, Daniel Steegmann Mangrané has created a landscape scenery over two floors of the museum, encompassing the works of Dominique Gonzalez-Foerster (Mangrovama, 2017), Pierre Huyghe (Nymphéas Transplant (14-18), 2014) and Philippe Parreno (the series C.H.Z., 2011), among others, in a comprehensive environment. The architecture of the exhibition breaks with the usual codes of neutral museum space to become a vast garden, where the visitor is invited to wander throughout curved metallic curtains, while the straw-like carpet that covers the second floor subtly increases in height from one end to another.

Imagined like a territory without borders, the exhibition expands to the city of Metz through different gardens set up by the artists Peter Hutchinson, François Martig and Loïs Weinberger. (Centre Pompidou press-release)

Centre Pompidou-Metz 1, parvis des Droits-de-l’Homme. 57020 Metz

http://www.centrepompidou-metz.fr  http://www.danielsteegmann.info

Image: “Infinite Garden, From Giverny to Amazonia” Centre Pompidou-Metz

VENICE. Fernando Zóbel “Contrapuntos” Fondaco Marcello

until 26 november, 2017

Fernando Zóbel. Contrapuntos, an exhibition organized and presented by Ayala Museum in the Philippines, provides an introduction and perspective on the work of Spanish-Filipino painter Fernando Zóbel (1924-1984). Focusing on the years 1957-1962, the period when he developed his visual language, the show is an unprecedented gathering of works acknowledged as prime achievements in his artistic career, the Saetas and Serie Negra series.

The paintings on exhibition embody a synthesis and harmony of Asian and Western painting techniques and show the artist’s formal progression in the mastery and control of material, technique, and concept.

Fernando Zóbel. Contrapuntos is designed as an organic mise-en-scene–a contemplative, cerebral sphere rather than inanimate scenography. The exhibition space allows paintings, sculpture, artifacts, texts, music, and publications to linger as aspects or presences in a dialogue about how an artistic practice could be reimagined as a lively form of contemporary expression.

In juxtaposition, select abstract sculptures by twentieth century Spanish artist Pablo Serrano (1908-1985) will be included to complement Zóbel with unexpected and enlightening comparisons of their work’s idiosyncrasies. Fernando Zóbel exhibited in the Spanish Pavilion in the 31st International Art Exhibition – La Biennale di Venezia in 1962. . (Ayala Museum press-release)

Fondaco Marcello. San Marco 3415, Calle del Traghetto o Ca’ Garzoni, 30124 Venice,  

http://biennalezobel.ayalamuseum.org

Image: Fernando Zobel. ESCORIAL (1961), Jonathan and Stella Que Collection

MILAN. José Lerma “The Last Upper” Brand New Gallery

until 9th september, 2017

Brand New Gallery is pleased to present “The Last Upper”, José Lerma’s first solo exhibition at the gallery.  The show will feature a group of paintings from Lerma’s most recent body of work.

Born in Spain in 1971 and raised in Puerto Rico, José Lerma draws inspiration from his personal history, as well as historical figures and events, claiming that “all art is about other art and about your parents”. Lerma explores conceptually and materially the medium of painting, recognizing it as a medium that, historically, has often been a vehicle for commemorating status and power. 

“Portraiture has traditionally been a way to depicting status... The portraits were idealized, even theatrical… They were instruments. Images serve that function”

Power remains a recurrent theme for Lerma, who had a background in social science and he studied law before taking a hard left turn to pursue contemporary high-concept art. Neither critical nor celebratory, Lerma’s approach to his subject matter exposes paradoxes ranging from the site and context to his projects to the medium of painting itself. Using varying methods and alternative materials, Lerma’s gestures and depictions continue to unfold upon investigation, his compositions are at one abstract and figurative, humorous and dark, chaotic and controlled, encouraging a deeper engagement with the content and narrative embedded in the work.

"The gallery’s exhibition is a continuation of themes that I have worked on in the past few years. What has interested me has been the nexus between finance, economics and history all expressed with an somewhat infantile aesthetic. The title is an rather obvious pun that makes allusions to drug use, and of course to Milan’s most celebrated work of art. The two versions presented here are cartoonish depictions of works by Lucas Cranach and the Master of the Housebook. The apostoles are jumbled and exist in a severely compressed but frantic, speedy and paranoid state. The Royal Family underwater is based on Jean Nocret’s famous group portrait of the Bourbons depicted as Greek gods and is a nod to the fortunes of Americas current first family. The Money Changers are loosely based on versions by Jan Sanders van Hemessen and Jacob Jordaens. Another portrait is an image of the banker Roberto Calvi of Banco Ambrosiano which is done using bank security envelope patterns. A similar technique is used on the portraits of Madoff’s right hand man Frank DiPascali and his secretary Annette Bongiorno. The paintings are full of contradictions. They are detailed and direct, idiotic and philosophical, historical and topical. They are disarming and distracting like a skilled confidence man".

José Lerma (1971, Seville, Spain) lives and works in Chicago. He received his MFA in Painting at the University of Wisconsin, Madison. He is Professor of Drawing and Painting at the School of the Art Institute of Chicago. 

Recent solo exhibitions include: Kemper Museum of Art (Kansas City, 2016), Museo de Arte Contemporáneo de San Juan (San Juan, 2016), Andrea Rosen Gallery (New York, 2014), Museum of Contemporary Art Detroit (Detroit, 2014), Kavi Gupta Gallery (Chicago, 2014), Museum of Contemporary Art (Chicago, 2013), Contemporary Art Museum (Raleigh, 2012), Galeria Marta Cervera (Madrid, 2010), Arario Gallery (Seoul, 2007), Xavier Hufkens (Brussels, 2005). (Brand New Gallery press-release)

Brand New Gallery, via Carlo Farini 32, 20159 Milano (Italy)

http://www.brandnew-gallery.com

Image: The Last Upper 2017. José Lerma

BARCELONA. Oriol Vilapuig “The sexual night” Fundació Suñol

until 02 september, 2017

Under the title The sexual night, taken from the homonym book by Pascal Quignard, the artist Oriol Vilapuig (Sabadell, 1964) assembles his work on seven different areas and one preface. Two central concepts constitute the exhibition: forms of resistance and survival that affect certain feelings of loss and fear, and eroticism understood as a form of overflow from an extreme voluptuousness, embarrassment and dismay, insisting also on its sacred and ontological aspect.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The thirty pieces that are shown in the exhibition, most of which are polypthychs, are made between 2010 and 2016. Most of them are shown publicly for the first time and exemplify the methods used by the artist on recent times. These methods include the use of the essay form as a study behavior on constant construction, and the impact on tradition and art as a symbolic space that constructs our collective subconscious. Vilapuig’s work creates presences through the language of drawing as an experience linked to the body, but also as a possibility to build imaginaries. (Fundació Suñol)

Fundació Suñol , Passeig de Gràcia 98. 08008 Barcelona

http://www.fundaciosunol.org  http://oriolvilapuig.com

Image: Oriol Vilapuig

 

ARLINGTON. mmm….. “Meeting Bowls 2017” 1320 N Courthouse Road

12 july – 01 november, 2017

Created by the Spanish collaborative mmmm…, the Meeting Bowls are social places for gathering, getting to know people, and fostering dialogue in small groups.  Stop by to hang with friends, have lunch, conduct a meeting or simply relax.  This space is for you, so enjoy!  The playful urban furniture will be installed at 1320 N Courthouse Road from July 12 to November 1 (watch their construction on July 11).  The Meeting Bowls will then be moved to Miami. Florida (November 15 thru December 23) to the Design District of Art Basel Miami, co-organized by the Spanish Cultural Center in Miami (CCE Miami).  (AC/E press-release)

1320 N Courthouse Road. Arlington, Virginia. Estados Unidos

http://www.mmmm.tv

Image: mmm…. Meeting Bowls

KASSEL. Daniel García Andujar, Martín Artiach, Roger Bernat y "El Niño de Elche" Documenta 14” Kassel

10 june – 17 september, 2017

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

Documenta 14. Friedrichsplatz 4, 34117 Kassel

http://www.documenta14.de

Imagen: Daniel García Andujar, Disaster of war. Trojan Horse 2016

 

BORDEAUX. Lara Almarcegui, Martín Llavaneras, Erlea Maneros Zabala, Xavier Ribas, Pep Vidal “4.543 billion. The matter of matter”CAPC musée d’art contemporain

29 june 2017 – 7 january 2018

‘4.543 billion. The matter of matter’ is an exhibition that addresses works of art, collections and cultural histories in relation to ecological processes and a geological scale of time. It presents a continuum of materials and temporal landscapes – films, works on paper, photographs, sculptures, documents, and other meaningful things – and springs from the CAPC building’s former life as a warehouse for colonial commodities whose limestone walls were once deep in the ground and whose wooden beams were once part of a forest.
A central proposal of the exhibition is that works of art are part of geophysical history as much as art history. ‘4.543 billion’ attempts to take into account both a micro-local and a planetary perspective, and to rethink some of the histories of art as fragments of broader narratives about the Earth and how our place in it has been represented. What is at stake when art and museums take on greater temporal and material awareness? How might they move beyond a spatial framework of “think globally, act locally”, to “think historically, act geologically”?
This exhibition takes a situated view of the past that resists an undifferentiated narrative in which modernity in general is at fault for global ecological disarray, or humanity in an invariably abstract sense must take responsibility. Accordingly, the artists included instead often address the specific roles and purposeful effects of individuals, practices, states or corporations in an account of how mineral agents and organic processes have intertwined with and underpinned culture. Several of the more documentary projects on display trace the relationships between Modern art, the museum, and wealth created through extractive industry, combining approaches framed by Earth sciences with colonial history, sociology and political reportage. Yet other works take a more atmospheric, filmic, sculptural or graphic approach to extraction, economy, energy and global exchange, whether orbiting around sunlight, forests, synthetic materials derived from fossil fuels, or the services and substances entailed in buildings that display art

With the participation of: A.J. Aalders, Lara Almarcegui, Maria Thereza Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in collaboration with Media Farzin, Bernd Becher and Hilla Becher, Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira, Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham, Ilana Halperin (also at the Université de Bordeaux’s zoology department), Marianne Heier, Christina Hemauer and Roman Keller, Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron, Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal, Alexander Whalley Light, Stuart Whipps (also at the Musée des Beaux-Arts) as well as documents and objects lent by the archives of the CAPC, the Archives Bordeaux Métropole, the Archives départementales de la Gironde, and the geology collection of the UFR Sciences de la Terre et de la Mer, Université de Bordeaux. (CAPC press-release)

CAPC musée d’art contemporain de Bordeaux- 7, rue Ferrère. 33000 Bordeaux

www.capc-bordeaux.fr  http://www.lttds.org

Image: Xavier Ribas “Chilean Nitrate publicity postcard, c. 1920” from A History of Detonations, 2013. Cortesía del artista y ProjecteSD, Barcelona

LONDON- “Picasso: Minotaurs and Matadors” Gagosian Gallery

until 25 august, 2017

Picasso: Minotaurs and Matadors, curated by Sir John Richardson examines the intersection of Picasso’s bullfighting imagery with his mythological and biographical compositions of the 1930s. Including works dating from 1889 to 1971, this career-long survey traces Picasso’s engagement with the ancient rituals and narratives of his native Mediterranean.

Picasso, though one of history’s most innovative modernists, was grounded in the traditions of his Spanish heritage. Born in the southern port of Málaga in 1881, he was a lifelong aficionado of the drama of the bullfight: matadors, picadors, horses, and bulls were recurring subjects throughout his body of work, from his earliest childhood drawings to some of his final paintings.

Comprised of paintings, drawings, sculpture, prints, ceramics, and a home movie Picasso made in 1929, “Picasso: Minotaurs and Matadors” is presented in an innovative installation designed by the Stirling Prize-winning architecture firm Caruso St. John, and is accompanied by a fully illustrated catalogue with essays by Richardson, noted Picasso scholars Michael FitzGerald and Gertje Utley, and historian of Greek art and archaeology Clemente Marconi. (Gagosian press-release)

Gagosian Gallery. 20 Grosvenor Hill. London, W1K 3QD United Kingdom 

http://www.gagosian.com

Image: Picasso wearing a bull’s head intended for bullfighter’s training, La Californie, Cannes, 1959. Photo by Edward Quinn © edwardquinn.com

MADRID. Manuel Antonio Domínguez “THE STABLE RELATIONSHIP” Museo ABC

20 june – 24 september, 2017

The work of Manuel Antonio Domínguez (Villablanca, Huelva, 1976),  falls within the line known as «gender discourse», analysing issues that affect the understanding, creation and collective assessment of the roles of mankind. The stable relationship referred to in the title of the sample is ultimately that which affects the preconceived idea that we hold regarding things and that falters here. Are men what they appear to be? Do they act as such? The stereotypical images of masculinity and femininity in the hands of our artist reveal that all issues regarding gender are a collective construct phenomenon, something that begins with position, with the character that we grant to whatever we view, and upon which we surely project both our fears and desires, both the truth and lies.

For his project, The stable relation, the artist has ironically chosen to restore his guillotined figures from the Colección Banco Santander (until recently, he signed his works with the pseudonym El Hombre Sin Cabeza» (The Headless Man), a delicious pair of Rococo-styled busts from the Manufactura de Alcora collection (dated around 1750). From the Museo ABC, he has selected two front pages from the magazine Blanco y Negro, signed by Hipólito Hidalgo de Caviedes and Abelardo Parilla Candela, one featuring men and the other featuring women. . (Museo ABC press-release)

MUSEO ABC. Amaniel 29-31. 28015 Madrid

http://museo.abc.es  http://manuelantoniodominguez.com

Image: La Relación Estable. Manuel Antonio Domínguez

NEW YORK. Dionisio González “Dialectical Landscape – Thinking Central Park “ Galerie Richard

july 5 – august 27, 2017

Dionisio González fifth solo exhibition at Galerie Richard New York is about New York City through two Series of works: Dialectical Landscape and Thinking Central Park from June 28 to August 27, 2017.

Skyscrapers and Central Park co-exist dialectically. "Central Park is essentially a void. A 13.123 x 2.625 feet void. It was conceived on the basis of an idea of spatiality where density was to be developed, but it is the density of the buildings of Manhattan, in their hyper-growth expansion, that has traced out that recreational rectangle for the dispersion of Homo faber. That is, the park is a void because it works as a courtyard inside the urban detention". In Thinking Central Park the artist fills the space with constructions considered as shelters. At the opposite in Dialectical Landscape he adds some empty spaces for recreational or mobility purposes.

Citing Walter Benjamin, Adorno, Horkheimer, and Robert Smithson's article "Frederick Law Olmsted and the Dialectical Landscape", the artist considers Central Park and new York landscape as a place indifferent to any formal ideals, a place for multiplicity, opportunism and unexpected creativity. The Dialectical Landscape is a series of six small black and white extraordinary New York City landscapes. Each work envisions a specific focus: The extension of Central Park downtown on top of the buildings, another Central Park on top of Buildings directed West-East Manhattan, Super High line pedestrian elevated paths, elevated modern subways at high speed, and so on. It is a city with different heights of frameworks and activities, a city three-dimensionally connected.

We would like to see much more as they open and stimulate the mental field of imagination and possibilities to the viewers. Dialectic Landscape is obviously his most Digital photographic works. The amount of transformation from various images in order to create these artworks involves so much work, dedication, and perseverance.

As much as Dionisio González creates new empty spaces in the already dense urban landscape In "Dialectical Landscape", in "Thinking Central Park" he fills the empty space of Central Park with four refuges:  " Based on four visions of Central Park: Walter Benjamin, Robert Smithson, J.D. Salinger and Lady Gaga, the idea of the refuge is proposed as a monument and aerial extension of the park by the way of a dialectical resource". The term refuge is perfect as they don't have an obvious specific use, they stand with a moderate size comparatively to the landscape of Central Park. Although they might look like space ships from aliens, people in the park obviously feel used to them as part of the wonders of Central Park. The inclusion of these refuges is perfect in consideration of the landscape as well as the place of the people involved in it. "Lady Gaga's Belvedere" on Central Park Lake is worth seeing.

Dionisio González lives and works in Seville. His work has been exhibited in many prestigious institutions and museums including The Museum of Contemporary Art, Cleveland, The Museum of Contemporary Photography, Chicago, The Museo  Centro  de  Arte  Reina  Sofia,  Madrid, The  Museum  of  Contemporary  Art  (MOCCA), Toronto,  the Museo de Arte de Sao Paulo (MASP), The  Museo de Arte Moderno  de Bogotá  (MAMBO), The Museum of Contemporary Art, Bordeaux. (Galerie Richard press-release)

 Galerie Richard. 121 Orchard Street, New York NY10002

 http://www.galerierichard.com    http://www.dionisiogonzalez.es

Image: “Dialectical landscape” Dionisio González

ARLES. Marie Bovo “СтанСы/ STANCES” Église des Trinitaires

3 july - 27 august, 2017

For the photo series Cтансы (Stances) begun in 2016, I work in different trains traveling long distances across Eastern Europe and Russia, with journeys sometimes lasting several days. At each stop, before seeing the landscape, the architecture, or the light that the doors will open upon, I set up the camera in the narrow entryway of the car. Before the doors can close again like a camera shutter, the silver film has made an imprint of the place. The image is the junction between the train and what’s beyond its doors in a stationary cut of several seconds that sketches another Europe. It is a Europe marked by the communist and post communist era, neither taking part in the same history nor the same reality as the rest of the Western world. Marie Bovo.

Marie Bovo, Alicante 1967, has exhibited widely in France and internationally. Her work has been presented at key institutions and events, such as the 54 Venice Biennale, the Maison Européenne de la Photographie in Paris, the Centre de Création Contemporaine in Tours, Luis Serpa Projectos in Lisbon, Les Collections de Saint-Cyprien, the Maison de la Photographie in Toulon, the City of Marseille Ateliers, the (mac) Musée dÀrt Contemporain in Marseille, the Caszuidas Screen in Amsterdam, the Federation Square in Melbourne and the Museum of Contemporary Art in Chicago. FRAC of Marseille is currently presenting a major retrospective of her work. Bovo is represented in central private and public collections, including those of; fnac; Maison Européenne de la photo, Le Grand Hornu in Belgium, Les Collections de Saint-Cyprien and FRAC of Marseille.

Église des Trinitaires, 40 rue de la République. 13280 Arles - France

https://www.rencontres-arles.com

Image: Marie Bovo

SAINT PAUL DE VENCE. Eduardo Arroyo “Dans le respect des traditions”Fondation Maeght

july 1 - november 19, 2017

Eduardo Arroyo is today considered one of the great Spanish painters of his generation. Born in 1937 in Madrid and connected with the Narrative Figuration movement that developed in Europe in the early 1960s, he has painted humanity through a play of images that come from society as well as history, the history of art and literature. Eduardo Arroyo is also a writer and uses fragmented narration with humor and a taste for paradox. The result is an extremely constructed pictorial work which demonstrates a constant freedom.

The Fondation Maeght’s exhibition illustrates this idea between the absurd and irony in its title: Dans le respect des traditions. From July 1 to November 19, 2017, the artist’s 80th birthday, it will present a thematic exhibition of works produced since 1964 made up of well-known paintings as well as those never before seen, including a series of paintings created especially for this exhibition. It will show a number of drawings and a collection of sculptures including shaped stones and assemblies, between fiction and reality, like the hybrid head series including Dante-Cyrano de Bergerac and Tolstoy-Bécassine. Spectacular for its diversity of materials, for its wealth of characters and its range of colors, the arrangement of works will feature small theaters that concern such paintings as Agneau Mystique by Hubert and Jan van Eyck or the one bringing together the "vanitas”, skulls and flies in the Miró Courtyard.

A committed artist, Eduardo Arroyo refuses any complacent aestheticization of art and defends the exemplary nature of the work, the power of the image. He wants his painting to be accessible to the largest possible audience. His paintings are painted in flat colors, but he frequently uses collage. He also makes sculptures using clay, iron, stone, plaster and bronze. The use of nonsense and the absurd makes him a direct heir of Lewis Carroll and Francis Picabia.

Fondation Maeght. 623, chemin des Gardettes- 06570 Saint-Paul-de-Vence, France

http://www.fondation-maeght.com

Image: Eduardo Arroyo, La mujer del minero Pérez Martinez llamada Tina es rapada por la policia, 1970.© Adagp Paris 2017. Photo DR.

St. PETERSBURG. FD. “Memory, Mind, Matter: The Sculpture of Eduardo Chillida.”The Dalí Museum

until September 24th, 2017

The Dali’s first show dedicated to sculpture since the opening of its new building in 2011 presents more than 60 Chillida works including 16 sculptures, a large-scale wall mural, numerous drawings and ‘gravitations,’ the artist’s unique approach to paper collage.

Born in San Sebastian, Spain in the Basque region, Eduardo Chillida is well known for his monumental works in public spaces for instance De Musica, Dallas XV (On Music, Dallas XV) at I.M. Pei’s The Morton H. Meyerson Symphony Center and outdoor environs as well as prestigious museums in Europe and the U.S. – where he made his debut with exhibitions at The Guggenheim and Museum of Modern Art in New York.

During his life, Chillida received several distinguished awards; among them the Graham Foundation Award for Advanced Studies in the Fine Arts, the International Grand Prize for Sculpture at the Venice Biennale, both in 1958; the Kandinsky Prize in 1960; and the Carnegie Prize in 1964 and again in 1979, shared with painter Willem de Kooning.

The Dali’s exhibit is an exploration of Chillida’s interest in humanity’s relationship to space and organic forms. His materials are substantial and natural; his output balancing lightness and mass. “We are presenting a variety of works by this master sculptor and skilled craftsman,” said Dali Museum Curator of Special Exhibitions, Dr. William Jeffett. “This is a rare opportunity to see works by an artist known for large sculptural monuments you often have to travel the globe to see. Here, visitors will get access to an array of Chillida’s sculptures alongside drawings, collages and artist’s books.”

The Chillida exhibition continues the Museum’s tradition of presenting art and artists whose relationship to Salvador Dali and Surrealism may not be widely known. “When Andre Breton used Guillaume Apollinaire’s invented word Surrealism to describe a movement in art, artists including Joan Miro and Alberto Giacometti were already at work. Their art engaged both abstraction and the human body, and found a deep kinship with poets with similar interests. It is this tradition, and particularly these artists, that impelled Chillida from his first works,” said Dr. Hank Hine, Executive Director of The Dali.

The Dalí Museum. One Dali Blvd,. St. Petersburg, FL 33701

http://thedali.org

Image: Eduardo Chillida working on an alabaster sculpture, 1975.Photo: Archivo Eduardo Chillida

MELBOURNE. “mmmm….” RMIT Gallery

21 july- 09 september, 2017

Madrid-based mmmm…, a collective of four Spanish artists: Alberto Alarcón, Emilio Alarcón, Ciro Márquez and Eva Salmerón, has been producing art in the public space across the globe since 1998.

Interact, communicate and interfere – these intentions have been at the forefront of Spanish collaborative mmmm…’s performative projects since they burst onto the European public art scene 18 years ago.

Projects included an intriguing public art ‘action’ in 2013, in which 50 people wearing large cardboard bull’s heads walked upright and proudly through the streets of central Madrid, then scattered and dispersed into the corners of the city. With the figure of the bull representing the resistance, courage and character of the Spanish people, the event was aimed at bringing optimism into a city heavily affected by the global financial crisis.

A public art installation of urban furnishing called the Meeting Bowls in Times Square, New York City, gave the public another vision of what the most crowded street in New York City could look like with just a simple design.

The public art sculpture BUS in 2014 presented the Highlandtown neighborhood of Baltimore with a 14-foot-tall, 7-foot-wide three-letter bus stop that typography spelt out the word BUS.

In 2002, the Spanish artist collective manufactured a moment of mass with Kiss Invasion, where 100 couples placed in crowds around the city centre kissed simultaneously.

These are just some examples of more than 50 creative projects in public spaces that artists Alberto Alarcón, Emilio Alarcón, Ciro Márquez and Eva Salmerón have produced since mmmm…was founded.

This retrospective exhibition presents a survey of the Madrid-based collective’s playful and thought-provoking projects from 2000-2016, exploring the common ground among their seemingly disparate ventures. Sponsored: Embassy of Spain in Australia (RMIT press-release)
RMTI Gallery. 344 Swanston Street, Melbourne, Victoria, 3000

https://www.rmit.edu.au http://www.mmmm.tv

Image: MMMM…. Human Rabbit Action – taking street action to Melbourne.

LONDON. “Santiago Sierra: Impenetrable Structure” Lisson Gallery

14 july  - 26 August 2017

For the past two decades, Santiago Sierra has carried out provocative actions around the world. Known for his politically and socially charged work, Sierra returns to Lisson Gallery London to debut a large-scale, site-specific installation that continues the artist’s interest in borders and displacement. Titled Impenetrable Structure, the grid-like installation is constructed out of military razor wire, similar to what is used to create security perimeters between countries and in war zones. The work fills the entire gallery space of 27 Bell Street, entered by visitors only one at a time, creating an environment in which access is restricted or entirely denied.

After studying Fine Arts in Madrid, Sierra moved to Hamburg as a guest of the Hochschule für bildende Künste (HFBK). It was there that he first became enthralled with the serialised arrangements of industrial containers while wondering around the harbour area of the city and where he also encountered a large community of immigrants and the mass displacement of foreigners for the first time. Influenced by the formal language of the Minimal and Conceptual art movements of the 1960s and ’70s, Sierra then began making geometrical structures using industrial materials to comment on issues posed by the borders of nation-states, temporary settlements and military bases.

Transporting these concepts to an exhibition context – whether for Space closed by corrugated metal, Lisson Gallery, London, September 2002 (2002), where Sierra shuttered the newly opened Bell Street location of Lisson Gallery for three weeks, or at the Venice Biennale in 2003, where he built a cement wall across the Spanish Pavilion to block all visitors except for Spaniards – provides an effective strategy for highlighting the issues of separation, polarisation and fear present in contemporary society. His latest work, shown for the first time as part of this exhibition, continues these themes and once again incorporates industrial materials found in defense technology to create a truly impenetrable structure.

Sierra’s work shows how – despite assurances from authorities and governments – national and international frontiers are not being abolished but are instead being reinforced. The focus of the works is not only on the materials used or what the nature of the situation can inspire but also on the creation of an empty and inhospitable space. Unlike a minimalist work of art, this installation is not born out of a certain formal arrangement capable of producing aesthetic satisfaction, but from the frustration the spectator feels when he or she is subjected to such physical denial; the kind of frustration increasingly visible in our everyday lives, characterised by a globalised world that increasingly and counter intuitively needs to shield and divide itself in order to protect its stability. (Lisson Gallery press-release)

Lisson Gallery. 27 Bell Street. London. UK

http://www.lissongallery.com   http://www.santiago-sierra.com

Image: Santiago Sierra. Installation view Lisson Gallery London

GABROVO. Carlos Aires “23 Biennial of Humor and Satire in Art” Museum House of Humour and Satire

until 30 september, 2017

At a time when the news sound like jokes, humour might well be the best response to reality. Under the theme ‘Laughing in the face of…’ the twenty-third edition of the Biennial, organized by the Museum ‘House of Humour and Satire’, Gabrovo Municipality and the Ministry of Culture of Bulgaria, brings together diverse artistic positions presented in the form of cartoon and contemporary art.

Laughing in the face of somebody, unlike laughing behind their back, is a daring act. It requires dignity both on behalf of the one laughing and the one being laughed at. It is impossible to laugh in the face of a faceless opponent. Not by chance ‘losing face’ is an idiom for losing dignity, which in some cultures equals social death. To laugh in the face of someone or something alongside exposing and criticizing means paying regard and holding as significant.

What are the gains from laughing? Laughter does not solve problems, but renders us bigger than them. It provides higher perspective. To laugh in the face of someone or something is a matter of attitude and a way to go forward despite adversity. It is a survival strategy. The world lasts because it laughs, says the motto of the Museum House of Humour and Satire, coined in the earliest days of the institution by Bulgarian satirist Radoy Ralin and publicized for the first time 44 years ago at the first Gabrovo Biennial.

The twenty-third Gabrovo biennial presents three exhibitions – a juried exhibition of cartoons, a juried exhibition of contemporary art and a curated exhibition developed by Marko Stamenkovic under the title ‘To Die Out Laughing’. The combination of the two approaches – juried shows based on submissions and a curated exhibition gives the viewer breadth and focus at the same time. The open call brings fresh, unexpected and diverse proposals taking the pulse of art and contemporary society. The curated show provides a deeper and by nature subjective reading of a theme, in this case, the ambiguous relation between humour and death in different cultural contexts.

The juried exhibitions are the outcome of the true engagement, intellectual curiosity, and sound professional judgement of the jury members. Jean-Marie Bertin (France), Daryl Cagle (USA), Christo Komarnitski (Bulgaria), Andrei Popov (Russia) and Yordanka Shiyakova (Bulgaria) juried the cartoons. Joerg Bader (Switzerland), Margarita Dorovska (Bulgaria), Francis McKee (Ireland/Scotland), Anton Staykov (Bulgaria) and Marko Stamenkovic (Serbia) juried the works in the contemporary art section.

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

Museum House of Humour and Satire. 68 Bryanska St, Gabrovo 5300, Bulgaria

http://biennial.humorhouse.bg  http://www.carlosaires.com

Image: Carlos Aires. DISASTER CXXXVIII, 2016, digital print on Hahnemühle Fine Art paper, banknote, hand-dyed wooden frame, 25 × 33 × 3,5 cm

PARIS. OKUDA San Miguel “The Dream of Mona Lisa” Adda & Taxie Gallery

june 17th - august 29th, 2017

A monographic and the first Parisian exhibition of Spanish artist OKUDA SAN MIGUEL, with whom Anna Dimitrova has been working with for many years, and Valériane Mondot presented in Paris in 2004 (Festival Kosmopolite), ADDA & TAXIE opens its doors in Paris and celebrates its birth.
The exhibition will present OKUDA’s latest artwork. Internationally renowned, his art is part of important collections at many museums in France and abroad,

OKUDA’s work reflects a surreal world of geometric colour and pattern. Exploring existentialist contradictions, the meaning of life and the false freedoms of capitalism, his work has been classified as a kind of pop surrealism.

A certain existential restlessness and a deep curiosity for the history of the different cultures that he finds in his way have led him to admire the form chosen in each of them to represent their gods, legends and myths as a repertoire of images and complementary concepts.

Deities created to appease the dissatisfactions of society and the uncertainties of our existence that are projected from an infinite universe in which nature is our only certainty.

Working in with spray paint, embroidery and sculpture, his work depicts deconstructed animals and bodies. Easily recognisable by his use of shape and colour, his work creates its own iconographic language. ADDA & TAXIE gallery offers this unique opportunity to discover the full talent of OKUDA, in which he will show his flamboyant colors and skilful geometries to the Parisian art scene.

Adda & Taxie Gallery 35 Avenue Matignon 75008 Paris 

http://www.addagallery.com  http://www.addagallery.com  http://okudart.es

Image: Okuda. “The Mysterious Knight of God’s Garden”

ARLES. “Blank Paper” Les Rencontres d'Arles

3 july - 24 september, 2017

Les Rencontres d’Arles is an annual summer photography festival founded in 1970. It has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors. The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography. The festival Rencontres d'Arles is held annually during July, August and September. AC/E supports for this year's edition of the Rencontres the exhibition 'Blank Paper: Histoires du présent immédiat' (Stories of the Inmediate Present) that shows the most recent works of the Spanish collective Blank Paper and also reflects how exchange and the collaborative creative process of this large group have generated a fertile field for photographic creation in Spain. Artists: Julián Barón (1978), Ricardo Cases (1971), Federico Clavarino (1984), David Hornillos (1974), Alejandro Marote (1978), Óscar Monzón (1981), Bernardita Morello (1984), Miren Pastor (1985), Michele Tagliaferri(1980), Fosi Vegue (1976), Antonio M. Xoubanova (1977) At the beginning of the 2000s, a group of photographers established a collective in Madrid in order to develop their work and create a common intellectual space. This was Blank Paper. Ever since, their photography has continued to develop following a practice that includes collaboration and exchange among its principal characteristics. Far from official institutions and circles, these photographers succeeded in building an independent network of production, exposition, and distribution based on solidarity. This was a risky but necessary venture, as the times brought not only great social change, but also a profound economic crisis. This exhibition gathers together the most recent works of the Blank Paper collective, along with works of other photographers in their orbit. The mutual confidence and complicity created over years of learning together.  (AC/E press-release)

LES RENCONTRES D’ARLES. 34 rue du docteur Fanton. 13200 Arles

https://www.rencontres-arles.com   http://www.blankpaper.es

Image: Alejandro Marote

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

01 june – 11 august, 2017

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

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

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

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

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

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

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

LONDON. Juan Miguel Palacios “Woundes” Lazarides Rathbone Gallery

23 june – 20 august, 2017

 

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

Lazarides • 11 Rathbone Place • London • W1

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

Image: Woundes” Juan Miguel Palacios

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

june 23rd - august 25th

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

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

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

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

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

Image: Álvaro Martinez Alonso. 100 Kubik galerie

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

june 17 - August 20, 2017

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

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

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

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

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

https://www.redcat.org

Image: Dora García. La eterna. Vídeo 2017

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

june 22 — august 31, 2017

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

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

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

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

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

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

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

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

Image: Avelino Sala

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

29 june – 28 august, 2017

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

CCEBA. Paraná 1159 (CP 1018) Buenos Aires Argentina

http://www.cceba.org.ar

Image: Paula Bonet

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

9 june - 25 september, 2017

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

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

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

Museum of Edinburgh: 142 Canongate, Royal Mile, Edinburgh

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

Image: David Guillén

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

13 may  – 26  november, 2017

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

Giardini La Biennale di Venezia

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

Image: L´avenir.  Jordi Colomer

 

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

24 may – 10 september, 2017

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

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

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

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

http://www.mmoma.ru/en

Image: Güell Palace, roof top. MMOMA

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

27 may – 18 february, 2018

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

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

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

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

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

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

https://www.vam.ac.uk

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

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

5 may – 10 december, 2017

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

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

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

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

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

https://www.nelson-atkins.org

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

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

13 may -  26 november, 2017

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

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

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

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

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

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

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

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

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

21 april – 03 september, 2017

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

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

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

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

Image: Esther Ferrer

WORDLESS DIALOGUES. 10. Alejandra López Zaballa / Irene Cruz

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

Wordless Dialogue 10. Alejandra López Zaballa / Irene Cruz

Dialogue 10. Alejandra López Zaballa

Dialogue 10. Irene Cruz

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

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

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

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

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

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

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

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

Image: Dialogue 10. Alejandra López Zaballa / Irene Cruz

quepintamosenelmundo.com

 

 

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

5 april – 4 september, 2017

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

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

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

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

http://www.museoreinasofia.es

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

WORDLESS DIALOGUES. 09 Irene Cruz / Gisela Ráfols

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

Wordless Dialogue 09 Irene Cruz / Gisela Ráfols

Dialogue 09 Irene Cruz

Dialogue 08 Gisela Rafols

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

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

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

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

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

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

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

Image: Dialogue 09. Irene Cruz. 08 Gisela Ráfols

quepintamosenelmundo.com

WORDLESS DIALOGUES. 08 Gisela Ráfols / Eva Diez

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

Wordless Dialogue 08 Gisela Ráfols / Eva Diez

Dialogue 08 Gisela Ráfols

Dialogue 07 Eva Diez

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

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

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

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

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

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

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

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

Image: Dialogue 08. Gisela Ráfols / Eva Diez

quepintamosenelmundo.com

WORDLESS DIALOGUES. 07 Eva Diez / Diana Coca

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

Wordless Dialogue 07 Eva Diez / Diana Coca

Dialogue 07 Eva Diez

Dialogue 06. Diana Coca

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

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

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

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

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

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

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

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

quepintamosenelmundo.com

WORDLESS DIALOGUES. 06 Diana Coca / Berta Jayo

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

Wordless Dialogue 06. Diana Coca / Berta Jayo

Dialogue 06. Diana Coca

Dialogue 05. Berta Jayo

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

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

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

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

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

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

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

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

quepintamosenelmundo.com 

WORDLESS DIALOGUES 05. Berta Jayo / Bego Antón

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

Wordless Dialogue 05 Berta Jayo / Bego Antón 

Dialogue 05 Berta Jayo

Diálogue 04 Bego Antón

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

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

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

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

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

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

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

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

Image: Dialogue 05 Berta Jayo. 04 Bego Antón

quepintamosenelmundo.com

WORDLESS DIALOGUES. 04 Bego Antón / Beatriz Moreno

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

Wordless Dialogue 04: Bego Antón / Beatriz Moreno

Dialogue 04. Bego Antón

Dialogue 03. Beatriz Moreno

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

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

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

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

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

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

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

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

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

Image: Dialogue 04 Bego Antón / Dialogue 03 Beatriz Moreno

quepintamosenelmundo.com

 

WORDLESS DIALOGUES 03. Beatriz Moreno/ Marta Soul

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

Wordless Dialogue 03 Beatriz Moreno / Marta Soul

Diálogo sin Palabras 03. Beatriz Moreno

Diálogo sin Palabras 02. Marta Soul

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

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

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

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

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

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

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

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

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

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

Image: 03. Beatriz Moreno / 02 Marta Soul

quepintamosenelmundo.com

PARIS. “Picasso Primitif” Musée du Quai Branly

28 marzo - 23 julio, 2017

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

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

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

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

http://www.quaibranly.fr

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

WORDLESS DIALOGUES 02 Marta Soul / Alejandra Carles -Torlá

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

Wordless Dialogue 02: Marta Soul / Alejandra Carles - Torlá

Wordless Dialogues 02. Marta Soul

Wordless Dialogues 01. Alejandra Carles-Toldrá

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

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

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

Wordless Dialogues

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

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

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

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

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

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

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

WORDLESS DIALOGUES 01 Alejandra Carles Tolrá / QPM Blanca Mora

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

Wordless Dialogue 01 Alejandra Carles Tolrá / QPM. Blanca Mora

Dialogue 01. Alejandra Carles Tolrá

Dialogue 00. QPM Blanca Mora

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

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

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

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

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

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

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

quepintamosenelmundo.com

PARIS. Picasso “Olga Picasso” National Picasso Museum

march 21 – september 3, 2017

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

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

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

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

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

 Musée National Picasso. 5 rue de Thorigny 75003 Paris

http://www.museepicassoparis.fr

Image: Olga Picasso. Musée Picasso Paris

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

22 march –21 august, 2017

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

Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these.

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

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

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

Image: “X-Ville”. Jordi Colomer

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

1st march - 30 august, 2017

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

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

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

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

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

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

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

Image: Pablo Genovés

BERLIN. Manolo Gómez “Cachebache” Galerie Kaidikhas

24 january – 1 april, 2017

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

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

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

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

kaidikhas.com

Image: Manolo Gómez Romero. Cachebache 

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

30th october, 2015

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

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

Image: Olmo Blanco

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

21 march – 9 june, 2014

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

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

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

Subcategories