Spanish contemporary art worldwide
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27 january – 1 march 2015
“To dream or not to dream…” is the result of Lazaga’s reflections about our time, which she calls “a gaseous era”. A visual experience, perception and existentialism crop up in the space used as an experimental field. Visitors will be able to see structures set up with wool yard + air as well as performances in which music and dance will dialogue with the artworks, giving them the fourth dimension, alongside large-scale works. The latter are photographic formats on canvas used by Lazaga as a support where structures are created on masses of clouds from different latitudes. The concept of the sky as a symbol at the same time of universal and permanent change is used as a manipulated gaseous expanse where different structures are placed. These structures, in turn, transition from a real space to a virtual one. In this sense, Lazaga’s starting point is a sentence attributed to Albert Einstein: “in a time of crisis, imagination is more effective than the intellect”, and having in account to be or not be She bring us face to face –not without irony- with to dream or not to dream…when everything around seems to fizzle. Biography: Noni Lagaza is an inter-disciplinary artist. She holds a Ph.D. in Fine Arts, where she has examined the cultural dialogue between East and West. Specifically, Lazaga studied the diverse artistic and calligraphic practices and expressions from the Middle East to China and Japan. She was awarded with residencies to live in Cairo, Japan and Rep.Dominicana. Lazaga's primary method of working is to use space as a medium. In a process derived from the traditions of painting, Lazaga uses architectural spaces as a canvas to examine perceptions. In her installations the audience is engagd as active participants. Since 2004 she has been working in collaborative projects such as "hospitables" "k.b.zonas", also as curator (curator for Spanish Pavilion in the XXV Alexandria Biennial, artists collective k.b.zonas, touring exhibitions...). Her works had been exhibit in galleries and museums such as: ARCO fair Egam gallery (Spain), Metropolitan Museum Tokyo and Paper Museum Mino, (Japan), National Center of Fine Arts Akhenaton and Cervantes Institute Cairo (Egypt), Protea gallery, San Diego (USA). AECID, Spanish Cultural Centres in Santo Domingo (Rep Dom.), Guatemala, San Salvador, San José (Costa Rica) Cartagena de Indias (Colombia). (I.Cervantes press-release)
Instituto Cervantes of New Delhi 48, Hanuman Road. Connaught Place. New Delhi 110 001
Image: Noni Lazaga
5th – 15th February, 2015
Pain, nostalgia, love and oblivion are concepts that cross the work of David Catá since his first steps in the art world. His photography is pallid, clean and hyperrealistic. The illumination, antiseptic like in an operating theatre, is broken by the orange and pink of the skin of his models. In the series, “Déjame Volar”, Catá wanted to cover the skin of the models with a soft layer of dry dandelion’s seed heads which calls in the beholder the physical reaction of wanting to get into the picture and softly blow the soft fluff away from their faces. As we will further see later, Catá has a gift to provoke physical reactions, but this must be taken as a first impulse that drags you into his work and makes us understand the deep and beauty of it symbolism , not as the entirety of the experience. The seeds, glued one by one to the bodies, are used by Catá as a metaphor of how fragile and ephemeral life is, how volatile we are
From the caress of the dandelion Catá bring us to the crudity of his stitching art, a piece of body art from which we willl see photographs, videos and a life performance in the opening day. Catá has reserved this practice for his own skin and he carries through while performing with an almost sacred disposition. Catá sews literally the faces of his loved ones in the palm of his hands. Once the threads are removed, a scar in the top layer of his skin forming these faces remains with him for a time. An exercise of deep introspection, a reflection on how is the mark that the people we care about leaves in ourselves and a metaphor of the pain of forgetting
“A performatic and symbolic action of lost; the oblivion of a loved one. A ritual action and at the same time contradictory between desire and rejection, dependence and independence in which at the end nothing remains; only the footprints of lived memories. A temporary act attached to oblivion, which aims to its preservation through memorial, corporal and video graphic footprints. These sewn are able to approach to the people they represent, by thinking that once my hand has been marked by an act of affection; by thinking that once my hand has touched their hand.”
David Cata (Viveiro, Spain, 1988). He studied a B.A. (Fine Arts) in Vigo University (Pontevedra). In 2010 moves to Madrid and graduates in the Internacional Master’s Degree in Photography (Concept and Creation) at Madrid’s EFTI winning the first prize of class. He also studied the intermediate degree in accordion at Viveiro’s Conservatory of Music.
In 2010, he won the first prize of the Ourense’s Diputation of Plastic Arts contest, the first accesit at the Bang 6th Video Art Festival of Barcelona at 2013 and won an acquisition prize for the 13th Isaac Diaz Pardo Fine Arts Contest at 2013.
He’s been selected for national and international calls, such as the “Xuventude Crea 2010”, the “Gritos de Libertad” photography contest, the “Eject” 4th Internacional Videoperformance Festival of México City, the Ourense’s Diputation Plastic Arts contest 2012 and 2013, the “INCUBARTE” 5th International Independent Arts Festival, the “Convergencias’” Alliançe Francaise of Madrid’s photography contest, the CEC’s Plastic Arts contest, the “((.mov))” In Movement International Videoart Festival of Peru, the 15th Sala El Brocense’s AAPP Contest, the 5th International Videoarts Festival of Camaguey, the “Region 0” Videoart Festival of New York, among others.
His work has been seen in Mexico, New York, Peru, Cuba, Portugal, Cambodia and Spain. Curator: Ana Sanfrutos. (bcmArte press-release)
Project Space Kleiner Salon, Manteuffelstraße 42. 10997 Berlin
Image: Déjame volar, David Catá
12 february – 13 march, 2015
The Instituto Cervantes Londres hosts Gloria Ceballos’ exhibition ‘Nature, a cultural artefact’, that depicts the artist’s constant research about the human relationship with nature as the centre of her practice.
Gloria Ceballos lives and works in London. She began her artistic career in Madrid, with a BA Degree in Interior Design and then she moved to London, where she continued her studies in art, with a BA Honors Visual Arts (Camberwell College of Arts) and a MA Printmaking at the Royal College of Art. She has won sereral prizes and scholarships in different countries like Germany, the UK, Japan, Spain and India. She has taken part in many solo and group exhibitions and shown her work in a great number of art fairs. (I.Cervantes press-release)
Instituto Cervantes, 102 Eaton Square. London SW1W 9AN
Image: Gloria Ceballos
31 january – 28 february 2015
Knowledge of nature stands in the work of artist Luis Moro (Segovia, 1969),
“I began to paint early eighties, but I began to have an international career in 1991 to exhibit in Paris, Berlin, Italy and Prague. The catalog contains this period that have worked with the animal world as a metaphor for life and transformation. ”
Through painting, sculpture and printmaking, Luis Moro has shaped zoomorphic elements that protrude arthropods and invertebrates, often behind in artistic expression.
“I was born in Segovia, an old Roman, historical and cultural city. From child left home to paint the landscape, but gradually these little beings that went unnoticed I were interested, I bought a microscope, analyzed the wings of insects and there I found the magic of nature and sense of microcosm and the macrocosm. What seemed secondary elements began to become the protagonists of my work. ”
He considered that insects represent 70 percent of life on Earth and yet, man has been pretty selfish to feel absolute master of the planet, so it was interesting to glance towards these little beings that inhabit our environment .
On the other hand, Mexico has played an important role in Luis Moro creatively, as the country’s wildlife has inspired several of his series, including one dedicated to the Monarch butterfly as a symbol of transformation and freedom, and another is to xoloitzcuintle , animal long established and relevance in Mexican culture.
Luis Moro has made more than 40 solo exhibitions in galleries and museums in France, Germany, Canada, Italy, Belgium, Spain, Korea, United States and Mexico.
In 2012 he received a grant from Conaculta to perform a multimedia project, 3D animation, to give life to a number of insects in composition propitiate the interaction with the viewer in an augmented reality. (Museo de Tlalpan press-release)
Museo de Historia de Tlalpan. Plaza de la Constitución 10, Centro Histórico de Tlalpan, México DF
Image: Luis Moro
23 enero – 5 febrero, 2015
But Beautiful brings together for the first time the self-portraits taken by Christina Nuñez(b. Figueras. Spain 1962), enabling her to develop over 25 years her method The Self-Portrait Experience®, a process of inner exploration shared with the public. Nuñez believes that "The separation between art and therapy is intolerable" and considers the method as the main part of her artwork.
But Beautiful (1988-2014) consists of many portraits of the author, combined with images of her ancestors and portraits of her family, the work investigates the relationships with them and among them, and shows a constant pursuit of her own roots and identity through faces and bodies. (Chevi Mela Fest. Press.release)
Festival de Fotografía Chobi Mela House 58, Road 15A (New). Dhanmondi Residential Area. Dhaka 1209, Bangladesh
Image. Cristina Nuñez
3 february – 21 march, 2015
Santiago Sierra (b.Madrid, 1966). Lives and works in Madrid and Mexico City.
Santiago Sierra’s work depicts situations where survival plays a fundamental role. It translates into an artistic practice the inhuman aspects of the economic system, of corruption mechanisms and the exploitation of the individual. Sierra interweaves varied references and the direct experience of reality in order to explore and represent the world of labor, to the point where he also articulates a critical posture towards the relations between the art world and its agents.
In the 90s, his projects achieved recognition by establishing negotiation mechanics with third parties and sparking actions—mostly in public spaces—that revealed the materialistic procedures linked to capitalism’s systemic violence and the labor conditions it thrives on. This body of work has questioned the operation and function of institutional structures, the control of public spaces and the appearance of informal architecture in the urban landscape as a by-product of survival measures. Lack of use and rejection are viewed not only from a material perspective but are also applied to individuals, as a reflection of social contrasts.
With his work and the accompanying documentation, Sierra urges the spectator to experience the brutal nature of reality in light of the scenes he recreates; his strategy is to repeat the power operations that he himself criticizes. Indebted to the premises of minimalism and conceptualism, his work takes shape through sculpture, documentation, public acts, film projects, and photography to reveal the perversity of power. His titles, also distinctive, serve as instruction or reproduction manuals and question in turn the positive use of images embraced by the capitalist system. (Labor press-release)
Galería Labor, Francisco Ramírez #5 , Col. Daniel Garza , Del. Miguel Hidalgo 11830, México D.F.
Image: Santiago Sierra and Jorge Galindo “Los encargados”
6 – 17 february, 2015
This exhibition are looking for to create an atmosphere where poetry, music and photography merge creating a total harmony. Conceiving the exhibition space as a place where the tenacity of the stories told through photographs of Irene Cruz with the power of the word of Sara Bounajm and interpretation of the pianist Nhung Nguyen. A journey that invites the viewer to join them in their insatiable quest, and promises new forms, formats and modes of expression."
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. .(The Ballery press-release)
The Ballery, Nollendorfstraße 11, 10777 Berlin
Image: Irene Cruz
6 february – 3 may, 2015
Tàpies: From Within is a major historical survey that features a selection of more than 50 large-scale paintings and sculptures, representing diverse moments from throughout Antoni Tàpies’ (b. 1923, Barcelona, Spain; d. 2012, Barcelona, Spain) career. These include early examples from 1945 through to recent works created in 2011—the year prior to his death. The exhibition explores the Spanish artist’s use of unusual materials and forms and the development of his unique visual language, which earned him an international reputation as one of the most successful abstract painters of his generation.
Curated by former Tate Director Vincente Todolí, this retrospective offers a unique view into Tàpies’ groundbreaking practice, which fused impoverished materials with symbols of Eastern and Western culture to create dense works covered with graffiti-like gestures. His alchemical practice mixed spiritual and existential questions with unique material investigations of surface, mark-making, and found objects. The exhibition presents an intimate and unusual view of his oeuvre, through a selection of works drawn exclusively from his own private collection and that of the Fundació Antoni Tàpies. (Perez Art Museum press-release)
Perez Art Museum, Biscayne Blvd. Miami, FL 33132
Image: Antoni Tàpies, Embolcall (Wrapping), 1994
15 january – 20 february 2015
Layers and layers of meaning and history envelop any action or creation; a collective narrative eclipses our world. Every object demands an association, a chronicle, and its own network on a completely interconnected map. Assembled in this exhibition are objects that resemble materials of a contemporary archeology, works that provide means to reflect on, and unearth, aspects of our culture and epoch.
While the first volume of the exhibition << < > >> focused on the physicality of the found, the second edition will operate on a more abstract level. Our main thread for this chapter will be memories, however, the aim is not to present memory as reminiscence –such as a storytelling approach– but to investigate our relationship with it and its affect on us.
The artifacts of our times shape consciousness, produce meaning, and allow us to define ourselves as contemporary individuals. Aided by new technologies we have modified our behaviour in regards to addressing these artifacts of our generation. Our hyper-connectivity derails the physical link we have with objects, and thus time.
The artworks in << < > >> (Vol.2) address contemporary culture, and contemporary image, tracing back patterns of our history and structures of society. They act like relics altered by time and faced with confrontation from a more modern world, such as the works of Conor Backman where ancient sculptures and greenhouses are veneered with new-tech attributes.
In his BG Paintings series, Manuel Fernández constructs representational abstracts inspired by corrupted image files that he considers to be an image which is in the process of undergoing transition, an alteration of decay and undirected aesthetic. The compositions touch on the digital habitat of image culture and the underlying source of the content; the glitch paintings are immediately recognizable but they refer more to the source of digital image, rather than any kind of pictorial representation. Degradation is important to the study of memories, time affects the memory itself, and thus can modify our bond with it.
Archiving, storing, and collection of information, is an integral element of culture. Records, chronicles, and documentation, are crucial for our learning and navigation of the surrounding world. Here we have gathered works that reflect on the processes or essence of cataloguing information in an attempt to form a contemporary survey of memories.
<< < > >> (Vol.2) includes works by: Conor Backman (US, b. 1988),Eva Berendes (DE, b. 1974),Manuel Fernández (ES, b. 1977),Pieterjan Ginckels (BE, b. 1982)
and Ryan Lauderdale (US, b. 1979) (Super Dakota press-release)
Super Dakota Gallery, 45 rue Washington | Washingtonstraat
B – 1050 Brussels
Image: BG Paintings 2014. Manuel Fernández
23 january – 19 february, 2015
Eugeni Forcano (Canet de Mar, 1926) entered the world of photography like a whirlwind, answering Josep Vergés and Néstor Luján's invitation to joint the magazine Destino in 1960. Self-taught and intuitive, he gazed with wisdom, passion and irony at all around him. In 1964, Joan Perucho highlighted the human depths of Forcano's work, whilst in 1966, Josep Pla, always sparing in this praise, said of him: "He is a great photographer, a great artist. He is different and unpredictable. Singular". According to José Corredor–Matheos Forcano "makes us to see that reality is always surprising". Forcano has the gift of anticipation. Andrés Trapiello insists that "the most important thing in his photographs is the beating of all that is still alive", whilst Josep Maria Espinàs considers that "you can hear his characters speak".
Photography marked Forcano's life forever. An evolutionist and a dreamer, his career embraced different stages: fashion, illustration, symbolism... as well as painstaking research into colour as a new form of artistic expression. Jorge Rueda, writing about Forcano's colour photography, congratulated him: "At last you have managed to photograph sighs". Javier Pérez Andújar defines him as follows: "He is, more than an avant-garde photographer, a vitalist photographer who understands the language of his time".
The facts would appear to confirm this. According to Josep Maria Huertas Claveria, Forcano is "one of the greatest photographers Catalonia has ever produced". Rosario Martinez Rochina. Curator and art critc.
UFR d'Etudes Ibériques et Latino-américaines, Centre d'Etudes Catalanes. Dirección : 9, rue Sainte Croix de la Bretonnerie. 75004 Paris
Image: Eugeni Forcano
27 january – 14 march 2015
The exhibition "Amazement Collection" (Colección de asombros” brings together a selection of the mostoutstanding works of Isidro Ferrer (Madrid, 1963), considered one of the mostprominent and current Spanish international illustrators and designers. Ferrer received the National Design Award in 2002 and the National Award for Illustration in 2006.
This "Amazement Collection" collection is a compilation of some of his work as illustrator and graphic design. All these works, along with a selection of sketches from his notebooks allows a broad view of the work of Isidro Ferrer in recent years. (I:Cervantes press-release)
Instituto Cervantes, Mitropoleos 23, Atenas 105 57, Grecia
Image: Isidro Ferrer
17 january – 28 february, 2015
To usher in 2015 with a contemplative exhibition that will steer the direction of the gallery for the rest of the year, Barnadas Huang will present “Gender Politics”, a joint exhibition between renowned mid-career artist Jon Landa, and the young but talented hyperrealist Marc Figueras.“Gender Politics” presents modernity and sexuality from two vastly different points of view, provoking and challenging the viewer by asking them to consider the ideas of conformity, assimilation and animal instinct whilst thinking about the difficult questions surrounding gender privilege, gender identity and gender inequality.
Jon Landa´s semi-Impressionist paintings of savage animals are fused with a strong message: they are androgynous and human-like, presenting an alternative mirror to ourselves in a modern world. A figurative painter who adopts a strong modern touch, Landa is celebrated for breathing life into his pieces, treating his wild subjects as if they were people. Image: “Rhino (2014), Oil on Canvas “ Jon Landa
In contrast, Marc Figueras´s hyperrealistic and anonymous women in the city subtly raise questions on voyeurism in the modern world through the lens of the male gaze. The women in his paintings are erased of their identities and personalities through the obscuring of their faces. Through this, he invites the viewer to project their own feelings and emotions onto the subject. The anonymity heightens the expression, and the viewer is invited into the picture as if he were a spectator. Imagen: Awakening in Barcelona (2014), Marc Figueras. (Barnadas Huang press-release)
Barnadas Huang Gallery, 61 Duxton Road, Singapore 089525
22 november 2014 - 22 march 2015
Hybrid objects that lie somewhere between art and design are characteristic of Carbonell’s conceptual oeuvre. His work and working method can be regarded as a kind of playful yet critical investigation into the reciprocal relationship that people have with objects and the (symbolic) significance they attach to them. Carbonell’s very outspoken and recognizable form language is typified by striking material choices and ongoing experiment. Themes such as ‘inspiration’, ‘evolution’ and ‘transience’ are central to his work, as is its interactive, governing and determinist nature.
The designer presents the objects as organisms that are animated by interaction with the user. In addition to a sizeable new series, the exhibition will also display the installations Pump It Up, Evolution and Treechair : works that evoke associations with cocoons or nests, and which appear to be depictions of escapist fantasies.
“I like to see objects as living organisms, imagining them coming alive and being able to surprise you with their behaviour. I want to create objects with my hands, then I can give them my personality. I turn them into communicative objects that can arouse one’s sensations and imagination. In short, what I want to create are objects with a fictional or fantasy element, that allow you to escape everyday life.” -Nacho Carbonell
Nacho Carbonell (Valencia 1980) graduated from CEU Cardenal Herrera University in Valencia in 2003, and later moved to Eindhoven where he graduated cum laude from the Design Academy with his final exam works entitled Dream of Sand and Pump It Up. He then went on to exhibit frequently both at home and abroad. His work can be found in many public and private collections. Carbonell lives and works in Eindhoven. (Groninger Museum press-release)
Groninger Museum. Museumeiland 1. 9711 ME Groningen. The Netherlands
Image: Nacho Carbonell
16 january – 16 july 2015
The Mysteries of Columbus is created by Mr. Gabarron in 2006. The work is inspired by the famous explorer and navigator, Christopher Columbus, and his journal. To pay the tribute to human spirit of adventure and the discovery of America, Mr. Gabarron created ten symbolic pieces. Their rounded forms and clear lines suggest the natural lives of mankind and primitivism. The works are also heavily filled with blocks of different colors, which well represents the Indian culture in America.
However to the artist, the meaning of this group of sculptures is much beyond than this. Coming from Murcia, Mr. Gabarron wants to express his reflection on the role of art in our lives, as well as the coexistence and the development of human values through this works.
Such pursuing guided him to the space of public art. His strong commitment has led him to multiple public art projects for different sites and cities. During the creation process, he has been constantly seeking balances among elements of art and urban space: the balance between the closeness with the viewers and improvement of the environment where their daily lives evolve; the balance between humanity and efficient urban planning; the balance between modern metropolitan centers and the culture anchored within it. The Mysteries of Columbus is the answer to those how-to-balance questions. The sculptures play with the monotony urban environment with its most varied forms and colors. Mr. Gabarron also leveraged on his experience in painting and extended the color beyond the boarders of facets and softened the sharpness of angles. By doing so, he redefined surfaces of the sculptures and created more possibilities. The open and free color scheme and form invite the viewers to make a small parenthesis in his or her daily routines and to explore the meaning of the work. No matter what conclusions they draw from them, the process already brings changes to their lives and breaks the walls of intransigence and intolerance. (Gabarrón foundation press-release)
China Art Museum, Pudong, Shanghai. China
Image: Cristóbal Gabarrón
13 december 2014 – 15 february 2015
Ignacio Uriarte first exhibition in Beijing, showcasing his latest works include drawings, installations and videos.
The modern urban work environment and the rhythm of daily repetitive routine is not only a creative source for Ignacio Uriarte, but also the subject of his long-term studies and methodology of his artistic practice-he takes everyday office objects and repetitive routine to which we are all accustomed and transforms them into works of art. These works can consist of folded A4 paper, an Excel sequence, marks from a monochrome ballpoint pen, the scribbles jotted down from phone conversations, or even the sound of typing... According to the artist himself, these transformed behaviors are not complex to begin with and actually have a strong minimalistic characteristic to them. However, this process of transformation involves several complex issues which conceptual art has long grappled with, such as dematerialization, the boundaries of daily life and art, and the artist’s self-identity. This perennial creative focus on the same motifs, which is closely linked with Ignacio Uriarte’s early experience doing administrative office work at large corporations. At the same time, the artist using a strictly logical approach, takes the tiny details, messy elements, and repetitive processes of the working environment to create a foundation, which can connect to the individual’s profound spiritual experiences. In other words, Uriarte’s works highlight how aesthetic tension is precisely reflected within dully mechanical and mathematical structures and the venting of obsessive-compulsive tendencies. By ambushing the audience with this style of repetitive behavior, his works impart a sense of neurosis and inner conflict.This kind of experience, in the context of daily life’s numb drudgery and art’s elusiveness, opens up a pathway where the theme of “time” is at once the most easily perceived and the most obscure.
Ignacio Urarte was born in 1972 in Krefeld, Germany and raised there. From 1992 to 1995 he studied Business Administration in Madrid and Manheim and worked since then for corporations such as Siemens, Canon, Interlub and Agilent Technologies in Germany, Spain and Mexico. Parallel to his administrative work, he studied Audiovisuals in Guadalajara, México from 1992 to 2001 and quit his last serious full-time job in 2003, dedicating himself since then to what he calls ‘office art’. Since 2007 he lives and works in Berlin. Recent exhibitions includes: Acht Stunden zählen, Berlinische Galerie,Berlin,Germany. Unos Ceros, Museo de Arte Contemporanea de Vigo,Spain; Binaries, Utah Museum of Contemporary Art, Salt Lake City, USA；Line of Work, The Drawing Center, New York City, USA.(White Space press-release)
White Space, No.255. Caochangdi, airport Service Road, Chaoyang District, BEIJING, 100015
Image: Ignacio Uriarte
january 22 - february 14, 2015
We are pleased to present Translated Cities, a group exhibition opening next week at Shirin Gallery NY. Guest curator Natalia Nakazawa brings together seven artists who examine the potential of the city beyond the systemic. These artists interpret the city through the lenses of invisible structures, imagined spaces, and reconstruction, offering insights into urban navigation and understanding. The architect or city planner conceives structural ideas pertaining to the organization of systems, contending with the flow of data and materials as they pass overhead and below in the form of cellular signals, pipelines, aerial property lines, and miles of structural steel. But the element of the individual is distinctly absent. How do we locate the human body in the urban scale? . Individual bodies link various architectural schemes and vistas through perception and passage. We look to artists to translate this lived experience into new forms through fantasy, perceptivity and reconfigurations of the real.
Isidro Blasco (Madrid 1962) uses digital photography to combine elements of architecture, landscape, and human movement. Utilizing wood slats and digital images, Blasco then creates sculptural installations that expand his vision into physical space. Artists: Manuel Acevedo, Isidro Blasco, Austin Eddy, Shara Hughes, Armita Raafat, Hilda Shen, and Dannielle Tegeder. (Shirim gallery press – release)
Shirin gallery 511 W 25th Street Suite 507. New York, NY 10001
Image: Isidro Blasco
January 17 - February 6, 2015
Forcefully defying traditional styles, Joan Taltavull’s surrealistic art draws upon a keen observation of the natural world, infusing a gothic glimpse of reality within his darkly psychological and symbolic visions of the contemporary world. Intricately drawn with a powerful sensitivity for anatomical accuracy, line, and structure, Taltavull’s detailed works offer a disturbing reflection of modern society, expressing a soulful passion, pain, and hollow longing in the grotesque disfigurement of figures and animal forms. The artist skillfully utilizes a wide range of media, including gouache, pencil on paper or canvas, collage, mixed media, and digital technologies all while maintaining the consistency of his signature mark. Throughout Taltavull’s art the spontaneous and studied traces of his creative process are preserved in the presence of sketches, notes, and unworked segments, infusing his works with a spiritual and human presence.
Born in Barcelona, Joan Taltavull studied at the Mahon Arts School and received a degree in Fashion Design in Barcelona. He recently left behind a successful career in fashion and as a tattoo artist to move to London and focus on his own art professionally. (Agora press-release)
Agora Gallery. 530 West 25th St, Chelsea, New York, NY
Image: “Big pig with bag” Joan Taltavull
30 january – 3 march, 2015
Alberto Reguera (born in 1961 in Segovia, Spain) divides his time between Paris and Madrid. His work could be said to originate in his admiration for the French lyrical abstract painters; in his evocation of the Romantic landscape painters; and in the spectacular vistas of his native Castile. In his abstract landscapes, he represents fragmented elements of nature with his own shapes and colours. His intention is poetic, in the use of painting materials, in the luminous textures that are layered over each other in his paintings and also in the afrmation of the physical act of painting.
Reguera stresses the sense of visual depth in his work. He widens the edges of his works and in their cross sections one catches a glimpse of transparencies and stacked colours, as in a sheaf of paper seen from the side. He ofers a three-dimensional view of the painting. Some of these “painting objects”, created separately, are installed on the ground, forming a painting installation in which each work is a part of a large picture with multiform volume, ofering diferent views. The work extends across a space that flows, seeking equilibrium with the material.
Requera also makes photographs of external landscapes and transforms them into internal landscapes. He captures of the colours of such places as New Zealand, Norway and China. His paintings have also travelled. He has shown in Washington, D.C., Hong Kong (City Hall), Singapore (Sculptures Square), Lisbon and Paris, among other cities. In 1994 and 2001 he and his paintings took part in performances at the Stedelijk Museum in Amsterdam in which Dutch musician Bart Spaan interpreted some of his contemporary compositions inspired by the work of Alberto Reguera. In 1995 he received the Paris Fine Arts Academy Award for Painting. In 2001 he won the Ojo Critico Award in Madrid. (Sylvie Le Page press-release)
Galerie Sylvie Le Page,20 rue Saint-Claude 75003 PARIS – France
Image: Alberto Reguera “Alchimie Tellurique”
january 15 - february 15, 2015
Candela's Shells, the Reinforced Concrete Shells of Architect Félix Candela (b. Madrid 1910 – 1997 Durham, North Carolina).
Félix Candela rocked the world of architecture with his renowned concrete shells built in the 1950s and 1960s. This traveling exhibit is a selection from the show, Félix Candela 1910-2010, organized by Acción Cultural Española (AC/E) to commemorate the architect’s 100th birthday. Curated by architecture professor Dr. Juan Ignacio del Cueto from the Universidad Nacional Autónoma de México (UNAM), Candela’s Shells is part of an effort to preserve and promote Candela’s legacy.
Models and virtual animations were produced at the School of Architecture of UNAM and drawings and photographs are from the architecture archives of Columbia, Princeton, and UNAM universities. (AMA press-release)
AMA. Art Museum of the Americas, 201 18th Street, NW, Washington, DC 20006
Image. L'Oceanogràfic, by Félix Candela
16 january – 14 march 2015
David Murcia (b.Murcia 1982)obtained the degree of Fine Arts at the University of Murcia in 2007. He had many individual and group exhibitions in Spain.
The human being is the central motif of his mostly large-format pictures. The confrontation of the subject with the society, and the figure as a creative result of its environment, become the main topics of Murcia’s Work. His Self-portrait serial “Suggested Reality” and the serial “Efecto placebo” (Placebo Effect) are psychological researches that show the confrontation of the characters with their emotional and cognitive side, as well as the fight for their becoming and decay. The time, so as in society and contemporary art, in the consciousness and unconsciousness plays a crucial role that Murcia expresses through opposite poles, calm or permanence, the decadence and persistence against the time’s fast pace, the fugacity and the emergence. The only driving force that activates his characters and doesn’t let them give up is hope.
Image: David Murcia
The graphic Works of Marta Sanz (b. Madrid 1979) are usually small sized and this is certainly intentional. They are experiments done with great sensitivity and classical techniques, but also with the most modern techniques of engraving, in an attempt to claim this type of work as an unique work.The topics stand out because of their freshness in the strokes and ideas. Using the line as an expressive element and texture of the surfaces as reinforcement, this young artist from Madrid, awarded numerous times for her work, introduces us in a world of suggestive images and high visual appeal. The quality and variety of papers she uses and the irregular cut of the papers contribute to experience a unique impression that, in its simplicity, makes her works full of small details which enrich them plastically. (100 Kubik press-release)
Image: Marta Sanz
100 Kubuk, Mohren Str. 21. 50670 Köln
14 january – 14 february, 2015
With absolute respect for the creative freedom of the photographer Alberto García-Alix, the Foundation starts its own long-distance initiative: Looks of Asturias.The Looks of Asturias project consists on the creation of a fund of unpublished photographs about Asturias and its people, made up by the most personal and unique vision of prestigious photographers.Alberto García-Alix is the first photographer to go over Asturias. In April 2011, his camera starts searching for those works that show his most personal interpretation. With this first edition, the María Cristina Masaveu Peterson Foundation promotes a long-distance Project supporting Art, Culture and Asturias from different Looks. Curator: Nicolás Combarro.
Alberto García-Alix (León, 1956) wins major spanish award in recognition of his career: PHotoEspaña Prize (2012) National Photography Prize (1999) Photography Prize of the Community of Madrid (2004). His work has also been developed in France and China, where he has worked and lived. (Masaveu Peterson Foundation press-release)
Instituto Cervantes, 211-215 East 49th Street. 10017 Nueva York
Image: Patria Querida, Alberto García Alix
23 january – 6 march 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes. 31, rue des Chalets.31000 Toulouse, (FRANCIA)
Image: Jaime Bleda
08 January – 02 february, 2015
This exhibition marks 1AM Gallery’s six year anniversary as well as our kickoff to the new year. Our mission of freedom of speech and revolution often go hand in hand and our lineup of local and international artists are no stranger to either. As the world climate and social issues have taken hold of our future, there has never been a time more important than now to exercise our freedom of speech through the arts. All of our exhibiting artists have voiced their art in the streets and we want to pay homage to them by showcasing their works.
Our vibrant mix of participating artists has something for everyone. From the abstract and typographical works by Poesia, MadC, Scott Sueme, Bask, Does, Optimist, Tes One, Defer, Pemex, Kenor, Mike “Bam” Tyau, Pener, Sen2, Nuria Mora, and Thomas Bestvina to the illustrative works by Mark Bode, Ratur, JS Weis, Kamea Hadar, Amanda Lynn, Mags, Monty Guy, Christopher De Leon, Leon Loucheur, and Robert Bowen, our first exhibition in 2015 will be hard to follow.
We look forward to celebrating our 6th year by reaffirming our vows to push for the freedom of speech and support all the amazing artists that have paved the way with us and led the street art movement here and abroad.
Nuria Mora (Madrid 1974) lives and works in Madrid. Mora became well known for her urban interventions that pop up on walls and take over advertisement stands around the world. She seamlessly integrates colourful, angular patterns and nature inspired illustrations with their surrounding environment to reassert aesthetic values and to create a new appreciation of the space around us. (1AM press release)
First Amendment Gallery. 1000 Howard street. San Francisco, CA 94103.
Image: Nadja Caja. Nuria Mora
16 january – 14 march, 2015
3 + 1 Arte Contemporânea is please to present the first solo exhibition of Cristina Garrido in Portugal at the gallery. Under the title They are these or they maybe others, the exhibition presents a new series works which question the modes of contemporary art practices in eight acrylic on photographic pieces. Based on files such as Contemporary Art Daily, This is Tomorrow, gallery websites and social networks, Garrido builds a digital archive of some 2,500 images grouped into 21 categories, corresponding to exhibitions around the world over the past four years, a path that would be impossible to make in person.
These images make up the base construction of the eight memes (a series of 17) 100 x 66 cm that compose the exhibition. Phrases on top of photographs, painted with white paint and black outline, described in a factually process reminiscent of One and Three Chairs (1965) by Joseph Kosuth. “Luisa Santos, December 2014. (Excerpt from exhibition text Garrido)
Garrido continues her exploration into the systems that exist in the Art World; how value is attributed to artworks, questioning authorship, the roles of “art” institutions directly and indirectly in reference to her own practice. Often employing found materials or objects – including posters, postcards, the artist subverts its contents by applications of acrylic paint deleting or adding to the original “composition”, or replicating the original by hand in turn changing the narrative, value and context.
During the exhibition the artist highlights the issue of questioning the boundaries of authorship by inviting the public to download the works in poster form. In the process the works themselves revert to their meme form blurring the line between the unique work and their copies. (Arte Contemporânea press-release)
3+1 Arte Contemporánea, rua antónio maria cardoso, 31 (chiado) | 1200-026 lisboa
Image: Cristina Garrido, They are these or they maybe others/#CARDBOARDBOXES, 2014, Acrylic on RC photo laser print, 100 x 66 cm ( courtesy of the artist and 3+1 Arte Contemporânea)
january 6 - February 3, 2014
Under the title “Syntaxa” Juanli Carrión presents his third solo show at Y Gallery. He will unveil a new series of large scale drawings and one video. These works connect directly with his recent public art project about immigration: Outer Seed Shadow #01 (O SS#01).
Commissioned by the NYC Department of Parks & Recreation, OSS#01 was the first in a series of site specific installations in the form of geopolitical gardens that materialize the union between plant and human behaviors
The garden consisted of thirty five different plant species in a Manhattan shaped planter, placed according to the real life locations of the thirty five immigrant interviewees participating in the project, who shared with Juanli their stories of arrival to NYC in taped conversations in their homes. The resulting sculpture functioned as a community garden for which the local community was responsible to ensure the survival of the flora. www.outerseedshadow.org
The exhibitionʼs title derives from phytosociology, the branch of ecology dealing with the origin, composition and interaction of plant communities, in which groups of vegetation defined by population diversity, geography, and other characteristics are classified according to “syntaxa”. This nomenclature system is used to describe plant communities both as individually functioning, closed ecosystems and in relation to a greater geobotanic hierarchy. After observing the evolution and interaction between the syntax in OSS#01, Juanli turned his attention to the interplay between text and image, and the syntax of the United States Immigration and Nationality Act (INA) to highlight the complex beauty of plant and human migration from one land to another, reconciling similarities between the distribution of plant species and expatriation to create an allegory of immigration in the USA. The pieces were made by coloring individually the 921,402 characters of the INA to Create botanical illustrations each representing one of the plants chosen for SS#01ʼs garden.
Juanli Carrion (b. 1982 Yecla, Spain) lives and works in Brooklyn. His exhibitions include the Contemporary Art Museum of the Basque Country ARTIUM, Centro Parraga Museum , La Casa Encendida, Rosa Santos Gallery, and MuVIM (Spain); Art Institute of Chicago, White Box, Abrons Art Center, Y Gallery, Friedman Benda Galleryand BAM (USA); ExTeresa Museum and San Luís Potosi Center for the Arts (Mexico); The Royal West of England Academy (UK), and the National Museum of Art (Trinidad & Tobago) among others. He has been in residency at Espaço Fonte in Brazil, LMCC Workspace and ISCP in NYC, Nagoya University in Japan, ADM and IAGO in Mexico, and Kuona Trust in Kenya, among others. In 2012 he was awarded the Visual Arts Prize “Generación 2012” by Caja Madrid Foundation, Spain, and was nominated as best young photographer for the ICP Infinity Awards, New York. (Y gallery press-release)
Y Gallery. 165 Orchard St. New York, NY 1002
Image: Olivia Populus Tremula, Color Pencil on paper. Juanli Carrión 2014
20 january – 1st march, 2015
"Nature, childhood, art history… those are the main references in my work... but ethical-political nuances also play into it.
My imagination is populated by living and dissected animals, landscapes and children, and is currently being enriched with some portraits of my influences from art history and literature. With great reverence and joy, I have painted Grosz, Beckmann, Otto Dix, Thomas Mann and some other people as a love letter to art, but also full of sorrow for the great flaw in the society of that time: non-resistance. Bergman in "The Serpent's Egg" and Haneke's in "The White Ribbon" illustrate very well how close hell is to paradise. Bergman shows how society in Berlin of the 20s began to darken to an eternal winter. Haneke takes us back a further generation and analyzes the society that brought forth the incomprehensible. This society of "good thinking" in the 19th Century gives me a number sweet motifs full of idyllic images, landscapes, poems about love and hate, an Arcadian orgy. For inspiration, I have taken books on poetry and love from the 19th century and "polluted" or "enriched" them: a beautiful package for "noble" content. The same happens to the frames, which are the cradle or the loudspeaker of dirty and blessed painting. The overstraining of paradise and the metaphor of untouched, fresh-fallen snow – that infinite and antiquated white – lend this exhibition its title." Santiago Ydañez.07.05.2013
Santiago Ydañez was born in Jaén, 1967. Lives and works in Berlín and Granada (Spain). Graduated in Painting from the School of Arts of Universidad of Granada, Ydañez is one of the most internationally recognized spanish artists of his generation. Santiago Ydañez was awarded the Premio de Pintura ABC in 2002, Premio de Pintura Generación 2002 - Caja Madrid, Beca del Colegio de España in París - Ministerio de Cultura in 2001 and the Beca de la Fundación Marcelino Botín in 1998. Ydañez work is represented in several Institutional Art collections such as: Fundación Botín (Santander), Museo Nacional Centro de Arte Reina Sofía (Madrid), Museo Sofía Imber Caracas, Venezuela. (Dillon gallery press release)
Dillon gallery. 555 West 25 Street, New York, NY 10001
Image. S/T. Selfportrait, Santiago Ydañez . 2014
31. January 2015 - 25. May 2015
With his imaginative motifs, Joan Miró (1893–1983) is one of the most popular twentieth century artists. He envisioned a dynamic art that makes its way into life. For him, painting meant creating his own, unique world. Instead of rendering reality, his work was characterized by a new emotional visual language. In February 1920, the 27-year-old Miró left his native city of Barcelona in a quest for inspiration and recognition in Paris. He moved into a studio on rue Blomet which became a gathering place for literary Paris. Miró, who loved to read, was greatly influenced by his friendship with such avant-garde writers as Tristan Tzara, Robert Desnos, Paul Éluard and Michel Leiris. Miró pushed the boundaries of painting and incorporated words to generate associations in many of his painting poems – a term that became the title of many of his works after 1925. The exhibition Miró. Painting as Poetry illustrates how Miró’s pictorial symbolism emerges from his playful treatment of words and images. In the same way that he was inspired by literary works, his own works inspired poets, including André Breton, spokesman of Surrealism. Miró and his literary friends worked on many joint projects together. In addition to around 50 paintings from all of his creative periods, the exhibition will show a representative selection from the more than 250 illustrated books that he designed.
Loans come from the Successió Miró, the Fundació Joan Miró in Barcelona, the Fundació Pilar i Joan Miró a Mallorca and museums in Europe and America.
In collaboration with the Kunstsammlung Nordrhein-Westfalen. The exhibition is under the joint patronage of Mateo Isern Estela, Mayor of Palma de Mallorca, and State Secretary Wolfgang Schmidt, Commissioner of the Free and Hanseatic City of Hamburg to the European Union. The exhibition is sponsered by ExxonMobil, Bankhaus Lampe and Lampe Asset Management.(Bucerius kunst forum press-release)
Bucerius Kunst Forum gGmbH. Rathausmarkt 2. D-20095 Hamburg
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965, Privatsammlung als Dauerleihgabe in der Fundació Pilar i Joan Miró a Mallorca, © Successió Miró / VG Bild-Kunst, Bonn 2015
LONDON. Angela de la Cruz, Angels Ribé “Adventures of the Black Square: Abstract Art and Society 1915 – 2015” The Whitechapel Gallery
15 january – 6 april, 2015
Curated by Iwona Blazwick and Magnus af Petersens, this major show traces the genesis of geometric abstraction from the early 20th century to present day, shedding new light on its evolution. The exhibition brings together over 100 works by 80 modern masters and contemporary artists including Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica, Alexander Rodchenko, Sophie Taeuber-Arp, Rosemarie Trockel, Theo Van Doesburg and Andrea Zittel, taking over six exhibition spaces across the gallery. The selection of works also includes pieces by Spanish artists Angela de la Cruz and Angels Ribé.
Angela de la Cruz was born in 1965 in La Coruña (Spain). After graduating in Philosophy at the University ofSantiago de Compostela in the late eighties, she moved to London, where she enrolled at the Chelsea College of Art and then furthered her artistic training at Goldsmiths College and the Slade School of Art. Her career burgeoned in 2010 thanks to the show entitled ‘After’, staged at the Camden Arts Center and for which she was nominated for the Turner Prize. Her works are today included in important public collections like Artium Centro Museo Vasco de Arte Contemporáneo (Vitoria, Spain); British Council (London); Contemporary Art Society (London); Colección Helga de Alvear (Madrid/Cáceres, Spain); Colección Iberdrola (Madrid); FRAC (Nord Pas de Calais, France); Fundació La Caixa (Barcelona); Moderna Museet (Stockholm); Morgan Stanley Bank (London); National Gallery of Victoria (Melbourne, Australia); or TATE Collection, (London), among others.
Àngels Ribé was born in Barcelona in 1943 and is part of a generation of artists who embarked on their careers in the late sixties, in the midst of profound political and social changes that had a direct impact on the way artistic practice is conceived. In 1969 she moved to Paris, where she began to develop her interest in art and started to focus on creating actions where the inclusion of elements and materials in nature, the work in the space, the presence of the artist’s or the spectator’s body as narrative elements, and the integration of geometrical forms became a fundamental part of her discourse. With a strong international presence, she worked alongside artists such as Vito Acconci, Laurie Anderson, Gordon Matta-Clark, Lawrence Weiner, Hannah Wilke, Martha Wilson, Francesc Torres, and Krzysztof Wodiczko, among others and is considered one of the most important Spanish conceptual artists of the 70s. (Whitechapel press-release)
Whitechapel Gallery. 77-82 Whitechapel High Street. London. E1 7QX
Image: Dóra Maurer Seven Rotations 1 – 6, 1979, collection of Zsolt Somlói and Katalin Spengler © Dóra Maurer
15 january – 21 may 2015
Jaume Plensa was born in Barcelona in 1955, and shares his residence between Paris and Barcelona. Between his first exhibition in his hometown in 1980 and today, he has been living and working in Germany, Belgium, England, France and the US. Also, teaching at the École Nationale des Beaux-Arts in Paris, giving lectures at a wide array of universities and art institutions, currently as professor at the School of the Art Institute of Chicago.
His sculptural work has, with time, undergone several changes, but always dealing with humanity, body and soul, in mostly figurative expressions. Even when the body is physically absent, it is implied; by gongs ready to be struck, empty houses or cells waiting to be occupied, or text required to be read. Whether made out of steel, glass, bronze, and alabaster or by light, vibration or sound, his ideas and associations are always brought forward. Plensa believes sculptures to be an extraordinary vehicle for accessing emotions and thoughts. His work asks questions and sets up situations that encourage us to think and think again, to talk with one another, to be silent and meditative, to touch, and experience togetherness. The artist is keen to encourage communication and understanding with others and ourselves, producing work with the hope of reconnecting us with our own souls. For Plensa, life is the key concern and thus art is merely a consequence of it. Still it possesses an enormous capacity to touch people deeply, to introduce beauty into any situation, and to celebrate human potential.
A significant part of Plensa´s production is set in the context of permanent public sculpture. “The Crown Fountain” in Chicago´s Millennium Park is one of his most well known works. In 2005 he finished “Breathing”, which was installed in the new BBC building in London, and in 2007 he made an impressive public project for the Place Masséna in Nice. The huge woman’s head, “Dream”, for St Helens in Liverpool was inaugurated in 2009. He is currently working on several new public projects as “Wishing Well” for the Bow Calgary in Canada, “Mirror” for Rice University in Houston, and “Together” for Chichester Cathedral in UK. Plensa´s work has been exhibited in numerous galleries and museums in Europe, USA and Japan; Fundació Joan Miró in Barcelona, Galerie Nationale du Jeu de Paume in Paris, Henry Moore Sculpture Trust in Halifax, Malmö Konsthall, Museum Moderner Kunst Stiftung Ludwig in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, BALTIC The Centre for Contemporary Art in Gateshead, Musée des Beaux-Arts in Caen, The Nasher Sculpture Center in Dallas, Picasso Museum in Antibes, Galerie Lelong in Paris and New York, and The Yorkshire Sculpture Park to mention a few. (Andersson/Sandström press-release)
Andersson/Sandström Gallery, Hudiksvallsgatan, 6. 113 30 Stockholm
Image: Sanna Dream 2014. Jaume Plensa
22 january – 22 march, 2015
This is an innovative exhibition design that will enable visitors to explore the creative universe of two designers with a renowned career, Pep Carrió and Isidro Ferrer, and also to move around their works through Augmented Reality devices, 2D and 3D animations, video and other multimedia content.
“Think with your hands” has been designed as an experimental project attempting to explore the possibilities offered by new technologies applied to the sensitive and imaginative world of the works by Isidro Ferrer and Pep Carrió.
The project has been developed by Unit Experimental Publishing, a collective comprising researchers in the Faculty of Fine Arts and the Higher Technical School of Computer Engineering at the UPV.
The exhibition comprises over a hundred works by Pep Carrió and Isidro Ferrer, including drawings, notebooks, collages and objects that, viewed through the touch-sensitive screen of a mobile device, are activated virtually and their contents appear multiplied and extended, sometimes very playfully by means of 3D animations, other times through additional documentation and information, through videos and audio material.
“We wanted to investigate the possibilities offered by mobile devices for an exhibition and for this reason we took careful stock in order to imagine all kinds of things or events that might occur when we look at them through screens and bring up other images hidden to the naked eye so as to be able to amplify what we can view at an exhibition”, says Nuria Rodríguez, from the Art and Environment Research Centre at the Polytechnic University of Valencia and curator of the exhibition.
“Think with your hands” allow visitors to experiment and view the works by Isidro Ferrer and Pep Carrió differently, but also to envisage other information-rich formats, such as texts by the artists or interviews, and to relate the work on display with other archive images. It is an experiment that attempts to provide an extensive inventory of the potential offered by new technologies for accessing knowledge and enhancing our perception.
This exhibit invites visitors to explore works in new ways, transforming illustrations into three dimensional experiences through mobile technology. To that end, Artisphere will be providing iPads for public use when exploring the art, free of charge. Once the exhibit has ended these iPads will be donated to a local school(I.Cervantes press-release)
Instituto Cervantes, 31 West Ohio Street, Chicago, IL 60654.
Image: Pep Carrió, Isidro Ferrer.
22 january – 15 february 2015
Mapping the City. Contemporary cartographic art by international street and graffiti artists
Somerset House, in association with collaborative arts organisation A(by)P, will present Mapping the City, an innovative exhibition of works by established and emerging artists from the street and graffiti art scenes, in the newly renovated New Wing of Somerset House in January 2015. To complement the exhibition, Somerset House and A(by)P are planning a diverse series of events, including a series of film and music evenings, artists talks, performances and interactive workshops, all to inspire visitors to re-evaluate their own relationship to the cities in which they live.
Graffiti and street artists have an intimate relationship with the cities that they use as a canvas. They understand and engage with the urban landscape in unique ways – through subjective surveying rather than objective ordinance. Mapping the City will present a series of cartographic representations of the artists’ chosen cities. Ranging from literal to highly abstract, each map will be an individual response to the way these artists experience and interpret the places that they know so well.
The artists selected by A(by)P to take part in the exhibition use a wide variety of media in their practice, from digital technology to illustration, paintings to sculpture, and video presentations to performances. Over 40 of the works were specially commissioned by A(by)P, with artists using their individual aesthetic to share their knowledge of each city’s secrets and challenge visitors to look at their own urban environments in a new light.
Mapping the City follows the success of the exhibition Futurismo Ancestral: An Offering to Peru by Sixe Paredes presented in the lower levels of Somerset House in May 2014. Barcelona-based painter and muralist Aryz (Spain), who received critical acclaim for his mural produced in collaboration with Brazilian artists Os Gêmeos in Poland in 2013, will be presenting a new project for the exhibition.
Participating Artists: 108 (Italy), Aryz (Spain), Augustine Kofie (USA), Boris Tellegen (The Netherlands), Caleb Neelon (USA), Cali Thornhill Dewitt (USA), Chu (Argentina), Cleon Peterson (USA), Daniel K. Sparkes (UK), Egs (Finland), Ekta [Daniel Götesson] (Sweden), Eltono (France), Erosie (The Netherlands), Filippo Minelli (Italy), Gold Peg (UK), Graphic Surgery (The Netherlands), Herbert Baglione (Brazil), Honet (France), Horfe (France), HuskMitNavn (Denmark), Ian Strange [Kid Zoom] (Australia), Interesni Kazki (Ukraine), Isauro Huizar (Mexico),Isaac Tin Wei Lin (USA), James Jarvis (UK), Jurne (USA), Ken Sortais [Cony] (France), Les Frères Ripoulain (France), Lucas Cantu (Mexico), Lush (Australia), Malarko (UK), e Paredes Tibabuzo (Argentina), Mike Ballard (UK),MOMO (USA), Nano4814 (Spain), Nug (Sweden), OX (France), Pablo Limon (Spain), Petro (UK), Remed (France), Remio (USA), Roids (UK), Ron English (USA), Russell Maurice (UK), Shantell Martin (UK)Shepard Fairey (USA), Sixe Paredes (Spain), Susumu Mukai (Japan), Swoon (USA),Tim Head (UK), Vova Vorotniov (Ukraine), Will Sweeney (UK) (Somerset House press-release)
New Wing, Somerset House, Strand, London, WC2R 1LA
13 diciembre 2014 – 7 febrero, 2015
The work of Madoz presents black and white photographs of objects that combine the ordinary with illusory perceptions of reality. The images generate clever imagination games, paradoxes and metaphors which lead him to create his own world, often impregnated with fine irony. Madoz questions reality and invites the viewer to discover hidden poetry in the most common objects by altering their context and their functions.
Born in Madrid, Spain, in 1958, Chema Madoz studied art history at the Centro de Enseñanza de la Imagen. His work has been shown throughout Europe, Asia, South America, and the United States and is in museum collections worldwide. Madoz will have an exhibition in France at Les Rencontres d'Arles Photographie 2014. (MAM press-release)
Mario Mauroner Gallery Weihburggasse 26. 1010 Wien.Austria
Image: Chema Madoz
23 october 2014 – 3 may 2015
What would be about the world without the things that don’t exist?)
Its creation was inspired by the striking experiences provided by the project “Terra Rasgada”, held in the 1990s, in partnership with local artists. The two projects carry in their tittles the meaning of the name “Sorocaba” that, translated from Tupi-Guarani, means “place of slit”.
With execution by Sesc and curation by Josué Mattos, the transdisciplinary project, focused on the visual arts, has participation of artists of different generations and nationalities. It is developed from the interrogative “What would the world be without the things that do not exist?”, inspired by the play “What would we be without the things that do not exist?” conceived and set up in 2006 by Lume Teatro – Núcleo Interdisciplinar de Pesquisas Teatrais da Universidade Estadual de Campinas (Interdisciplinary Core of Theater Research at the University of Campinas).
With the purpose of creating collaborative actions between private and independent local institutions, as well as combing educative processes and continuing education partnerships were established with the Sorocaba City Hall, through the Secretary of Culture. The Estrada de Ferro Sorocabana Museum, Barracão Cultural, Palacete Scarpa Cianê Shopping also cover the project and Patio
Cristina Garrido and Bruno Moreschi presents “THIS IS ART NOW & ART BOOK” If it’s hot in the world today, it’s in these books, this seminar, this wall and this Triennal, the artist duo Bruno Moreschi and Cristina Garrido confronts us with very important questions in the debate concerning modern historiography: Who are the agents that construct history? What aspects define the inclusion of a happening, or a character, in the history books? Who has the power to select the point of view in regard to a determined historical moment? What are the relationships between fiction and reality in the con struction of historical facts?
Inspired by the spacial and social complexity of Brazil’s favaelas, artist and documentary photographer Dionisio González has re-imagined the poor urban dwellings through the lens of modern and contemporary architecture. “Favelas” includes digitally manipulated images from 2004 and 2006 that pose an intriguing challenge to aesthetic notions of shantytowns.
Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artist opens an horizon of visibility of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system. (FRESTAS presss-release)
Frestas Trienal de Arte. Sorocaba. Sao Paulo.
Image: Heliópolis 2006. Dionisio González
24 december 2014 – 8 march 2015
Forty-two years after his first and only solo exhibition in Italy, which took place at the Galatea in Torino, Antonio López García has agreed (upon Marco Goldin’s invitation) to hold his second show in Italy. It is to be an exceptional event since the Spanish artist has always limited the opportunities to see his works. Four of them, which are extraordinary in their beauty, have been added to the vast exhibition on night at the Basilica Palladiana. The five rooms of the ground floor of the Palazzo Chiericati (home to the civic museum), won’t be the only place this exhibition takes place, with the works evenly distributed in the space. The exhibition will begin outside the city walls with two monumental bronze sculptures, Carmen Asleep and Carmen Awake, thanks to a loan from the artist’s collection. They will be located at the beginning of Corso Palladio as a sort of “announcement” of the solo exhibition as well as the exhibition (in line with the theme of night and awakening) taking place in the Basilica Palladiana. The focus on López García’s sculptures will continue within Palazzo Chiericati, with a clear division of materials and themes. For example, Man (2003), the renowned sculpture measuring over two metres tall will be presented on the left side of the building and one of its preliminary sketches will also be on display. These designs are just some of the things that make this exhibition stand out. Two other prominent sculptures, again complemented by their large preliminary sketches, establish the millimetric adherence to reality. This endeavour, as stated in the show’s subtitle, has to do with the secret and magic of silence. Therefore, the other two sculptures will include Hombre tumbado (2011) and a more recent one which was finished last year, Figura de mujer. Fátima. Alternatively, on the right side of the building, there will be a selection of paintings that have helped make López García famous like Madrid from Capitán Haya Street (1986 and 1997) from the Museo Rein Sofía in Madrid. The paintings were created at a slow pace, in a continual discovery of themes that as they deepen, enter a soft yet very pure light, suspended in uninterrupted silence that painting limits in the absoluteness of enduring vision. Along with these more recent paintings, there will be a brief round-up of paintings in two rooms done by López García in his early life, originating from the relationship with his uncle, painter Antonio López Torres. Curated by Marco Goldin.(lineadombra press-release)
Palazzo Chiericati, Piazza Giacomo Matteotti, 37/39, 36100 Vicenza VI, Italy
Image: Antonio López. Madrid from Capitán Haya Street (1986 and 1997) from the Museo Reina Sofía in Madrid.
20 december 2014 – 7 february 2015
The exhibition draws its name from the seminal book by the German Romantic painter Philipp Otto Runge and celebrates the expressive potentiality of colour through the works of four international female artists. The works featured in The Colour Sphere demonstrate each of the artists’ diverse and unique relationship with colour within their contemporary abstract art practice.
Maya Hayuk (Baltimore 1969) lives and works in Brooklyn, New York. She started her artistic career with massively scaled murals recalling a multitude of references, such as mandalas, pop culture and the Mexican muralist movement. From the hypnotizing murals to the smaller works on canvas or paper, Hayuk’s practice is characterised by a vibrant colour palette, geometric abstraction and elaborate patterns.
Nuria Mora (Madrid 1974) lives and works in Madrid. Mora became well known for her urban interventions that pop up on walls and take over advertisement stands around the world. She seamlessly integrates colourful, angular patterns and nature inspired illustrations with their surrounding environment to reassert aesthetic values and to create a new appreciation of the space around us.
Anna Taratiel (Barcelona 1982) lives and works in Amsterdam. With a background in graphic design and mural paintings Taratiel, previously knows as Ovni, developed a style dominated by colour and geometry. Her newest body of works consists of paintings on canvas, drawings and assemblages of found materials, such as tape. The smooth and clear-cut qualities of the recycled pieces of tape invigorate the graphicness of her work.
Clélia Zida (Paris 1980) lives and works in Amsterdam. Zida is an interdisciplinary artist with a background in hand lettering, textile based works and filmmaking, who graduated cum laude from the Rietveld Art Academy in 2005. Her most recent works consist of abstract geometrical drawings with repetitive grid structures and seemingly identical patterns. (Mini galerie press release)
Image: Nuria Mora
Mini Galerie. Kinkerstraat 12A. 1053 DT Amsterdam
MAR DEL PLATA. Ángel Marcos”The Black Sea” 4th International Biennial of The End of the World, "Contrasts & Utopias"
12 december 2014 – 28 february 2015
With more than 150 artists from 35 countries on 5 continents and a new Contemporary Popular Music Festival, the Biennale Argentina, opens on Friday December 12 fourth edition which will run until the end of February
Initially, to develop this Project,”The Black Sea” the work was made at “both sides”, firstly at the Cristianos port in Santa Cruz de Tenerife, attending at the cayuco arrivals, and then in Senegal, specifically in Sant Louis, bordering with Mauritania where they live or attend many of the people who leave on fishing boats (cayucos) to try to achieve their dreams.
Ángel Marcos presents as the main causes that push people to emigrate, the shortage of basic resources and the desire of better-off people who want to share what we sell as quality of life of the first world. They try over and over again in inhuman conditions to reach the other shore. A shore full of traps and tricks that invite to come, but this invitation make some of them lose their lives, others achieve it and meanwhile there is a great illusion coming although the price is high. (Bienal Fin del Mundo press-release)
Bienal del Fin del Mundo, Mar del Plata, varias sedes
Image: Ángel Marcos
AMSTERDAM. Pilar Albarracín, Xavier Miserachs, Isabel Muñoz, Pedro G. Romero & Israel Galván y Miguel Ángel Ríos “Dancing Light / Let it move you” Huis Marseille Museum voor Fotgrafie.
december 13, 2014 - march 8 2015
Pilar Albarracín, Xavier Miserachs, Isabel Muñoz, Pedro G. A photograph is a photograph, and a dance is a dance: stillness versus movement. At first sight these two art forms might seem to be poles apart, but the exhibition Dancing Light, open from 13 December throughout the newly double-sized Huis Marseille, proves the opposite. Along with film and video, photography turns out to be an ideal way to illuminate the characteristic emotionality and transport of dance – its ‘primal power’ to move us. In Dancing Light the ‘dark undertone’ that is characteristic of both flamenco and butoh, and which unites seemingly incompatible opposites such as joy and sorrow or hope and despondency, is linked to many different manifestations of both photography and dance.
To unravel the mystery at the heart of dance the exhibition takes inspiration from flamenco and its concept of duende, that intangible and ineffable moment of rapture when the chemistry between flamenco musicians, dancers and audience bubbles up and overwhelms everyone. Duende (literally ‘elf’ or ‘spirit’) is an untranslatable concept, a mysterious force that is manifested in the combination of certain sounds, words and gestures. Dancing Light captures the raw expression of flamenco in photography and in moving images: from the flamenco legend Vicente Escudero, who used film in the early 20th century to establish a dialogue with modern art, to the extremely individual dance expression of the flamenco dancer Antoñita La Singla, born deaf, whose unique energy was captured in the early 1960s by the photographer Xavier Miserachs. Ranging from various moving video works to the work of the artist Pilar Albarracín, who interprets her Spanish flamenco legacy in an entirely personal way. It is, of course, true that once a dance is over its momentum vanishes; but a photo or video not only fixes our original experience, it also independently adds something to our memory.
The photographer Noaya Ikegami documented every performance by the legendary butoh dancer Kazuo Ohno from 1977: ‘I was astonished by the strong emotional energy coming out from Ohno’s body, which required me to use all of my energy to photograph him.’ Kazuo Ohno in turn had been so moved by a performance of the Spanish dancer Antonia Mercé y Lucque (‘La Argentina’) that she became the inspiration for his famous piece ‘Admiring La Argentina’, which he performed until his death in 2010. Ikegami’s photographs have captured forever deeply poignant moments from performances by the ageing Ohno dressed as ‘La Argentina’, and the power and expressiveness of these photographs have earned them a fame of their own. Choreography is used to define and prescribe dance movements, but in fashion photography it is used to make poses more natural. Dancing Light shows how stiff the corset of classical ballet can be, in a poignant and inadvertently comic work, full of awkward movements and flailing limbs, by Doa Aly, who subjects her untrained body to 48 ballet lessons. The fluidity of the movement of trained dancers is analyzed in ultra-slow motion in David Michalek’s Slow Dancing. Guido van der Werve’s video Nummer twee links classical ballet with a staging of death and hope, and in Untitled (Ghost) by Elad Lassry the spirit of the dance is almost literally personified. Choreography is the beating heart of these artworks, the rhythm of – and the vehicle for – works inspired by dance.
Parallels are drawn with the primal forces of nature: flocks of birds by Lukas Felzmann, birdwing hand movements in photographs by Xavier Miserachs and Isabel Muñoz, the surprisingly frequent presence of ‘dancing with animals’, and the spontaneous eruption of dancing in the street, as in the 14th of July celebrations in Paris in the 1950s immortalized by the Dutch cinematographer Johan van der Keuken.
With work by: Pilar Albarracín / Doa Aly / Valérie Belin / Frank van den Broeck / Vojta Dukát / Marco van Duyvendijk / Vicente Escudero / Lukas Felzmann / Scarlett Hooft Graafland / Craigie Horsfield / Naoya Ikegami / Dora Kallmus / Johan van der Keuken / Elad Lassry / Jochen Lempert / Danielle Levitt / Herbert Matter / Carlijn Mens / Antonia Mercé / David Michalek / Xavier Miserachs / Isabel Muñoz / Yuki Onodera / Paolo Porto / Pedro G. Romero & Israel Galván / Miguel Ángel Ríos / Benjamin Roi / Tejal Shah / Martine Stig / Wolfgang Tillmans / Guido van der Werve / and others
Dance performances will be given during the exhibition, as well as at its opening, in collaboration with the Flamenco Biënnale.(Huis Marseille press-release)
Huis Marseille Museum, Keizersgracht 401,1016 EK Amsterdam
Image: Xavier Miserachs, ”Antoñita Singla”
29 november - 2014 – 15 february 2015
The exhibition presented in Zachęta, “Progress and Hygiene”, is devoted to the pitfalls of modernization in the context of the idealistic faith in progress and the possibilities of “betterment” common to both art and science at the beginning of the 20th century. It was conceived as an essay which critically analyses such phenomena as genetic engineering, eugenics or research into the purity of races, also drawing attention to their continued impact on today’s world.
The exhibition is composed of the works of Polish and foreign artists realised in a diverse range of media – such as painting, installations, film and photography – and of others especially prepared for the exhibition. The context for these will be formed by historical materials, including posters, archival photographs and documentation. Through the confrontation of contemporary works with those from the modern period, the spectator will be able to explore such themes as social health, eugenics, social engineering, racial hygiene, national identity, the problem of the “other” and exclusion, or even cosmetic surgery and self-creation. “Progress and Hygiene” poses a question as to what today has remained of the idea of modernism and as to the directions in which contemporary modernization is heading.
Artists: Nelly Agassi, Korbinian Aigner, Mirosław Bałka, Yael Bartana, Anna Baumgart, Rafał Bujnowski, Robert Capa, Marek Cecuła, Jan Fabre, Jorge Galindo, Felix Gmelin, Hadassa Goldvicht, Dina Gottliebova-Babbitt, Jos de Gruyter & Harald Thys, Marianne Heske, Erez Israeli, Sonia Khurana, Anna Konik, Zofia Kulik, Zbigniew Libera, Bernard Moreau (Tymek Borowski & Paweł Śliwiński), Ciprian Mureşan, Michael Najjar, Marina Naprushkina, Jean-Gabriel Périot, Krystyna Piotrowska, Agnieszka Polska, Joanna Rajkowska, Gerhard Richter, Hans Richter, Leni Riefenstahl, Alexander Rodchenko, Wilhelm Sasnal, Ahlam Shibli, Chiharu Shiota, Santiago Sierra, Pablo Sigg, Luc Tuymans, Magnus Wallin, Vadim Zakharov, Zuza Ziółkowska. Curator Anda Rottenberg
Zachęta – Narodowa Galeria Sztuki.pl. Małachowskiego 3.00-916 Warszawa
Image: “Los Encargados” Santiago Sierra y Jorge Galindo
december 18, 2014 -17 march 2015
This dialogue between Chinese and Spanish contemporary art comes from the hand of three residents contemporary artists in Beijing Ren Bo,
Carlos Sebastia and Gisela Ràfols. His works, albeit from different points, they lead to the same destination, the dematerialization of being. . (I.Cervantes press-release)
Instituto Cervantes. A1 Gongti Nanlu. 100020 Chaoyang Beijing
Image: Gisela Ráfols
13 december 2014 – 25 february 2015
Lois Patiño presents his first exhibition in Portugal. After his presence in the past editions of Curtas Vila do Conde — International Film Festival, the Galician director Lois Patiño presents his first exhibition in Portugal. "A Double Immobility" opens on December 13th, by 6 pm, at Solar – Cinematic Art Gallery, in Vila do Conde, Porto. Under the scope of the Cave project, dedicated to the promotion of emerging authors, Patiño invited the Spanish artist Carla Andrade to exhibit her work at Solar during the same period.
"A Double immobility" presents a series of video installations filmed in different locations - Iceland, Morocco, France and Galicia - including an original work created especially for this exhibition.
Exploring the concept of landscape, the work of Lois Patiño establishes a dialogue between body and space, space and time, movement and stillness, leading the viewer to observe the images through a new perspective and to reflect on their situation as a human being in a certain period of time. For this, the gallery is transformed into a space that allows a landscape experience from a contemplative and sensory vision.
In addition to the landscape, video installations related to body experience as something ghostly will also be presented. In the images, totally immobile individuals are presented contrasting with the natural elements that are moving: the water of the river, the tree branches and the light. Lois Patiño therefore follows the concept of the French philosopher Gaston Bachelard, establishing a difference between "horizontal time", which is the time of nature, wind and water, and the "vertical time", the poetic image, inner time experienced by consciousness.
Under the scope of the Cave project, dedicated to promoting the work of emerging authors, Patiño invited the Spanish artist Carla Andrade to exhibit her work at Solar during the same period. In "The Overflowing" we immerse ourselves in a symbolic trip through a subjective nature, which is experienced directly, without analysing it. Working mainly in photography, Carla Andrade has a powerful and poetic work in video and 8mm. The artist also collaborated in "Costa da Morte", the award-winning documentary directed by Lois Patiño. The feature film had its world premiere at the Locarno Film Festival, where Lois Patiño received the award for Best Emerging Director. Subsequently, "Costa da Morte" has been presented on many and prestigious international film festivals and was awarded in South Korea, Mexico, Italy, Chile and Spain.
Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Documentary Film at Pompeu Fabra University in Barcelona. He has developed courses of videocreation in the UdK of Berlin, and in different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor, Erice, José Luis Guerín or Daniel Canogar. His videos and videoinstalations have been shown in art centres such as Centro Cultura San Martín (Buenos Aires), Casa Encendida (Madrid), CCCB (Barcelona), MARCO (Vigo), Fundación Luis Seoane (A Coruña). His films have been screened in international film festivals such as Locarno, Rotterdam, San Francisco FF, Ann Arbour, Cinema du Rèel, Rome IFF, Viennale, Jhilava, Curtas Vila do Conde, Media City, Punto de Vista, Rencontres Internationales París/ Berlín/ Madrid (Centre Georges Pompidou, Paris), and also at Reina Sofía Museum (Madrid) and Haus der Kulturen der Welt (Berlin), among many other presentations.(Solar press-release)
Solar de São Roque. Rua do Lidador, Vila do Conde. Porto. Portugal
Image: Lois Patiño
6 december 2014 – 15 february 2015
What material does an artist select, and for what reasons? The international group exhibition Living in the Material World examines the role of materials in contemporary art. The aspect of materiality has again come to represent a key concept for a young generation of artists today. In the 1960s the definition of art was expanded radically due to the questioning and re-evaluation of various materials. However, the possibilities of digital technology led to a reduction in the importance of concrete materials at the end of the 20th century. In contemporary art the aspect of materiality is being addressed once more against the background of current social and cultural developments, and is even being elaborated further, and transformed. The twelve artists invited to participate in the exhibition focus on the characteristics and narrative potential of such diverse materials as concrete, wood, ceramics, glass, plastic or paper. They take up artisanal traditions and industrial production methods, are occupied with recycling and do-it-yourself, devote themselves to material analysis and the reconstruction of specific places and objects, or develop fragile architectonic constructions.
Lara Almarcegui is born in Saragossa, Spain, in 1972. She lives and works in Rotterdam
Since the mid-1990s, Lara Almarcegui has been interested in the “interstices” that exist in urban and suburban areas, the empty lots, underground passages, ruins and construction sites, spaces that are normally ignored or overlooked, which she rigorously studies in order to pass on her experience of them.
Artists: Lara Almarcegui, Michael Beutler, Karla Black, Berta Fischer, Theaster Gates, Ane Mette Hol, Jessica Jackson Hutchins, David Jablonowski, Markus Karstieß, Alicja Kwade, Marie Lund, Oscar Tuazon. (AC/E press-release)
Galeríe im Taxispalais. Maria Theresien Straße 45 6020 Innsbruck Austria
Image:Nick Ash, Taxispalais gallery
11 december – 11 february, 2015
The current global capitalist constellation has been rendered vulnerable by the crisis of capitalism itself, which has proven to be inimical to human rights. This condition opens a space for the construction of alternatives from which new meanings, knowledges, courses of action and goals in the political, economic and cultural realms of global society may take shape. This challenge concerns the urgent task of the cultural worker as artist and political thinker today. A requisite for this task is a reflexivity that must bear within itself the necessary critique of ideological premises that shape artistic practice. Therefore, the aim of this project is both to thresh out a critique of capitalism and advance alternatives derived from social struggles and contending rationalities
The interest of global monopoly capital in increasing private profit while paying lip service to human rights defines the contemporary political scenario. Whereas the majority of theories and hypotheses are driven by a will to reform governing models and pursue supposed fundamental changes, they are paradoxically compatible with capitalism, which has established a compartmentalized form of knowledge production, prohibiting ways of seeing and acting that are collective, integrative and universal. Hence, it is necessary to subtract from the dominant theoretical supplements to capitalism and advance alternative thought and practice to give way to new models of existence and cooperation. (AC/E press-release)
Galería Umberto di Marino. Via Alabardieri 1 – 80121 Nápoles. Italia
Image: Paloma Polo
4 december 2014 – 20 march 2015
The Centrale for contemporary art shows for the first time an exhibition of a major artist of the Brussels art scene. Emilio López Menchero, a Brussels citizen of Spanish origin, was singled out by his performances in the capital (such as Checkpoint Charlie at the Canal – 2010) and the emblematic urban integration Pasionaria, a megaphone near the South Station – 2006. Multifaceted artist, he developed a protean work (painting, video, photography, performance). At our suggestion, he chose to enter into dialogue with the world-renowned artist, Esther Ferrer, a pioneer of performance art. Both of Spanish origin, their efforts come together through the themes of identity and corporeality. An exceptional exhibition of two artists for whom art is a political space for freedom beyond the dictates of all kinds. (The Centrale press release)
Place Sainte-Catherine 44 Sint-Katelijneplein Bruxelles 1000 Brussels
Image: Emilio López Menchero
22 november 2014 – 10 may 2015
By 2030 the world population will have grown to a staggering eight billion. Of these people, two-thirds will live in cities. And most of them will be poor, with limited access to resources. This uneven growth will be one of the greatest challenges faced by societies all over the world. In the coming years, municipal authorities, urban planners and designers, economists and many others will have to join forces to prevent major social and economic disasters. They will all have to work together to ensure that these expanding megacities are inhabitable places.
The exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities has brought together six interdisciplinary teams of researchers and professionals who, for 14 months, have held workshops aimed at examining new architectural possibilities for six world metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York and Rio de Janeiro. Each team has developed a proposal for a specific city to be presented in November 2014 at the MoMA. The proposals have taken into consideration how the emergent forms of tactical urban planning can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions and other major issues in near-future urban contexts. They have all defied the current assumptions about relations between formal and informal, bottom-up and top-down urban development.
AC/E is collaborating by supporting the participation in the project of the Zoohaus group, which has carried out research on the city of Lagos through its project Inteligencias Colectivas (Collective intelligences). Zoohaus is a creative networking platform that was started up in 2007 to combine the interests of various agents related to architecture and other peripheral disciplines. This platform focuses its interests on projects that reinterpret urban dynamics through fields such as architecture, urban planning, art and the economy and its work is underpinned by community participation and reactivation. (AC/E pres-release)
MOMA, 11 West 53 Street, New York, NY 10019
Image: MOMA. N.Y.
8 november– 16 february, 2014
This landmark exhibition features rarely loaned works from more than 20 international art museums and private collections worldwide pairing these two legendary artists.
Over 80 works –with a focus on paintings, and also featuring drawings, prints and sculpture– are on display exclusively at The Dali Museum in St. Petersburg, Florida, from November 8, 2014 through February 16, 2015 (and at the Museu Picasso in Barcelona from March 19–June 28, 2015).
The story of Pablo Picasso and Salvador Dali is one of influence, rivalry, and artistic greatness. This exhibition presents these two giants of modern art who changed the way we understand images and the role of the artist. They are presented side by side in this exhibit, perhaps for the first time.
This exhibition shows how these artists were shaped by the currents of their time. Yet, their individual and insistent reactions to these currents inspire us all to find our own ways. Each artist, drawing his art from an interior and personal vision, tried to rescue the power of art from meaningless invention. In so doing they changed the ways that art was understood.
Picasso/Dali, Dali/Picasso was organized by The Dali Museum and the Museu Picasso, Barcelona, with the collaboration of the Fundació Gala-Salvador Dali and is supported by an indemnity from the U.S. Federal Council on the Arts and the Humanities. (Dalí Museum press-release)
DalíMuseum. One Dali Blvd,St. Petersburg, Florida 33701
Image: Pablo Picasso. Femme dans un fauteuil rouge. 1939
EINDHOVEN. Antoni Miralda y Fernando García-Dory “Confessions of the Imperfect: 1848 – 1989 – Today” Van Abbemuseum
22 november 2014 – 22 february 2015
A traverse through modern culture. Confessions of the Imperfect is an exhibition on art, design, life and work, structured as a practical and experiential survey of the modern world. The exhibition presents a diverse mix of historical material, design and contemporary art projects to reflect on but also to use. It takes its title from the Romantic art critic and social reformer John Ruskin, who in Stones of Venice (1869), presented a holistic and ecological view on the relation between art and life as a perpetual and necessary struggle with human imperfection. “We may expect that the first two elements of good architecture should be expressive of some real truths. The confession of Imperfection and the confession of the Desire of Change”. You could not summarise the modern dilemma more succinctly than this. We dream of a perfect world which is actually within reach with all our technological progress, but every time that we achieve our ideal, the utopia we dream of turns out to be a dystopia.
He developed this vision as a critique of industrialising and capitalist societies that tried to resolve human imperfection through standardised forms of production and government. Instead of worrying about the outcome, however, Ruskin suggests we should focus on the process. How can we live life artfully and experience work not only as toil for reward, but as an organic part of a total social and ecological system of life and work? This question inspires this exhibition to take an unusual tour through modern times Artists: The basis of the exhibition is an impressive, architectural intervention by artist Liam Gillick, who constantly puts up different barriers in the exhibition based on the barricade, which the visitor has to conquer in a playful way. In this architecture you will come across new and old work by artists including Constant, Jeremy Deller, Fernando García-Dory, Liam Gillick, Renzo Martens, Antoni Miralda, Li Mu, Wendelien van Oldenborgh, Alexandra Pirici & Manuel Pelmus, John Ruskin, Static and Akram Zaatari. Curators: Steven ten Thije, Alistair Hudson. Curators: Steven ten Thije, Alistair Hudson. (Van Abbemuseum press-release)
Van Abbemuseum. Bilderdijklaan 10.5611 NH Eindhoven. The Netherlands
Image: Miralda, Power Food Canbarricade, 2014. Courtesy Missile Energy Drink
14 november 2014 – 15 february 2015
“Turning Points” is the title of the contemporary art collective exhibition organized by EU Cultural Institutes represented in Hungary (EUNIC) in partnership with the Fine Arts Museum of Budapest and the National Gallery of Hungary. The exhibition’s opening ceremony will take place in November the 13th and will be open to visitors from November the 14th 2014 until the 15th of February 2015.
Within the context of the First World War Centenary (1914), the 75th anniversary of the Second World War (1939), the 25th anniversary of the Fall of the Berlin Wall (1989) and the 10th anniversary of EU enlargement to Central and Eastern Europe (2004), this art project, led by curator Zsolt Petrányi, pays tribute to the most relevant happenings of the 20th century, those events that made a significant turning point in the European contemporary history. With the aim of exploring last century’s history, the exhibition will display a collection of works of twenty six artists from sixteen different and diverse countries, as the UK and Israel or Japan and Spain may suggest.
The Spanish artists who take part in this exhibit are Javier de Villota and the work team Democracia. Javier de Villota, an architect, painter, and sculptor with a long professional career, will exhibit his series “Los Grises” (“The Grays”), draw with pencil and pastel. Democracia, a team work with Iván López y Pablo España, will display three channels video art installation under the title “Ser y Durar” (“To Be and to Last”) . (AECID press-release)
Galería Nacional de Budapest, 1014 Budapest, Szent György tér 2.Hungary
Image: Colectivo Democracia
LONDON. Libia Castro y Ólafur Ólafsson “The Partial Declaration of Human Wrongs” Waterside Contemporary
20 november 2014 – 15 february 2015
The mobility grants awarded by AC/E are enabling the artists Libia Castro and Ólafur Ólafsson to take part in an exhibition project at London’s Waterside Contemporary, for which they are developing a fragment of their project The Partial Declaration of Human Wrongs. This project consists of a series of works based on texts published in newspapers by the British philosopher Nina Power and a large installation on the façade of St. George’s Hall in Liverpool. The texts underline how easy it is to subvert, ignore and corrupt the rights enshrined in the Declaration of Human Rights.
Castro and Ólafsson use many artistic strategies to promote political debate, from advertising to public interventions and music – elements that can be seen in the exhibition at the Waterside, on the façade of the gallery. In addition to the exhibitions, a series of parallel activities will be staged, including a talk at the gallery with Nina Power and the screening of works by video artists at Tate Modern. The whole project will be compiled and published by Waterside Contemporary. (AC/Españolana press-release)
Waterside Contemporary. 2 Clunbury Str. London N1 6TT
Image: The Partial Declaration of Human Wrongs. Libia Castro y Ólafur Ólafsson
ALBURQUERQUE. “VAIVEN. Six visual journeys back and forth between Spain and the U.S” Instituto Cervantes
november 21 – february 20, 2015
An exhibition featuring six photographers from Spain and the U.S. who interpret the realities of both countries from multiple perspectives, creating a visual round trip.
The dichotomy of belonging to two places and the constant play between the influence of cultural background versus the setting, remains the core of this exhibition. Memories, popular culture, identity, the every day life, nature and urban spaces function as starting points to analyze the motivations and expectations that lie behind each photographic series.
The diverse backgrounds of all the artists meet on the common grounds of their intersecting perspectives of both countries. Born in Madrid and raised in Maryland, Ana Hayes-Pérez, explores her personal connection with Spain through souvenirs and family memories. Spanish photographer Raúl Urbina observes Chicago by foregoing its iconic side to focus on the city’s driving forces, from its people to its infrastructures. Hailing from Canada and born to Spanish parents, Chicago based photographer Xavier Nuez uses dark alleys and ruins of the city to turn his pictures into monuments that give dignity to rejected urban spaces. Javier Corso reinterprets the military imagery of Spain through the strong visual references present in the popular culture of the U.S. Tarragona-born photographer Monica Lek uses her photographs of New York to reflect the human reality of the city through portraits of her neighbors. New York-based photographer Carla Tramullasanalyzes the process of remembrance with shots snapped on her trips across the US with her grandfather’s Leica. (I.Cervantes press release)
Instituto Cervantes, 1701 4th St SW, Albuquerque, NM 87102
Image: Carla Tramullas
31 october 2014 – 02 february, 2015
'The Copenhagen Declaration' is one large installation that fills the whole of Faurschou Foundation’s exhibition space. As with Haaning’s and Sierra’s other works, this is a work that takes its point of departure in socioeconomic and political matters. The work operates in the field between the ceremonial, formal declaration and the open statement of this declaration, which is dependent on context and the cultural background of the viewer. The artists have no wish for a direct communication or interpretation of this work, and there is no indication of who is the source or who is the recipient. Both Jens Haaning’s and Santiago Sierra’s works deal with issues of national origin, state boundaries and cultural differences, and their works urge reflection over the state of the world.
SantiagoSierra (b. Madrid 1966) is preoccupied in his practice with, among other issues, problematizing the value of labour, as can be seen in the many works where he pays excluded social groups to participate in what are often quite pointless, physically exhausting, directly humiliating, labour. This can be seen in the work '10 People Paid To Masturbate' (2000) where ten men from Havana, Cuba, were paid 20$ to masturbate alone in front of a video camera. In '133 Persons Paid To Have Their Hair Dyed Blond' (2001) 133 illegal immigrants from third-world counties in Asia and Africa were paid to have their hair bleached in connection with the Venice Biennale the same year. A small group of immigrants who primarily lived by selling copied bags were subsequently invited to sell bags as part of the actual art exhibittion. The work 'NO' (2009) consists of a simple “No” in large black-painted letters. The expression only takes on meaning when it is placed in a context and the meaning changes depending on the specific setting of which it forms a part. Sierra in other words offers us a work that is on the one hand meaningless, but on the other hand can be inserted in a multitude of contexts and functions as a kind of protest or opposition to the way things work. (Faurschou Foundation press-release)
Faurschou Foundation. Klubiensvej 11. 2150 Nordhavn. Denmark
Image: Installation view of the exhibition “Jens Haaning / Santiago Sierra: The Copenhagen Declaration” at Faurschou Foundation Copenhagen. Photo by Guston Sondin-Kung, © Faurschou Foundation
30 october 2014 – 1 february 2015
Salvador Dalí’s artworks are traditionally divided into periods, directly related to the geopolitical situation in the world. However, the exhibition in the MMOMA will not be arranged chronologically. Viewers can choose the way they go through the exhibition themselves. The show is divided into two parts, inextricably connected with each other. The first one will demonstrate Dalí at work. Covers and articles for Vogue, GQ, TV Guide, Newsweek, Town&Country, This Week magazines and many other editions will introduce the audience to Dalí the illustrator and the art director, the writer and the editor. The MMOMA halls will tell about each new role of the artist. The second part is a world of images which are an integral part of the era of the Fourth Estate, where the artist worked. Giant eggs, female legs in Bryans Hosiery, lips and, of course, Dalí’s famous mustaches recreate the unique space of Dalí’s mad world. But surrealism will be interrupted by a hall of ratio, without which it is impossible to imagine the work of the genius with media. Numbers have accompanied from the very beginning of his creative work be it circulation of a publication he has contributed to, a number of covers or the author's emoluments he received from one of the largest publishing houses.
Dalí’s oeuvre in mass media was inextricably connected with the imagery one finds in his art. His work as an illustrator was neither casual nor a temporary passion. It was one of the foundations of his total oeuvre. (MMOMA press-release)
MMOMA, 10 Gogolevsky boulevard
Image: Photo Monde, 02/1954. Image Rights of Salvador Dalí reserved. Fundació Gala-Salvador Dalí, Figueres, 2014
18 october 2014 – 1 february, 2015
A Curitiba new look. That's what Isidro Blasco proposes in his solo exhibition entitled Landscape Deconstruction in the Muma Curitiba Municipal Art Museum. Curated by Denise Gadelha, the exhibition is an art installation of 26 meters long. They are photographs and videos offering to visitors a different perception of the city.
Isidro Blasco (Madrid 1962) combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. Using digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist’s personal cityscape. His work often references the realm of private or domestic space. Blasco normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that Blasco orchestrates risk comparison with the actual streetscapes or rooms he’s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Blasco’s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new.
Isidro Blasco (b.Madrid 1962) is held in the collections of The Museum of Modern Art in New York, The Whitney Museum of American Art, The Chicago Institute of Contemporary Art, The Baltimore Museum of Art and many International Museums.
(MUMA press - release)
Image: Isidro Blasco
october 25, 2014 – march 08, 2015
Mallorcan artist Bernardí Roig installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum.
Bernardí Roig (b. 1965) participates in the contemporary art projects series Intersections at The Phillips Collection. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary.
Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light —whether a single light bulb, neon tubes, or fluorescent lights— Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.
Intersections is a series of contemporary art projects that explores —as the title suggests— the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. Whether engaging with the permanent collection or diverse spaces in the museum, the projects suggest new relationships with their own surprises. Many of the projects also riff on the nontraditional nature of the museum's galleries, sometimes activating spaces that are not typical exhibition areas with art produced specifically for those locations.(Phillips Collection press-release)
The Phillips Collection, 1600 21st St NW, Washington, DC 20009
Image: An illuminated head for Blinky P. (The Gun) (2010) Galerie Klüser, Munich
23 september 2014 – 1 february 2015
The exhibition titled ‘Joan Miro: Women, Birds and Stars’ focuses on the artist’s mature period and is partly organized by Joan Miro Foundation in Barcelona.
Creations including oil and acrylic paintings, lithographs, etchings and assemblages with relevant models and drawings as well as his textiles and ceramic works will be exhibited.
Speaking at a press conference at Sabanci Museum, director Nazan Olcer said that preparation for the exhibition took three years."Our dream was to add the third link with this great Catalan master to the trilogy of Spain’s great masters," Olcer said, referring to the museum’s earlier exhibitions of Pablo Picasso and Salvador Dali.
"Some of his art in different techniques and some of his personal belongings will be exhibited for the first time in Turkey," she added. "A series of documentaries will also be shown at the exhibition thus giving us the chance to observe the artist’s life, inner world, his transformations, friends, anger and reaction to the political events in his country and in the world," she said. Miro's grandson Joan Punyet Miro was also at the launch. Speaking to The Anadolu Agency, Punyet Miro said that one of the objects displayed at the exhibition had a special meaning for him as it reminded him of his childhood. Posing along with a water tap he said: "When I was a child I was using the water tap to fill a tank where I was swimming in Catalonia. One day the water tank disappeared and it was used in one of his sculptures."
Punyet Miro described the exhibition as "complete" as there are paintings, drawings, sculptures and tapestries. Rosa Maria Malet, director of the Joan Miro Foundation, said that Miro defined himself as 'painter' but a painter who tries to work with all kind of material that he finds. "He was a big explorer and a big teacher; Miro tried to explore new techniques," Malet said.
Both an artist and sculptor Miro was born in 1893 in Barcelona and lived between Barcelona and Paris. The great Catalan artist died in Mallorca in 1983.(Anadolu Agency press-release)
Sakip Sabanci Museum, Sakıp Sabancı Cad. No:42. Emirgan 34467. İstanbul
Image: Joan Miró Foundation
24 september 2014 – 22 february, 2015
As part of Beijing Design Week 2014, which is the guest Barcelona city, the Cervantes Institute and the Institut Ramon Llull offer this exhibition, from the perspective of Barcelona artist Perico Pastor, how cultural exchanges established throughout the Silk Road have finished modifying and configuring both the public and private space in European and Chinese cities. With the representation of people, objects and places using the traditional technique of Chinese ink on paper, Perico introduces us to the human landscapes of cities like Barcelona, Beijing and Xi'an, and we discover the nature of its inhabitants: the customs and styles lives of three of the most important urban areas of the planet in the twenty-first century. (I.Cervantes press-release)
Instituto Cervantes , A1 Gongtinanlu, Distrito Chaoyang.100020 Pekín
Image: Xativa. Perico pastor
20 september 2014 – 21 february 2015
As of 20 September 2014 Palazzo Strozzi in Florence will be focusing on modern art once again with a major new event devoted to one of the greatest masters of 20th century painting, Pablo Picasso.
The exhibition will present a broad selection of works by this great master of modern art in an effort to stimulate a reflection on his influence and interaction with such leading Spanish artists as Joan Miró, Salvador Dalí, Juan Gris, Maria Blanchard and Julio González: art reflecting on art and on the relationship between the real and the surreal, the artist's heartfelt involvement in the tragedy of unfolding history, the emergence of the monster with a human face, and the metaphor of erotic desire as a primary source of inspiration for the artist's creativity and world vision.
Picasso and Spanish Modernity will be showing some ninety works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving and even film, thanks to the Fondazione Palazzo Strozzi's synergistic cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art on display will include such celebrated masterpieces as Woman's Head (1910), Portrait of Dora Maar (1939) and The Painter and the Model (1963) by Picasso, Siurana, the Path (1917) and Figure and Bird in the Night (1945) by Miró and Dalí's Arlequin (1927), along with Picasso's drawings, engravings and preparatory paintings for his huge masterpiece Guernica (1937), none of which have been displayed outside Spain in such vast numbers before now.
Organised by Fondazione Palazzo Strozzi and Museo Nacional Centro de Arte Reina Sofía. Curated by Eugenio Carmona (Palazzo Strozzi press-release)
Fondazione Palazzo Strozzi - piazza Strozzi 50123 Firenze
Image: Pablo Picasso. El pintor y la modelo (The Painter and The Model), 1963. Museo Nacional Centro de Arte Reina Sofía, Madrid
23 july - 05 february 2015
An eye-opening collection of photographs and artefacts is set to intrigue visitors to the Science Museum this summer as Media Space stages the first major UK exhibition by award-winning Catalan artist Joan Fontcuberta.
Fontcuberta subtly questions the use of the photographic image as evidence, by combining visually compelling and mischievous narratives with an acute, deadpan humour.
With highlights including astonishing photographs of mermaid fossils and incredible reports on mysterious fauna, Stranger Than Fiction presents six conceptually independent narratives from Fontcuberta’s body of work; a visual universe in which the real and the imagined combine to startling effect.
Co-curated by the artist with Greg Hobson, Curator of Photographs at the National Media Museum, the exhibition will feature some of Fontcuberta’s best-known works, including photographs, film, dioramas, scientific reports and related ephemera to form the second show in the Science Museum’s 550m² Media Space gallery.
Joan Fontcuberta, born in Barcelona in 1955, artist, teacher, writer and curator Joan Fontcuberta is one of the most significant figures in contemporary photography. After beginning his career in advertising, he went on to teach in the faculty of Fine Arts at the University of Barcelona, as well as numerous other institutions including Harvard University. He co-founded PhotoVision magazine in 1980 and has many other publications to his name. He was named Chevalier des Arts et des Lettres by the French Minister of Culture in 1994, received the 1998 National Prize in Photography from the Spanish Ministry of Culture, the National Prize in Culture for Visual Arts from the Catalan Government and was last year chosen as the recipient of the Hasselblad International Award in Photography.(I.Ramón Llull press-release)
Stranger Than Fiction is presented in collaboration with the Government of Catalonia, organiser of the Catalan Tercentenary programme.
London's Media Space, Science Museum. Exhibition Road, South Kensington, London, SW7 2DD
Image: Joan Fontcuberta
28 june – 31 october, 2014
Manifesta is a European contemporary art biennial that takes place in a different city every two years. In 2014 Manifesta will be held in St Petersburg, the main venue being the Hermitage, which is furthermore celebrating its 250th anniversary. The curator of this year’s event, German Kasper König, has made a very small selection of artists in comparison to previous years, including two Spanish artists: the deceased Juan Muñoz and Jordi Colomer. AC/E is collaborating in the project to exhibit the works of both.
Juan Muñoz (Madrid 1953 – 2001) His first exhibition was in 1984 in the Fernando Vijande galleryy of Madrid. Since then, his works have been frequently exhibited in Europe and other parts of the world. At the beginning of the 1990s, Juan Muñoz began breaking the rules of traditional sculpture by sculpting works in a "narrative" manner which consisted of creating smaller than life-size figures in an atmosphere of mutual interaction. Muñoz's sculptures often invite the spectator to relate to them, making the viewer feel as if they have discreetly become a part of the work of art. His slate-gray or wax-colored monochromee figures create a sort of discreetness due to their lack of individuality, but that absence of individuality questions the viewer, perhaps even so much as to make the viewer uncomfortable. When asked his occupation, Muñoz would respond simply that he was a "storyteller."
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. (Manifiesta 10 press-release)
StateHermitage Museum, Palace Square, 2, St Petersburg, Russia, 190000
Image. Juan Muñoz, Jordi Colomer
21 february – 19 march, 2014
The 21 february , TJINCHINA Project Space in Tijuana will open it´s doors in one of the hot spots of the border between Mexico and the U.S., the Avenida Revolución. Hosting cultural producers from various nodes of the global network it has generated, but focused on a constant exchange with the artistic community in Beijing , China.
"Nice of you for inviting me here, the city is perfect for what I'm doing, because I'm working on body control, and governments just controlling us with cameras on the streets involving control structures, get here and see the wall of the United States ... very rare ... reaches the sea, is very silly and edge moves and we can see how it moves. It is a very arbitrary thing, a business, who did should win big. Diana Coca”
The Spanish artist Diana Coca explore female identity reconstruction, through performative self-portraits, I focus on the violence of the fragmented body and the conflict between the body as a biological organism and the taboos around it. Fatally, it is always in our body where desire and law are struggling, where we oscillate between being carried away by the passions and be subjects, fighting between obscenity and compliance with the standards that shape the self in society. I am very interested this, the relationship between us as biological organism and the conventions built around it, the bitter conflict between society and the individual, between public and private, especially in contemporary China, where the concept of individuality is new after years of domination by the collective. My work tools are the photographic camera, video and performance, with which I construct narratives in audiovisual format, where the body and its struggles are the main characters. I am also interested in putting together ethics and aesthetics in the artistic language, with analytical disciplines as philosophy, history, feminism, psychoanalysis, art theory, as well as other cinematographic, mythological & literary creations. (Tjchina projectspace press-release)
TJ in China Space, avenida Revolución 1332 Zona Centro. Tijuana. Mexico.
Image: Diana Coca