Spanish contemporary art worldwide
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1 – 11 september, 2016
Spanish street artist called Sr.X presents "Pork Loin Rost" , a solo exhibition at BSMT SPACE. It is a satirical vintage repertoire of new work.
Defined as a showcase of warped nostalgia, subversive and darkly funny hallucinations of an innocent and conformist society, this is the artistic interpretation of the mind of a compliant citizen, good neighbour and graffiti artist, and sees the nihilistic irony in our pleasant and abundant society.
Sr. X was born at the beginning of the 80’s in a small town in the north of Spain, now based in London. After following several Arts degrees, he started to bring his ideas to the street, trying to get city people to stop, think or just smile for a moment when they saw his work, briefly forgetting their daily routine.
Some of his inspirational themes are pop culture, films, publicity and urban legends, which he normally gives expression to through stencils, paste-ups or installations. His creations are often wrapped in a distinct tone of irony and social criticism, frequently shrouded by a veil of sharp humor.
In addition to his work in the streets, he likes to experiment with mixing street art techniques and more traditional elements such as acrylics, oil and collage in his studio, bringing his canvas creations one step forward with a more polished and elaborated process. (BSMT press-release)
BSMT SPACE. 5D Stoke Newington Road. N1. London
Image: “Pork Loin Rost” Sr.X
16 september – 21 october 2016
Born in Segovia, Spain, in 1961, Alberto Reguera now divides his time between Paris and Madrid. His work originates in his admiration for the French lyrical abstract artists; in his evocation of the Romantic landscape painters; and in the spectacular vistas of his native Castile. Reguera's abstract landscapes represent fragmented elements of nature that he constitutes via a discrete series of shapes and colours. Tones and textures multiply as he experiments with the colour blue's position in space. Depending upon the play of light, greater nuances and ranges appear.
Reguera’s overall intention is poetic—in his use of painting materials, in the luminous layered textures and in his affirmation of the physical act of painting. He stresses a sense of visual depth and offers a three-dimensional view that transforms the two-dimensional medium into sculptural pieces. Several of the ‘painted objects’ are installed on the ground, so as to form an installation of paintings. Within this construct of blue, each painting is an integral aspect of a larger and more complex work. Multiform volumes offer various views, and the work extends across a flowing space seeking equilibrium with the material. (Serena Norton press-release)
SERENA MORTON, 343 Ladbroke Grove, London, W10 6HA
Image: “Celestials Reflections” Alberto Reguera, 2016
6 september - 6 de november, 2016
Rogelio López Cuenca, Nerja 1959, focuses his artistic practice on the analysis of mass media, the construction of identities and cultural criticism. He develops this work by means of publications, courses, exhibitions, interventions in public urban spaces, on TV or on the Internet (www.malagana.com), resorting to his own processes not only of visual arts but also of literature and social sciences. (Madrid.org press-release)
C/ Alcalá, 31. 28014 Madrid
Image: Rogelio López Cuenca “Do not cross art scene” 1991-2006. Colección Museo Nacional – Centro de Arte Reina Sofía (Madrid)
7 – 27 september, 2016
With thousands of sensors that monitor things such as air pollution, noise and temperature, the smart city of Santander uses technology to improve urban life and the environment. Inspired by its success, VRPolis, Diving into the Future asks what a smart city could be capable of 100 years from now. An immersive 360-degree virtual-reality film imagines how medium-sized towns of the future could harness new technologies to make improvements in the fields of energy, mobility, connectivity, habitat, architecture, water and waste. This project shows prospective and possible sustainable futures based on emerging trends. It is a practical tool and could play an inspirational role for inventors and innovators.
Administering Body: Ministry of Education, Culture and Sport. Design Team: Dimeloami Productions. Curator: Maite Cantón. Supporting Bodies: Viesgo; Santander City Hall; Official College of Cantabrian Architects (COACAN); inMediaStudio; experience powered by HTC VIVE (London Design Biennale press-release)
Somerset House. Strand. London. WC2R 1LA. United Kingdom
Image: VRPolis, Diving into the Future. Dímelo a Mí
GWANGJU. Dora García, Fernando Gacía Dory "¿What is the essence of art in this age?” 11th Gwangju Biennale
2 september – 6 november, 2016
The Gwangju Biennale is organized by the Gwangju Biennale Foundation every two years. As the most prominent art festival in Asia, the Gwangju Biennale has been bringing distinguished exhibits and public discussions that reflect the Asian identity for the past 20 years. The 11th biennale poses a profound question: “"What is the essence of art in this age?”" It is to place art at the core in order to recover our confidence in art and its power. This year’'s exhibit will maximize community participation and bring art inside our society. The Gwangju Biennale has been partnering with art galleries around the world that are named a "biennale fellow". Through this, Gwangju will be a place to witness the lively, global cultural scene. AC/E is supporting in this year's edition "LAMENT OF THE NEWT" by Fernando Garcia Dory and "NOKDU BOOKSTORE FOR THE LIVING AND THE DEAD" by Dora Garcia. The project Of García Dory connects forms and the political genealogy of the little theater movement from 40 years ago, with current socio-ecological struggles and a critical questioning of prevalent urban development models and the existing political support structures for it. It aims as well to reconnect Gwangju city with its ecosystemic flows and environmental questions, and in summary, to collectively propose the future projection of different existing tendencies, and to exercise foreseeing in order to act. NOKDU… will be a meeting place in the middle of the Gwangju Biennale exhibition, a meeting place that adopts the form of a mythic bookstore, the NOKDU bookstore, which played a fundamental role in the events of the May 18 revolution in Gwangju. This bookstore form I give to the meeting place I want to construct is not a historical reconstruction of the original NOKDU bookstore, but a construction of how I imagine this bookstore to be, following my readings, my own emotional and cultural background, and the testimony of different people; a construction happening in a sort of anachronic moment that puts together the past (1980) the present, and the future of an event that catalysed the history of Korea.(AC/E press-release)
Gwangju Biennale Exhibition Hall, Asia Culture Center, Uijae Art Museum, Mudeung Museum of Contemporary Art,
Image: LAMENT OF THE NEWT. Fernando García Dory
05 - 25 september, 2016
This brand new body of work is part of an exploration into self-reflection, the collective subconscious and the transcendental nature of art. Paricio acts as a catalyst for self-reflection by tapping into our collective subconscious through his artworks. In this new exhibition, he is also a creator of dreams which take the form of the original and imaginative scenes within his paintings.
“Dreams are not only what we inhabit when we sleep. They are also fantasies, desires and fears, both what we are hopeful for and what we are oblivious to. Though dreams are subconscious, they are also a reflection of consciousness,” Pedro Paricio. Paricio explores ways in which artwork can become transcendental – uninfluenced by the fashions and temporary satisfactions of the present. In attempting to realise the eternal components of art historical masterpieces, Paricio endeavours to flesh out the common element, ignoring place or time. Thinking in the past, present and future, Paricio is convinced that every work of art is a wormhole that allows the viewer to travel back and forth into the history of art as stated by Paricio himself, “a work of art is not only today, it is simultaneously yesterday and tomorrow.”
Paricio weaves art historical narratives throughout his figurative work by appropriating themes and configurations of old and modern masters. Using experimental colours and an unmistakeable playful approach to the traditional method of painting, Paricio has always set out to solve conceptual problems, to pay homage to great artistic figures of the past and to examine and question the role of the artist through his bright and dynamic canvases, layered with meaning.
This year marks Paricio’s fifth anniversary with Halcyon Gallery. Paricio was the youngest artist to sign with Halcyon Gallery at only 28 years of age and he has since been named the “freshest thing in the emerging contemporary art world in thirty years,” by Juan Manual Bonet, director of the Cervantes institute in Paris and former director of the Reina Sofia in Madrid. Paricio’s work has also been acquired by the Norton Museum of Fine Arts in Florida and TEA Museum in Tenerife as well as held in a number of private collections around the world. (Halcyon gallery press-release)
Halcyon Gallery, 144-146 New Bond Street. London,W1S 2PF
Image: “Sea dogs” Pedro Paricio
7 september – 5 october, 2016
The Directors of Marlborough Gallery are pleased to announce the public exhibition of six new monumental sculptures by the acclaimed Spanish artist Manolo Valdés at Place Vendôme in Paris. Located in the 1st arrondissement, the site will serve as an architectural setting for the group of sculptures by Valdés: female heads in aluminum, iron or marble, their unique ornamentations on unforgettable display. The new works, all of which were created for the exhibition at Place Vendôme, depict beautiful, stylized women in the artist’s well-known signature style. Valdés, famous for depictions of women in all media, has created some of the largest and most expressive three-dimensional portraits of his storied career.
One sculpture, La Pamela, wears a wide-brimmed hat and stands 16-feet tall. Another entitled Los Aretes, is 19-feet long and depicts a woman with earrings that are as large as her head, all in strikingly bright blue iron. La Mariposa is the latest version of one of Valdés’s favored thematic presences: the butterfly. The featureless female in this monumental sculpture sports an enormous butterfly on her forehead, a headdress that is a symbol not only of inner beauty but also creativity. The blue iron visage in Mariposas is adorned with dozens of massive butterflies in a sculpture that is as uplifting as it is profound. In additional to technical mastery, his sculptures exude deep passion for history and for humanity. His monumental women are familiar but distinct, imposing yet alluring. The works will remain on view through October 5th, 2016. (Marlborough press-release)
Image: La Mariposa. Manolo Valdés
september 1– october 16, 2016
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators.
The exhibition #the_color_of_optimism features 67 works by artists Ricardo Cavolo, Littleisdrawing, Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen, María Simavilla.
This show aims to promote a generation of young artists whose works can be regularly seen in national and international publications and who have the support that the internet provides to make their work public. (AECID press-release)
Centro Cultural Español. 1490 Biscayne Boulevard Miami,
Image. Sonia Pulido “Hop hop”
20 august – 13 november, 2016
On April 13 2015, a black flag was raised at latitude 90° North – better known as the North Pole. On December 14 2015, an identical flag was planted on the South Pole. The two monochrome flags, signifying the universal symbol of the Anarchist movement, have been raised on behalf of the people of the world as a counter-claim - a symbol of defiance - against the compulsion of nation states to seize land. The black flags remain in situ as a potent symbol of liberation, resistance and discontent.
Historically, the North and the South Pole and the remote surrounding areas have been the object of countless expeditions. Presumed as endeavours on behalf of humanity, more often these expeditions have instead been driven by attempts at colonisation, conquests for land, bestowing glory on the participating nations. Throughout the centuries, numerous countries have laid claim to these territories.
Andreas Brøgger, Head of Nikolaj Kunsthal, says: ”We are proud to house the world premiere of the exhibition Black Flag. Sierra’s project is at one and the same time quite simple and symbolic, but also very specific and incredibly complex. It is no easy task for an artist to plant two flags on the Poles. The exhibition is relevant to Denmark as one of the nations to have laid claim on the seabed of the Arctic Ocean – an area 20 times the size of Denmark with a geopolitical and potentially economic significance.”
Santiago Sierra’s works often function as commentaries on the social and political conditions of modern society. He received international recognition for a series of controversial exhibitions in which he hired unemployed people, prostitutes, political prisoners and immigrants to perform meaningless work for minimal wages as a critique of the personal and economic exploitation of the most vulnerable in society by the capitalist system.
Santiago Sierra (b. Madrid, 1966) lives and works between Madrid and Mexico City. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11.
Black Flag will have its world premiere at Nikolaj Kunsthal on August 20th 2016.
Black Flag is a collaboration between Santiago Sierra Studio and a/political with special thanks to Lutz Henke.
a/political is a nonprofit organisation, collaborating with artists who work within a socio-political framework. a/political, initiate, produce and tour large-scale projects world-wide. With offices based in London, a/political opened The Foundry in 2014 as an experimental art space, hosting ambitious projects outside the controls of the contemporary art market. Artists are invited to produce large-scale work in the neighbouring factories. In addition, a/political acquires artworks for permanent installation at The Foundry to compliment the collection currently located in London. (Nikolaj Kunsthal press-release)
Copenhagen Contemporary Art Centre. Nikolaj Plads 10. 1067 Copenhagen K
Image: Black Flag. Santiago Sierra
until 4 september, 2016
This year Austria celebrates the 50th anniversary of the contract of 4 April 1966 between the Republic of Austria and the Socialist Federal Republic of Yugoslavia establishing a basis for the legal and voluntary migration of labor, and so creating the “Gastarbeiter” (Lit. guestworker) phenomenon. Article 9 of this historically significant contract specifically endorsed the promotion of this mobile workforce's own cultural and social life, and led to the founding of over 100 workers social clubs. Following the international success of his project “FACELESS,” artist and curator Bogomir Doringer returns to the MuseumsQuartier Wien with a new exhibition. “AJNHAJTCLUB” explores the history of this community as reflected in these clubs, which were not only regarded as spaces for maintaining and bolstering cultural identity and for providing a sense of participation, but also provided a vent for nostalgia towards the old homeland.
Claudia Maté’s* 3D animation is an uncanny mix of sexually charged images inspired by milieu-specific imagery in the mass media. The avatars are both seductive and adorable, initially masking their meaning and distracting from their source. We enjoy them even though it feels wrong. Maté engages with the voyeuristic pleasure we derive in observing the social phenomenon of migration from a distance, working with avatars to suggest the connection between old and new migration, while also illustrating models of exploitation
Artists: ATK!* (BEL), Evelyn Benčičová (SVK) & Adam Csoka Keller (SVK/CAN), Ljubomir Bratić (AUT), Juan Pablo Cámara* (ARG/NLD) & Michele Rizzo* (ITA/NLD), Leyla Cárdenas* (COL), Olga Dimitrijević* (SRB), Mladen Đorđević (SRB), HOR 29. Novembar (YUG/AUT) & Turbo Tanja (SRB/AUT), Nikola Knežević* (SRB/NLD), Marko Lulić (AUT), Claudia Maté* (ESP), Milan Mijalkovic (MKD/AUT), Miroslav Mikuljan (HRV), Vladimir Miladinović (SRB), Goran Novaković (AUT), Josip Novosel* (HRV), Bernd Oppl (AUT), Krsto Papić (HRV), Antonis Pittas* (GRC/NLD), Marta Popivoda* (SRB), Roberto Uribe-Castro* (COL/NLD), Addie Wagenknecht (USA), and others (Q21 press-release)
Q21 exhibition space/MuseumsQuartier Wien, Museumsplatz 1, 1070 Vienna, Austria
Image: Claudia Maté
until 25 septembre 2016
A pioneering event at the outset, Horizons now stands out due to its longevity. Created for the first time in the summer of 2007.
The recipe for this growing success is down to various factors. The incomparable natural environment of the Massif du Sancy already provides a dazzling showcase for the concept. To this can be added a strong identity marked by a clearly defined artistic vision that is demanding and yet ready to welcome innovations and daring proposals. The event, often cited as a reference, can be justly proud of its growing reputation.
Every year hundreds of artists from all over the world try their luck, with just a handful of winners. Their wide range of backgrounds - designers, visual artists, landscape designers, architects - contribute to the event's eclectic nature. They live through an extraordinary experience here, meeting the challenge of creating a unique artwork in the heart of majestic natural surroundings.
We are very lucky to have so many artists working in the region for over a month during the installation.
The local population is also involved in the project. Talks are held with the local children. Anyone wishing to see the artists at work is welcome. This is a way of building relationships naturally. The public occupies a special place in the heart of the event. They are invited to interact by taking part in a wide variety of activities carried
out jointly on the website and the social networks: photo competitions, the public's vote for their favourite artwork, etc. Horizons promises yet more big surprises and fully intends to carry the colours of the Massif du Sancy around the world with pride!
Varvara Guliajeva and Mar Canet have founded their own creative studio. Their area of intervention can be resumed within the field of art and technology. The latter enables them to explore new artistic concepts.
10 signed artworks: Michel-Marie BOUGARD / Atelier 37.2 / Vincent BARRE et Chiman DANGUi / Julien AMILLARD/ Julien BOUCQ et Quentin HATRY / Elodie BOUTRY / Clara GALLET et Guillaume DRONNE / Derwin Scott HESSELS / Vincent CHEVILLON / VARVARA & MAR CANET (Horizons press-release)
Horizons - 'Arts Nature' en Sancy. Office de Tourisme du Mont-Dore. Avenue de la Libération - 63240 Le Mont-Dore
Image: The Rhythm of Wind. Varvara Guliajeva and Mar Canet
until 25 september, 2016
This project is the first major group exhibition about the story of rave culture in Europe. Rave culture from the 1980s and 1990s was Europe’s last big youth movement. During this period of radical social and political change, rave, in its various guises, migrated around the continent from its epicentre of Great Britain, Belgium and Germany. As a movement, it enacted a desire to be autonomous, with a belief in tolerance and experimental living, all built around the latent energy of electronic music. As a music-based culture, it embraced self-practice, invention and unbridled creativity, arguably leading to the densest period in history for the diversification of music. Energy Flash will be the first museum exhibition for considering rave, as well as the social, political, economic and technological conditions that led to the advent of rave as an alternative movement across Europe. It will look at the ideologies as well as the aesthetics of rave, along with its effects on wider culture. For many who felt failed by both the market and the state, raves opened up a third kind of space, which formed its own logic based on the collective. Regularly drawing many thousands of participants, raves themselves have been theorised as ‘temporary autonomous zones’ – spontaneously organised concentrations of people and musical energy that eluded formal structures of control.
Though embodying both dystopian and utopian impulses, raves possessed some extraordinary qualities, transgressing race and class. Utilising the emergent technologies of the day, the music itself possessed a distinct new aesthetic that redrew the boundaries of music. Each locale developed its own rave culture, evolving countless forms of acid house, techno, hardcore, jungle and beyond. In a situation of moral panic, governments in Western Europe legislated to criminalise rave culture from the mid-1990s onwards. Energy Flash will look at rave as a highly politicised phenomenon, considering it through the key notions of ‘autonomy’, ‘civil liberty’, ‘technology’ and ‘creativity’. As an interdisciplinary project, it will display the works of numerous visual artists in dialogue with many artefacts from the fields of design, music and fashion, along with items selected from various archives, television documentary, literature and criminal legislature. In bringing together this diversity of material, this exhibition will argue that rave culture was inhibited due to its ambiguous place outside of neoliberal ideology, existing largely autonomous of both market and the state forces. This condition makes it a key case study for those wishing to imagine alternative forms of infrastructure for art and culture.
The exhibition is curated by Nav Haq, Senior Curator at M HKA. The exhibition will present the work of 20 artists alongside historical artefacts from 1980s and 90s. Jacques André, Irene de Andrés, Cory Arcangel, George Barber, Jef Cornelis, Jeremy Deller, Simona Denicolai & Ivo Provoost, Rineke Dijkstra, Aleksandra Domanović, Andreas Gursky, Dan Halter, Henrik Plenge Jakobsen, Ann Veronica Janssens, Martin Kersels, Mark Leckey, Daniel Pflumm, Matt Stokes, Sergey Shutov, The Otolith Group, Walter Van Beirendonck. (AC/E press-release)
M HKA. Leuvenstraat 32. 2000 Antwerp
Imagen: Heaven, where nothing happens. Irene de Andrés 2015
18 august – 17 september, 2016
The fifth edition of SACO (Chile) international art encounter, through the participation of artist Teresa Solar Abboud. SACO is held annually in the region of Antofagasta, in northern Chile, as an independent initiative of the collective SE VENDE Mobile Contemporary Art Platform. SACO seeks to create a space for reflexion, critique and dialogue in the Atacama Desert that materialises in an international encounter of artists, experts and the public in a territory marked by the absence of institutions dedicated to pursuing those purposes. Each version of SACO has a particular focus and unique characteristics. For it's fifth edition, it has focused on migration as a vital experience: One way ticket. Teresa Solar Abboud (1985) lives and works in Madrid. Amongst other projects she has exhibited as a solo artist at La Panera Lleida, Matadero Madrid, CA2M and Formato Cómodo Gallery. She has been finalist of the Rolex Mentorship Program and has been recently awarded the "Generaciones" prize, the production grant CAM, and the production grant Fundación Marcelino Botín, which has enabled her to produced her latest movie, Al haggara, that has been shot between El Cairo and Madrid. (AC/E press-release)
Muelle Histórico Compañía Melbourne Clark. Muelle Salitrero. Av. Balmaceda, Antofagasta, Región de Antofagasta
Image: Teresa Solar. “The circular desk”
until 17 september, 2016
CAMPANO 2003-2009, a solo show by artist Miguel Ángel Campano (Madrid, 1948), which will be held until mid September (with the interruption of august, when the gallery will remain closed to the public).
Miguel Ángel Campano (Madrid, 1948) is one of the preeminent figures in the so-called revival of Spanish painting that takes place in the Eighties and which also includes Ferrán García Sevilla, José Manuel Broto, José María Sicilia and Miquel Barceló.
The tension between abstraction and figuration and the contrast between starkness and fullness form decisive experimental components in his work. To obtain this fragmentation of style, Campano refers to pictorial tradition and uses certain themes and French paintings by artists such as Eugène Delacroix, Nicolas Poussin and Paul Cézanne as his starting point. With these elements Campano embarks on the construction of a radicalised aesthetic in which certain energetic lines of Minimalist tradition and the gestural variants of Franz Kline and Robert Motherwell converge, along with allusions to past avant-garde movements linked to Constructivism and Suprematism.
Campano's work, which won the National Plastic Arts Awards in 1996, becomes a site for experimentation and privileged transgression that permanently questions painting from within painting itself. (Galería Carles Taché press-release)
Galería Carles Taché, Carrer de Mèxic, 19 (pasaje interior). 08004 Barcelona
Image: Miguel Ángel Campano 2003
LEHMBRUCK. Daniel Canogar “From Rodin to de Bruyckere. The Surface as a Carrier of Meaning in Sculpture” Lehmbruck Museum
2 july - 23 october, 2016
The surface of an object may be alluring or repellent, nondescript or exciting. It is our first impression. It invites us to contemplate, grasp and interpret. This exhibition shows how the surface and its meaning in sculpture have changed over time, presenting eminent examples from the 20th century with key works by pioneers of modernity such as Medardo Rosso, Auguste Rodin, Wilhelm Lehmbruck, Constantin Brâncuși, Max Bill, Mary Vieira, in order to shift the subject into the focus of our age: where does the surface of an artwork lead? What does it tell us about the process of creation, by the hand of the artist, and of her intentions? What ideas does the outer shell of a work of art inspire and what hides beneath the surface.
Featuring works by artists from countries such as the US, Great Britain, Spain, Belgium and Finland, the exhibition shows how surfaces determine our behaviour in the world of things. They activate our visual memories and tactile senses. It is surfaces that address our imagination and st: ore of experiences, arouse emotions and trigger a process of meaning generation.
With works by Auguste Rodin, Medardo Rosso, Wilhelm Lehmbruck, Constantin Brâncuși, Max Bill, Mary Vieira, Janet Cardiff/Georges Bures Miller, Daniel Canogar, Dorothee Golz, Rebecca Horn, Carsten Nicolai, Julian Opie, Georg Baselitz, Jeppe Hein, Elina Autio, Stella Hamberg, Evan Roth, Michael v. Kaler, Heike Weber, Berlinde de Bruyckere and others (Lehmbruck museum press-release)
Lehmbruck Museum. Friedrich-Wilhelm-Straße 40. 47051 Duisburg. Germany
Image: Waves. Daniel Canogar
01 july – 02 october, 2016
Infinite Sequence is an exhibition dedicated to the work of Ignasi Aballí, winner of the 2015 Joan Miró Prize. It proposes a stroll through a selection of pieces by Catalonia's foremost conceptual artist to allow visitors to gradually discover some of the key aspects of his oeuvre. The presentation of the selected works eludes a strict retrospective format to give way to an exhibition narrative with moments and spaces that relate to one another.
Together, they evolve as a composition that, in its conclusion, points to the idea of infinite continuity and open repetition, as referred to in the title of the exhibition itself. The exhibition starts with pieces dealing with temporality, followed by a room dedicated to Aballí's work on colour, and by another room dedicated to absence and invisibility, to conclude with a projection room featuring his video work on processes of semantic slippage. The exhibition includes works from the 1990s to the present as well as a number of new productions. (Fundació Joan Miró press-release)
Fundació Joan Miró: Parc de Montjuïc. 08038 Barcelona
Image: Ignasi Aballí. Ventana (cielo/polvo), 2014
until 18 september, 2016
Teresa Lanceta immersed herself in the weaving communities of the Middle Atlas, and through their textile traditions—a secret passed down from generation to generation—her eyes were opened to a collective discovery that has helped people to live, communicate and endure: an art marked by ancient habits, motifs and rules which, when mastered, allowed expressive freedom and creativity.
In the early 1970s, Lanceta decided to embrace weaving as a medium of artistic expression, stretching the limits of comprehension of what can or cannot be considered art. Her approach to weaving focuses on the formal elements, on the original, inherent aspects of woven fabric: its ligaments, materials, traditions and techniques. She does not use preliminary designs or sketches; in her modus operandi, she simultaneously constructs picture and ground, object and language, support and image, and mistakes do not exist.
Weaving has allowed Lanceta to understand a primeval, universal code that reveals its internal law, a law that transcends physical, temporal and cultural borders while also fuelling the creative imagination which she uses to devise a highly personal proposal. Her work does not shy away from ecological reflections and advocates the utility of art and collective creation as opposed to the idea of individual genius. Collective art is presented not as a uniform magma or an enormous hand that makes everything, but as the product of the pooled creativity of concrete individuals, an open-source code that allows it to be read, transformed and transmitted.
The productive time of the nomadic weaver-women of the Middle Atlas is the time of life itself, just another part of daily life that allows personal stories, events and experiences to impregnate the warp and weft of their creations. Craft and creativity are united in those supreme moments that transform the familiar and offer a glimpse of the hidden. The weaves transcend their decorative purpose or symbolic function: they form part of a way of life and a shared, everyday knowledge and, as such, deploy their ornamental and artistic power.
For all of these reasons, Farewell to the Rhombus is a point of departure, the statement of a poetic and political position on a way of approaching the world that is no longer possible and is beginning to reveal its bitterest side.
The show, curated by Nuria Enguita, features woven fabrics, paintings, drawings, a text and several videos compiled from the artist’s interviews with the women of that region and relatives who immigrated to Spain. In addition to Lanceta's work, the exhibition includes documentation on folk art from regions bordering the Sahara and the work of young artists interested in traditional craftsmanship. There are also two collaborative creations: a digital map of patterns and objects of the Middle Atlas, created with Nicolas Malevé, and an interactive audio installation based on algorithms, produced with Lot Amorós. (La Casa Encendida press-release)
La Casa Encendida. Ronda de Valencia, 2. 28012 Madrid
Image: Teresa Lanceta
18 june – 11 september, 2016
As part of the Hieronymus Bosch Year 2016, the Stedelijk Museum ’s-Hertogenbosch presents a retrospective of Nacho Carbonell. The development of his oeuvre, from his graduation collection to the most recent creations, is the basis for a playful exhibition.
The oeuvre of Nacho Carbonell is situated on the border between design and sculpture. He works more as an artist than as a functionalist designer. His objects are created by hand and constructed with the help of assistants in a large studio in Eindhoven, The Netherlands. Carbonell's creations show striking parallels with the grotesque architecture of the Garden of Earthly Delights by Hieronymus Bosch. Like Bosch, Carbonell creates a world of his own in which the imagination knows no bounds – reason for the Stedelijk Museum 's-Hertogenbosch to invite this innovative designer in the Bosch Year 2016.
Nacho Carbonell (Valencia, 1980) graduated cum laude from the Design Academy in 2007 and lives and works in Eindhoven. He was acclaimed 'Designer of the Future' during Design Miami in 2010. His idiosyncratic designs have been purchased and exhibited by the Groninger Museum, The Netherlands and the 2121 Museum in Japan.
The Stedelijk Museum 's-Hertogenbosch has acquired a reputation for showing the work of up and coming Dutch design talent. A series of exhibitions have presented the work of Wieki Somers, Maarten Baas, Scholten & Baijings and Studio Formafantasma. This successful series continues this summer with the designer Nacho Carbonell. This exhibition forms part of the Bosch Grand Tour (Stedelijk Museum press-release)
Stedelijk Museum. De Mortel 45211 HV 's-Hertogenbosch
Image: Tree Chair’s family. Nacho Carbonell
1 july – 4 september, 2016
Salvador Dalí produced an array of appealing, stimulating images in an elaborate and surrealistic style that characterized 20th-century Spanish art. This exhibit is composed of nearly 200 works from three major Dalí collections - the Gala - Salvador Dalí Foundation, the Reina Sofia National Art Centre in Spain, and the Salvador Dalí Museum in the United States of America. Trace the multifaceted career of Dalí with paintings, graphics, objets d'art, jewelry, films and works in other media from his early days to his closing years. (Kioto Museum press-release)
Municipal Museum. Okazaki Park, Sakyo-ku, Kyoto
Image: Salvador Dalí. Venus de Milo con cajones, 1936
28 april – 14 sepember, 2016
The exhibition on Cristóbal Balenciaga at the Museo de Arte Moderno de México is the first of its kind to be held in Latin America on the brilliant Spanish designer, one of the greatest innovators in international haute couture.
The show examines the social and artistic context of fashion design as part of the identity of the twentieth century and its aesthetic milestones. It features dresses, headwear, photographs, sketches with fabric samples and documents from the Museo Cristóbal Balenciaga in Getaria, which establish a dialogue with masterpieces from the collections of the Museo de Arte Moderno. Javier González de Durana, curator of the show, has devised an academic programme of lectures and sessions in connection with the exhibition. (AC/E press-release)
Museo de Arte Moderno Paseo de la Reforma y Ghandhi s/n Bosque de Chapultepec. Ciudad de México.
Imagen: Beta2. Milenium
4 august – 6 november, 2016
Molinos’ large body of work often deals with hunger as a man-made object. “Buy the rumor, sell the news” is the motto of the stock market, the engine that moves intangible, future markets. These intangible markets monetize harvests not yet planted, and anticipate the reaping by buying and selling future crops based on interpretations of mathematical models. This kind of commerce is termed “high frequency”, because they can conduct a larger number of transactions as what they sell is contracts rather than physical grain. The demand of these grains is considered inelastic as they are essential, and this quality has turned them into important products. They are always easily disposable on the market, and can always find a buyer who will pay regardless of cost. Since the 2008 crisis, the investment in food markets has grown exponentially. After the collapse of the real estate market, grain is the new financial instrument, resulting in the highest volatility of food prices to date, with prices skyrocketing at an unprecedented speed.
Asunción Molinos Gordo is an artist focused on the contemporary struggles of peasant life. Molinos’ work concentrates on the socio-cultural implications of food and agriculture. She employs photography, video, installation and other media to explore the rural sphere and apply a transnational approach to the issues of the peasantry. Her practice is centred around the social and cultural changes that are taking place in rural areas, always looking at what is being left behind in the rush of progress. She currently lives and works between Oman and her hometown of 80 inhabitants, Guzmán in Spain. Her work has been shown in Spain, the UK and Egypt at venues including La Casa Encendida, Museo Patio Herreriano, CAB, La Fábrica, The Townhouse Gallery and ARNOLFINI Art Centre, and her piece WAM (World Agriculture Museum) won the Sharjah Biennial Prize in 2015. She is currently studying Social and Cultural Anthropology through the National University (UNED). In 2006, Molinos received an MA in Contemporary Art Theory and Practice from the Universidad Complutense de Madrid, where she had previously completed a BFA in 2003. (Empireremains press-release)
The Empire Remains Shop. 91–93 Baker Street. London W1U 6QQ
Image: Asunción Molinos, Hunger, A Man-Made Object – Speculation, 2016
6 august – 1 october, 2016
Born in 1958, Valladolid. Eugenio Ampudia lives and works in Madrid, Spain. The basis of Eugenio Ampudia’s work is his abandonment of the manufacture-making of the object in order to shape-show the idea. The artist takes a special interest in the processes and connections that his work establishes with the viewer. The spectator creates the art work and the artist wants him/her to interact. “Dialogues” is an exhibition of Eugenio Ampudia´s videoart that analyze the juxtaposition and the coexistence of the different cultures in historical harmony and balance. Eugenio Ampudia meditates about the dimension of the public and the private space, historical memory, conflicts and harmony. His works have been exhibited internationally in places such as ZKM, Karlsruhe, Germany, Jordan National Gallery of Fine Arts, Amman, Jordan; Museo Carrillo Gil, Mexico, Boston Center for the Arts, Boston (MA), United States, Ayala Museum, Manila , Philippines and Singapore Biennials as the Havana Biennial the End of the World. And art collections like MNCARS, MUSAC, ARTIUM, IVAM, La Caixa, (NC-Arte press-release)
NC- Arte Carrera 5 # 26-76, Bogota, D.C
Image: Eugenio Ampudia
1 july – 11 september, 2016
Bear witness to the moment. Feel a situation, respond to it, create a new one. Rosana Antolí's work covers a broad spectrum that includes choreography and drawing, action and waiting, day-to-day life and critical questions.
Where are we now? What are our wishes? Antolí's work swings between conceptual distance and extreme emotional closeness. She is interested in social behaviour, groups, the community, and people with their fears and emotions close to the surface. In her work drawings become time and actions are circular systems.
Are there other ways to visit exhibitions? Can we respond to content with other content? This project sets aside a regular time in which we welcome input from anybody who wants to take over the space, enter into a dialogue with the exhibition, and make it come alive by turning it into a sequence of moments experienced emotionally.
The Fundació Joan Miró has set up a system for "booking spaces for action", so that anybody who wishes can book a specific time in which to translate and respond to and within Rosana Antolí's work in situ. (Fundación Miró Press-release)
Espai 13. Fundación Miró. Parc de Montjuïc. 08038 Barcelona
Image: “Endless dance” Rosana Antoli
ARLES. Laia Abril “A History of Misogyny, chapter one: On Abortion” Les Rencontres de la Photographie. Magasin Électrique
4 july - 25 september, 2016
Today, safe and efficient means of abortion exist, yet 47000 women die due to botched abortions, every year. Millions of unwilling women across countries and religions are blocked from abortion technologies by law and social coercion, and forced to carry pregnancies to term. Many are minors and rape victims, their pregnancy is not viable or their health is at risk. Laia Abril's project "On abortion" documents and conceptualizes these dangers and damages caused by women's lack of legal, safe and free access to abortion. As she weaves her net of questions around ethics and morality, Abril also creates a series of meditative visual and textual manifestations of the social triggers, stigmas, and taboos around abortion that have remained invisible until now.
Laia Abril: (Barcelona 1986) After graduating in Journalism in Barcelona and studying photography in New York, Laia Abril worked at COLORS Magazine as a creative editor. Her projects have been shown internationally including the United States, Canada, UK, China, Poland, Germany, Holland, Switzerland, Italy or Spain. Her work is held in private and public collections as Musée de l'Elysée, Winterthur Museum or MNAC. She is the author of three books : "Thinspiration" (2012), "Tediousphilia" (2014) and "The Epilogue" (2014), which was highly acclaimed and shortlisted for the Paris Photo-Aperture First Book Award, Kassel PhotoBook Festival and PhotoEspaña Best Book Award. Her ongoing book "Lobismuller" (RM, 2016) has received the Images Book Award and will be followed by "On Abortion" (Dewi Lewis, 2017), the first book of her new series project "On Misogyny". (Les rencontres press-release)
Magasin Electrique, Parc des Ateliers, Arles. France
Image: Laia Abril
12 july – 10 october, 2016
The exhibition (Cervantes, a contemporary spirit), organised by AC/E and the Instituto Cervantes, shows the photographs produced by José Manuel Navia in connection with the celebration of the 400th anniversary of the death of Miguel de Cervantes in 2016. For this project, Navia followed in Cervantes’ footsteps, visually capturing the places and paths trodden by the great author throughout his life – a troubled and uncertain life that is also revealed to us in a veiled manner in his works.
The photographs that make up the exhibition – between 60 and 80 – are mostly new, taken especially for this purpose. The project is based on the act of photographing the main places linked to Miguel Cervantes’s life, the traces of a lifetime, so that the end result is not just another collection of pictures of different places but a series of photographs that embodies the personal gaze of a traveller who wishes to embrace Cervantes’s real and literary territory through image. The photographs are accompanied by detailed texts and literary quotes that refer to the author’s life as well as to his works. (I.Cervantes press-release)
Instituto Cervantes Via Argenteria Nuova, 33. 90133 Palermo Sicilia (ITALIA)
Image: Argelia, medina de Argel, ciudad donde estuvo cautivo Cervantes durante cinco año. José Manuel Navia
7 july - 13 november, 2016.
Miró & CoBrA. The Joy of Experiment is the first exhibition to explore the relationship between Joan Miró (1893-1983) and CoBrA (1948-1951). A chance encounter in 1946 between Asger Jorn, a Dane, and Dutch artist Constant Nieuwenhuys laid the foundations for CoBrA, an international group of post-war artists. The two met at an exhibition of work by Miró in the Galerie Pierre Loeb, in Paris, and established Miró as a recurrent element in the movement’s history.
What links Joan Miró and the Cobra artists is their playful, experimental approach to art. Experimentation with materials, shapes and processes was a source of knowledge and innovation for both the Spanish master and the Cobra artists of the post-war generation. By bringing the work of Miró and CoBrA together, this exhibition gives insight into a shared sense of playfulness and poetic attitude which are at the heart of the work of both.
Katja Weitering, artistic director:“Miró & CoBrA is the long-awaited exhibition of one of the best-loved and exceptional 20th-century artists. This show is emphatically not a classic retrospective. By establishing a link with the Cobra movement and the museum’s own collection, Miró & CoBrA sheds new light on the Spanish master.”
In his late period, Miró’s artistic development saw a liberation from form, gesture and material which showed a striking correspondence with the work and artistic perceptions of various CoBrA members. This work is less familiar to general audiences – and on show now in the Netherlands for the very first time. This exhibition illuminates a wide range of experimental techniques which include, besides painting, works on paper, ceramics, sculpture, assemblages, visual poetry and artists’ journals.
This summer Miró’s sculptures will be exhibited in the gardens of the Rijksmuseum in Amsterdam. There has been no extensive Miró retrospective in the Netherlands for nearly 60 years, since the Stedelijk Museum’s exhibition in 1956. Now, in 2015, the Cobra Museum has succeeded in collating a substantial Miró exhibition which includes works from the Netherlands and abroad, thanks in part to assistance from many international partners. For example, New York’s Guggenheim Museum has generously provided Paysage (1927), while the Scottish National Gallery of Modern Art has sent the major work Figures and Bird (1934-1936) and the Museo Reina Sofia in Madrid has provided five works from the period from 1945-1950.
The exhibition includes more than 80 works by Joan Miró and 60 works by various Cobra artists including Karel Appel, Asger Jorn, Constant and Pierre Alechinsky. A central part of the exhibition is the reconstruction of Miró’s Mallorca studio, consisting of more than 40 original objects and shown for the first time on such a large scale. This part of the exhibition has been made possible thanks to a collaboration with the Fundació Pilar i Joan Miró a Mallorca. (Danubiana press-release)
DANUBIANA GALLERY. VODNÉ DIELO SLOVENSKO, 851 10 . BRATISLAVA-ČUNOVO . SLOVAKIA
Image: Le Gant Blanc 1925 Fundació Joan Miró Barcelona
LONDON. David Escalona, Julia Varela, Oscar Santillan, Marco Godoy “Miseratione non mercede” Copperfield gallery
20 july - 10 september, 2016
SCAN is pleased to present Miseratione non mercede,a collaboration with Copperfield, London with works by David Escalona in dialogue with Julia Varela, Oscar Santillan and Marco Godoy.
Translated to 'compassion not gain', the title draws on a Latin inscription in an old operating theatre. Hidden in the roof of the nearby St Thomas’s Church this was a space where those without money could receive pre-anaesthetic surgical treatment.
Always in reference to the body, the exhibition contains interconnected expressions of empathy, communication and the overcoming of adversity. What it is to be with, to be without and to recognise that all require support in some measure.
David Escalona’s work explores the world from the perspective of a vulnerable body. A gilded wheelchair titled El Carro de Apolo (Apollo’s Carriage) and a limply hanging parachute titled Misetatione non mercede II are typical of his combination of autobiographical aspects with references varying from Greek to Catholic symbology. A socio-political dimension is also bound up in references to the Spanish Civil War and the role of religion in considerations of pain. His references to trauma confront adversity, suggesting the means to overcome it in physical terms but also psychologically by changing our perspectives. In Puntos de Apoyo (2015), a braille inscription on a ballet barre reproduces a text by Frida Kahlo with the same title, expressing the frustration that is overcome by strength of will.
Echoing the empathetic and communicative focus in these works, Oscar Santillan’s Telepathy Manifesto presents a looped video, mounted above the viewer, of the artist trying to catch a man’s tears in his own eyes as they fall from above. The desire to be understood takes on emotional and experimental dimensions here as if proposing some alternative means of communication for those who cannot express themselves.
Speech, speed, speechless, speeding, speedy, speedometer, speedboat, speed, skating, speed or nullum crimen, nulla poena sine praevia lege (2015) by Julia Varela presents thirty-four belts around cut mirror forms that represent an anonymous body in fragments. The reflections and duplications in the work stem from Varela’s interest in the practice of hired mourners who are used in some societies to extend and amplify grief at funerals. Just as the belts literally hold the work together, the exaltation of support mechanisms recurs throughout the exhibition. Varela’s understanding of the body as a battlefield, as a space for the expression of conflicts, connects with the idea of overcoming adversity in a broader societal sense.
Marco Godoy makes more direct reference to socio-political concerns, integrating the slogans of the Athens Polytechnic uprising of 1973, “Bread, Education, Freedom”, by translating them to blind-deaf tactile signing as an alternative means of communication. The touch is personal and empathetic, but incomprehensible to the uninitiated without translation. These words were reactivated, after a period in standby, to protest against the Greek ‘troika’ during the recent anti-austerity demonstrations. Detached from the traditional language of protest the significance of these words is renewed, three simple requests repeated. (scan.arte press-release)
COPPERFIELD, 6 Copperfield Street. London SE1
Image: David Escalona Puntos de apoyo (Supporting Points), 2015
9 july – 1 november, 2016
True friendship is a rare and special gift – but how do creative people, competitors on the market, manage their friendships, exchange ideas, share their lives? The exhibition “Friends + Design” investigates this theme.
The Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) is inviting 7 friends / internationally acclaimed designers to work together on different commissions in 3 groups. From that, new works will be created for the Museum of Decorative Arts at Pillnitz Palace in Dresden, ranging between installations, products and happenings.
AC/E supports the participation of the Spanish product designer Tomás Alonso, who with the German Mathias Hahn has been commissioned to create a gift for each other, based on the question “What would a design look like if it was conceived to be a gift for your friend?” The commission is not limited to objects, as a gift could be anything, even time. The only limitation is that it needs to be recognizeable within the exhibition.
This setting brings together two up-and-coming designers who both live in London and have been working for well-reputed companies as well as independent artistic projects. They share an approach to design, which can be considered as elegant, slender, yet poetic. (AC/E press-release)
Staatliche Kunstsammlungen. Residenzschloss (Royal Palace) / Small Palace Courtyard . Taschenberg 2 . 01067 Dresden
Imagen: friends+design SKD
2 july – 2 october, 2016
The exhibition of Belén Uriel (Madrid, 1974) at Culturgest, in Lisbon, is a comprehensive presentation of her work until now, revisiting her artistic practice over the last few years. Curated by Miguel Wandschneider, and taking place at Culturgest’s main gallery space (occupying 500 m2), the exhibition combines works that have already been shown in other circumstances with many recent and previously unexhibited pieces. The show will present a series of sculptures in metal, papier-maché and fired glass, along with photo-collage works - a total of circa 50 individual pieces. . Belén Uriel, live and works in Lisbon and London. She studied at the Complutense University in Madrid and Chelsea College in London. (C/E press-release)
Fundação Caixa Geral de Depósitos – Culturgest. Edifício Sede da Caixa Geral de Depósitos. Rua Arco do Cego 50, Lisboa
Image: Teresa Santos/Pedro Tropa
june 26 - september 24, 2016
More than 250 works by Joan Miró created in Mallorca make the first individual exhibition in Korea, originally from the Fundació Pilar i Joan Miró and private collections. The selection, which will be exhibited in the Seoul Sejong Art Center in an area of 1,322 m2, offers a set of keys to approach the spirit and thought of the artist.
The exhibition takes a journey through different thematic areas. On the one hand, the strong attachment that Miró feels for their roots and identity, aspects that influence very directly in his work. Furthermore, the commitment to search its working methods, based on the main visual influences of the twentieth century: anti-art roots of Dada and Surrealist movements, American Abstract Expressionism and Oriental art.
Visitors may know about the creative fecundity of the artist through his plastic resources, his variety of techniques and materials, and his particular iconography, which testify the insatiable desire for renewal and rupture that characterizes his last creative period in Mallorca (1956-1981). (Fundació Pilar I Joan Miró press-release)
Organizadores: Michuhol Art Center Association / DCommunication Inc / Fundació Pilar i Joan Miró. Patrocinador: The Asia Bussiness Daily
Sejong Art Center, Seoul, South Korea
Image:Fundacio Pilar i Joan Miró
24 june – 17 september, 2016
Snap! Space presents ‘CORPUS’ : A contemporary representation of the human body, reflected by six international artists. The body has figured prominently in the creative expression of nearly all cultures from the beginning of civilization. Through art, the body becomes a site for defining individual identity and experimenting with the nature of representation itself, sometimes with the artists using their own bodies in their creative process. Artists: Roger Weiss (Switzerland), Nicolas Senegas (France), Cristina Troufa (Portugal), David Catá (Spain), Jörg Heidenberger (Germany), Marwane Pallas (France). Exhibition curated by Holly and Patrick Kahn.
David Catá (Viveiro, Spain, 1988). He studied a B.A. (Fine Arts) in Vigo University (Pontevedra). In 2010 moves to Madrid and graduates in the Internacional Master’s Degree in Photography (Concept and Creation) at Madrid’s EFTI winning the first prize of class. He also studied the intermediate degree in accordion at Viveiro’s Conservatory of Music. In 2010, he won the first prize of the Ourense’s Diputation of Plastic Arts contest, the first accesit at the Bang 6th Video Art Festival of Barcelona at 2013 and won an acquisition prize for the 13th Isaac Diaz Pardo Fine Arts Contest at 2013.
He’s been selected for national and international calls, such as the “Xuventude Crea 2010”, the “Gritos de Libertad” photography contest, the “Eject” 4th Internacional Videoperformance Festival of México City, the Ourense’s Diputation Plastic Arts contest 2012 and 2013, the “INCUBARTE” 5th International Independent Arts Festival, the “Convergencias’” Alliançe Francaise of Madrid’s photography contest, the CEC’s Plastic Arts contest, the “((.mov))” In Movement International Videoart Festival of Peru, the 15th Sala El Brocense’s AAPP Contest, the 5th International Videoarts Festival of Camaguey, the “Region 0” Videoart Festival of New York, among others.. His work has been seen in Mexico, New York, Peru, Cuba, Portugal, Cambodia and Spain. (Snap Space press-release)
Snap! Space, 1013 E. Colonial Dr. Orlando, 32803.Florida.
Image: David Catá. “ni conmigo ni sin mi”
7 june – 22 july, 2016
Josée Bienvenu presents Postcards to AZ, a solo exhibition by Barcelona born, Brooklyn based artist Martí Cormand. This new series of 7 x 5 inch oil paintings and graphite drawings exist as symbolic excavations and distant iterations of lost masterworks during the Nazi regime, challenging not only the notion of remembrance but also the materiality of history.
Arranged in a museological display, qualities of transparency, density, light, shadow, and extreme precision are applied to either bring the works to a point of self-consciousness, or to articulate the oblivion of the subjects. Cormand’s work attests to the coalescence of time, or rather, of an intangible past that can only be grasped in the present through intuition. According to the artist, our present reaffirms the concept of an "eternal return," the idea that our existence is cyclical in nature instead of linear. These images also become a byproduct of entangled temporality in cyberspace, where Cormand often derives his source material.
Born in Barcelona in 1970, Martí Cormand lives and works in Brooklyn. Selected exhibitions include: Martí Cormand, Galería Cayón, Madrid (2014); "Formalizing Their Concept” Galería Casado Santapau, Madrid, (2014); Formalizing their concept, Josée Bienvenu Gallery, NY (2013); Algo de esto, Jugada a 3 bandas (Ja3b), Galeria etHall, Barcelona (2013); False Documents and Other Illustrations, Portland Museum of Art, Portland, Maine (2010 - 2011); Arranz-Bravo Foundation, Hospitalet de Llobregat, Barcelona (2010); Galerie Lelong, New York(2010); Aldrich Emerging Artist Award Show, Aldrich Contemporary Art Museum, Ridgefield, CT (2007); Villa Arson, Nice (2006). (Josée Bienvenu press-release)
Josée Bienvenu Gallery. 529 W20th St 2nd floor. New York
Image: Martí Cormand, Postcards to AZ, 2016, installation view
28 april - 06 october, 2016
This spring the Art Institute of Chicago welcomes to the Bluhm Family Terrace a theatrical installation by Spanish sculptor Juan Muñoz (1953–2001) that flips the experience of viewer and viewed. Many of Muñoz’s works unfold like stories in which the spectator is written into the drama. In the case of Thirteen Laughing at Each Other(2001), the viewer is thrust right into the center of the scene. By entering the installation space, one is surrounded by laughing figures seated on bleacher-like structures. From this vantage point, it quickly becomes clear that Muñoz is not merely granting the viewer unusual access to the artwork but also shifting the role of the observer to that of an unwitting subject, and potentially even an object of ridicule as the sculptural figures laugh hysterically—some toppling from their seats—at the spectacle in their midst. The work creates a tension and psychological depth that is at once unsettling and captivating. “I try to make the work engaging for the spectator,” said Muñoz. “And then unconsciously, but more interestingly, I try to make you aware that something is really wrong.”
Muñoz is regarded as a leading sculptor of his generation and among the most significant artists to have achieved maturity in post-Franco Spain. His focus on the human form set him apart from many of his contemporaries who saw figuration as outmoded. Known for emphasizing the relationship of sculpture to architecture and the viewer, Muñoz’s work is replete with references to the history of Western culture. His artistic activity includes drawings, radio plays, writings, and essays in addition to sculpture and installations.
Sponsors: This exhibition is organized by the Art Institute of Chicago with major funding from the Bluhm Family Endowment Fund, which supports exhibitions of modern and contemporary sculpture. Special thanks are due to the City of Chicago Department of Cultural Affairs and Special Events. (Art Institute of Chicago press-release)
Art Institute of Chicago. 111 South Michigan Avenue. Chicago, Illinois 60603-6404
Image. Juan Muñoz “2 Seated on the Wall with Small Chairs, 2000” Photo: Art Institute of Chicago
9 june - 01 september 2016
This summer the Houses of Parliament will host a major new contemporary artwork in Westminster Hall. Commissioned and produced by Artangel, 'The Ethics of Dust' is a temporary art installation created by artist, architect and conservationist Jorge Otero-Pailos.
The artwork is a 50 metre long translucent latex cast of the hall’s east wall, containing hundreds of years of surface pollution and dust.
Suspended from Westminster Hall’s 28-metre high hammerbeam roof, the latex sheet contains innumerable particles of dust, soot and dirt gently lifted from the wall during the sensitive cleaning of this UNESCO world heritage site.
Otero-Pailos and Artangel worked in parallel with Parliament's restoration and stone cleaning project for over five years, culminating in Otero-Pailos retrieving the latex used to clean the hall to create The Ethics of Dust.
Otero-Pailos has previously used this same method at other heritage monuments, including the 14 century Doge’s Palace in Venice.
The Ethics of Dust takes its name from writer John Ruskin’s 1866 book The Ethics of The Dust. Ruskin greatly admired Westminster Hall and the Doge’s Palace: both were seats of governments ruling vast naval empires, threatened with demolition and ultimately saved by restorations.
Ruskin argued against cleaning both buildings with the blunt tools available at the time and went on to lay the intellectual foundations for how we conserve buildings today.
Westmintter Hall, Palace of Westminster London
Image: A section of the 50 metre latex cast of the east wall of Westminster Hall is tested in a warehouse in Northampton ahead of being installed at Westminster Hall. An Artangel project. Photo by Nick Chapman
4 june – 18 september, 2016
In his collaborative works Catalan artist Antoni Abad uses consumer technology to create networks of marginalized individuals, as in megafone.net, a project initiated in 2004, which is based on face-to-face meetings between participants who then collaborate to post online audio recordings, videos, and photographs using their mobile phones. His latest project BlindWiki, previously beta-tested in Rome and Sydney, has been developed for and in collaboration with blind and partially sighted participants in Berlin, who use smartphones to verbally document and share their geotagged experiences, memories, and on-the-go thoughts. Their site-specific audio contributions are accessible to the public, who can listen to them in situ throughout the city on smartphones or anywhere online. Part social network, part Situationist geo-tag of an urban landscape, and part participatory archive, the project gives voice to people for whom representation is not a given aspect of daily life. Antoni Abad* 1956 in Lleida, ES, lives and works in Barcelona, ES
Works: BlindWiki, Unveiling the Unseen. A citizen network project involving participants with vision loss, 2016. Smartphone application, guided tour, website, workshop
Courtesy Antoni Abad. Commissioned and coproduced by Berlin Biennale for Contemporary Art
With the support of Institut Ramon Llull; Acción Cultural Española; Spanische Botschaft in Berlin (Berlin Biennale press-release)
Berlin Biennale. Auguststraße 69. D-10117 Berlin
Image: BlindWiki. Antoni Abad
17 june – 10 november, 2016
The upcoming exhibition marks a rare opportunity for visitors to experience the spectacular work of Plensa in The Toledo Museum of Art. This is the first time the artist’s work has been seen in such depth since his 2010 exhibition at the Nasher Sculpture Center in Dallas.
Plensa’s work in the United States include Crown Fountain in Chicago’s Millennium Park , and Echo, formerly on view in Madison Square Park in New York, now permanently sited at Olympic Sculpture Park at the Seattle Museum of Art. The recipient of many awards and accolades, Jaume Plensa was most recently awarded the 2012 prestigious National Visual Arts Award of Spain, the 2013 Velasquez Prize awarded by the Spanish Cultural Ministry, and Spain’s 2013 National Graphic Arts Prize. Nine large-scale outdoor sculptures, indoor installations and sculptures, and a selection of works on paper comprise this comprehensive exhibition, which will span the historic estate’s grounds, gardens and museum galleries for a uniquely engaging visitor experience. As a part of the exhibition, Jaume Plensa will create new works including a double sculpture entitled Soul of Words, which will be sited on the prominent color garden lawn. A monumental cast iron head, Laura with Bun, a 23 foot high cast iron portrait will grace the entrance of the grounds.
Plensa’s body of work is primarily inspired by the complexities of the human condition. He is known for the exploration of the tension between the interior and exterior life. The artist uses a variety of materials—from cast iron to steel and bronze to alabaster and synthetic resin—choosing the material which will best communicate his idea for the image. Plensa’s portraits are a radical reinterpretation of what is usually considered the domain of a more classical art.
Plensa is also involved with the transmission of language and culture. He often uses excerpts of texts from authors and poets whose writings are meaningful to him. The characters from many world alphabets are the physical elements that form a sculpture, making language as central to his work as human forms themselves. In this body of work, Plensa blurs the line of language, culture, belief system and physicality. The result is what is often described as work with a luminous beauty and grace, a sense of harmony, and supreme calm. (Toledo Museum press-release)
The Toledo Museum of Art. 2445 Monroe Street. Toledo OH
Image: Jaume Plensa, Paula, 2013
HERTOGENBOSCH. Fernando Sánchez Castillo “The Introduction of the Stone of Madness” Stedelijk Museum.
18 june – 11 september, 2016
The project results in an exhibition organized within the framework of the Hieronymus Bosch 500 year (2016), with only the work of the Spanish artist Fernando Sánchez Castillo. Sánchez Castillo's work consists mainly of videos, sculptures, installations, drawings and performances. In this he analyzes in a critical manner the relationship between art, power and religion. He does this in a serious but also playful and ironic way. In the meeting of opposites such as beauty and violence, rebellion and victory, takes shape new images for the future. Universal images of power getting a new life into the hands of Sánchez Castillo. Sánchez Castillo is aware of the fact that Bosch’s work has had an huge impact on the Spanish art and his own work in particular. Thanks to the fascination of Philip II for the work of Bosch, a lot of Bosch’s works end up into the Spanish Royal collections. This fascination of Philip II for the work of Bosch will be part of this project. In the framework of the Hieronymus Bosch 500 year, Sánchez Castillo was inspired by Bosch’s work ‘The Stone of Madness’, which shows how a stone of madness is removed from the head of a man. Here formed the idea for a new installation called ‘The Introduction of the Stone of Madness’. The moralizing undertone in Bosch’s work is in this of great importance. The presentation of this installation is derived from another painting by Bosch, ‘The Hay Wagon’. In this installation form objects, sculptures, drawings and films is presented with as connecting elements: the hidden and the moralizing. The room in which the exhibition takes place measures 14 x 25 meters and is 5 meters high, no daylight. Most of the sculptures, drawings and objects as well as a display structure have to be transported from the storage of the artist in Madrid to ‘s-Hertogenbosch and back, after the exhibition has ended. (AC/E press-release)
Stedelijk Museum's-Hertogenbosch. De Mortel 4. 5211 HV 's-Hertogenbosch
Image: “Extracción de la piedra de la locura” El Bosco. Museo del Prado. Madrid
11 june – 18 september, 2016
Manifesta is a travelling European Biennial of Contemporary Art which sets out to explore and reflect new developments in contemporary art in Europe in order to present new aspects and forms of artistic expression to a new local, national and international audience.
Manifesta 11 will be held in the city of Zurich, under the title What People Do For Money: Some Joint Ventures in three venues: the Miros Museum für Gegenwartskunst, LUMA Westbau / POOL and the Kunsthalle Zurich. This city has a long history of artistic and intellectual liberalism: it was an incubator of revolutionary political and artistic movements and during the periods of turmoil in Europe it offered asylum to intellectuals from all over the world. Nowadays Zurich is one of the economically and technologically most advanced cities in the world. This rich and rapidly evolving city offers Manifesta 11 the chance to explore critical global issues on urban space and society, while reassessing the role that art can play in these relations.
The curator, German Christian Jankowski, has proposed five Spanish artists: Santiago Sierra, Carles Congost, Fermín Jiménez Landa, Fernando Sánchez Castillo and Karmelo Bermejo. His project consists in working with professionals of a particular sector in Zurich. Santiago Sierra has chosen to work with military, Carles Congost with a rock star, and Fermín Jiménez Landa with a meteorologist. (AC/E press-release)
Manifesta. Löwenbräukunst. Limmatstrasse 270, 8005 Zurich
june 04 - october 16, 2016
OSS#02 is an intervention in the form of geopolitical garden where plant species represent social groups to materialize human interaction.
OSS#02 is the fourth a series of interventions in the form of geopolitical gardens where plant species represent social groups and human interaction. The creation of the garden is based upon a series of video interviews in which plants are selected by interviewees and placed according to their real-life physical, political or emotional locations within their community.
For several months the installation functions as a community garden hosting workshops. OSS#02 uses Brooklyn and its recent history of immigration as its geopolitical parameters. The outcome of OSS is an informed discussion generated by visitors and participants about local community interactions and coexistence.
Project made in conjunction with New York City Department of Parks & Recreation. With the support of Fort Greene Park Conservancy and Brooklyn Arts Council BAF. Fort Greene Park, Myrtle Ave & Washington Park, Brooklyn, NY 11205
Image: Outer Seed Shadow #01 (areal view), by Juanli Carrión, Public Art Installation at Duarte Square in Manhattan.
12 may – 13 december, 2016
Cofradías are religious Mayan brotherhoods, shaped in Mesoamerica at the end of the 15th century as a reaction to the Spanish invasion. Incarnating the Latin American syncretism, they combine today the Catholic codes, initially adopt under force, with their indigenous beliefs. As priests, guides, shamans, thecofrades, literally „members of the brotherhood“, are elected depending on their faith and moral respectability. In a total dedication to their mandate, they give advice, lead celebrations, mediate and preside over the cultural and religious live of their community. The Maya Cofradías inherited from the ancient Roman brotherhoods and the guilds of the Middle Ages from the Occident as well as the Orient, the protection by a saint or an avatar, the conduct of ritual celebrations and processions as well as a „freely accepted“ hierarchy of functions.
The Maya civilisation, once a major pre-Columbian empire, handed down to their modern descendants what constitute today the principal fundaments of their „relation to the world“. Behind the theater of divers influences, the Cofradíasare today one of the last „indigenous cultural bastions“. Their cult, symbology and numbering, calendars and perception of time, languages and glyphs, artisan craftwork and techniques have survived the upheavals of the last centuries.The cofrades should today be understood as “guardians of the Mayan fire“. (Tumuult press-release)
Tumuult galerie. Heinrich-Roller-Straße 8. 10405 Berlin
Image: Tomás, Cofrade Chichicastenango, Guatemala. Foto © Santiago Albert, 2014
24 may – 31 december, 2016
Room One, a creative space in the heart of historic Clerkenwell, has announced the exhibition of work by award-winning Spanish artist Oscar Tusquets Blanca. An internationally-renowned architect, designer, writer and painter, whose successful career has spanned many decades and disciplines, Tusquets is exemplary as a ‘Total Artist’.
Born in Barcelona in 1941, Tusquets graduated as an architect from Escuela Tècnica Superior de Arquitectura de Barcelona in 1965, and went on to design a number of notable buildings including several exhibition halls in the Musées des Arts Décoratifs at the Louvre, Paris, and most recently, the Toledo metro station in Naples.
A celebrated furniture designer and recipient of the Spanish National Design Award, perhaps the most recognizable of Tusquets’ designs is Dalilips, the iconic sofa that he co-designed in 1975 with his master and friend Salvador Dali, for the Mae West salon at Teatre-Museo de Figueras. A founding member of prestigious design company BD Barcelona, which today holds the exclusive rights to manufacture Dali’s furniture designs, Tusquets’ own designs are held in the collections of high-profile public institutions including MoMA in New York and the Georges Pompidou Centre in Paris. (Room One press-release)
Room One Gallery. 12-14 Berry Street. London EC1V 0AU
Image: Room One Gallery. Oscar Tusquets Blanca
29 may – 31 august, 2016
As part of the cultural activities of Benedicti Claustra Onlus and in conjunction with the 2016 Biennale of Architecture in Venice, in the Officina dell'Arte Spirituale exhibition space at the Abbey of San Giorgio Maggiore, Spanish artist Antonio Girbes presents Refugios , a site specific installation comprised of thirteen large-scale works. REFUGIOS is the brainchild of DELIRIOUS CITY, a series of works from 2006 in which the artist brought together photographic images of buildings by renowned architects in several European cities. Over the years all of these images generated the DELIRIOUS CITY project, a new and different space, a global, timeless city, in which the architectural elements created by man over the centuries coexist together simultaneously. Andrea Palladio, Pere Compte, Fritz Wotruba and Félix Candela are some of the seminal names encountered on this journey through the history of art, a fitting tribute to the extraordinary heritage that these great artists have left us. REFUGIOS eschews the typical two-dimensional quality of photography by making use of perspective to create illusions of impossible depths through which the eye is plunged into an unreal yet highly realistic three-dimensionality. Curator: Javier Molins. (Abbey of San Giorgio Maggiore press-release)
Abbey of San Giorgio Maggiore. Officina dell’Arte Spirituale – Isola di San Giorgio Maggiore – Venice Public boat, line 2
Image: Refugios. Antonio Girbés
28 may - 27 november, 2016
The 15th Venice International Architecture Biennale will take place from 28 May to 27 November 2016. Based on the theme "Reporting from the Front". it is directed by Chilean architect Alejandro Aravena, winner of the Pritzker Prize in 2016. It is a call for reflection on mistakes made in order to share solutions that could help other countries anticipate and avoid similar outcomes (statement by Alejandro Aravena on the theme of the Biennale).
During the past period of economic growth in Spain construction became the main driving force behind the economy. Today we find the built presence and unfinished remains of the largest constructional undertaking in history, which left behind an awkward layout and large partially built and unconsolidated volumes.
With the exhibition ‘Unfinished’ the curators of the Spanish pavilion, Iñaqui Carnicero and Carlos Quintáns take a look at unfinished architecture in order to discover virtues that can be turned into design strategies. ‘Unfinished’ sets out to explore creative speculations on converting a past condition into a positive contemporary action.
In order to show the largest possible number of architectural designs related to this theme, the Spanish Pavilion for the 2016 Venice Biennale initially launched a call for selecting the built works to be shown under one of the following categories.
INFILL without façade. ELEVATIONS without land. CONSOLIDATE without autonomy. PATTERNS without deadlines. STRUCTURES without cladding. DEMOLITIONS without material. GENERIC without program. ADAPTABLE without permanences. REAPROPRIATION without new spaces. RAW MATERIAL without finishing LOW COST without money. COLLABORATIVE without authorship. SUBVERSIVE without regulations (AC/E press-release)
Bienal de Venecia Arquitectura. Ca’ Giustinian, San Marco 1364/A. 30124 Venezia
Imagen: Pabellón de España. Bienal de Arquitectura. Venecia 2016
4 may – 4 september, 2016
This exhibition invites visitors to experience passage, adjustability and mobility through the woks of Spanish artist Xavier Mascaró (b. 1965, Paris). Visitors can observe possibilities and meanings through the 18-meter iron ship shown at the entrance of Warehouse421, which is suitably located in Mina Zayed, inciting parallel dialogues between the artworks and the surrounding environment. Inside the exhibition, the 26 unique boats and documentation, along with the poems of reminiscence, survey thoughts, processes and experimentations that investigate notions of departure.
Mascaró employes a thematic that can be universal and personal. He transports visitors from ancient mythology and rampant totalities, to an icon that speaks to the historical specifics of the United Arab Emirates (UAE) community with its versatility. These relations manifest in traditional poems and songs that were instruments to convey what traveling really meant for the community, from longing to reuniting, and the essential emotions that bonded people together, and with the sea.
The UAE's geographical relation with the sea helped in creating strong trading, fishing and pearling industries that supported the community for years. Not only that, but it was also one that shaped the urban life and facilitated building the coastal cities that are witnessed today. (Warehouse421 press-release)
Warehouse 421. Mina Zayed. Abu Dhabi. UAE
Image: Departure. Xavier Mascaró
21 april–21 may 2016
“I think that no matter what, the painter has to have a sense of the physicality of the world.” – Esteban Vicente
ESTEBAN VICENTE was born in Turégano, Spain in 1903. His father served in the Civil Guard, a police force in the Castile region, and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.
Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt.
The late paintings of Esteban Vicente, exhibited at the gallery, represent the continued influence of his native Spain through his time spent in his Bridgehampton, New York home, purchased in 1964, studying the light and colors of his flower garden. Vicente’s critical role in the evolution and discourse of Abstract Expressionism is evident in the progression of his works. The paintings selected for this exhibition are significant examples of his use of broad bands of color to illustrate perceived landscapes and light. His use of color is attributed to the attention he paid to all of the physical senses – not just his sight. Vaguely defined forms frame his canvases, while hazy veils of blue, deep oranges, powerful greens and subtle yellows introduce a sense of depth and place. This grouping is a confirmation of Vicente’s pursuit of abstraction, his desire to revisit and rework forms until his last days.
Vicente spent a good portion of his career teaching. He was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, NY; and the University of California, Berkeley, CA, among other institutions.
In addition, he received numerous awards, some of them being the most prestigious given to an artist in the United States. His works can be found in important collections and museums such as the Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; and the Solomon R. Guggenheim Museum, New York, NY, among others.
At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.
Vicente died at the age of 97 in 2001 in Bridgehampton, New York, 10 days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90’s at his home in Bridgehampton. (Ameringer | McEnery | Yohe press-release)
Ameringer | McEnery | Yohe . 525 W 22nd Street New York, NY 10011
Image: . Esteban Vicente. Tact, 1995
until 10 september.2016
In its most essential meaning, looking is defined as the act of setting the gaze on some object, person or space. Yet when we speak of looking in the context of art, we have to go further than that. If we consider the creation of the work of art as a way of relating to the world, as a link between what is real, imaginary and symbolic, and as a fact taking on meaning in the act of communication, looking also implies understanding, comprehending and feeling.
In this exhibition the Fundació Suñol presents a selection of work from its own collection, with the goal of once again addressing the importance of the gaze in art. While it is evident that the spectator gazes upon the work of art, it is less clear that the artwork is looking at us as well. By means of a multitude of languages and a great variety of signs and codes, artists communicate experiences, thoughts and emotions in creations that reveal subjectivity, providing a reciprocal gaze that turns into a three-sided active dialogue: the work of art condensing the artist’s gaze; the spectator enquiring about the work from his or her own individuality; and the immensity of the world, understood as an unfathomable vessel where art constitutes an effort to put it all in order.
This exhibition features work by Luis Gordillo, Man Ray, Zush, Richard Avedon, Luis Frangella, Carlos Pazos, Jaume Plensa, José Luis Alexanco, Ramon Guillen-Balmes, María José Lacadena, Christo, Jordi Colomer, Claudio Bravo, Ferran Freixa, Ignasi Aballí, Antoni Tàpies, Juan Genovés, José María Sicilia, Alberto García-Alix, Joan Rom, Jaume Xifra, Robert Llimós, Idroj Sanicne, Sergi Aguilar, Federico Guzmán, Manuel Millares, Pello Irazu, Max Bill and Miquel Mont. The work is grouped into various sections, corresponding to seven different subject areas: gazing; reading; covering up; value; walking/resting; holes; and the colour red. The heterogeneous nature of the subjects chosen demonstrates the variety of recurring concepts in art, each in its own way drawing the attention of artists so as to be interpreted through the form of new languages, multiplying their possibilities. For this reason the works in each section dialogue amongst themselves while inviting us to participate in an open, multidirectional conversation that has not be previously scripted, even while awaiting our reply. (Fundación Suñol press-release)
Fundación Suñol. Passeig de Gràcia 98. 08008 Barcelona
Image: Joan Rom, Sin título (pies atados), 1992. Fotografía Fundación Suñol.
6th april - 18th september, 2016
Picasso. German Records has clearly opened up an important new avenue in Germany, too, as it examines from different angles the links, affiliations and divergences between Pablo Picasso and a select group of German artists who are now considered Modern classics, and who radically changed the direction of art history. Recently, the influential German newspaper Frankfurter Allgemeine Zeitung published a highly favourable review of the exhibition, mentioning particularly the “impressive number of works, paintings, engravings and sculptures on display, myriad documents, and emphasis on European Modern Artists”, as well as the fact that “German works have not in any way been sacrificed in favour of the cult genius, Picasso. Quite the opposite, they are presented as equals”. At the German institution’s request, MPM will publish a German edition of the profusely illustrated accompanying book, with contributions from renowned experts on the multiple connections between Pablo Picasso and German art and thought of the time. (Museo Picasso Málaga press-release)
Kunsthalle Würth Lange Straße 35 74523 Schwäbisch Hall. Alemania
Image: Pablo Picasso: Venus und Amor, 1968
25 march – 11 september, 2016
The oeuvre of Joan Miró, one of the most celebrated figures in the history of modern art, is closely linked to Surrealism and reveals the considerable influence that artists and poets belonging to the movement had on his work in the 1920s and 1930s. Indeed, they aroused in Miró the need to meld painting and poetry. Thus his art moved towards a simplification of reality, reminiscent of primitive art, on the basis of which he constructed an innovative language of symbols that would give him a new perception of material culture.
‘Joan Miró. La forza della materia’ (Joan Miró: The Force of Matter) focuses on this last aspect, showing through a wide selection of works executed between 1931 and 1981, the importance the artist always gave to the material, not only as a useful means of learning new techniques, but especially as an end in itself. Miró experimented with unconventional media and innovative procedures, breaking the rules so as to arrive at the very origins of art.
Over 100 works are displayed chronologically to reconstruct the artist’s trajectory. The majority are from the Fundació Joan Miró collection in Barcelona and from that of the artist’s family. (MUDEC press-release)
MUDEC. Museo delle Culture. via Tortona 56, CAP 20144 Milano
Image:”Perro pequeño”. Fundación Joan Miró
23 march – 4 september, 2016
Starting with plaster as a construction material of the Casino Luxembourg exhibition halls, Spanish artist Lara Almarcegui probes the underground geological layers of the Casino to find her mineral counterpart - gypsum - to develop its potential. In parallel, she explores the extent to which the architectural envelope covers and harbours the gypsum. A play of relations develops between the underground presence and the mineral ownership, between the architecture of the building and its material reality, as well as between the edifice and its urban context. curator: Kevin Muhlen
Lara Almarcegui was born in 1972 in Zaragoza, Spain. She currently lives and works in Rotterdam, Netherlands. The works that Lara Almarcegui has been developing over the course of nearly twenty years question the frontier between urban decay and urban renewal, and try to make visible what tends to remain unnoticed. While focusing on abandoned spaces and structures that are undergoing a process of transformation, Almarcegui also investigates the different connections that can be established between architecture and urban planning. She inquires into the current state of peripheral areas -their development, use, and decay- and manages to set up a discourse about the different elements that constitute the physical reality of an ever-evolving urban landscape. (Casino Luxembourg press-release)
Casino Luxembourg. 41, rue Notre-Dame, L-2240 Luxembourg
Image: Casino Luxembourg. Lara Almarcegui
27 february – 31 august, 2016.
“De Salvador a Dalí” is a cohesive exhibition of Dalinianartwork, exhibited worldwide and seen by over 10 million people. Curator of the collection and President of the Stratton Foundation, Mr Benjamin Levi; an avid collector and expert of Dalí, has assembled the Collection over the past forty years, selecting each artwork in order to bring various aspects of Dalí’s lifework to the public eye.
Artworks on display include the most important and largest grouping of bronze sculptures, such as the ‘Space Elephant’ and the ‘Persistence of Memory’. Ten original Tarot collages, created by Dali during the 1960’s, Dalí inspired furniture, and the Mae West’s Lips sofa remind us that Salvador Dalí was a multi-facetted artist who explored a wide range of themes and materials. (expodalí press-release)
Gare des Guillemins. Place de Guillemins 2 . 4000 LIEGE
Image: "Mae West",Salvador Dalí
9 february - 23 april 2016
Chillida: Rhythm-Time-Silence will go on public display at Ordovas in London from 9 February to 23 April 2016, following its recent showing to inaugurate the gallery’s presence in the U.S., where it was the first exhibition dedicated to the work of Eduardo Chillida (1924-2002) to have been staged in New York in twenty-six years. A central figure in European Post-war sculpture, Chillida produced an extraordinary body of work over a five decade-long career, and established himself amongst Spain’s most distinctive and internationally acclaimed artists. This is the third Ordovas exhibition devoted to Eduardo Chillida, and the monumental works to be shown in the gallery at 25 Savile Row reflect the intimate and universal themes that characterised his vision. (Ordovas press-release)
Ordovas Gallery, 25 Savile Row. London W1S
Image: Chillida: Rhythm-Time-Silence installation view, Photography by Maris Hutchinson
26 november – 30 december, 2015
The "After Schengen" project shows old border crossing points between different states in the European Union. After the Schengen agreement, most of these old checkpoints remain abandoned and out of service,allowing us to gaze into the past from the present. This causes many reflections, specially in a moment that EU project it is severely discussed.
"After Schengen" has been awarded the 2013 Project Development Grant Grant, awarded by CENTER (support organization photography of Santa Fe, New Mexico, USA).
Ignacio Evangelista, born in Valencia 1965 (Spain).Bachelor degree in Psychology, University of Valencia. His photographic series show the relationship, sometimes contradictory, between nature and the artificial, betweeimate and inanimate. Although the series can be formally very different from each other, always a common theme underlying all of them, related to the human trace (Sciences Po Bordeaux press-release)
Hall de Sciences Po Bordeaux. Université Bordeaux
Image: After Schengen, Ignacio Evangelista
14 november 2015 - 17 january 2016
Jakarta Biennale 2015 aims to promote a continuous reading of the development of the idea of the city, which is viewed as a complex and dynamic area that reacts to both local and global changes. The Biennale amplifies the observation of sociocultural phenomena within the scope of a specific time and space. Furthermore, in the artistic context, the Biennale plays a very prominent role in challenging the latest trends in relation to the development of cultural, social and political matters both in Indonesia and internationally.
The theme of the 16th edition of Jakarta Biennale, curated by Charles Esche, is ‘Maju Kena, Mundur Kena: Learning in The Present’. This year’s event features a broad-ranging programme that includes a general exhibition, projects in public spaces, night events, exhibitions of young artists, workshops and other educational activities and symposia, as well as the publication of a catalogue. The aim is to explore the significant cultural influences found in the present of Indonesia and how they shape the image of today’s world. For this purpose it is divided into three core exhibition sections: ‘Indonesia in the 80s’, ‘The contemporary international in Jakarta’ and ‘Young Indonesian artists now’. The curators will weave three subject strands across these three exhibition elements: ‘Learning’, ‘Water’ and ‘History today’, which will cross over the abovementioned sections to allow visitors to discover them from the viewpoints of different generations.
The Spanish artist Juan Pérez Agirregoikoa has been invited by Jakarta Biennale Foundation to take part in the Biennale, with the support of AC/E. (AC/E press-release)
Jakarta Biennale. Jl. Amil Raya No. 7 A Pejaten Barat,. Pasar Minggu Jakarta Selatan. Indonesia
Image: Jakarta Biennale 2015
6th october, 2015 – 13th february, 2016
From 6th October to 13th February of 2016, the Foto Colectania Foundation demonstrates the power of the portrait in Photography through a selection of more than one hundred works by 49 photographers from its own collection, some of them exhibited for the first time. The diversity of this selection emerges from adding to studio portraits -the most common approach on the genre- street photography instants. A license that has allowed us to discover works on the subject from very different, and at the same time very contradictory, apporaches, such as rationality, control, complicity, spontaneity or pure chance. The portrait is considered at times a confrontantion in which the photographer have to win, as it is the case of Humberto Rivas; other times it is a seduction process, as in Leopoldo Pomes's photographs; or an experience so intense as getting into trance. This latter one is the case of Alberto García-Alix, that in his owns words describes: "To me, the photos that I truly like are that ones I do when I'm in trance. If I have not lived this trance, if the session has been unremarkable, the pictures may be good, but I will not have the feeling to have done them. "
The portrait is one of the most attractive genres in photography as it refers to something very close to us: ourselves and the others. The photographers' tendency to pay attention to the details converts them into skilled analysts of our gazes and gestures; they know to capture as nobody else would our poses, the body-language that identifies and betrays us. Therefore, the works of this exhibition are grouped in two elements that concentrate the photographers' attention when they are confronted with a face to face: the body and the gaze. The viewer will live the experience of being surrounded by countless looks: direct, provocative, distant, crosswise, hidden glances. Together with them, several self-portraits: the photographer's view on him/herself. Furthermore, the viewer will encounter photography series characterized by the expressionism of the bodies, which also take a look at us and talk to us with their postures.
The exhibition "Face to face" does not intent to be a tour through the genre of portraiture in Photography, but aims to show a few remarkable exemples of Spanish and Portuguese photography from the 50's to now from the Foto Colectania's main collection. Presented in several towns around Barcelona thanks to a program of traveling exhibitions organized by the Diputació de Barcelona, "Face to Face" culminates with this presentation in the main city after being revised and enlarged for the occasion.
Participant photographers: Helena Almeida, Manel Armengol, Atín Aya, Javier Campano, Vari Caramés, Josep Maria Casademont, Gérard Castello-Lopes, Juan Manuel Castro Prieto, Francesc Català-Roca, Toni Catany, Joan Colom, Gabriel Cualladó, Ricky Dávila, José Miguel de Miguel, Jordi Esteva, Manuel Ferrol, Eugeni Forcano, Albert Fortuny, Alberto García-Alix, Cristina García Rodero, Gloria Giménez, Paco Gómez, Inés Gonçalves, Fernando Gordillo, Jorge Guerra, Cristóbal Hara, Fernando Lemos, Ramón Masats, Oriol Maspons, Xavier Miserachs, Jorge Molder, Nicolás Muller, Isabel Muñoz, Francisco Ontañón, Carlos Pérez Siquier, Leopoldo Pomés, Jorge Ribalta, Xavier Ribas, Humberto Rivas, Pablo San Juan, Gervasio Sánchez, Rafael Sanz Lobato, Alberto Schommer, Antonio Martín Sena da Silva, Ricard Terré, Miguel Trillo, Javier Vallhonrat, Antoni Vidal and Virxilio Vieitez. (Fundació Foto Colectania press-release)
Fundació Foto Colectania. Julián Romea 6, D2. 08006 Barcelona
Image: Humberto Rivas, María, 1979
1 – 30 october, 2015
Closed Paradise explores themes of nature and extinction. The exhibition’s title refers to a banishment from a paradisiacal state, both metaphorical and literal, that mirrors our current environmental situation. This cross-cultural and multidisciplinary exhibition focuses on the legacy of earth’s natural resources and states of erosion and extinction due to human activity. Closed Paradise features works by Javier Viver, Jose Val del Omar and Lili Chin.
Viver will create a Rainbow site specific installation of melting colored wax on the window panes and use objects molded from casts of plant species and an herbarium to compose The Eurasia Archive of Extinct Plants. In this way he drafts a reflection about the paradoxical co-existence of the ephemeral and the eternal, memory and the imagination.
Chin uses drawing, installation and Super 8 film in a meditative process to investigate states of growth and decay in wild and pastoral terrains . For this exhibition she will include a social sculpture – a garden of donated plant cuttings collected in an open call. Her work expresses concern with vanishing landscapes, preservation, memory and the sublime.
Val del Omar’s work includes a selection of films composed by Javier Viver for Val del Omar’s PLAT laboratory installed in the Reina Sofia National Museum, Madrid. These films reference The Alhambra, the Moorish palace in the South of Spain, a place he called the closed paradise. It was the hidden place Val del Omar often visited, and filmed as the lost paradise.
Viver is based in Madrid and Shanghai, while American artist Chin lives and works in New York City. The two met at the Swatch Art Peace Hotel Residency in Shanghai and discovered they both shared a mutual admiration for the work of José Val del Omar. Through this project, these artists create a cross-cultural reflection on culture, exploitation, memory and preservation.
With the support of the General Consulate of Spain in New York..(The Clemente press-release)
The Clemente. 107 Suffolk Street. New York, NY 10002
Image: Closed Garden. José Val del Omar
2 april – 29 may, 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda