Spanish contemporary art worldwide
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KÖLN. Mauro Fariñas, Peyrotau & Sediles and Isabel Tallos "Spaces and dreams - Spanish Photography" 100 Kubik Gallery
05th September - 01st November 2014
"Spaces and dreams - Spanish Photography" shows the latest photographic works of Mauro Fariñas (* 1984), Peyrotau & Sediles (* 1975) and Isabel Tallos (* 1984).
The photographs present in unique and very different pictorical solutions of perceiving space, the movement in it and ways of creating new dreams through space.
Mauro Fariñas (Madrid 1984) works with mid-sized formats and an analog camera. For the moment he is not attracted by the digital world and he likes to get into the darkroom to process his own photos. To get there, Mauro Fariñas makes sketches in which he gives expression to the idea of image that he wants to capture. Then he looks for elements that should appear in the scenography: objects, models, props, etc.
The preparation of the photo takes time and consists in meticulous work, because everything has to accord to his plan. Located behind the camera, he shoots and catches that imagined moment.
The atmosphere that the artist achieves with the lighting and treatment of the elements involved in the image, place the viewers in a suspenseful situation, because they tend to expect anything that won’t happen. The artist is separated from the discourse of the image and the only connection is the title of the photo, an indication that the artist gives the viewers so that they can complete the rest of his message.
The Works of Aránzazu Peyrotau and Antonio Sediles Zaragoza 1975) bite into pieces the helpless consciences or stroke them without ceremony, with a language that only understands the subconscious of those who look and look again at their pictures. Peyrotau & Sediles create and measure images, giving them perpetuity in the mind, working as tattoo artists on virgin skin. They connect their intuition and shoot, giving an identity to the mind, and a body to the glance, to their dreams. They just do it, attacking the five senses of those who contemplate their works. Because their works smell and taste, and if you approach your ear, they will howl. Keeping this in mind, you could play a guessing game to try to identify the reasons that lead them to create what they create. A mistake! Clever is to enjoy their photos, going directly to the image.
Isabel Tallos (Madrid 1983) is, despite her youth, an established photographer. Her images full of strength and emotion show an impossible universe of great austerity in the mainly use of white. She likes to investigate in the field of illusory sensations. (100 kubik press release)
100 Kubik Gallery. Mohren Str. 21 50670 Köln
Image: Puente sobre el Danúbio. Isabel Tallos, 2010
16 september – 18 october, 2014
The recent works that will be showcased in the exhibition explore a range of materials and spatial constructs; these explore the incorporation of light as matter, an
element of the first order in abstraction and geometry. The exhibition will include approximately 40 works constructed in the three materials used by the artist: aluminum, bronze and copper.
David Rodríguez Caballero’s abstract body of work expresses a strong awareness of its structural and surrounding space. While some of the wall relief works, such as 29.abril. 2013, allude to a two-dimensional pictorial space, other works, following the idea of the relief, express a gestural drawing within a sculptural space. The artist’s onumental works articulate an almost architectural and all-encompassing awareness of space. Within the work of the artist there is an inherent tension between an organic abstraction and a geometric abstraction. But perhaps the most essential element
in the work of Rodríguez Caballero is light, which is treated as an ephemeral material; light both animates and incorporates the work within a given space—it allows infinitely subtle variations to render the work as ever-new.
Born in Pamplona, Spain, in 1970, Rodríguez Caballero currently lives and works in Madrid and Manhattan. He is the recipient of several awards, including the Bodegas Dinastía Vivanco First International Engraving Prize (La Rioja, Spain, 2008), First Prize of the Unión Fenosa Collection, Museo de Arte Contemporáneo Unión Fenosa, La Coruña, Spain, 2006), and the First Prize for Plastic Arts Government of Valencia, Valencia, Spain, 2004. (Marlborough Gallery press-release)
Marlborough Gallery. 40 West 57th Street. New York, NY 10019
Image: 15.Febrero.2014, Brass. David Rodríguez Caballero
04 september - 30 november, 2014
The Cervantes Institute in cooperation with the Hamburg art gallery Kunstforum Markert Hamburg presents the exhibition of artists from Mallorca Toni Barrero (Soller, 1970) and Ñaco Fabré (Palma de Mallorca, 1965). Trained at the School of Arts and Crafts in Palma, Ñaco Fabré then extends his studies with painters Juan José Deudero and Ellis Jacobson and trips to London, Venice and Paris. His work has been exhibited in Palma, Madrid, Bordeaux and Cologne among other cities. He has been awarded the Premi Ciutat de Palma (2000) and in 2008 he was appointed professor at the Royal Academy of Fine Arts of San Sebastian. Toni Barrero (Soller, 1970) has presented three solo exhibitions at Centre d'Art Contemporary Addaya Alaro (Mallorca) and numerous group exhibitions: Trentapertrenta in different editions of graphic or ImatgesRaonades among others. He also exhibited his works in the gallery Artara Mahon, forming part of the exhibition Amb Menorca to cap, and has participated in various art fairs and at Room Art Fair in Madrid. .( Kunstforum Markert press-release))
until 7 september 2014
“A journey through the Yangtze River’s transformation.”
Centre for Chinese Contemporary Art is proud to present Spanish artist Jorge Mañes Rubio, founder of Seethisway, and his project ‘Normal Pool Level’, the result of a 2 month long artist residency in China
In January 2013 Jorge Mañes Rubio decided to travel off season along the Yangtze river to collect objects that reflected the complex changes that have occurred in the area. The dislocation between past and future, tradition and modernity and memory and progress were key to the journey for Mañes; developing an alternative narrative through which a more accurate experience of the area’s transformation was revealed.
The exhibition comprises a collection of objects, photographs, drawings and installations which become the narrators of the designer’s journey. By travelling off the beaten track and engaging with the locals Mañes has managed to collect an array of symbols and memorials that don’t appear to belong to either Eastern or Western culture, portraying the identity clash that the area has been going through and the cost the region is paying for the country’s development.
Jorge Mañes Rubio (Madrid 1984) is one of the youngest Spanish talents in the contemporary art scene. He has exhibited his work worldwide and is the first Spanish artist ever to obtain a prestigious TED fellowship. His work explores invisible or forgotten places, creating artworks that re-imagine and revive these sites as attention-worthy destinations. Despite his background as an industrial engineer and product designer, his work revolves around small objects, immersive narratives and impressive installations, inviting the audience to experience these stories as if they were their own.(cfcca press-release)
Centre for Chinese Contemporary Art. MarketBuildings, Thomas St, Northern Quarter, Manchester, UK
Image: Jorge Mañes Rubio
05th september - 01st november 2014
Jordi Urbón (Puigcerdá 1955) is the winner of the IV.bienal competition of the gallery 100 kubik.
Urbón creates in his computer generated images fictional worlds in which his "heroes" seem a little foolish but also something profound poetic.
Classical pictorial media as painting ecco in Urbons works, but are replaced by new artistic strategies, media and methods of work. (100 kubik press-release)
100 Kubik, Mohren Str. 21.50670 Köln
Image: Jordi Urbón
AHMEDABAD. Taller La Casquería “Live Architecture” XII BEAU. Bienal Española de Arquitectura y Urbanismo
01 september – 31 october 2014
Since the year of its establishment, the Spanish Architecture and Town Planning Biennial – Bienal Española de Arquitectura y Urbanismo, formerly the Spanish Architecture Biennial – has been incorporating into its overall programme a number of specifically architecture-related activities organised by the various collaborating institutions and a travelling exhibition which each year features the works that are shortlisted and win awards in each of the categories on account of their qualities.
The theme of the 2013 biennial was ‘Inflexión/Turning Point’, and the award-winning and shortlisted projects focused on rehabilitation, a town planning based on change, and an architecture that is environmentally friendly and not costly to maintain.
As a result of this call and of the selected works, the Ministry of Development, with the collaboration of AC/E, is organising and producing the Live Architecture exhibition designed by the young architects’ studio Taller de Casquería.
Live Architecture shows the award-winning architecture from a close and dynamic approach. The centrepiece of the exhibition is a major video installation that conveys not only the value of the prize-winning projects but also how they are used and experienced and how they behave over time, in daylight and with night illumination. Its design allows it to be shown simultaneously in several cities and in different formats.
The exhibition project was presented at the 12th Spanish Architecture and Town Planning Biennial (BEAUXII). Its aim is to make known the award-winning architecture in use, by showing the different stages of activity and how spaces are understood through their users. The focal point of the exhibition space is a black box with a large screen that displays all the information. All the buildings selected by the biennial are shown, evidencing their relations and unique features. Cross-cutting readings are made as equivalent or contrasting situations appear and are related on the screen. Management software was specially developed for this purpose to coordinate the different live entries in relation to the pool of recorded videos. A red light. . (AC/E press release)
Imagen: XII Bienal de Arquitectura
20 september 2014 – 21 february 2015
As of 20 September 2014 Palazzo Strozzi in Florence will be focusing on modern art once again with a major new event devoted to one of the greatest masters of 20th century painting, Pablo Picasso.
The exhibition will present a broad selection of works by this great master of modern art in an effort to stimulate a reflection on his influence and interaction with such leading Spanish artists as Joan Miró, Salvador Dalí, Juan Gris, Maria Blanchard and Julio González: art reflecting on art and on the relationship between the real and the surreal, the artist's heartfelt involvement in the tragedy of unfolding history, the emergence of the monster with a human face, and the metaphor of erotic desire as a primary source of inspiration for the artist's creativity and world vision.
Picasso and Spanish Modernity will be showing some ninety works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving and even film, thanks to the Fondazione Palazzo Strozzi's synergistic cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art on display will include such celebrated masterpieces as Woman's Head (1910), Portrait of Dora Maar (1939) and The Painter and the Model (1963) by Picasso, Siurana, the Path (1917) and Figure and Bird in the Night (1945) by Miró and Dalí's Arlequin (1927), along with Picasso's drawings, engravings and preparatory paintings for his huge masterpiece Guernica (1937), none of which have been displayed outside Spain in such vast numbers before now.
Organised by Fondazione Palazzo Strozzi and Museo Nacional Centro de Arte Reina Sofía. Curated by Eugenio Carmona (Palazzo Strozzi press-release)
Fondazione Palazzo Strozzi - piazza Strozzi 50123 Firenze
Image: Pablo Picasso. El pintor y la modelo (The Painter and The Model), 1963. Museo Nacional Centro de Arte Reina Sofía, Madrid
02 - 07 september 2014
The Spanish artist Juan delGado presents his video installation ‘The Flickering Darkness (Revisited)’ in London at the beginning of September.
This work, filmed at the Corabastos market in Bogotá (Colombia), was produced during a three-month residency in the city in 2009 and re-edited for this exhibition. It explores the journey of the products sold at the market from its arrival before dawn to its consumption. Inspired in the idea of belonging and our need of locating ourselves in an environment, it reflects on the city's chaos and order as well as on society's strata and how they fit together.
Juan delGado is a multidisciplinary artist who lives and works in London. He came to the United Kingdom more than 15 years ago and decided to study a degree in Contemporary Media Practice in London followed by a Master at the University of Westminster. He wrote his thesis about the transsexuality in the Spanish Cinema (from Armiñán to Almodóvar) and won the British Academy Prize for his investigation. Since then he has created numerous works related to different issues such as the trauma, the landscape, the disability, the dismemberment or the gender. His works have been exhibited in countries such as Spain, United Kingdom, USA, Egypt or Colombia, and he has participated in important cultural events like ARCO art fair, FotoEspaña or the Estambul Biennial. (Southbank Center press-release)
Southbank Centre. Belvedere Road, London SE1
Image: Juan delGado
01 - 30 september, 2014
Using methods of public intervention and video installation, Storming Times Square is a project that symbolically releases our fantasies of overcoming imposed obstacles in our lives. Engaging individuals as spectators and participants, a staged interaction will take place between a “stormed” site and collected imagery of a virtual public.
The video display content will be the result of a public-participation performance. In the first phase of the project (July 24-27, 2014) the local Times Square community, distinguished New-yorkers and neighborhood pedestrians will be invited to crawl over a green-screen surface while being captured by an over-head video camera. The result is a dynamic video animation with both realistic and abstract forms that will be screened for Midnight Moment in Times Square (September 1-30, 2014).
Storming Times Square is born from a desire to have viewers project themselves, literally and metaphorically, onto their immediate environments.
Daniel Canogar (Madrid 1964) has exhibited widely in Europe and the Americas. His recent work includes Asalto Greenwich, a video-projection inside The J House Hotel in Greenwich, CT; “Quadratura”, a solo exhibition at Espacio Fundación Telefónica in Lima; and Synaptic Passage, an installation commissioned for the exhibition "Brain: The Inside Story" at the American Museum of Natural History in New York. Daniel Canogar is represented by bitforms gallery in New York City.
The project is presented in partnershipwith bitforms gallery and supported by AC/E and Spain Culture New York - Consulate General of Spain: member of the network Spain Arts & Culture. (Times Square press-release)
Duffy Squareat Broadway & 46th Street
Image: Daniel Canogar
12 august – 28 september, 2014
Organised by the Luz Austral foundation, this year the festival is featuring a retrospective of the work of Humberto Rivas (1937–2009) at the Centro Cultural Recoleta. It brings together 130 photographs and also includes a screening of the short film Unos y Otros (Some and Others) directed and made by Rivas in 1973. AC/E is collaborating on this project through the PICE programme for the internationalisation of Spanish culture.
Humberto Rivas was born in Buenos Aires in 1937. From 1976 until his death in 2009 he lived and worked as a photographer and teacher in Barcelona.
In 1997 Barcelona City Council awarded him the City of Barcelona Plastic Arts Prize; in 1998 he received the National Photography Award from the Spanish Ministry of Culture; in 1999 he was distinguished in Argentina with the Konex Prize; and in 2009 Barcelona City Council granted him the Gold Medal for Artistic Merit. Humberto Rivas died on 6 November 2009 in Barcelona. .(C.C.Recoleta press-release)
Centro Cultural Recoleta, Junín 1930 (C.P. 1113) Buenos Aires
Image: Humberto Rivas
17 may – 28 september, 2014
Pablo Picasso (1881–1973) was a central figure in Modernism and like many of his contemporaries he spread his artistry across a variety of areas. However, many people are unaware that Picasso was also a ceramics designer for more than two decades.
The Röhsska Museum’s exhibition presents around 70 ceramic pieces, designed by Picasso and produced in limited editions by the Madoura workshop in Vallauris, southern France in 1948–1971. The exhibition also includes some 20 posters and linocuts by Picasso related to his ceramics and the exhibitions where they were displayed.
The majority of the exhibits are on loan from a French private collection, The Lake Collection of Picasso Ceramics. The Röhsska Museum has also supplemented the exhibition with pieces exclusively borrowed from private collectors in Gothenburg.
The Rohsska Museum, Vasagatan 37-39, Göteborg, Sverige
Image: Round dish, ”Visage aux feuilles” (Face with leaves), Pablo Picasso, 1956
Living Walls seeks to promote, educate and change perspectives about public space in our communities via street art. Living Walls, The City Speaks, is an annual conference on street art and urbanism that began in August 2010 in the city of Atlanta. Along with changing the urban landscape, the Living Walls conference set out to highlight a number of problems facing the city. Living Walls did not just showcase art, but also built a platform for much-needed dialogue in the city.
While we last heard from him a few weeks ago in Spain, Daniel "SAN" Munoz is now in North America where he was invited to paint on the streets of Atlanta.
In town for the excellent Living Wallss Conference 2014, the Spanish artist dropped this signature monochrome piece. SAN's work is often influenced by magical realism, graffiti, and last but not least the culinary arts.
Daniel Muñoz. "SAN". Moraleja,Caceres (Spain) 1980. SAN began his career at the early nineties painting on walls and furniture in public spaces at Moraleja (Cáceres), where he was born and raised. After several years as an autodidact in 1997 he started to study art degree at the city of Caceres. In 2000 he moved to Madrid to begin his university studies in the Faculty of Fine Arts, which is compatible with his first exhibitions and interventions in many cities of Spain and Europe.
Thereafter there is a shift down in his carreer and the drawing starts to be a tool of their language. Since its start his work has been highly figurative and which developed using exclusively public space as a support. His intention was to have his message to as many people as possible. Not socio-cultural discriminations.
Their language consists of symbols and codes that give rise to a careful reading between the narrative of classical painting and moral discourses of contemporary art. All his works force us to fall into different interpretations and confusing, despite recounting daily events and anecdotes, based on more mundane topics. In recent years he has made hundreds of interventions in public spaces and exhibitions worldwide.
His work has been published in numerous books and prestige artistic publications , emphasizing their monograph edited by "Belio" in 2006 (Living Walls press - release)
Image:SAN, Atlanta streets
NEW YORK. Joan Taltavull, Anna Pont and Joaquin Amayar. “The Chelsea International Fine Art Competition” Agora Gallery
august 22 – september 11, 2014
The Chelsea International Fine Art Competition Exhibition is always an event worth bookmarking in your calendar. Full of interest, variety and energy, the show presents the work of the artists who have been selected by the independent juror, Carlo McCormick, one of New York’s noted culture critics and curators. The works offer a wide range of media, styles and subjects, yet are united with their inspirational vivacity and creativity. Selected among thousands of entrants from across the globe, these artists represent the fresh new wave of talent coming the New York art scene.
Joan Taltavull(Barcelona 1988) is both a designer and an artist. Due to the grotesque characters which appear in his work resulting from the multiplicity of influences such as constant research of new effects on paper and canvas, he does not fall into any artistic categories.
Anna Pont.(Ripoll 1975) Self-taught artist. In my compositions, I almost always use graphite mixed with watercolour. She draw everyday situation, scenes of a reality, sometimes altered from my own personal view, that move between sense of humor and critical expression.The relationship between drawing and empty space on the paper reinforces the importance of each particular scene; this added to the decision to isolate the people from their more extensive environment, allow the viewer to create their own history
Joaquín Amayar(Sevilla 1973) Driven by this artistic creativity steeped in the arts of flamenco music and the theater, Amayar begin to approach the art of painting, influenced by the many destinations where he travelled . The atmosphere once colorful, geometric and meditative of his paintings reflects his personality, constantly looking for a strong emotional relationship with the public.(Agora press release)
Agora Gallery, 530 West 25th St, Chelsea, New York
Image: Joaquín Amayar
ARLES. Eduardo Arroyo / Maurice Matieu “MANO A MANO”, Capitole, chapelle Saint-Laurent, Les Rencontres d´Arles
7 July - 21 September, 2014
This remarkable mano a mano evokes an encounter confronting two distinct approaches which are united by the role that Maurice Matieu and Eduardo Arroyo give to painting. The evolution of each other artist share similarities: one distanced himself from mathematics, the other distinced himself from journalism. Both chose the space of the painting as their preferred médium.
The Spanish painter Eduardo Arroyo, born in 1937, is today regarded as one of the most important exponents of politically committed realism. Arroyo trained as a journalist. At the age of twenty-one, he emigrated to Paris where he worked as an author and journalist. Not very convinced of his own writing skills and his political judgement, Arroyo decided to devote his time to painting. Arroyo taught himself. He began to "tell stories in pictures" and thus occupied a special position in the Paris of the 1950s, where at that time, abstract and not representational narrative painting prevailed. Simple to read references to historic events and characters prevail in his representational and figurative compositions. Eduardo Arroyo composed stereotypical figures, which represent characters from certain social classes. He often included defamiliarized quotations from famous pictures with a touch of irony. (Les rencontres d´Arles press-release)
“Mano a Mano” Capitole, chapelle Saint-Laurent, Arles. France
Image: Vanite II, 2013. Eduardo Arroyo
31 August - 21 December 2014
This is a group exhibition in which AC/E is supporting the participation of Spaniard Adrià Julià along with artists Bas Jan Ader, Meris Angioletti, Ali Cherri, André Cadere, Mathis Collins, Alighiero Boetti, Jimmie Durham, Naufus Ramirez-Figueroa, Julia Meltzer and David Thorne with Rami Farah, Gilad Ratman, Olve Sande, Benjamin Valenza, Guido van der Werve, Nancy Spero and writer Golan Haji.
The exhibition, curated by Elena Lydia Scipioni (Rome, 1979), explores the history of the artists and intellectuals who sought refuge in Marseilles when the Second World War broke out, and waited for an opportunity to escape to North America. In 1941, they stayed at the Villa Air Bel, where André Breton and a group of surrealists – Victor Brauner, Oscar Domínguez, Jaques Harold, André Masson and Frederic Delanglade – created a deck of hybrid cards (a mixture of traditional playing cards and tarot cards) known as ‘Le Jue de Marseille’ as entertainment. These cards are now held in the Musée Cantini, and are being shown especially on this occasion.
In this context Adrià Juliá (Barcelona, 1974) has been invited to create a new work based on Siegfried Kracauer’s texts – ‘Two planes’, written in 1926, ‘Apparition at Le Cannebière’ (1928 / 1931) – and Walter Benjamin’s texts ‘Marseille’ and ‘Hashish’. Julià explores the spatial, social and geometric relations that Karacauser describes around a square in Marseilles, but without disclosing its exact location or name. The text describes the square, which is now unknown or has disappeared, as an everyday, controlled theatrical space. It can also be found in the text written by Walter Benjamin on Marseilles and even in the letters exchanged by the two abovementioned authors. Julià treats this square as a space for speculation and promotion, with different interlinked stories and chronologies. For this purpose he has made a film that is projected in the exhibition space and refers to the architectural framework dealt with in Kracauer’s text. Julià sets out to make a slight shift in the focus of historical references in order to highlight the key role played by Marseilles. (AC Española press-release)
Le Cartel de la Friche, 41 rue Jobin - 13003 Marseille
Image: Adriá Juliá
29 july – 28 september, 2014
An exhibition of 69 works by Joan Miro and 23 photographs of the Spanish artist taken by gallery owner Alfredo Melgar."La magia de Miro" (The Magic of Miro) has already traveled to the Brazilian cities of Sao Paulo and Curitiba.
The show will head to the cities of Recife and Salvador once its run in Rio ends.
The traveling exhibition of drawings and engravings by Miro is being curated by Melgar, a photographer, gallery owner and collector. "The exhibition reveals a more intimate and personal side of the Catalan artist's world by including sketches and notes, as well as works produced in pencil on paper, during the last five years of his life.
The works in the show are from different periods in the artist's career from 1962 to 1983.The exhibition features 23 black-and-white photographs taken of Miro by Melgar, who met the artist in Paris when he was starting his career as a professional photographer. (Caixa de Cultura press-release)
Caixa Cultural, Av. Alm. Barroso, 25 - Centro, Rio de Janeiro
Image: Joan Miró. Caixa de Cultura
07 august – 19 september, 2014
“The development of my artistic process has always been linked to my being and creating in the moment.
Throughout my life, I have lived alternatively in the city and in the countryside; those experiences have profoundly shaped my creative process. By way of contrasting and complementing between these two disparate influences through my art, I share the fruits of my searching and experimentation.
Experiencing nature and its interrelationship with the human being is my starting point, and yet a visual re-creation is not sought but a synthesis of these organic primary shapes, still present in the nature is my goal.I push to bring these shapes back to our present architectural and technological environment.
My work is based on the search and comprehension of different spatial organic planes pulled from daily realities into its ultimate transformation into a pictorial abstract and photographic reality, which agglutinates its essence.
Using computer manipulated photographic images the canvas becomes a meeting place for these different planes of pictorial reality.
I use the camera to pull / draw in and out of focus elements of the environment to: turn figures into objects that lack individual importance, to change the background landscape to become the main protagonist in the frontal plane and to ultimately change it´s meaning. Objects of great size become tiny, and microscopic spaces will be increased as if we were observing them through a great lens. A large part of the work arises from the photographs I’ve taken in Arizona, California, New York, Puerto Rico, Utah, France, Norway, and Spain. These are studies of the light I observed on the present bodies within their space and moving through them, while on the rest, I used the computer to manipulate the photos in order to obtain my intended results.
Definitely it is my questioning of current reality, and my quest for an alternative definition of reality, both pictorially, photographic, abstract and organic, and through the de-contextualization of our present reality that defines my artwork” Fernando Villena.
Claudio Bernard 111, Doctores, Cuauhtémoc, 06720 Ciudad de México, Distrito Federal, Mexico
Image: Fernando Villena. S/T. Acrylic on canvas. 2010
august 5 - september 28 2014
An exhibition of black and white photographs by 43-year-old Spanish photographer, Xavier Comas, a graduate of the Faculty of Fine Arts, Barcelona University, Barcelona, Spain. The exhibition comprises 20 prints from the book, The House of The Raja published and released by River Books in August 2014.
Forgotten in Thailand’s troubled Deep South, stands a dilapidated wooden palace once home to a Malay ruler, the last of his dynasty. Locals call it the “House of the Raja”, a place suffused with loss and solitude, laden with the region’s glorious past and tragic present. Intrigued by this demonized, yet little-known borderland, Xavier Comas chanced upon this mysterious house. The caretaker, a Muslim shaman who held rituals inside, invited the author to stay and initiated him into its hidden dimensions. As he builds a bond of trust with the inhabitants of the house, the missing pieces of its history gently fall into place, revealing an ancient culture long hidden and the building’s ties to the centuries-old struggles in this contested region.
Comas’ evocative black-and-white photographs take us into a realm of hauntings, mystic powers and fading memories. His first-hand account enthralls the reader with vivid descriptions in which the real and the magical entwine. The House of the Rajaprovides a missing key to controversial issues of legacy, belief and identity in Thailand’s Muslim South.
“Xavier's photographs are arresting and extraordinary - in their subject matter, technical virtuosity and emotional intensity. As soon as I saw them, I wanted to publish his work. As we worked together, I discovered that his writing was poetic and evocative, dealing with difficult subjects with sensitivity and depth, weaving a tale that draws the reader in to a mysterious world. River Books are proud to publish his book.” Narisa Chakrabongse, editor and publisher River Books. (Eat me Rest. Press-release)
Eat Me Restaurant: Carmelite Monastery on Convent Road near the Sala Daeng Sky Train Station. Bangkok
Image: Xavier Comas
4 august – 19 september, 2014
I had an inkling that street photography might help me understand something about the culture and people, so I took to the streets with my Nikon D3S and kept my eyes open to everything. I tried to be aware of every detail and capture it all through my lens. However, I soon realised I was falling into the trap of assuming that I would be able to produce ‘cool' pictures simply because I was taking them in New York. I also found that, as is to be expected, people aren't necessarily fond of having their pictures taken by a stranger on the streets of this city. After being told off once or twice, I decided to put my camera aside for a couple of days and just enjoy the city as a tourist. Daniel Duart.
Daniel Duart (Valencia, Spain 1975). Following a degree in English language and a masters in translation, Daniel Duart moved to Russia in 1996 to learn the language and work as a translator. It was there that he developed an interest in documentary photography while taking photographs around the city. After pursuing a career in freelance photography, Duart began working as a photojournalist for local newspapers and European agencies. Since 2011 he has been working in the field of fashion photography. (CCE press-release)
Centro Cultural de España Recoleta, Florida 943, Retiro.Buenos Aires
Image: Daniel Duart
1 August - 13 September 2014
Carroll / Fletcher is pleased to present a group show surveying recent works in expanded drawing which use paper and line as a point of departure. Pencil / Line / Eraser takes its title from a video work by John Wood and Paul Harrison which shows one hand drawing a line while the other hand erases it in the same stroke. The piece epitomises an adherence to process that runs throughout the exhibition, across a broad range of media including drawing, collage, sculpture, video and digital prints.
Pencil / Line / Eraser features work by Julius von Bismarck & Benjamin Maus, Ariel Hassan, Justin Hibbs, AKassen, Christine Sun Kim, Rafael Lozano-Hemmer, Sam Messenger, Manfred Mohr, Diogo Pimentão, Evan Roth, Ignacio Uriarte, John Wood and Paul Harrison. It is the first exhibition to be presented across both Carroll / Fletcher and Carroll / Fletcher Project Space.
Ignacio Uriarte (1972) was born and grew up in Krefeld in Germany. He studied business administration in Madrid and Mannheim, then worked for various corporations in Germany, Spain and Mexico. There, he graduated in audio-visual arts from the Centro de Artes Audiovisuales in Guadalajara, Mexico. He left the corporate world ten years ago and dedicated himself fully to art, calling his work “office art”, and moved to somewhat more artist-friendly Berlin in 2007. Uriarte draws inspiration from 'the little creative moments' within office routines. The two-channel video Blue Ribbon takes as its starting point the simplest of all office doodles: filling out squares on graph paper. Whether monumentalising the 'cascade' function in Windows by spacing sheets of paper over a wall, or drawing shapes with two different shades of black marker pen, Uriarte uses administrative tools to restore creative agency to the office worker. (Carroll/Fletcher press-release)
Carroll/Fletcher Project Space. 56 - 57 Eastcastle St, London W1W 8EQ
Image: Ignacio Uriarte.”Upper and Downer, 2014”Typewriter on paper
23 july – 1st september, 2014
The exhibition Relation(s) is the central exposition project of this year’s festival and presents the works of international artistic duos and groups. Together over 50 artworks in diffrent techniques, from painting, sculpture, performance, video, photography to multimedia works
The selected artists of the 12th edition of the Art Stays Festival delve intothe game as bridges between the hidden, sought, and tangible reality of things. Relations demand cooperation between everyone and a silent agreement, which erases limits and rules. This vagueness presents a beginning, perhaps a hope in art. Leave the artist, and with him the spectator, in anticipation of a reaction to a creation, formation of an artistic and cultural experience, in relations that open up towards others, in respect for identity, differences, and cultural diversity. …”
Albert Porta (1946,Barcelona, Spain) This artist has developed his art under the creation of two alter-egos, first Zush (1968–2000) and now Evru (2000-present). Sculptor, painter, digital artist, scientist and mystic, Evru/Zush has created a body of work with a very personal iconography, which feeds from European surrealism as well as the most up-to-date cyborg aesthetics. (Artstay press-release)
Gallery FO.VI, Strnišče 6, Kidričevo.Ptuj. Slovenija
Image: Devosdre Serod (2002). EVRO/ZUSH
june 30 - september 19, 2014
"When I was seventeen, I read some of Dubuffet’s writings while barely knowing his paintings. I loved the descriptions of his works and materials – his writings read like culinary recipes with jam, butter, boiled down ingredients, etc ... Both back then and today I admire his work’s profound osmosis with poetry and writing.” Miquel Barceló, 2014
Acquavella Galleries is pleased to present Dubuffet | Barceló, an exhibition of paintings by French postwar painter Jean Dubuffet and acclaimed Spanish artist Miquel Barceló, on view from June 30 to September 19, 2014. The exhibition will feature distinct bodies of work from each artist – several of Barceló’s recent white paintings and dark bleach portraits will be shown alongside a selection of Dubuffet’s landscapes and portraits. Since he was a teenager, Barceló has been drawn to Dubuffet’s poetic writings and unconventional aesthetic. In juxtaposing portraits and landscapes by both artists, this exhibition aims to highlight their thematic and material affinities.(Acquavella gallery press-release)
Acquavella Galleries, Inc.18 East 79th Street (between Madison and Fifth Avenues)New York, NY 10075
Image: Miquel Barceló, Huitres II, 1988
july 31 - october 26, 2014
The Fundación Joan Miró has organized the exhibition "Joan Miró. Fuerza de la materia" will be presented from July 31 in the new Cultural Center Foundation CorpArtes Santiago de Chile, with 112 works by the artist.
Seventy works of his background have been moved to Santiago to be displayed in the sample.
"Joan Miró. La fuerza de la materia" focuses on the artist's interest in the matter, which served both to learn new techniques and to get the purity of art. The exhibition, organized under the direction of Rosa Maria Malet, includes paintings on canvas, paper and other props, sculptures and graphic works made between 1931 and 1981.
"Joan Miró. La fuerza de la materia" is the second exhibition organized by the Fundación Joan Miró in Chile, between February and April 1998, Viña del Mar Cultural Center hosted the exhibition "Joan Miró. Imagination and color" with 144 graphic artist works provided by the Foundation.
With this second exhibition of Miró in Chile, the CorpArtes Foundation launches new cultural center in Santiago de Chile, a space that includes a visual arts gallery, a sculpture garden and an auditorium for performances of music, dance, theater and cinema. (Fundación Miró press-release)
Centro de las Artes Fundación Compartes, 660 de calle Rosario Norte, Las Condes
Image:”Perro pequeño”. Fundación Joan Miró
july 19 – december 31, 2014
As part of the project TRANSIT- Creative Placemaking with Europe in Baltimore, the Spanish artist collective mmmm… has created a fun and interactive bus shelter in S. East Avenue, Highlandtown A&E District, right next to the Creative Alliance.
This is a bus stop that you can’t miss. It consists of three large sculptures that form the letters B U S. Each letter stands 14 feet tall and 7 feet wide and it’s made with wood and steel. The artist collective mmmm... has created a place for the community to enjoy, interact, and meet while waiting for the bus. They have transformed the experience of waiting for the bus to an entertaining, leisurely space in the middle of the lively rhythm of Highlandtown.
mmmm… is a collaboration between Emilio Alarcón, Alberto Alarcón, Ciro Márquez and Eva Salmerón, who have been creating projects for public spaces since 1998 in Madrid, Spain. They have arranged 100 couples kissing simultaneously throughout the crowds of the city center. Noise levels on the streets unexpectedly plummeted during that moment of mass intimacy. They have scattered members of an orchestra that played the same music simultaneously on various streets. Pedestrians experienced the music differently depending on which street they walked past, the speed at which they walked, and by which direction they were headed.
They have also built the Meeting Bowls in Times Square (New York), large objects shaped like bowls with seating to accommodate eight people. They constructed temporary and playful urban furniture, designed to promote interaction by having those seated inside face one another. The Meeting Bowls were social places for gathering and getting to know people.
TRANSIT – Creative Placemaking with Europe is an initiative of the Washington DC cluster of the EU National Institutes for Culture (EUNIC) and the Baltimore Office of Promotion and the Arts (BOPA), supported by a grant from the European Union. TRANSIT is supported by the British Council, Goethe-Institut, SPAIN arts & culture, the Embassies of Austria, Greece, Ireland, Finland and Poland. (Spain arts&culture press-release)
Bus Stop, S. East Avenue, Highlandtown A & E District
Image: Bus Stop. mmm..
august 1st – november 3th, 2014
ART Fahrenheit 451: Sailing into the sea of oblivion (ART Fahrenheit 451: navegando hacia el mar del olvido) es el título de esta edición de la Trienal de Yokohama, que empezó en 2001.
Es considerada una de las exposiciones más importantes de arte contemporáneo en Asia y pionera en Japón. Con el artista Morimura Yasumasa, como director artístico, la trienal se inicia en agosto y termina en noviembre de 2014, y se ubica en dos sedes principales: el Yokohama Museum of Art y el Shinko Pier Exhibition Hall. Los organizadores son la Ciudad de Yokohama, la Yokohama Arts Foundation, Japan Broadcasting Corporation, Asahi Shimbun, y el Comité Organizador de la Trienal de Yokohama (Organizing Committee for Yokohama Triennale).
El título proviene de la novela de Ray Bradbury “Fahrenheit 451”. La historia trata de un grupo de gente que se resiste a la sociedad que prohíbe y quema libros, memorizando sus textos completos en un intento de traspasar secretamente la sabiduría que contienen. Ellos eligen ser “olvidados” por la sociedad, manteniendo una inmensa cantidad de memoria extraída de los libros. Esta exposición busca introducir obras de arte que compartan este espíritu y actitud más allá de generaciones y fronteras. Una selección de 70 artistas componen la exposición y todos los artistas han sido elegidos en base a aproximadamente 10 capítulos propuestos por el director artístico.
Entre los artistan seleccionados están los españoles Dora García y Karmelo Bermejo, que cuentan con el apoyo del programa PICE de AC/E para la internacionalización de la cultura española. (AC/E pres.-release)
YokohamaMuseum of Art, 3-4-1,MINATOMIRAI,NISHI-KU,YOKOHAMA 220-0012 JAPAN.
Image: Blank 2013, Karmelo Bermejo
24 julio – 15 octubre 2014
It is possible. I tell him not to distrust. We are moving into a room. There we found a nourished good collection, hoarded during many years. Behind each piece is threaded a story that he, Alex Rosenberg, insists on narrating. We hear, as one who looks into a pit. After some laps, we find ourselves at a common point. Take them to the other side of the sea; to an island, to be exact; a surreal country, to be precise; to Cuba, to begin to define it all. Thus was born the initiative two years ago, in United States, ensures maximum Gomez Noda, curator of French art from the National Museum of fine arts of the Habana.
The visit to the residence of the spouses Rosenberg, the open door to the collection of engravings by Salvador Dali - never before exhibited in Cuba - was only the beginning of a project that could not reach the island soil during the celebrations for the centenary of the Museum, but now it will be from July 24 and until the month of October in its building of Universal Art.
No have many references in Cuba of the Dali recorder - says the specialist, we believe that the exhibition will help us to discover one of the creative geniuses of the surrealism. It crushed the memories and after some time, successive images that will be sliding, ensures that there is only a history of a similar project in the late - 1980s or early 90s, can not specify - an exhibition of paintings by the controversial artist brought to Cuba.
Memories of Surrealism presents 95 prints made primarily with the lithographic technique, which are grouped in the series "The songs of Maldoror", "Fantastic voyage", "The twelve tribes of Israel", "The Divine Comedy", "Dali interprets Currier and Ives". A part of the works come from staff Alex and Carole Rosenberg collection, but there are also parts of the collectors Walter Maibaum and Carol Conn, Peter Lucas and Max Arnold, Mike Tinsley, Rob Piepsny and Jospeh Nuzzolo. Curator: Alex Rosenberg (Cuba contemporánea press-release)
Museo de Bellas Artes. Trocadero e/ Monserrate y Zulueta, HabanaVieja, Ciudad
Image: Relojes blandos. Salvador Dalí.
2 july – 2 october, 2014
The Spanish sculptor Xavier Mascaró, who admits a "fascination with Mexican culture", exhibited for the first time at the Hipanica gallery a work of Mexican culture inspiration which seeks to establish "a bridge between past and future." The works are created especially with aluminum, a material that the artist came into use relatively recently in his work, compared with iron.
Xavier Mascaró, born in Paris in November 1965. He moved with his family to Spain in 1968. He produced his first paintings and etchings in 1979. In 1983-88 he studied at the Barcelona School of Fine Arts, graduating in the speciality of painting. In 1989 he produced his first works in bronze and in 1995 he began to work with iron. In 1996-98 he lived in New York. He then returned to Madrid, where he worked on the production of monumental works, some of which are installed in Ceutí (Murcia province), Jerez de la Frontera (Cadiz province) and Pinto (Madrid province). In 2004 he moved back to New York . About that time he started experimenting with works in different materials, including stained glass, resin and stone. Since 2011 he has had studios in Mexico City and London. Currently lives and works in Mexico City and Madrid. .(G.Hispánica press -release)
Galería Hispánica. Guadalajara, 88. Colonia Roma Norte. 06700 México DF, México
Image: Xavier Mascaró
17 july . 28 september, 2014
In his project ‘Transmongolian,’ Alvaro Laiz depicts a world of solitude and crushed dreams within the Mongolian community of homosexuals and transgender. The Secret History of the Mongols, considered to be the oldest Mongolian language literary work, is the single significant native account of Mongolia’s rise to power around the 12th century AD. It recounts how the warrior Genghis Khan was able to organize more than thirty tribes battling for control, and how once in power, with the objective to augment his population and face his enemies, declared homosexuality illegal under death penalty. Today, more than eight hundred years later, Mongolia is a sovereign country with the lowest population rate in the world, lower than two inhabitants per square kilometer and being a homosexual, continues to be taboo.
Álvaro Láiz (León, 1981) He has developed his work between Africa, Asia and South America cooperating with NGO ́s and Foundations such us International Red Cross, Doctors Without Borders or World Vision. His photographs have been published in national and international media such us Sunday Times Magazine, Colors Magazine, National Geographic, CNN,Foreign Policy, XL Semanal, EL Pais, Ojo de Pez or Marie Claire. His work conceives photography as a tool to give civil society in post conflict zones the chance to be heard, exploring the environment, costumes and traditions of those people at risk of exclusion. Master in Visual Arts at Universidad Pontificia de Salamanca, his work focuses on realities usually ignored by mass media.(On the Move press-release)
Cortona On The Move, via Roma 31, 52044 Cortona (AR)
Image: “Transmongolian” Alvaro Laiz.
july 5 - october 31, 2014
The relationships with love, desire and sexuality reveal lifestyles, civilizations and historical periods. The subject of Vergara's solo exhibition Fin'Amor is courtly love; love in all its artistique, cultural and ideological guises, from the Middle Ages up to present day, between popular art and mass culture, between dominant culture and counterculture.
Angel Vergara (Mieres 1958) his work is a continued research into the power of the image. By means of performances, videos, installations and paintings he tests the limits of art and reality. He questions the way the contemporary image shapes our own reality. Every work is an attempt to break through the image and to make its impact come to the surface on an aesthetic as well as a socio-cultural and political level. Decontextualized images of reality are mediated by the artist and transformed into art. Vergara’s work is the result of a constant dialogue between the artist, the ever transforming reality and its image. He creates a kind of reality “in-between”. In this process the viewer is encouraged to question his way of perceiving the everyday and the way it is presented to him in an avalanche of images. Also, the position of the artist himself is questioned. How can he fill the gap between what is real and what is art? How can he make reality enter art and art enter back into reality?. Curator: Jackie-Ruth Meyer. (CA Le Lait press release)
Centre d’art Le LAIT, Moulins Albigeois, 41 rue Porta. 81000 Albi. France
July 11- October 11, 2014
In a time of globalization, transcultural movement and the leveling of world commerce, economists believe that today the earth could be perceived as becoming flat. They have used this metaphor to describe the world economy. This condition can also be utilized in describing transcultural movement. With the ease of cross migration, cultures are continuing to collide at a more rapid rate. The globalization of culture, ideas and artistic practice is creating a new balance, interface and flat playing field. Artists further the notion of “flatness” by the appropriation of popular imagery from their own and other cultures. The exponential growth of digital communication has accelerated this process. The universal presence of the actual flat screen monitor has brought about a flat screen mentality. Yet artists are able to juggle their ethnicity, cultural experience and global views to create works that are multilayered and distinct. The presenting artists of FLATLAND are at the intersection of cultural form, process and meaning in this emerging flat world. Curated by Patty Ortiz. (Museo Guadalupe press-release)
Artists: Carlos Aires, Mark Hogensen, Leigh Anne Lester, Rigoberto Luna, Francisco Merel, Ann-Michele Morales, Ricardo Rendón, Ansen Seale, Xochi Solis, Jason Villegas
Guadalupe Cultural Arts Center, 723 S. Brazos St. San Antonio, TX 78207
Image: Love is in the air. Carlos Aires
july 22 - november 9, 2014
In 1989 the Convention on the Rights of the Childhood, defines the basic human rights that correspond to children anywhere and at any situation. However abuse, violence, malnutrition, sexual exploitation and slavery continue checking the lives of many children.
This exhibition of the spanish photographer Isabel Muñoz portrays these situations in 20 countries on 5 continents. There are 20 photographs that reveal the marked cultural differences and the lack of protection that many children suffering in the world. For the Children project, the winner of the Medal of Merit in Fine Arts Award Photo Spain and Spain, joined his gaze to the work of the Spanish Agency of International Cooperation for Development (AECID) and Unicef, promoters of the project.
Isabel Muñoz (Barcelona 1951) Spanish photographer who has featured in contemporary photographic field for its technical (using platinotype and large format), like its subject: the body, eroticism, dance, rural tribes and urban and children, among others; establishing, through his eyes, a social commitment. He has won various awards and most notably Bartolomé Ros Award for his entire career in PhotoEspaña 2009, the Gold Medal in Fine Arts 2009 and obtaining two-time World Press Photo and the National Award Unicef Spain 2010 at the Advocacy and Social Mobilization and COVET Foundation award. His work is in collections of the National Museum Centro de Arte Reina Sofía, Photo Colectania, Fundación Canal Madrid, Maison Européenne de la Photographie and New Museum of Contemporary Art in New York. (CCEMX press-release)
Image: Isabel Muñoz.
11 july – 11 october, 2014
At the Triennial no Alentejo, the Spanish artist Ricardo Calero presents with the support of the Spanish Cooperation through the Ministry of Culture and the Embassy of Spain in Portugal, his work “Space of thoughts”, a metal piece of large dimensions as a meeting room to reflection and debate.
The structure is a tool for dialogue and a forum for historians, artists, critics and people in the region to interact with the audience. The concept, inspired in the chimneys of Alentejo, allowing the adaptation of the work in various environments and outdoor spaces, provided that the original idea is maintained. The piece is constructed with painted sheet metal which related to the place and theme of the Triennial.
To facilitate discussion days, has been placed inside the sculpture a table and two chairs Alentejo style, where the roundtables will take place.
Ricardo Calero's artistic proposals are always characterised by the developement of a concept, as with those outlined in: Espacios del sentir, AUBES 3935 Gallery, Montreal. Ausencias, Calart Gallery, Geneva. Memorias del Olvido, Naviglio Gallery, Milan. Auras del Silencio, Scheffel Gallery, Bad Homburg, Germany. Nada, Provincial Council of Huesca. Luz en la sombra, Joan Prats-Artgráfic Gallery, Barcelona. Diálogos, Raquel Ponce Gallery, Madrid. Disparates, Continuidad de un proyecto inacabado, The Spanish Academy, Rome and the Villa Pisani National Museum, Venice. Posetilosti, The West Bohemian Gallery, Pilsen, Czech Republic. Continuity of an Unfinished Project, The Katzen Arts Center, Washington. Ricardo Calero, Disparates, Montreal University, Canada. Grabado…Tiempo, at the Paraninfo exhibition rooms, Zaragoza University. (Trienal no Alentejo press-release)
Évora. Plaça do Sartorio. Portugal
Image: Espacio de Pensamientos. Ricardo Calero
03 July - 14 September 2014
‘Digital Revolution’ is an exhibition about art, design, film, music and videogames that will open at the Barbican Centre in London on July 3rd.
This exhibition will show the work ‘Wishing Wall’, created by the artistic duo formed by Varvara Guljajeva from Estonia and Mar Canet, Spain. This piece, which combines different media (digital, audio and interactive technology), will try to collect the whispering voices of visitors and transform them into digital butterflies. Guljajeva describes this transformation as ‘the metamorphosis of a wish’.
Mar Canet is a computer gamer engineer, designer and media artist. Born in Mollet del Valles (Barcelona) in 1981, he is interested in elements such as software developing, game modes, digital expression, data display or new media art.(Barbican Ceneter press-release)
Barbican Centre,Silk Street.London,EC2Y 8DS
Image: Andrew Meredith
23 july - 9 november 2014
An eye-opening collection of photographs and artefacts is set to intrigue visitors to the Science Museum this summer as Media Space stages the first major UK exhibition by award-winning Catalan artist Joan Fontcuberta.
Fontcuberta subtly questions the use of the photographic image as evidence, by combining visually compelling and mischievous narratives with an acute, deadpan humour.
With highlights including astonishing photographs of mermaid fossils and incredible reports on mysterious fauna, Stranger Than Fiction presents six conceptually independent narratives from Fontcuberta’s body of work; a visual universe in which the real and the imagined combine to startling effect.
Co-curated by the artist with Greg Hobson, Curator of Photographs at the National Media Museum, the exhibition will feature some of Fontcuberta’s best-known works, including photographs, film, dioramas, scientific reports and related ephemera to form the second show in the Science Museum’s 550m² Media Space gallery.
Joan Fontcuberta, born in Barcelona in 1955, artist, teacher, writer and curator Joan Fontcuberta is one of the most significant figures in contemporary photography. After beginning his career in advertising, he went on to teach in the faculty of Fine Arts at the University of Barcelona, as well as numerous other institutions including Harvard University. He co-founded PhotoVision magazine in 1980 and has many other publications to his name. He was named Chevalier des Arts et des Lettres by the French Minister of Culture in 1994, received the 1998 National Prize in Photography from the Spanish Ministry of Culture, the National Prize in Culture for Visual Arts from the Catalan Government and was last year chosen as the recipient of the Hasselblad International Award in Photography.(I.Ramón Llull press-release)
Stranger Than Fiction is presented in collaboration with the Government of Catalonia, organiser of the Catalan Tercentenary programme.
London's Media Space, Science Museum. Exhibition Road, South Kensington, London, SW7 2DD
Image: Joan Fontcuberta
20 june– 9 novembre, 2014
The exhibition "Miró. Towards the infinitely free, to the infinitely large 'open at the Museum Paul Valéry, a set of 70 works in various stages, reflect the character of this artist who always considered free when imagining and creating a rich universe symbolic with a unique style.
Joan Miró was born April 20, 1893 in Barcelona. He died December 25, 1983 at Calamayor near Palma de Mallorca.
A major figure of twentieth century art, Joan Miro assert throughout his life an absolute freedom avoiding any agreement - Cubist, Surrealist, Abstract - that could lock him up. For six decades, the Catalan artist author of a language of signs of great wealth, painter and poet, engraver prolific, sculptor, ceramicist, illustrator and designer of sets and costumes for stage, will invent his world.
At 14, he studied at the Art School of Llotja. From 1912 to 1915,he enrolled in art school anti-academic Francesc Gali and devoted himself entirely to painting. By the early 20s, he shared this year between Paris and Mont-Roig, near Tarragona, and often very quickly the Surrealist group. In a continuing effort to pictorial research, he realized, by 1929, its construction, three-dimensional works made â€‹â€‹with wood, iron, objects founded, cut and assembled to announce his sculptures.
In 1940 he began work in ceramics, in Barcelona, with his friend Llorens Artigas (many vases and plates enamelled). Then he made his first sculptures in bronze and terra cotta. Exhibited in major museums, two foundations open to the public now bear his name.
Musée Paul Valéry, 148, Rue Fançois Desnoyer, 200 Sète
Image: Joan Miró
7 july – 21 september, 2014
The photography of Chema Madoz (Madrid, 1958), bordering on visual poetry, constantly tends towards the symbolic. His images are remarkable for their subtle exploration of paradoxes and metaphors that shape their own imaginative, reflective world. This exhibition ranges over his work from the late 1980s to the present, providing a broad survey of every stage in his career. . (PHE press-release)
Les Rencontres d'Arles, Magasin Electrique. Ateliers SNCF. Arles
Image: Chema Madoz. Sin título, 1990 © Chema Madoz.VEGAP. Madrid 2014
LIVERPOOL. Cristina De Middel, Ira Lombardia and Víctor Herrero “8th Liverpool Biennial” Open Eye Gallery
05 july - 26 october, 2014
The eighth Liverpool Biennial is entitled A Needle Walks into a Haystack and is curated by Mai Abu ElDahab and Anthony Huberman. Its programme features events aimed at all age groups and is designed to encourage debate on the role and value of artists, while helping shape an audience capable of critical thinking and committed to the visual arts.
AC/E is collaborating in this eighth Biennial by supporting the participation of Spanish guest artists Cristina De Middel and Ira Lombardia with the project Not All Documents Are Records: Photographing Exhibitions as an Art Form, curated by Lorenzo Fusi and due to be held at the Open Eye Gallery; and Víctor Herrero in The Companion – A Weekend Performance Programme, a project devised by Mai Abu ElDahab and Angie Keefer.
Cristina De Middel reinterprets the history of the Liverpool Biennial in her project through an installation based on photographs that can be seen in Gallery One of the Open Eye Gallery. Through her work she hints at what this year’s Biennial may and can credibly be, but it is totally fictitious, and she thus challenges photography as a medium, its format, genre and function, while exploring the power of persuasion and conviction images have. She will also teach a workshop in Liverpool on documenting reality using fictitious narratives through photography and will design a toolkit audiences can use to design their own document on the Biennial and later share their experience.
In her project, Ira Lombardia infiltrates a fictitious artist whose work has been created by chance into the catalogue of Documenta (13), a contemporary art event held in Kassel (Germany) in 2012. Her work will be on view together with that of Cristina de Middel, Hans Hacke and Ugo Mulas at the Open Eye Gallery.
The Companion. A Weekend Performance Programme, a project in which Spanish musician Víctor Herrero is taking part, consists of an experimental situation created after seven months’ prior contact between the guests (artists, writers, designers and scientists) and the host, Angie Keefer, resulting in a three-day programme of luncheons, debates, public actions, improvised performances and other acts staged by the guests. The public can take part in all of them.(AC/E press-release)
LiverpoolBiennial, 55 New Bird Stree. Liverpool. Merseyside.L1 0BW
Image: 8th Liverpool Biennial
TOULOUSE. Amaya Hernández, Concha Pérez, Jorge Yeregui, Nicolás Combarro, Paula Anta “Inhabiting the Landscape” Le Chateau D'eau
2 july – 07 september, 2014
To inhabit, from the Latin habitare, means to occupy a place, to live in it. Hence Heidegger’s claim that “we are, to the extent that we inhabit”. This appropriation of a place involves building it, modifying it, intervening in it. That intervention or manipulation gives rise to new social, political or aesthetic readings, shapìng a new kind of landscape. This exhibition looks at the work of five contemporary photographers with a shared interest in the landscape and our intervention in it, through the act of inhabiting. (PHE press-release)
Image: Paula Anta Árbol01. Serie «La arquitectura de los árboles
5 july – 13 october, 2014
With its recent series of rooms, rooms screaming, forget rooms, protest rooms or rooms to develop dissenting ideas spanish artist Alicia Framis continues to question the current social and human environment, highlights the alienation devices and other means of coercion. At the Pablo Picasso National Museum, War and Peace, Alicia Framis intends to create a room of forbidden books, a library of books, objects of censorship that are or have been banned and the authors of which have experienced or are still experiencing difficulties with judicial or political power. In some severe cases, some of them will know the prison, torture or death
Alicia Framis (1967 Barcelona, ES) is a multi-disciplinary artist whose work blends architecture, design, fashion and performance. Her work is project based and focuses on different aspects of human existence within contemporary urban society. Framis often starts out from actual social dilemmas to develop fictional settings.
Alicia Framis studied at the Barcelona University and the Ecole de Beaux Arts in Paris. She also completed her masters at the Institut d'Hautes Etudes, Paris and at the Rijksakademie Van Beeldende Kunsten, Amsterdam. Recent solo exhibition include the MUSAC, Castilla y Léon, the Ullens Center for Contemporary Art, Beijing, Le Frac Haute-Normandie, Rouen as well as the Museum voor Moderne Kunst, Arnhem. (Musee Picasso Vallauris press-release)
This exhibition is organized by the National Museum of the twentieth century in the Alpes-Maritimes. Curators: Maurice Fréchuret, Sarah Ligner
Musée national Pablo Picasso, la Guerre et la Paix, Place de la Libération 06220 Vallauris
Image: Alicia Framis. Musée Picasso Vallauris
AUGSBURG. Jaume Plensa “The secret Heart” H2 Centre for Contemporary Art in the Glaspalast and Augsburg-Oberhausen gasworks
7 June – 21 september, 2014
Following an invitation by the Kunstsammlungen und Museen Augsburg, the Catalan artist Jaume Plensa designed a project for an extensive exhibition at three locations in Augsburg. The project’s centrepiece is The Secret Heart / Das Geheimherz in the gasometer of the Augsburg-Oberhausen gasworks. Here, Plensa has installed a monumental suspended heart with an accompanying sound installation, giving a new meaning to this industrial space. When he first saw this space, in the disc-type gas holder, Plensa was both fascinated and daunted. Its massive dimensions presented a huge challenge: how could a contemporary artist fill such a space? Can art overcome the artificiality of this space? Would what is technically possible be at all compatible with the artist’s creative ideas? Plensa’s spectacular heart is the emphatic response to such questions. This creation, reminiscent of an anatomical model of a heart, forms the crystallising centre of Plensa’s artistic deliberations, which seek to represent society as a complex image or symbol. The ‘secret heart’ is enclosed, or wrapped, in the steel cylinder of the building, in the interior of which the pulse of society becomes visible and audible. With this artistic concept, Plensa on the one hand takes up elements already present in his work to date, but the sculptural motif of the heart appears here for the first time.
Plensa’s work is always location-specific. He analyses the locations he uses for his installations, gets a sense of their specific features and integrates them into his works, drawing artistic energy from the place itself. This reciprocal relationship between place and artwork is also evident in his installation Void – Air – Water in the ballroom of the Schaezlerpalais, the second exhibition location in Augsburg, where Plensa has arranged three sitting figures, illuminated in changing colours from the inside. The three figures are related to their theatrical context in the rococo ballroom and respond to it in a contemporary way. Finally, in the great hall of the H2 Centre for Contemporary Art in the Glaspalast, Plensa presents sculptures whose common formal feature is the letter, for example his Self-Portrait of 2013, a globe inside which the sitting artist sculpturally constructs himself, or Talking Continents (2013), a series of floating figures composed of letters which interact with the situation, the light and the breadth of the room. The artist describes his Augsburg project as a grown trinity, as moments of the emotional (gasometer), the rational (Schaezlerpalais) and the intellectual (H2), which come together to form an organic whole. (H2 press-release)
H2 – Zentrum für Gegenwartskunst im Glaspalast. Beim Glaspalast 1 D-86153 Augsburg. Germany
Image: “The secret Heart” Jaume Plensa
june 27 - october 26, 2014
Since ancient times, depicting the landscape has been a way for artists to explore the relationship between nature and humankind. In recent times, that relationship has often been experienced by car as part of a daily commute or an epic, Kerouacian journey. From urban landscapes in which billboards and stoplights replace trees and mountains, to the landscapes of national parks, tourist attractions along the United States highway system, the artists in Road Trip: America Through the Windshield look at the ways in which the road has transformed our interactions with the land.
Arriving in the United States from his native Spain, Juanli Carrión took road trips around the country as a way to learn about American culture. Particularly struck by the strange relationship of Americans to their vast landscape, he documented it in two photographic series represented in this exhibition. Carrión explores the negative effects of industrialization. He mounts the photos on light boxes, the format used for displaying Chinese landscape paintings often found, in their most synthetic and kitschy form, in Chinese restaurants. Highlighting the contrast between the idealized Chinese landscape and the actual American landscape, Carrión throws into relief the effects of human intervention. (Brattleboro Museum press-release)
Artists: Thelma Apple, Letha Wilson, Juanli Carrión, Amy Stein, Gregory Thielker, Jeff Brouws. Curator: Jennifer Scanlan.
BrattleboroMuseum,10 Vernon Street, Brattleboro, Vermont 05301
Image: Juanli Carrión, Intermission: Mysterious Incident in Lake Desmet. (2011) C-PRINT, wood, sound & light. 8x6x5 ft.
NEW YORK. Laura F. Gibellini “Dom (Variations)” Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
june 17 – december 31, 2014
The project consists of a mosaic mural and twelve laminated windows located at the Fresh Pond Road, Seneca Avenue and Forest Avenue Stations (M line).
Dom (Variations) appears as an apparition at the Fresh Pond Station a warm and inviting bedroom welcoming commuters to their home station. A neat bed, wallpapered wall, firm pillows and shiny furniture complete the scene. The artist’s intent is to reflect the path that flows from within the interior space of a cozy home to the exterior world, tracing the daily commute to work and the return home.
Based on the concept of “home," the mosaic mural, located across from the mezzanine entrance, depicts a lived in domestic interior scene, complete with scattered garments, books and a floor lamp. The pattern of the wallpaper on the bedroom’s back wall derives from a map, while natural elements like tree-leaves and branches invade the room, and seem to themselves form into wallpaper. The image of a window within the mosaic emulates the real windows in the next two stations. Overall, the work seeks to inspire an ethereal and dreamy atmosphere that evokes memories of the past and of a dreamed home.
Laura F. Gibellini(Madrid 1978) is a visual artist and theorist whose work grapples with the notion of ‘place‘ and what it means to inhabit the world. She is especially concerned with the emergence of specific places in the interstice between ideal and factual gestures, in the gap between conceptualization and practice. In her work, Gibellini pays particular attention to the conditions in which, at a given moment, specific artworks find their expression and manifest themselves. This places emphasis in the (thinking) process and how the artwork may appear as a result or residue of such development.
Gibellini’s art practice involves substantial investigation in a variety of disciplines and extends to the field of writing. She uses drawing, collage, photography and video and, at times, she produces site-specific installations. (ISCP press-release)
Commissioned and owned by MTA Arts for Transit & Urban Design
Fresh Pond, Seneca Avenue and Forest Avenue Stations (M Line), Queens, NY
Image: Laura F. Gibellini
june 27 – September 14, 2014
The theme of the exhibition SLOW FUTURE is degrowth, a social movement advocating that we should abandon the current model of compulsory economic growth and search for ways to improve the quality of life within the limits of capacity of natural environment. The promoters of degrowth, also known as degrowthists, question the supreme value of material possessions and propose alternative models of economy - barter, cooperatives, co-ownership, and community exchange. According to them, it is mistaken to think that economic growth is indispensable for development and that it is the most important goal that everyone should pursue. Supporters of the idea of degrowth believe that it is precisely unrestrained consumption that aggravates social inequalities, not to mention irreversible damage to natural environment. Through their lifestyles, they are trying to oppose the universal pursuit of growth (in development and in economics), which according to them, creates far more social harm than objective benefits. In order to cut down consumption, we don’t have to make sacrifices or reduce our quality of life. It would be enough to use alternative means and methods at a larger scale, such as: recycling, green transport, converting deserted buildings into flats; and finally - to engage local organizations in decision-making processes relating to changes in public space. In times of economic crisis, such concepts become highly appreciated and inspire artists from all over the world.
“In the last years I have developed the concept DISPLACED LEGAL/MORAL APPLICATION to define the methodology that structure my projects. This analyzes a legal or moral principle and applies it in the opposite direction by reversing the power relationship and with a little twist initiates a questioning of the established. The Projects resulting from D.L.A have a more activist character and generate means to modify reality unlike the D.M.A which have a more reflexive profile” Nuria Güell
Artists: David Adamo, Bigert & Bergström, Bianca Bondi, Tania Bruguera, Fernando Bryce, Ella de Búrca, Luis Camnitzer, Jota Castro, Joachim Coucke, James Deutsher, Maarten Vanden Eynde, Kendell Geers, Nuria Güell, Patrick Hamilton, Cinthia Marcelle, Tiago Mata Machado, Gordon Matta-Clark, Ingrid Wildi Merino, Mariele Neudecker, Wilfredo Prieto, Aleksandra Wasilkowska, David Zink Yi. Curator: Jota Castro. (CSW press-release)
The Centre for Contemporary Art, Ujazdowski Castle. ul. Jazdów 2, 00-467 Warsaw, Poland
13 june – 11 september, 2014
Ángel Vergara (Mieres 1958). His work is a continued research into the power of the image. By means of performances, videos, installations and paintings he tests the limits of art and reality. He questions the way the contemporary image shapes our own reality. Every work is an attempt to break through the image and to make its impact come to the surface on an aesthetic as well as a socio-cultural and political level. With his work, Vergara creates a new, suspended reality, grown from the artist’s personal dialogue with reality and with the image by which it has already been transformed.
Vergara’s work is above all transparent--physically as well as conceptually. The transparent supports on which he paints allow the outside world to intimately become a part of the painting and to shape it. Reality is literally reflected and projected on the painting. Its fleetingness is captured by the artist and concentrated into a gesture, a stroke of paint. Vergara’s paintings hide nothing. There is no denial of their making process; there are no hidden meanings beneath their surface. Though parting from (the image of) reality, Vergara’s newly created images become autonomous objects that break through the ready-made narrative of their referents. They are open to new interpretations and to new modes of signification.
Vergara’s paintings comment on the abundance of images that are continually forced upon us and that block the psychological mechanisms by which we shape our own reality. The plenitude and the speed of the contemporary image makes it almost impossible to distinguish between fiction and reality. Our memory is polluted. Vergara’s image slows down the speed of the contemporary image to the time of painting. For a brief moment it freezes the flux and encourages the viewer to again take on a critical position towards the image as a referent of reality. .(O&O Depot press-release)
O&O Depot, Leibnizstr. 60. D-10629 Berlin
Image: Ángel Vergara
20 june – 21 november,
2014 NURTUREart is pleased to present Videorover: Season 8, curated by Rachel Steinberg and featuring works by Spanish artists Beatriz Meseguer, Sofia Quirno, and Raul Valverde, along with Dave Greber, Victoria Keddie, Derek Larson, Brendan Lee, Alona Rodeh, and Adam Douglas Thompson.
Videorover, NURTUREart’s dedicated video program, aims at becoming an ever-expanding forum for emerging and underrepresented artists working in video. This season’s video works explore the idea of video as installation, highlighting the immersive potential that time based media hold. Through audio and visual tools and using the body as a reference point, this exhibition aims to interrupt our exteroceptive senses. For three weeks in June, Videorover: Season 8 will take over NURTUREart’s main gallery space; opening in shifts for a series of three consecutive installations. Each installation will feature three of the selected artists, to allow for the works to expand in the space, while still in dialogue with the larger group of works.
On June 20, the second selection will open, featuring artists Beatriz Meseguer, Alona Rodeh, and Raul Valverde, whose works are centered on conditions of light and absence as a common ground. Architectural in nature, the focus of this group turns to the empty gallery space, where small interventions create chaos in the truancy of human interference. Here, the unnoticed subtleties of a gallery become the center of our attention. The resulting calm is enveloping, shifting our perspective to the architectural.. Beatriz Meseguer (b. 1981, Murcia, Spain) received a B.J. in Journalism from the Complutense University of Madrid, and studied at the EFTI International School of Photography in Madrid, and the School of Visual Arts in New York, where she currently lives. Since 2011, she has been experimenting with installation, photography and video. Her artwork is focused on constructing analogies and semantic games with a strong conceptual force. Her pieces and installations, often created from simple everyday objects, acquire a strong poetic sense through the use of small interventions. An attention for the essence of things as well as the importance of language, are prominent in her artistic practice. Space, memory, and transformation processes, are recurring themes in her work.
Raúl Valverde (b. 1980, Madrid, Spain. Lives and works in New York) received a BFA from Complutense University in Madrid, an MA from Central Saint Martins, London, and a MFA from School of Visual Arts, New York.
Raúl Valverde examines his own activity as an artist through the use of irony, appropriation, and illusion. The context in which his work is produced and displayed is a pivotal component to his projects, which overtly explore the relations between space and temporarily. He uses a variety of artistic media ranging from installation, video and digital animation to sculpture, drawing, photography, and publications. (NURTUREart press-release)
NURTUREart. 56 Bogart St. Brooklyn, NY 11206
Image: NURTUREart. New York
28 june – 31 october, 2014
Manifesta is a European contemporary art biennial that takes place in a different city every two years. In 2014 Manifesta will be held in St Petersburg, the main venue being the Hermitage, which is furthermore celebrating its 250th anniversary. The curator of this year’s event, German Kasper König, has made a very small selection of artists in comparison to previous years, including two Spanish artists: the deceased Juan Muñoz and Jordi Colomer. AC/E is collaborating in the project to exhibit the works of both.
Juan Muñoz (Madrid 1953 – 2001) His first exhibition was in 1984 in the Fernando Vijande galleryy of Madrid. Since then, his works have been frequently exhibited in Europe and other parts of the world. At the beginning of the 1990s, Juan Muñoz began breaking the rules of traditional sculpture by sculpting works in a "narrative" manner which consisted of creating smaller than life-size figures in an atmosphere of mutual interaction. Muñoz's sculptures often invite the spectator to relate to them, making the viewer feel as if they have discreetly become a part of the work of art. His slate-gray or wax-colored monochromee figures create a sort of discreetness due to their lack of individuality, but that absence of individuality questions the viewer, perhaps even so much as to make the viewer uncomfortable. When asked his occupation, Muñoz would respond simply that he was a "storyteller."
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these. (Manifiesta 10 press-release)
StateHermitage Museum, Palace Square, 2, St Petersburg, Russia, 190000
Image. Juan Muñoz, Jordi Colomer
VENICE. Ricardo Boffil “Towards biology, Time Space Existence” Palazzo Bembo, Venice Architecture Biennale
07 june – 23 november, 2014
The exhibition presents an architectural narrative based on La Fabrica the firm’s well-known headquarters in a former cement factory in Barcelona. The exhibition extends the space far beyond its physical existence in Spain, to consider how it can also exist in other places, most specifically in Venice. Drawing upon past, present, and future similarities between Barcelona and Venice, the exhibition will reimagine La Fabrica as the Venice-based starting point of a communal/ individual journey and thought process that transcends physical and mental frames. (R.Boffil. Taller de Arquitectura press-release)
Palazzo Bembo, located at Riva del Carbon, 4793- 4785, Venezia 30124.
Image: W Hotel, Barcelona. Ricardo Bofill Taller de Arquitectura
29 may – 22 september, 2014
A Salvador Dalí retrospective is due to open in Rio de Janeiro at the end of May two weeks before the 2014 World Cup kicks off in Brazil. A record number of visitors is expected by the Centro Cultural Banco do Brasil, which is marking its 25th anniversary by showing the Spanish Surrealist's art.
The centre, which hosts shows that regularly appear among the top ten of The Art Newspaper’s annual visitor survey, expects to break its record of 8,099 daily visitors set by “Impressionism: Paris and Modernity” in 2013, featuring loans from the Musée d'Orsay in Paris.
Last year another Dalí retrospective proved the most popular exhibition in Europe, attracting huge crowds when shown in Paris and Madrid. At the Centre Pompidou in Paris 7,364 people went on average a day to see "Dalí" while at the Reina Sofía in Madrid the average was 6,615 visitors a day.
The exhibition in Brazil will include around 164 paintings, photographs, films and objects lent by the Reina Sofía, the Fundació Gala-Salvador Dalí in Figueres, Spain and the Dali Museum in St Petersburg, Florida. It is being organised by the curator Montse Aguer.
After opening in Rio (27 May-22 September) the Dalí exhibition is due to travel to the Instituto Tomie Ohtake in São Paulo in October. (CCBB press-release)
Centro Cultural Banco do Brasil Rio de Janeiro
Rua Primeiro de Março, 66 - CentroCEP: 20010-000 / Rio de Janeiro (RJ)
Image: Salvador Dalí. Centro Cultural Banco do Brasil
VENICE. “Grafting Architecture. Catalonia at Venice” Collateral event, 14th.Venice Biennale Architecture
7 June – 23 November
Catalonia returns to the Eventi Collaterali of the 14th Venice Biennale of Architecture with the project Arquitectures Empeltades/Grafting Architecture curated by Josep Torrents i Alegre together with associate curators Guillem Carabí Bescós and Jordi Ribas Boldú.
Casa Bofarull by Josep Maria Jujol (Tarragona, 1879 – Barcelona, 1949) is the starting point for understanding an architectural approach present in many buildings where the architect is faced with a pre-existing feature (physical or otherwise) and blends the new and old layers to beget a new architecture that is able to combine them harmoniously. The proposal will show the process and perception of a series of examples of Catalan architecture that begins with Jujol's work. (Venice Biennale press-release)
7 june – 23 november, 2014
This year’s biennale, based on the theme of ‘Fundamentals’, will focus on History, the constant features of architecture and the developments witnessed in the past hundred years in national architecture, which has evolved towards an interchangeable and global style.
Greater coordination and coherence will be sought between the National Pavilions, which will base their work on a single theme – ‘Absorbing Modernity: 1914–2014.
The Spanish Pavilion will examine the concept of ‘Interior’ as the overall theme of the pavilion. As the curator Iñaki Ábalos explains, ‘there is no architecture without an interior; there is no idea of architecture if there is no thought of interior in all aspects. The interior speaks of space, and space is, by definition, the theme of architecture.’
The result of exploring the central theme of ‘Interior’ will be approached as an investigation through different examples of Spanish contemporary architecture that evidence one of the distinguishing features of its identity and essential core: the need to understand or interpret it as an environmental construction. References from our modern history such as Coderch, Oiza and Sota, and works by earlier architects like Gaudí and Guastavino already pointed to this specificity and are essential to understanding many of the architectural designs that will be shown in Venice. (AC Española press-release)
Spanish Pavilion, Pavilion at Giardini Biennale di Venezia
June 12 - September 27, 2014
Richard Gray Gallery is pleased to announce an exhibition of recent sculpture by Jaume Plensa in a new range of media, opening June 12 at their Chicago space. The exhibition coincides with a new public art installation of works by the artist in Millennium Park on the occasion of the 10th anniversary of Plensa’s acclaimed Crown Fountain. Both projects continue Plensa’s continued focus on the human figure, specifically the head as a sanctuary for dreams and hope.
The exhibition will feature eight new sculptures from Plensa’s iconic series of heads in a range of materials including bronze, glass, and for the first time, volcanic basalt.
Standing six feet tall, the basalt sculptures Paula, Awilda, and Rui Rui emerge from stone as Plensa keeps sections of the material in their natural, unfinished state. Installed as a group, imposing yet peaceful, the works create a meditative, even spiritual space. Bronze sculptures Rui Rui in Shanghai and Sanna in Umeå are some of the artist’s first mid-scale works that explore perspective and illusion through the flattening of form, a concept Plensa premiered in his 2013 series of monumental cast iron heads. The sculptures shift from realism to flattened relief depending on the viewing angle. The physicality of the basalt and bronze works is juxtaposed with the remaining two sculptures in the exhibition; small portraits made from Murano glass that are fragile and intimate in both scale and material. In all of the portraits, the girls have their eyes closed--Plensa’s conceptual metaphor for dreaming. (Richard Grey press-release)
Richard Gray Gallery ,875 North Michigan Avenue. Suite 3800. Chicago, IL 60611
Image: Jaume Plensa
27 may – 15 september, 2014
In May 2014 Outer Seed Shadow #01 (OSS#01), a new public art exhibition by Spanish artist Juanli Carrión (Yecla, Spain 1982), will explore the realities of contemporary immigration in the form of a community garden installed in SoHo’s Duarte Square.
The 2,000 square foot garden will be in the shape of Manhattan and will feature dozens of plants selected by immigrants. The plants will be placed according to the interviewee’s real-life location on the island. Milagros, a Harlem resident, chose a palm tree from the Dominican Republic; Monroe on the Lower East Side selected English bluebells; and Clara chose Indonesian bamboo to represent her SoHo neighborhood, all of which will share the same intimate green space. OSS #01 will represent New York City’s diverse immigrant communities and their experiences, and will simultaneously activate an underused public plaza at the foot of the Avenue of the Americas.
After years of living in New York, Spanish artist Juanli Carrión conceived of OSS#01 in 2012 when he started to consider permanent residence in the US. He wanted to revisit the long-established idea of the American “melting pot” and investigate the new realities of immigrant life in 2014, particularly in New York, the most symbolic of immigrant cities. Carrion conducted a series of on-camera interviews with immigrants living throughout Manhattan,performed in the comfort of their own homes,about their personal experiences of arriving in the city. At the end of the discussion, each interviewee selected a plant that exists both in their country of origin and the United States, which will represent them and their community in the public garden. (Outer Seed Shadow press-release)
Duarte Square at the corner of 6th Ave & Canal St, New York, NY 10013
Image: Juanli Carrión
1st april – 30th September, 2014
In 2013 and 2014, the Spain–Japan Dual Year is being held to coincide with the fourth centenary of the“Keicho Mission” which left the region of Sendai in 1613 and reached Spain a year later.
In celebration of this event and in collaboration with the architect Toyo Ito, Grin Grin Park, Island City, in Fukuoka, will host from April 1 to September 30, 2014, the proposed exhibition which I have entitled MU. This term is a reference to a blank sheet of paper, an attitude of openness without preconceived ideas nor prejudices and is a tribute to Japan and its people.
The MU exhibition comprises of eight sculptures since, from the beginning, I wanted the number eight to be present in the project for its significance in Japanese culture and its relationship with the concept of the exhibition.
Recently awarded the Pritzker Prize, the master Toyo Ito carried out an experimental project at Grin Grin Park which is comprised of a functional park surrounding a circular pond with a vantage point overlooked by a gently curved greenhouse.
The sculptures form part of the open spaces between the pool and the greenhouse and provoke a path further to the existing ones which is simultaneously in dialogue with the edifice.
The seventh of the sculptures is located at the Embassy of Spain in Tokyo. The sculpture which closes the exhibition is conceptually distinct from the other seven and is entitled “DUAL YEAR”