Spanish contemporary art worldwide
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26 november - 31 december, 2016
An essential character of my work that has not changed is the constant and persistent exploration of the space phenomena. Currently, research on internal and symbolic elements in the paintings of all time. The absense of gravity, time and the rescued object, are largely the fundamental aspects of my recent work. I narrate schemes from found images and life experiences that make us think about the term ‘’reality’’. My work presents an infinite painting, with a desire to search for the truth through the contemplation of one’s life. The ‘’Numen’’ is used by sociologists to express the idea of magical power in an object, especially when referring to ideas within the Western tradition. Also here, in my last proposal, I try to embrace the sacred sense of immanence that is in all places and chosen objects, creating a metaphysical tension, with a nuanced sense of mysticism. (Modulo press-release)
MODULO Centro Difusor de Arte. Mário Teixeira da Silva . Cç. dos Mestres, 34 A/B. 1070-178 Lisboa
Image: La vida del calcetín. Alejandro Botubol 2016
5 november – 29 december 2016
New York-based bitforms gallery celebrates its fifteen-year anniversary exhibition at Minnesota Street Project in San Francisco. The curated presentation of works includes currently represented artists as well as those who have shaped the gallery’s identity over the years, demonstrating the program’s continued engagement with technologically informed practices.
Exhibiting artists include Jeffrey Blondes, Daniel Canogar, R. Luke DuBois, Claudia Hart, Yael Kanarek, Beryl Korot, Rafael Lozano-Hemmer, Sara Ludy, Manfred Mohr, Jonathan Monaghan, Mark Napier, Tristan Perich, Quayola, Casey Reas, Daniel Rozin, Björn Schulke, Siebren Versteeg, Addie Wagenknecht, Marina Zurkow, and Zimoun.
Showcasing the full range of the gallery’s program, the exhibition at Minnesota Street Project spans three distinct spaces within the complex. In the main gallery, highlights include new LED wall sculptures by Daniel Canogar, a large-scale interactive work by Rafael Lozano-Hemmer, a sculpture that intercepts WiFi signals by Addie Wagenknecht, a drawing machine by Tristan Perich, algorithmically generated digital paintings by Siebren Versteeg, computer drawings from the 1970s by Manfred Mohr, a video compilation of Mark Napier’s net.flag––one of the first Internet artworks to be commissioned by a major institution, and works on paper inspired by Yael Kanarek’s browserbased World of Awe series. While the earliest works in the show date to the beginning of the 1970s, works by emerging artists––including Sara Ludy, Jonathan Monaghan, Quayola, and Addie Wagenknecht––showcase how a new generation of artists are engaging with contemporary technology. In their respective practices, these artists employ Second Life, computer-generated animation (CGI), lidar (light and radar three-dimensional scanning), and drone technologies. (MSP press-release)
Minnesota Street Project.1275 Minnesota St. and 1150 25th St. San Francisco
Image: ECHO 2016. Daniel Canogar
17 november 2016 – 26 february 2017
The Taylor Wessing Photographic Portrait Prize exhibition includes In Focus, an annual showcase of new work by an internationally-renowned photographer, in this occasion that person is award-winning Spanish photographer Cristina de Middel.
De Middel will be displaying previously unseen prints from a new body of work. The photographs are part of the series Gentleman´s Club, taken of prostitutes’ clients in brothels in Rio de Janeiro, Brazil. By recruiting her sitters through a newspaper advert, de Middel inverted the normal roles of the business by placing herself in a position of power. Sitters were asked about their experience, personal history and motivations.
Cristina de Middel was born in 1975 in Alicante to Spanish and Belgian parents, she has studied at the Polytecnic University of Valencia and Barcelona Autónoma University. Her artistic and commercial breakthrough came in 2012 with The Afronauts, a self-published photo book and exhibition documenting Zambia’s little-known and short-lived 1964 space programme. Her other projects include Poly Spam (2009) and Sharkification (2016). (NPG press-release)
National Portrait Gallery St. Martin's Pl London, WC2
Image: Daniel from the series Gentlemen’s Club by Cristina de Middel, 2016
1 – 31 december 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)
Museo Mimara. Rooseveltov trg 5. 10000 Zagreb (CROACIA)
Image: Calatrava. José Manuel Navia
03 december 2016 – 31 march 2017
A photographic project around Quixote and the Spanish-speaking community through places located in the south of the United States.
Barataria is the name of the fictional island Awarded to Sancho Panza, in the book The Ingenious Hidalgo Don Quixote de la Mancha, to govern, as a prank. What if Sancho Panza traveled to the U.S. in 2016? This is a photographic project around Quixote and the Spanish-speaking community through places located in the south of the U.S. The streets and cities have names from Miguel de Cervantes’ book.
Curated by Daniel Garcia and Edgar Melo (These Glory Days collective), Spanish photographers and documentary filmmakers are presenting the final results at the Institute of Hispanic Culture, after passing through Florida and Louisiana, prior to its continuation in Texas.
Edgar Melo is a photographer and documentary filmmaker born in Barcelona (Spain). He graduated from the Danish School of Media and Journalism. He was graphic editor of documentary photography magazine Piel de foto and the collective These Glory Days. As a documentary filmmaker, he has directed the documentary and feature filmCabriante Wavelength, one of the chapters of Transeuropa Caravans, a project funded by the European Commission and the Soros Foundation. He has also worked as a photojournalist and filmmaker for publications such as Lonely Planet, La Vanguardia,El Confidencial, Al-Jazeera TV or RTT.
Daniel García Antón is a documentary filmmaker born in Seville, Spain. He is the author of several short films and medium-length films broadcast on television and released in various international festivals (Visions du Réel, Transcinema Lima, Documenta Madrid, etc.). Currently working on his first feature film, Rest in Peace, Mr. Hopper, a hybrid of documentary and fiction produced by Colibri Studio and filmed in Peru, which will be completed in 2017. Back to Barataria, performed with Edgar Melo, is his first photographic project. (IHCH press-release)
Instituto Cervantes. 1701 4th Street SW. 87102 Albuquerque Nuevo México (ESTADOS UNIDOS)
Image: “Sancho Panza Rd” Daniel García Antón
november 27, 2016 - february 28 2017
I received an e-mail from a man I didn’t know, asking me for my address to send me something by ordinary mail. During the following three years J. kept sending me presents to my address, and later frequent telephone messages. I didn’t know anything about him but his name and that the sender was from Madrid.
As a response to his increasing invasion, I invited him to my place and offered him to stay there for 24 hours without the possibility to get out. During that day I observed all his steps with three hidden cameras. J and I have never met. Estela Sanchís
Image: Estela Sánchis
03 december 2016 — 15 january, 2017
Linking roots is a visual experience that combines drawings made by the artist at the Museo del Prado, Madrid, and ‘Augmented Reality’ (AR, a term used to define a view reached through a technological device), resulting in the creation by the visitor of mixed reality in real time.
With a free-download application developed for the project (Linking roots, available at Play Store) users will plunge into a virtual experience while watching photos and videos, reading texts and even visiting artist’s websites. The interactivity of the displayed works allow the constant modification of the project: playing with the AR, taking pictures of it, sending them to others, visitors will be able to relay Linking rootsthrough the main social networks.
Classical art –drawings done at el Prado– will thus be combined in Bombin’s installation with different images, so that unexpected contrasts will be created between tradition, modernity, and innovation. Bombin’s “roots” (related to the concepts of belonging, identity and ancestors) will thus emerge from that interaction.
Amaya Bombín (Valladolid, Spain, 1977) has a degree in fine arts from the university of Salamanca and the Dutch Hertogenbosch art school. She has been an artist in residence at the renowned Academia de España in Rome (2009-2010) and has won internships from some of Spain’s most prestigious cultural institutions. Her projects and installations have been presented in museums and galleries of different European cities. After Houston, Linking roots will travel to several other countries. (IHCH press-release)
Institute of Hispanic Culture, 3315 Sul Ross St, Houston, TX 77098
Image: Amaya Bombín “Linking roots”
1 december 2016 – 30 april 2017
The Spanish artist Cristina Lucas radically and critically questions today’s lived reality, creating an intensive and simultaneously highly aesthetic engagement with our world.
Lucas makes democracy, globalization and the mechanisms of power the content of her works. She attentively analyzes fundamental structures in politics and business, revealing the contradictions that exist between official historiography, real history and collective memory.
The exhibition in OK shows sixteen works and is her first major retrospective in the German-speaking region. She establishes a direct relationship to the present with an impressive filmic cartography of all aerial bombardments with civil victims, which she has painstakingly researched around the world and realized with three-channel technology. Cristina Lucas, born 1973 in Jaén /ES, lives and works in Madrid.
In collaboration with MUDAM LUXEMBOURG, a catalogue will be published. Curator: Genoveva Rückert.(OK Centrum press-release)
OK Offenes Kulturhaus Upper Austria. OK-Platz 1, 4020 Linz
Image: Naked in the Museum, Prado 2014. Cristina Lucas
07 november – 15 december 2016
Higher Self is a presentation of the neohumanist philosophy of Cristina Nuñez, her innovative method and her vision of art as a powerful tool for social activism.
The video is a self-interview in which Nuñez exposes her ideas and methodology, giving the instructions for the "emotions exercise" and showing some of the collaborative self-portraits produced during her workshops.
Everybody possesses a Higher Self, even those who, because of their ostracism, seem to have forgotten it. (Maif Social Club press-release)
Maif Social Club, le LIEU . 37 rue de Turenne. Paris 3ème
Image: Cristina Nuñez
october 27 - december 9th, 2016
Acquavella Galleries is pleased to present an exhibition of new works by acclaimed Spanish artist Miquel Barceló. This is the artist’s second exhibition at the gallery, and will feature two new series of paintings and a selection of new ceramic works.
In his paintings, Barceló returns to two subjects that have continued to inspire the Mallorcan artist throughout his career––his love of the sea and the spirit of the bullfight. His intensely-colored seascapes and corrida paintings apply meticulous layers of mixed media to realize heavily impastoed canvases, while his ceramics evoke organic forms.
One of the most celebrated artists in Europe, Barceló’s work has been regularly commissioned for notable public spaces including Gran Elefandret, installed in New York’s Union Square in 2011, a ceramic panorama for the chapel of St. Pere in the Cathedral of Palma, and Room XX in The United Nations Headquarters in Geneva in 2008, in which the artist covered the immense domed ceiling with stalactites made from 35 tons of paint. Last summer, he was the subject of joint exhibitions in Paris, held at the Musée Picasso and the Bibliothèque Nationale de France.
The exhibition will be accompanied by a fully-illustrated catalogue with an essay by art historian Catherine Lampert.
Miquel Barceló was born in Felanitx, Majorca in 1957 and currently lives and works in Mallorca, Spain, and Paris, France. The youngest artist to ever show at the Musée du Louvre, Barceló represented Spain at the 53rd Venice Biennale and participated in Documenta VII in Kassel, Germany. He has had retrospectives at renowned institutions, including Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museo Rufino Tamayo, Mexico; the Guggenheim Bilbao, Spain; and is included in many esteemed public and private collections worldwide. (Acquavella Galleries press-release)
ACQUAVELLA GALLERIES, INC.. 18 East 79th Street. (Between Madison and Fifth Avenues). New York, NY 1007
Image: Miquel Barceló, Kraken central, 2015
St. PETERSBURG. “Surrealism in Catalonia. The artists of Empordà and Salvador Dalí” Hermitage Museum
9 october 2016 – 05 february 2017
The exhibits include not only paintings, but also works of sculpture and graphic art created by artists from this part of Spain in the period from the late 19th century to the late 20th. For the first time members of the Russian public have the opportunity to acquaint themselves with works by Spanish surrealists, to see and understand the genesis of one of the 20th century’s most attractive and intriguing artistic phenomena.
When people start talking about Spanish Surrealism, they speak about the Surrealism of Catalonia and first and foremost about the Surrealism of Empordà. In the first half of the 20th century, it was the region of Empordà that became the chief centre for Surrealist experimentation in the brilliant flourishing of Catalan art.
The “School of Figueres” emerged in the early 20th century, as a result of the teaching activities of the superb draughtsman and graphic artist Juan Núñez, and had an influence on the group of young artists that included Salvador Dalí. The work of those artists is marked by exceptional realism, and a painstaking, immaculate drawing technique, almost always in graphite or charcoal. They produced still lifes resembling Dutch 17th-century a paintings and depictions of interiors filled with strong contrasts of light and shade and imbued with an enigmatic atmosphere of mystery. It was in Figueres and its environs that Josep Bonaterra, the patriarch of Empordà painting worked. It was there too that Dalí’s talent took shape.
Salvador Dalí (1904–1989), the foremost exponent of Surrealism as a worldwide phenomenon, remained despite his global fame as a universal artist not only a Catalan artist, but even to a significant degree an Empordan – an inhabitant of the towns of Figueres, Cadaqués and Portlligat. He found inspiration in landscapes familiar from childhood, friends and artists with whom he remained on warm terms all his life. Dalí does not encompass the whole of Empordà painting, nor even Empordà Surrealism, but he alone by some incomprehensible means managed to be first to present it to the world and make it famous.
Dalí’s oeuvre is represented in the exhibition by the works The Severed Hand (1928), Exquisite Corpse (1930–33), Retrospective Bust of a Woman (1933), Surrealist Object Functioning Symbolically (1933–70), Soft Skulls and Cranial Harp (1935), Saint Narcissus (1962), Venus with Drawers (1971) and the famous painting Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening from the collection of the Thyssen-Bornemisza Museum in Madrid.
The world first learnt about Cadaqués thanks to the sculptors Carles Ridaura (Motherhood, 20th c.) and Frederic Marès (Female Figure, 1930). Others who worked there were Eliseu Meifrèn, who was passionately fond of the sea and discovered wonderful, secluded little corners of Cadaqués, and Ramon Pichot i Gironès, whose life was spent between a studio in Paris and long seasons in the Catalan town. Cadaqués was home between the world wars to the German artist Siegfried Burmann, who painted landscapes there and also portraits of Salvador Dalí and his sister Anna Maria in childhood. Common features of this constellation of artists are splendid realistic drawing and a fascination with the countryside of Empordà that plays a leading role in their works.
In a list of the most famous and significant Surrealists Dalí is followed by Àngel Planells (Moon on the Seashore, 1947). Other prominent Empordà artists include Esteban Francés (Surrealist Composition, 1932), Jaume Figueras(Surrealist Landscape, 1980), and two figures close to Evarist Vallès and Joan Massanet. It would be stating the obvious to say that to one degree or another all Empordà artists who came after Dalí were subject to his influence.
The curators of the exhibition: the Hermitage curator is Sviatoslav Savvateev, a researcher of the Department of Western European Art; the Catalonia curators are Alícia Viñas and Yuri Saveliev. The State Hermitage Publishing House has produced a catalogue for the exhibition Surrealism in Catalonia. The artists of Empordà and Salvador Dalí with texts by Spanish art historians and art critics. The exhibition is under patronage of V St. Petersburg International Cultural Forum. (Hermitage Museum press-release)
The State Hermitage Museum. Russia, 190000, St Petersburg
Image: Salvador Dalí. The State Hermitage Museum
WASHINGTON. Jaime Rojo “Challenging Adversity: Ibero-America Copes with Climate Change” Hillyer Art Space
november 04 — december 18, 2016
The photography exhibition “Challenging Adversity: Ibero-America Copes with Climate Change” examines how Ibero-American countries have managed to face the vicissitudes caused by climate change through small ventures.
The ability to use imagination, creativity, and hope for a better world, has allowed the emergence of sustainable economies projects that open new paths and alternatives on today’s world. This exhibition gathera images of these projects and enterprises that have emerged as a means of survival, challenging climate change. Not only does it focus on the aesthetic aspects of photography itself, but it also aims to give testimony to the commitment of these countries throughout its changes.
Spanish Photographer Jaime Rojo participates in this exhibit with the photograph Loggerhead Turtle Rescue in Tarifa. Rojo combines his passion for wild nature, his storytelling skills and his training in environmental sciences to elaborate visual projects that help reconnect the public with the natural world. He was born and raised in Spain and in 2004 he moved to Mexico to work with different environmental organizations. Since then he has coordinated conservation initiatives such as the San Pedro Mezquital campaign to protect the last free-flowing river in the Western Sierra Madre or The Natural Numbers, an online series that questions our use of the natural capital of our planet. He is a Senior Fellow of the International League of Conservation Photographers, a Trustee of The WILD Foundation and a recipient of the Philipp Hyde Award by the North American Nature Photography Association. (Fotodc press-release)
Hillyer Art Space, 9 Hillyer Court, NW Washington, DC 20008
Image: Jaime Rojo. Turtle Rescue in Tarifa, Cádiz. Spain
16 november 2016 - 21 january 2017
The solo show Latitude proposes a reflection on the concept viewed not only as a geographical term but as a state of the body. The French philosopher Gilles Deleuze defines the body by establishing a cartography of it, in which the latitude describes the states of the body’s force to exist, its power “to affect and be affected”. The body is defined by movement, a variation of its ability to act. In David de la Mano’s artworks the latitude is not a specific point anymore, but rather an indeterminate point between origin and destination, an intermediate state between active action and passive enduring. The characters of his paintings, as if moved by a common fate, tell the observer stories about journeys and exploration, narratives of odysseys, exiles, crossings and collective migrations
David de la Mano (1975, Salamanca, Spain) is one of the most important artists of the Urban Art movement. With a degree in Fine Art from the University of Salamanca and PhD studies in Public Art from the University of Valencia, de la Mano is a versatile artist who excels from drawing to sculpture. The artist has started his career in the early ‘90s creating Land Art projects, installations and sculptures in the public space, and since 2008 his attention has focused on mural paintings. The artist experiments with different techniques among which acrylics, watercolours, ink and collage. Through a minimalist style, characterised by the monochromatic use of black, David de la Mano is able to create extremely poetic artworks, a symbolic reflection on humankind. The single anthropomorphic figures of the artist gather together and unite in an eternal and recurring movement; the individuals become the mass and vice versa, and they are driven by their dreams, ambitions, fears, vices, hopes, internal conflicts.. Curated by Giuseppe Pizzuto Critical essay by Clara Amodeo. (Wunderkammern press-release)
Wunderkammern Milano, via Ausonio 1A, 20123 Milano
Image: David de la Mano. Artwork Detail
17 november 2016 – 11 february 2017
Prudencio Irazabal (Puentelarrá / Álava, Spain, 1954) lives and works in Madrid. After studying Fine Arts in Sevilla and Barcelona he completed his studies in Columbia University, New York, where he moved in 1986. This city marks his creative and professional development as a painter. After a period of research confronting the elements of painting in terms of irreducible facts, color and light became the main concern of his work.
In the early 90s he begins to photograph in the microscope cross sections of his old paintings. The intensity, concreteness and material truth he found through those photographs revealed the contrast and the correlation between simple, raw materials and the more inscrutable and transcendent nature of painting. He developed techniques to build massive colors from chromatic ideas that offered the possibility of being unweaved and later reassembled as an illusionistic surface.
Material color, mediated by the transit of light through paper thin layers, becomes in his works a unique perceptual experience belonging to the medium of painting. This merging of translucent layers of color shapes the incoming light while still allowing the eye to traverse them through to the white canvas. Dissolving formal outlines and replacing drawing and form with radiating colors and deep space, his paintings offer rich surfaces that suggest something beyond painting. They appear transparent and candid, but they hide all traces of gesture, process, and, meaningfully, the precise location of color.
Irazabal’s paintings are defined at once by extreme luminosity and complex color. They keep an ongoing challenge to unite the certainty of materiality with the unreliable nature of perception in order to synthesize image, materiality and meaning. He has exhibited his work in New York since the early 90’s. He also presents his work regularly in Germany, Italy and Spain. His Works are in the Collections of the Guggenheim Museum, Bilbao, Fundación Helga de Alvear, Cáceres, Museo Patio Herreriano, Valladolid, Artium Museum, Vitoria, Akzo Nobel Foundation, Amsterdam, H+F Collection, Rotterdam. (Helga de Alvear press-release)
GALERÍA HELGA DE ALVEAR. Doctor Fourquet 12. ES–28012 Madrid
Image: Prudenio Irazabal
26 november 2016 - 26 march 2017
This exhibition is a coproduction between Macba, CA2M, Centro de Arte Dos de Mayo de la Comunidad de Madrid, ARTIUM, Centro Vasco de Arte Contemporáneo, Vitoria, and el Museo Universitario del Chopo, Mexico and the Ciudad de Mexico, curated by David G. Torres. Featuring over sixty artists, both national and international, the exhibition traces a journey through the influence of punk in contemporary art and echoes the importance of its presence as an attitude and as a referent for many creators. It includes installations, documentary excerpts, multiples, photographs, videos and paintings, together with a section documenting the origins of punk and its vestiges in the present day.
Some of the themes addressed include noise, denial, violence, nihilism and sexuality. Dissatisfaction, nonconformity, the loss of faith in progress and a fierce criticism of the icons of the economic and social system appear in the work of these creators.
Punk was born in London and New York between 1976 and 1978 as an explosion of discontent and dissatisfaction towards a situation without a future, which immediately caught on and spread geographically. A rage that still resonates today. The journalist and music critic Greil Marcus outlined this for the first time in 1989, in Lipstick Traces. A Secret History of the Twentieth Century, a journey through the history of the antecedents of the movement, going back to Dada and Situationism. The exhibition draws on this book and performs the same exercise in reverse: a prospective exercise that looks for vestiges of punk in the artists of today.
In this exhibition, punk appears as an explicit reference in many artists; in the use of elements such as noise, cut-out typography, anti-design and the aesthetics of the ugly; or in the inclusion of explicit references to musical bands. But it also shows traces of punk as an attitude: denial, opposition and destruction; the do it yourself; the reference to fear and horror in a society that alienates individuals; the same alienation that provokes psychotic states; the fondness for anything outside the norm; nihilism; criticism of the economic system and anarchy; or the demand for sexual freedom itself, the body as a place of battle.
Artists: Carlos Aires, Martin Arnold, Fabienne Audeoud, Bill Balaskas, Jean-Michel Basquiat, Laurent P. Berger, Chris Burden, Tony Cokes, Jordi Colomer, Brice Dellsperger, Christoph Draeger, Jimmie Durham, Tracey Emin, Mario Espliego, Ant Farm, Hans-Peter Feldmann, Claire Fontaine, Chiara Fumai, Iñaki Garmendia, Kendell Geers, Gelitin, Nan Goldin, Douglas Gordon, Dan Graham, Eulàlia Grau, Guerrilla Girls, Antoni Hervas, Mike Kelley, Martin Kippenberger, João Louro, Christian Marclay, Raúl Martínez, Raisa Maudit, Paul McCarthy, Jonathan Messe, Jordi Mitjá, Joan Morey, Janis E. Müller, Matt Mullican, Itziar Okariz, João Onofre, Antonio Ortega, Tony Oursler, Mabel Palacín, Juan Pérez Aguirregoikoa, Raymond Pettibon, Maria Pratts, Tere Recarens, Jamie Reid, Tim Reinecke, Martín Rico, Aida Ruilova, Pepo Salazar, Santiago Sierra, Federico Solmi, Natascha Stellmach, Gavin Turk y VALIE EXPORT. (CCEMX press-release)
Museo Universitario Del Chopo, Santa María la Ribera, Ciudad de México, Méxicohttp://ccemx.org
Image: Carlos Aires
november 16 - december 16, 2016
Juried by professionals in the New York art scene and selected by the Korean Cultural Center New York for the official 'Call for Artists 2016' exhibition, Unsettled brings together eleven creative artists: Eun Kyoung An, Ji Sun Beak, Yunhee Huh, Ginny Huo, Jee Hyun Hwang, Lynn S. Kim, Won Kim, Pablo Lecroisey Lara, Jesús Jiménez Lopéz, Joo Yeon Judy Yang and claRa apaRicio Yoldi with their captive contemporary pieces across various platforms including painting, drawing, collage-making, photography, installation, and video works.
Unsettled reveals multilateral aspects of unstable and precarious states in the artists’ lives. The works in the exhibition examine the process of introspection of the unstable state in various ways, reflecting on insecure social systems and expressing these changeable, even volatile situations in their own ways. Together, the artists are allowing the audience to get a glimpse of how the seemingly negative concept of ‘unsettlement’ can be elevated and beautified through art.
Pablo Lecroisey Lara uses photography as a medium to communicate creativity and aesthetic experience in its broadest sense, but moves away from the academicism that distances viewers with abstruse theories. Only through this realness that we feel in each moment (and not in artificial philosophies) can we know our true selves. From this idea, his photographs capture a series of sensation that is simpler, filled with emotion and intuitive gestures.
Clara Aparicio Yoldi´s work talks about new ways of communication between people in an era of cutting edge technologies. She questions traditional narratives with the juxtaposition of images and copy-paste collages. Images in the video are in conflict, looped and repeated, but in synchrony with music. In a way, Yoldi’s videos are more likely to be ‘heard’ like music and visually abstract.
Artists: Eun Kyoung An, Ji Sun Beak, Yunhee Huh, Ginny Huo, Jee Hyun Hwang, Lynn S. Kim, Won Kim, Pablo Lecroisey Lara, Jesús Jiménez Lopéz, Joo Yeon Judy Yang y Clara Aparicio Joldi. (Gallery Korea press-release)
Gallery Korea460 Park Avenue 6th Floor, New York, NY 10022
Image: Pablo Lecroisey Lara
REYKJAVIK. Alvaro Urbano ”He would always leave a window open, even at night” That Time. Cycle Music and Art Festival
27 october – 18 december 2016
The second iteration of Cycle Music and Art Festival and the exhibition That Time is guided by an interest in music in the context of thinking about and making art, understanding music as a means to structure and manipulate time. Music exists only when it is played: Its presence relies on repetitions and iterations both in the process of rehearsing and performing as well as in the act of listening. Each repetition in itself is singular, and with each iteration the listener or performer becomes or is addressed as a slightly different being.
One of the most frequent instruments employed by the artists in the exhibition That Time is, however, the construction of an alternate time or reality altogether: In Strata (technicolor), Kapwani Kiwanga projects a retro-perspective in which the continents of Europe and Africa have never parted: a present day Pangaea. Strewn across the floor of the museum, Alvaro Urbano's metal leaves for “He would always leave a window open, even at night” introduce a kind of surplus, the debris of a parallel reality carried into the here and now by a strong wind. Kristín Anna Valtysdóttir's Howl is the result of her own psychomagic, performed in the otherworld of the Californian desert.
Álvaro Urbano (Madrid 1982) is an spanish artist based in Berlin. Urbano works with different media, making spatial installations, film and performance. After his degree at the Architecture School in Madrid, he completed his studies at the Institut für Raumexperimente (Professor Ólafur Elíasson), Universität der Künste Berlin. His solo projects and exhibitions include Dead Men Tell no Tales, Kölnischer Kunstverein, Cologne (2016); More than Real at Bundeskunsthalle Bonn (2015); The Ghost and the Host, Pavillon Social Kunstverein, Lucca (2014); Utopias are for Birds, Chert Gallery, Berlin (2012). Urbano received the Villa Romana Prize.
Artists: Larry Achiampong & David Blandy, Margrét H. Blöndal, Caitlin Berrigan, Constant Dullaart, Adam Gibbons & boyleANDshaw, Hreinn Friðfinnsson, Beatrice Gibson, Ásdís Sif Gunnarsdóttir, Marguerite Humeau, Dorothy Iannone, Rachel de Joode, Kapwani Kiwanga, David Levine, Heather Phillipson, Johannes Paul Raether, SUPERFLEX, Vanessa Safavi, Alvaro Urbano. (Cycle Music and Art Festival press-release)
Cycle Music and Art Festival. Gerðarsafn Kópavogur Art Museum. Hamraborg 4. 200 Kópavogur. Reykjavík Capital Region. Iceland
Image: Cycle Music and Art Festival. 2016
october 29th - december 23rd, 2016
In his first solo exhibition in Berlin Ignasi Aballí presents a body of new works revolving around aspects of invisibility. The artist’s practice is characterised by minimal gestures - or in trying to do almost nothing - however, by doing so, he constantly disrupts the categories of painting, sculpture, literature, or installation. Aballí pays special attention to the major implications of apparently insignificant strategies of representation and re-signification. For the exhibition in Berlin he has not only reconstructed found glass objects and photographed empty vitrines in museums but he also added a mirror at the base of a trolley that reflects the ceiling of the gallery, and people are able to move it in the space.
Something is Missing, 2016, are photographs of the empty wall or vitrine in a museum left by an artwork that was temporarily removed to be loaned or studied. In the images the wall labels with their detailed information about the work such as title, date, dimensions, or its origin become central. The series of photographs can be read, not without humour, as an absurd index of what is considered essential data to identify a work of art. The series is a development of the artist’s archival practices that are a significant and well-known aspect of his work since the early nineties.
Aballí confronts us with objects that constantly re-direct our attention both to a realm of self-references, and to ambiguous traces of things that happen to be somewhere else. All the works of the exhibition oscillate between what is there, what is represented, or what is actually missing, and thus ultimately problematize their fragile physical and conceptual condition.
Ignasi Aballí was born in 1958 in Barcelona, where he lives and works. A comprehensive exhibition of his oeuvre titled without beginning / without end was shown at Museo Nacional Centro de Arte Reina Sofia, Madrid in 2015-16. In 2015 he was awarded the prestigious Joan Miró Prize and in connection to it he presented the exhibition Infinite Sequence at Fundació Joan Miró in Barcelona. Aballí has had recently solo exhibitions at Pinacoteca do Estado, São Paulo (2010), Fundació Joan Miró, Barcelona (2008), Museu Serralves in Porto, Ikon Gallery in Birmingham and ZKM in Karlsruhe (all 2006), Museum of Contemporary Art de Barcelona MACBA (2005), and Museo Nacional Centro de Arte Reina Sofia MNCARS, Madrid (2002).
He participated in the 4th Guangzhou Triennial (2012), the 52nd Venice Biennale, the 8th Sharjah Biennial, UAE (both 2007), and the 11th Biennial of Sydney (1998). He will be taking part in the XIII Bienal of Cuenca, Ecuador (2016-17). (Galerie Nordenhake press-release)
Galerie Nordenhake GmbH, Berlin. Lindenstrasse 34, DE-10969 Berlin
Imagen: Ignasi Aballí. Attempt of Reconstruction (Glasses), 2016
MOSCOW. Eli Cortiñas y Nuria Guell “The Human Condition. Don’t You Think It’s Time For Love? ” Moscow Museum of Modern Art
2 november 2016 – 8 january 2017
The Moscow Museum of Modern Art presents the second session of an interdisciplinary and inter-institutional project «The Human Condition». The session «HUMAN AND THE OTHERS. Love, friendship, suspicion, aversion» will focus on a human being in the framework of emotional relationships and his interaction with the social environment.
The session encompasses an exhibition, research projects and discussions. Its starting point is the «Don’t You Think It’s Time For Love?» exhibition, the title of which, following the referential logic of the project, refers to the work «Everything Else Has Failed! Don’t You Think It’s Time For Love?» by the American artist Sharon Hayes. On display are video works, installations, photographs and books by 23 artists from all over the world including Yoko Ono, Boris Mikhailov, Jonas Mekas, Sophie Calle, and Andy Warhol. Some of the works have been created especially for the show. The exhibition in the MMOMA building at Ermolaevsky Lane is divided into four semantic sections and explores the internal dialectics of, maybe, the most important human emotion — love.
Artists: Bisan Abu Eisheh, Rania Bellou, Felix Gonzalez-Torres, Ion Grigorescu, Nuria Guell, Akram Zaatari, Sophie Calle, Eli Cortiñas, Fouad Elkoury, Jonas Mekas, Lee Mingwei, Boris Mikhailov, Tracey Moffatt, Nikolay Oleynikov, Yoko Ono, Koka Ramishvili, Mariateresa Sartori, Anita Sieff, Andy Warhol, Hans Peter Feldman, Gabriella Ciancimino, Katerina Seda. (MMOMA press-release)
Moscow Museum of Modern Art. 25 Petrovka St. Moscow
Image: Eli Cortinas, FIN, 2010
october 28, 2016 – february 19th, 2017
This exhibition by Isabel Coixet opens on October 28th at the Campredon Centre d’art, in France. The exhibition includes 52 portraits of actors, actresses, writers and directors of Catalan cinema taken during the shooting of her movies. Photographer and director Isabel Coixet decribes her series with this poem: Faces are my landscape. Not walls, nor sunsets. Not even oceans or streets or skyscrapers. Every face that I have shot is a fragment that I’ve loved. A window on others. To those who have let me glimpse at their hearts and who have given me some instants. An extract of what they are. A pure, unpolished, undistilled version. I remember with an unprecedented precision – a
precision I don’t usually have to remember where the car keys or the cellular are – the exact moment in which I took each of these photographs. The degree of freedom
and alcohol. The effervescence. How I felt behind the camera. The temperature. The air of the time. The Smell. All this faces are with me. I love them. I can’t help it.
Campredon Centre d’art. 20 Rue du Dr Tallet. 84800 L’Isle-sur-la-Sorgue. France
Image: Penélope Cruz. Isabel Coixet
LONDON. Andrés Jaque and Ana López “Fear and Love: Reactions to a complex world” The Design Museum Kensington
24 november 2016 – 23 april 2017
'Fear and Love: Reactions to a complex world' is an exhibition of the new Design Museum in London. It consists of a series of eleven major new commissions by some of the most innovative practitioners in design and architecture. Each commission is intended to be a powerful statement about the potential of design today. The ambition is for this to be a landmark exhibition presenting cutting-edge positions that define our time. The practitioners include London-based fashion designer Hussein Chalayan, the architecture practice OMA, founded by Rem Koolhaas, the artistic director of Muji, Kenya Hara, and the Spanish –with the support of AC/E– Andrés Jaque and Ana López. The eleven installations explore a spectrum of issues that define our time – from protecting the environment to network culture and sentient robots. The exhibition asserts that design is deeply connected not just to commerce and culture but to urgent underlying issues – issues that inspire fear and love. This is a bold, multidisciplinary exhibition that aims to capture the mood of the present and establish the Design Museum as the home of design debate. . (AC/E press-release)
The Design Museum Kensington. 224 - 238 Kensington High Street. London
Image: 'Fear and Love: Reactions to a complex world' The Design Museum Kensington
17 november 2016 – 21 january, 2017
Jaume Plensa will have his first solo show in Galeria SENDA, after 7 years without an exhibition in his hometown, Barcelona
Jaume Plensa born in 1955 in Barcelona, Spain. Works and lives in Barcelona, Spain. This sculptor from Barcelona presents a work of friendly confrontations: among dark and light; between the imprints of the past and the opening towards the future; between natural formations and man’s creation, and between the immensity of noise and the most intimate realms of silence. Besides being one of the maximum advocates for the actual sculpture scene, Jaume Plensa is known internationally for his dedication to art in public spaces. The sculptor calls the need to decompose reality and affirm nature to obtain his objective: “introduce beauty again into society” (Galería Senda press-release)
Galería Senda,Trafalgar 32. 08010 Barcelona
Image: Jaume Plensa, Bosc Blanc (Lou) 2015
19 november – 17 december, 2016
the real-fake.org.02 presents approaches employed by artists exploring artificial xyz space, the non-referenced synthetic image or object, and the specific qualities of the virtual camera that records it. The artists all use 3D software to create work ranging from the still image to animation and interactive installation.
José Carlos Casado (Málaga 1971) is a multimedia artist from Spain. A MFA graduate of the School of Visual Arts, he has been based in New York for 15 years.
He uses technologies to create art involving video, 3D animation, photography and sculpture. His work has been shown in multiple solo and group shows internationally and has won numerous prizes and recognitions, including a grant from Picasso Foundation, a scholarship from LaCaixa Foundation, MIT's Leonardo Excellence Award, and two New York Foundation for the Arts Fellowships.
Artists include AES + F, Morehshin Allahyari, LaTurbo Avedon, Sophie Barrett-Kahn (in collaboration with Lisa Parra), Gregory Bennett, Tim Berresheim, Sean Capone, Jose Carlos Casado, Rachel Clarke, Shamus Clisset, Birch Cooper, Gero Doll, Mark Dorf, Carolyn Frischling, Joe Hamilton, Claudia Hart, Kurt Hentschlager, Kim Joon, Mark Klink, Alex Lee, Patrick Lichty, Locurto-Outcault, Kristin Lucas, Sara Ludy, Gerhard Mantz, Chris Manzione, Claudia Mate, Alex McLeod, Shane Mecklenburger, Rosa Menkman, Jonathan Monaghan, Brenna Murphy, Eva Papamargariti, Will Pappenheimer, Sabrina Ratte, Michael Rees, Pat Reynolds, Benjamin Rosenthal, Nicole Ruggiero, William Robertson + Alfredo Salazar-Caro, Martin Sampedro, Ellen Sandor, Rick Silva, Keith Tolch, Katie Torn, Matthew Weinstein, Ryan Whittier-Hale, Frank Yefeng Wang, Snow Yunxue Fu, Giselle Zatonyl, and Zeitguised. Curated by Rachel Clarke, Claudia Hart, and Pat Reynolds. (BronxArtSpace press-release)
BronxArtSpace. 305 E 140th St #1A. Bronx, NY 10454
Image: José Carlos Casado
november 8, 2016 – january 8, 2017
Paintings, sculptures, drawings, ceramics, posters or the performing arts: Pablo Picasso experiences and reinvents a great diversity of materials and practices throughout his life. The exhibition trail focuses on masterpieces from the collection, and each room addresses a particular theme. “Picasso.Panorma” offers a glimpse into the richness of the collection and provides keys to understanding all the techniques used by the artist. (Musée Picasso press-release)
Musée National Picasso. Hôtel Salé, basement. 5 rue de Thorigny 75003 Paris
Image: Pablo Picasso. La Petite chouette, 1951 – 1953, Vallauris Musée Picasso
VIENNA. Bernardi Roig "The Aphonic Poets and the Silence of Actaeon“ Mario Mauroner Contemporary Art
11 november 2016 – 14 january 2017
The Aphonic Poets and the Silence of Actaeon is the third exhibition by Bernardi Roig at our space in Vienna. This project showcases a series of works (drawings, videos, sculptures, paintings and photos) made over recent years that combine and intertwine his fascination with the representation of the face - the series POETS - and the gaze of Actaeon, that transgressive gaze that challenges the prohibition of the divine and insists on seeing what is outside the possibility of sight. These images speak to us of non-communication, of the failure of the word and the aphony of poetry; of a distrust of representation and language. These works have the qualities of a mirror, they trap and deform our image and return to us a perforated face without sureties trapped between silence and amnesia.
Bernardí Roig (Palma de Mallorca, 1965), one of Spain’s most internationally acclaimed artists, lives and works between Madrid and Binissalem (Mallorca).
Recent solo shows include: Alcalá 31 Centro de Arte Contemporáneo de Madrid; Hotel de Inmigrantes del MUNTREF in Buenos Aires; and his recent intervention in the Canterbury Cathedral, England, in 2016; Centro de Arte Contemporânea de Bragança, Portugal and The Phillips Collection, Washington D.C., in 2014; Museo Lázaro Galdiano, Madrid and Museo Nacional de Escultura, Valladolid in 2013; MAC, Museo de Arte Contemporáneo Gas Natural Fenosa, A Coruña, in 2012; Fundación Luis Seoane, A Coruña, in 2011; Ca’ Pesaro, Galleria Internazionale d’arte Moderna Venezia, Venice and IVAM. Institut Valencià d’Art Modern, Valencia, in 2009; and Kunstmuseum Bonn in 2006. (MAM press-release)
Mario Mauroner Contemporary Art. Weihburggasse 26. 1010 Wien. Austria
Image: Mario Mauroner Galerie
20 october – 10 december, 2016
After opening in mid-September his second solo show at the gallery Underdogs in Lisbon, the artist Okuda San Miguel lands on October 20 at 3 Punts Galeria in Barcelona with his show Venus Zoo. He returns to his country after almost five years without having his own solo exhibition in it. “Venus Zoo” is his first one in Barcelona.
Venus Zoo is a new metaphor for the artist about our world: a cage of planetary size inhabited by all sorts of living and nonliving beings including us humans, with our past that we continue to drag and a future that we can only yearn for.
A constant throughout his career, the contradictions of the human being are again present in Okuda’s work: Venus as the representation of women since time immemorial and, at the same time, the name given to a planet in our solar system in honor of the Roman goddess of love; and the zoo as a paradigm of our daily lives as pawns in the system.
Okuda proposes a retro-futuristic vision of modern society with which he displays many of the obsessions that have become icons of his career: the human figure as a woman, the cosmos as an escape route, the social system as bars that restrict our liberty… reinterpreted as characters of ancient Rome or Mesopotamian art. (3 Punts press-release)
3 PUNTS GALERIA. Enric Granados 21. 08007 Barcelona
Image: Okuda. Punk love eagles 2016
november 18, 2016 - january 20, 2017
One of the starting points concerning the painting series “Uncertain mountains” are the drawn maps of the japanese cartographer Ino Tadataka (1745/1818). Maps, in which the rules of perspective are being avoided. Based on the triangular connection Japan-Barcelona-Cologne, 100 kubik gallery presents Jordi Fulla’s (*1967, Barcelona) artworks, which again and again refer back to nature and invite the spectator to question his own gaze at the world through manipulated realities.
In a world where nothing is what it seems, Jordi Fulla (Igualada, Barcelona 1967) offers us landscapes where the senses interweave, and the gaze becomes tactile. Where our perception of the territory becomes a game of chance between the real and the fictitious, representation and appearance, where, in the end, we are presented with a window that allows a new vision to appear. The artist combines the use of the airbrush with drawing, graphite and charcoal, to grant his firm, subtle and elegant trace greater precision.
Jordi Fulla has a long career of exhibitions in Spain and regularly participates in prominent art fairs and exhibitions in galleries and foreign institutions. He has participated in International art fairs such as Arco,Madrid, Art Cologne, Art Chicago, Artissima, Art Paris, Zurich, Loop in Barcelona and has exhibited in galleries abroad: Tokyo and Fukuoka (Japan); Berlín, Köln and Frankfurt (Germany); Chicago, Baltimore and Miami (USA); Paris and Montrouge (France); Liverpool (England); Amsterdam (Holland); Turin and Milan (Italy); Lisbon (Portugal). (100 kubik press-release)
GALERIE 100 KUBIK. Raum für spanische kunst. Mohren Str. 21. 50670 Köln
Image: Jordi Fulla “Uncertain mountains”
november 12 - decembre 16, 2016
FotoWeekDC, the largest visual arts festival in Washington, D.C., features photography exhibitions, special events and high-profile FotoTalks. FotoWeekDC produces more than 150 world-class events and features more than 50 partners, ranging from museums and galleries to embassies and cultural centers.
SPAIN arts & culture presents A Myriad of Voices, showcasing a small sample of the work done by former Revelation PhotoEspaña award winners David Jiménez, Isabel Flores, Carmela García, Paco Gómez, Lucía Arjona, the NOPHOTO group, Germán Gómez, Carlos Sanva, Carlos Irijalba and Aleix Plademunt. The body of work presented in this exhibition reflects the incredible richness, diversity and creativity in modern photography. (SPAIN arts & cultura press-release)
Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009
Image: “Luca” Germán Gómez. 2004
3 november 2016 – 1 february 2017
The works of 28 Spanish illustrators tour the world in an exhibition promoted by the Spanish Agency for International Development Cooperation (AECID) and curated by Mario Suárez. A great chance to see the work of the best Spanish illustrators together in one show. While we wait for the exhibition to reach Spain, we offer you a preview of 16 works. The Spanish Agency for International Development Cooperation (AECID) will show the work of some of the most important Spanish contemporary illustrators. The exhibition #the_color_of_optimism features 67 works by artists. Ricardo Cavolo, Carla Fuentes (Littleisdrawing), Aitor Saraiba, Iván Solbes, Gabriel Moreno, Javier Jubera, Conrad Roset, Paula Bonet, Eva Solano, César Fernández Arias, Paco Roca, Marta Altés, Robert Tirado, María Pascual, Sean Mackaoui, Violeta Lópiz, Óscar del Amo, Silvia Prada, Santiago Morilla, Luis Úrculo, Óscar Giménez, Noemí Villamuza, Sonia Pulido, Merino, Mikel Casal, Iban Barrenetxea, Raúl Allen y María Simavilla. (CCEMX press-release)
Centro Cultural de España e
n México. Pasaje cultural Guatemala 18- Donceles 97. Colonia Centro Delegación Cuauhtémoc, 06010 México, D.F
Image: Paula Bonet
13 october 2016 – 5 march, 2017
Whoever visits museum Beelden aan Zee this winter can marvel at surprising sculptures by Pablo Picasso (1881 – 1973) and enjoy the warm, Mediterranean colours of his ceramic works from the years that followed 1947. Displayed in the exhibition will be unique examples in ceramic together with exceptional sculptures from the best private and museum collections of Europe. Some works have never been seen before in the Netherlands. As compared with his paintings, in the course of the years Picasso’s sculptural oeuvre has been given little attention.
Quite justifiably, Picasso is regarded as one of the pioneers of modern sculpture. As the first he introduced the ‘open’ sculpture: a work that consists of not one but of a number of forms. With his cubist still lifes he was the first to introduce everyday objects as a theme, and again as a first he dared to replace the traditional sculpting materials – stone, wood and bronze – with non-sculptural resources such as tin, iron and objets trouvés.
There is a great deal of speculation as to the reason why in the years following World War II Picasso developed a great interest in ceramics. It was particularly circumstances of a personal nature that were given a reasons for this, such as the influence of his new partner Françoise Gilot, or his homesickness for Spain. In 1945 Pablo Picasso’s renown was at its zenith. Via his friend Man Ray he discovered Antibes, where he had an atelier in the centuries-old Château Grimaldi (now the Musée Picasso), which lies directly on the Mediterranean Sea. At that time Picasso discovered the nearby village of Vallauris, the centre of pottery making.
The artist, who had for years complained about the transience of paint, was attracted by the everlasting durability, plasticity and sparkle of ceramics. Virtuoso that he was, Picasso chose the existing shape of the vase as his starting point, projecting his images onto it. He folded the ‘flat’ images as it were around the vase, where it took on the shape of a woman, an owl or a hand. The themes in Picasso’s oeuvre, and thus in his ceramics too, are of great simplicity. Women play a central role, but animals also appear frequently in his work. As a fanatic enthusiast of Spanish bullfighting, which too was popular in the South of France, Picasso also decorated his ceramics with bulls, toreros, picadors and horses. Whilst he was at work in Antibes an owl flew into Château Grimaldi. Picasso made the small nightbird his favourite model.(Beelden aan Zee press-release)
Museum Beelden aan Zee. Harteveltstraat 1. 2586 EL Den Haag. The Netherlands
Image: Picasso “Tanagra aux mains jointes” All images courtesy of Beelden aan Zee
HONG KONG. Rafael Moneo “A Theoretical Reflection from the Professional Practice. Archive Materials (1961-2013)” Hong Kong Design Institute
22 october 2016 - 14 january 2017
This is the first major retrospective held in Asia on Pritzker Prize-winning Spanish architect Rafael Moneo. The exhibition masterfully portrays a practitioner who sought to define an approach to architectural design based on a strong disciplinary basis amid the ever-changing conditions of his time, accepting the difficult position of claiming architecture as a specific form of knowledge. Over 250 original drawings, photographs and models spanning Moneo’s career will be featured to illuminate the architect’s own vision and story, ultimately reflecting an important part of the recent history of architecture. An Exhibition by the Fundación Barrié and the Estudio Rafael Moneo (HKDI press-release)
Hong Kong Design Institute. 3 King Ling Road, Tseung Kwan O, New Territories, Hong Kong
Image: Museo Nacional de Arte Romano, Mérida, Rafael Moneo. 1980-85. Estudio Rafael Moneo
19 october 2016 – 31 january 2017
The portraits of Pierre Gonnord celebrate the strength of the human condition that invite you to feel connected to it through the image of the faces of Asturian miners. (I.Cervantes press-release)
Instituto Cervantes. 326-330 Deansgate, Campfield Avenue Arcade. M3 4FN. Mánchester Lancashire. U.K
Image: Pierre Gonnord
13 october 2016 - 5 february 2017
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. (MAUG press-release)
Museo de las Artes Universidad de Guadalajara, Juárez 975, C.P. 44100Guadalajara, Mexico
17 october – 17 december, 2016
Os adeuses. Photographs by Alberto Martí is an exhibition that recreates images of a relatively recent historical fact: The Galician exodus to America between 1957 and 1963 from the ports of A Coruña and Vigo and subsequent return to Galicia
Alberto Martí Villardefrancos (A Coruña, 1922) is considered a "portrait of human stories". Each of his photographs has emotion, feeling, freshness and naturalness. This selection by the exhibition curator, José Caruncho, allows us to see images in many cases never before revealed, moments to remember and reconstruction of the past who were actors or spectators of emigration of those years, a phenomenon that represented a full lighting and shadowing process but it was one of the fundamental aspects of Galician contemporary history because it affected all facets of their social economic and political life.
The title "Os adeuses" (Goodbyes) perfectly symbolizes the world of the feelings that accompanied persons, crates, bales and bags, recording them forever in the collective memory. With over 70 years dedicated to photography -50 of them worked as a reporter for La Voz de Galicia, Alberto Martí has received numerous national and internacionals awards at speeds as Madrid, Barcelona and Buenos Aires, and part of his work is published a monograph published by the City of a Coruña. (I.Cervantes press-release)
Instituto Cervantes - Sala de exposiciones. Avda. Sete de Setembro, 2792. 40130-100 Salvador Bahia (BRASIL)
Image: Alberto Martí
24 september – 11 december, 2016
Impossible things don’t know they are impossible. – W. Disney
Surprise is an exhibition in which the power of imagination is central. In astonishing ways, the Netwerk building is transformed into an adventurous art circuit with much to see and do.
Thanks to its theme, Surprise is particularly attractive for young visitors of Netwerk, although the exhibition caters just as much to an adult audience. So one may expect much more than a typical group exhibition. Experience an adventure both physical and psychological.
Logic will get you from A to B. Imagination will take you everywhere. – A. Einstein
The Black Box of Netwerk: The Netwerk Archive forms the basis. There is new or existing work by Lida Abdul, Roel Backaert, Vincen Beeckman, buren, Jana Cordenier, Marc Ghijsels, Binelde Hyrcan, Lola Lasurt, Ivo Provoost & Simona Denicolai, Grethell Rasúa, Dimitri Vangrunderbeek, Floris Vanhoof and interactions by Rik Moens.
Lola Lasurt (Barcelona 1983) “My work comes from graphical material that testify a period of time that correspond at that of my previous generation, thus a temporal space that I have never occupied. I work with displaced time aspects, those which make us appeal to the past at present when it becomes difficult to embrace. I work with the time just before I was born and with the paradoxes of an epoch that was to suppose lots of changes. It is about having a concrete and stable case to study. I vindicate personal historical time working from my own family's albums where referents operate as narrative structures. I also work with concrete editions that were instructions dictated by hegemonic culture. I work with the last layer of things which deal with appearances in two different ways; it can be even through a phenomenon of recognition or, on the contrary, through a phenomenon of strangeness unable to approach the rare in familiar terms. Taken all together, it marks a return to the past that establishes a dialogue between our current beliefs as a collective which are still in a state of confusion posing questions about what it is that makes up now our identity”
Artists: Netwerk Archief / Lida Abdul / Roel Backaert / Vincen Beeckman / buren / Jana Cordenier / Marc Ghijsels / Binelde Hyrcan / Lola Lasurt / Ivo Provoost & Simona Denicolai / Grethell Rasúa / Dimitri Vangrunderbeek / Floris Vanhoof(Netwerk press-release)
Netwerk / center for contemporary art. Houtkaai 15. 9300 Aalst. Belgium
Image: Lola Lasurt
16 october 2016 – 19 march 2017
Through the works of over 50 international artists in a showing that will span the entire exhibition area of the museum - over 3000 square metres - the exhibition will be set up as a kind of exercise of distance which will incite us to take a look at our present from a great distance.
Along the way the audience will experience the feeling of being projected thousands of light years away to view our current world as if it were a fossil, geological eras from the present time, resulting in a feeling of being suspended in a limbo between a now distant past and a still distant future.
Throughout the exhibition, many expressions and artistic languages will be interconnected: music, theatre, cinema, architecture and dance represented not just as side events but as integral moments of the show, helping to build an immersive and captivating narrative.
The exhibition 'The End of the World' will be accompanied by a catalogue published in two languages, Italian and English, as well as a series of conferences and debates which will develop the various themes explored in the exhibition including scientific, philosophical and literary aspects, from more recent theories of physics to the prehistoric, and from science fiction to ecology and sustainability. Curated by director Fabio Cavallucci
Artists: Adel Abdessemed, Jananne Al-Ani, Darren Almond, Giovanna Amoroso & Istvan Zimmermann, Aristide Antonas, Riccardo Arena, Kader Attia, Francis Bacon, Babi Badalov, Fayçal Baghriche, Francesco Bertelè, Rossella Biscotti, Björk, Umberto Boccioni, Kerstin Brätsch, Cai Guo-Qiang, Julian Charrière & Julius von Bismark, Ali Cherri, Analivia Cordeiro, Isabelle Cornaro, Vincenzo Maria Coronelli, Hanne Darboven, Pippo Delbono, Marcel Duchamp, Marlene Dumas, Jimmie Durham, Olafur Eliasson, Federico Fellini, Didier Fiuza Faustino, Lucio Fontana, Carlos Garaicoa, Adalberto Giazotto, Arash Hanaei, Camille Henrot, Thomas Hirschhorn, Joakim, Polina Kanis,Tadeusz Kantor, Tigran Khachatryan, Robert Kusmirowski, Andrey Kuzkin, Volodymyr Kuznetsov, Suzanne Lacy, Ahmed Mater, Boris Mikhailov, NASA, Henrique Oliveira, Lydia Ourahmane, Pëtr Pavlensky, Gianni Pettena, Agnieszka Polska, Pablo Picasso, Pussy Riot / Taisiya Krugovykh, Qiu Zhijie, Józef Robakowski, Batoul S’Himi, Fari Shams, Santiago Sierra, Hiroshi Sugimoto, Unknown-lower paleolithic period, Unknown-upper paleolithic period, Luis Urculo, Emmanuel Van der Auwera, Ekaterina Vasilyeva & Anna Zubkova, Andy Warhol, Ingrid Wildi Merino, Andrzej Wróblewski, Alik Yakubovich, David Zink Yi.(Centro Pecci press-release)
Centro Pecci Prato. Viale della Repubblica, 277, 59100 Prato PO, Italia
Image: Luis Urculo
22 october 2016 – 9 april 2017
With a career spanning five decades, Antoni Miralda (Terrassa, Spain, 1942) has turned something as universal as food into a creative universe. Having moved to Paris in 1962, Miralda pioneered a type of artistic practice that centred on the collective rituals that celebrate the ceremonial act of eating by using colour and its symbolism. The critic Pierre Restany valued his individual work, as well as his collaborations with artists such as Daniel Spoerri, Joan Rabascall, Dorothée Selz and Jaume Xifra. In 1972 Miralda moved to New York where he initiated a series of participative projects based on the fusion of cultures and their popular manifestations. As Umberto Eco wrote in 1985: ‘Miralda wanders the world recreating the old ritual of celebration.’
Miralda has developed a method based on participation and on the ritual and ceremony related to gastronomy. Employing a non-conformist language, baroque and full of humour, that celebrates the senses and brings art close to life; he undertakes an ethnological exploration of human behaviour in his work.
The exhibition MIRALDA MADEINUSA brings together all the projects of the artist linked to the United States. Curated by Vicent Todolí and produced by MACBA, the exhibition will run from 21 October 2016 to April 2017 in Barcelona. In close collaboration with the artist and his archive, it will document for the first time and in a comprehensive manner the fourteen projects made by Miralda in the United States from the mid-seventies to the late nineties. The most significant installations will be reconstructed showing sculptures, drawings, photographs, visual recordings, sketches and other material. This will highlight the complexity of his projects and the collective nature of the artist’s methodology
Among the most representative works are Breadline (1977), a monumental line of bread presented at the Contemporary Arts Museum, Houston; Wheat & Steak (1981), a food parade along the streets of Kansas City, an exhibition at the Nelson-Atkins Museum and a special event at the Board of Trade of this city; El Internacional Tapas Bar & Restaurant (1984–86), a social and artistic experiment made with the restauranteur Montse Guillén in New York’s TriBeCa; and Honeymoon Project (1986–92), a symbolic wedding between the Statue of Liberty in New York and the Columbus Monument in Barcelona, performed in several locations. The exhibition will also include the large installation belonging to the MACBA Collection, Santa Comida (Holy Food), 1984–89, based on the legacy of Afro-Caribbean culture in America today. Curator: Vicent Todolí. (Macba press-release)
MACBA. Museo d´art contemporani de Barcelona. Plaça dels Àngels, 1, 08001, Barcelona, España
Image:Antoni Miralda. MACBA
october 1st, 2016 - february 5th, 2017
The exhibition, curated by Montse Aguer i Teixidor, the director of the Centre Estudis Dalinians at the Fundación Gala-Salvador Dalí, presents the Spanish master’s grand oeuvre, through a selection of major works that shows the extent to which Dalí was inspired by the tradition of the great masters from the time of Raphael and Michelangelo. More than 150 works have been loaned by the Museo Fundación Gala-Salvador Dalí di Figueres, the Dali Museum of St. Petersburg in Florida (the two most important institutions for work by Dali), and the Vatican Museums for the exhibition.
The exhibition points up the importance of Italy, of the Renaissance, and of Michelangelo in particular, in the work of Salvador Dalí. Among the various sections of the show is a selection of extraordinary little-known works, including four untitled works on show for the first time: Moses after the tomb of Julius II by Michelangelo; Christ after the Palestrina Pietà attributed to Michelangelo; Giuliano de' Medici after the portrait of Giuliano de' Medici by Michelangelo and the Crouching Boy after Michelangelo, which were among his last creations in the eighties. These works, which are presented for the first time as a stylistic and thematic corpus, allow us to analyse Dali’s techniques and ideas at that time, and to demonstrate how his preoccupations continued to find expression in his art. Examination in more depth of the later stages of the artist’s career, about which little is known, offers insights into the most distinctive aspects of Dali’s thinking, mediated by an expressivity in pursuit of immortality. (BLU press-release)
Image: Moses after the tomb of Julius II
08 october 2016 – 14 may 2017
Taking up the entire lower level of the museum, her exhibition will be organised around the ideas of capitalism and globalisation at the beginning of the 19th century, including the video installation Philosophical Capitalism (2014-2016). This major work takes the form of ten projections of interviews carried out by Cristina Lucas, in which she asks her interviewees about the philosophical ideas that relate to their various professional fields. For example, what does the concept of Beauty represent to a cosmetic surgeon, or that of Space to an estate agent, or that of Truth to a public notary? By inserting these philosophical questions into a journalistic interview, the artist skilfully grasps the relationships that exist between a concept and an economic activity, as well as the way in which the capitalist system, using companies as intermediaries, colonises the objects of our thoughts and thus influences the way in which we apprehend the world.
Wishing to anchor her work in a local context, the artist decided to pursue this project – which was originally conceived in 2014 for the Matadero arts centre (Madrid) – in Luxembourg, carrying out five new interviews here with an architect, a journalist, a lawyer, a watchmaker and a politician.
In addition to this important video installation, the public will be able to encounter new works specially conceived for the exhibition at Mudam. As a way of bringing to light the consequences of capitalism for our vision of the world, Cristina Lucas will present an environment that questions our perception of time, and an installation about the tendency of the capitalist system to transform everything, right down to the set of chemical elements known so far, into merchandise governed by the law of supply and demand. (Mudam Luxembourg press-release)
Mudam Luxembourg. Musée d’Art Moderne Grand-Duc Jean. 3, Park Dräi Eechelen. L-1499 Luxembourg-Kirchberghttp://www.mudam.lu
Image: Cristina Lucas, Philosophical Capitalism, 2014 © Photo : Cristina Lucas
9 october 2016 – 29 january 2017
Modern Spanish Art from the Asociación Colección Arte Contemporáneo presents the most comprehensive survey of Spanish modern art to be shown in the United States in 50 years. The exhibition, which features more than 90 works of art dated from 1915-1960 by approximately 50 artists, is drawn predominantly from the Asociación Colección Arte Contemporáneo (ACAC),one of the most significant repositories of Spanish modern art in the world, with select masterpieces from the renowned collection of the Meadows Museum. The collaboration and exhibition mark the first time many of these works will travel to the U.S., and the first opportunity for American audiences to experience the exceptional breadth and depth of the ACAC’s modern art collection.
The ACAC, which was formed in 1987 by a group of private companies in Spain, offers the only complete visual narrative of the development and evolution of Spanish art, from the beginnings of modern art to the present, through the work of many of the most important artists of the time. Leveraging the exceptional scope of the ACAC, the exhibition explores five distinct trajectories taken by Spanish artists of this period. Among the artists featured are Eduardo Chillida, Óscar Domínguez, Pablo Gargallo, Julio González, Antoni Tàpies, Joaquín Torres-García, Josep de Togores, and Jorge Oteiza, who were little appreciated in their time but today have found international acclaim; Rafael Barradas, Leandre Cristòfol, Ángel Ferrant, Alberto Sánchez, and José Guerrero, who influenced the practice of their contemporaries in the U.S. and Spain alike; and artists, who—though critical to the history of modern art—remain lesser-known, including Alfonso Olivares and Martín Chirino. Works by these artists, and many more, are further augmented with masterpieces by some of the most famed Spanish modern artists, drawn from the collection of the Meadows Museum, including Salvador Dalí, Juan Gris, Joan Miró, and Pablo Picasso.
This exhibition has been organized by the Meadows Museum and the Asociación Colección Arte Contemporáneo in collaboration with Acción Cultural Española. BBVA/Compass is the main Supporting Corporate Sponsor, with the special collaboration of Técnicas Reunidas, S.A.; Fundación Aon España; Fundación ACS; and Gas Natural Fenosa. A generous gift from The Meadows Foundation has made this exhibition possible. (Meadows Museum press-release)
Meadows Museum. 5900 Bishop Blvd. Dallas, TX 75205
Image: Oscar Dominguez. Birds 1947. (ACAC)
7 october – 16 december, 2016
This work-in-progress defines itself as museological research and sheds light on the everyday reality and more remarkable moments in the life of a work of art. Since July of 2016, the Gemäldegalerie Berlin presents a major exhibition on the Spanish Siglo de Oro. For the show, the ensemble of saints in Road to Calvary left Spain for the first time, accompanied by a camera. The artist’s images depict several phases in the life of the sculpture: from the museum in Valladolid, through the Easter processions and journey to Germany, to a museum visitor observing the work in Berlin – offering a rare look behind the scenes. What appreciation do the statues experience when their life as a work of art and religious object in continuous liturgical use is made visible through photography and video, unusual media for Baroque sculptures? Collado’s images, presented in the Instituto Cervantes to accompany the major exhibition at the Gemäldegalerie, expand our view of the work of art and its world, giving expression to today’s perception and use of a centuries-old object. (EMOP-Berlín press-release)
Instituto Cervantes. Rosenstr. 18-19. 10178 Berlín (ALEMANIA)
Image: Carlos Collado
6 october 2016 – 5 february, 2017
The exhibition will contain paintings, sculptures, drawings and prints from all periods of the artist’s long career. It is being curated by Elizabeth Cowling, Professor Emeritus of History of Art at Edinburgh University, and an independent scholar and exhibition curator.
When still only in his early teens, Picasso made self-portraits and portraits of members of his family that reveal a precocious gift for suggesting character and mood as well as catching a likeness. Caricature, which enjoyed great popularity in the late nineteenth century, served as an outlet for his satirical humour and also encouraged bold experiments with distortion, exaggeration and symbolism – a trend reinforced by his discovery of El Greco and anti-naturalistic avant-garde styles, and his growing inclination to work from memory, sometimes aided by photographs, rather than the posing model. By the time he settled in Paris in 1904 Picasso had produced a large body of portraits of remarkable conceptual and emotional variety. Because he almost invariably depicted people in his intimate circle, he was free from the usual obligations and constraints of the artist working to commission and did not hesitate to exploit the full range of his innovative styles and techniques. But even when at his most transgressive and expressionistic, he continued to make exquisite drawings from life in a classic, naturalistic style. Dramatic shifts in mode and style are indeed a recurrent feature of his prolific portraiture of the women in his life..
For all his restless originality, Picasso remained in constant, searching dialogue with the art of the past, habitually using traditional formats and poses (bust, half-length, full-face, three-quarter view, and so on), and embedding subtle allusions to old-master portraits that had some bearing on his vision of his subject’s physical type, personality and relationship to him. In later life, Picasso thought of favourite predecessors as intimate friends-cum-collaborators; he did not scruple to caricature them or to indulge in fantasies about their sex lives that mirrored his own obsession with the interplay between eroticism and creativity. His late suites of ‘variations’ after Velázquez’s Las Meninas and Rembrandt’s The Prodigal Son – also represented in our exhibition – allowed him to probe imaginatively supreme masterpieces that involved self-portraiture, and to ruminate on the complex psychological relationship of artist and sitter, his purposes as a portraitist, and the viability of portraiture within the supposedly hostile environment of contemporary art. (NPG press-release)
National Portrait Gallery. St.Martin´s Place. London WC2
Image: Portrait of Olga Picasso. Picasso 1923
30 september, 2016 – 28 january, 2017
The exhibition covers a six-decade period in Joan Mirós's career - from 1924 to 1981. It focuses in particular on the transformation of pictorial languages that the Catalan artist first developed in the mid-1920s. The exhibition considers his artistic metamorphoses across the mediums of drawing, painting, collage and work in tapestry.
Miró’s visual thinking and the ways in which he negotiates between optical and tactile modes of sensation is examined in detail, as are the artist’s working processes.
The exhibition comprises around 80 works by Joan Miró from the collection of 85 works, most of which have never previously been seen by the general public, including six of his paintings on masonite produced in 1936 and six "sobreteixims" (tapestries) of 1973. The exhibition is accompanied by a fully-illustrated catalogue with a lead essay by the curator.
Suzanne Cotter, Director of Serralves Museum, stated about the exhibition: "We are delighted to be able to contribute to a greater awareness and appreciation of the work of Joan Miró through what will be an authoritative and unique presentation of this singular collection”. The exhibition ‘Joan Miró: Materiality and Metamorphosis’ is organised by the Serralves Museum of Contemporary Art and is curated by Robert Lubar Messeri, with architectural design by Álvaro Siza Vieira. (Casa de Serralves press-release)
Casa de Serralves, Rua de Serralves 1052, Porto
Image: Casa de Serralves. Joan Miró “Materiality and Metamorphosis”
27 september – 18 december, 2016
The event "Spanish artists at KUNSTHALLE São Paulo 2016" is a project in which Spanish artists David Bestué and Fran Meana are invited to take part of KUNSTHALLE São Paulo Art Residency program during the year of 2016. The program provides each artist with the possibility of spending a period of 6 weeks in São Paulo, while developing a new research, that will be displayed in the Vitrine space. The presentation will have an opening event, together with the exhibition of KUNSTHALLE São Paulo’s main program.
Along the residency period, artists have studio visits organized with local curators and other artists, in order to have more personal meetings. The residency program includes also weekly meetings with director Marina Coelho, who advises them on the research, and also introduce the artists to the city and the local art scene.
For the period of 6 weeks, the residency program offers to one artist at a time a private studio comprised of working space, bedroom, bathroom, small kitchen and laundry. KUNSTHALLE São Paulo offers support in the search and transport of needed materials, working tools, printer/scanner and Wi-Fi Internet. The studio is well located in the city and is served by several transportation options. (AC/E press-release)KUNSTHALLE São Paulo. Rua Apinajés, 1547. Sumaré – 01258-001. São Paulo – SP – Brazilhttp://kunsthallesaopaulo.com/wordpress2/ http://www.davidbestue.net http://franmeana.com
Image: David Bestué
14 september – 12 december, 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. (NAC press-release)
Kokuritsu Shin-Bijutsukan.The National Art Center, Tokyo. 7-22-2 Roppongi Minato-ku Tokyo 106-8558 Japan
Image: Salvador Dalí. Venus de Milo con cajones, 1936
27 september 2016 - 22 january 2017
Jorge Oteiza (Orio, Guipúzcoa, 1908 - San Sebastian, 2003) is certainly one of the sculpture leaders of the second half of the twentieth century, with a clear vocation for experimentation and theoretical reflection.
The exhibition shows a journey through all stages of the sculptural work of Oteiza, from the archaic forms of the first pieces to the latest series; and, also, wants to discover various facets of his career, ranging from poetry or architecture to the education or cultural agitation. (La Pedrera press-release)
Sala de exposiciones La Pedrera. Paseo de Gracia, 92. Barcelona
Image: “desocupación no cúbica del espacio” Jorge Oteiza
8 september 2016 – 1 february 2017
The Mexico City Museum of Modern Art's new show devoted to painter Remedios Varo aims to explore the "deep waters" of her sensibility by presenting some of the Spanish surrealist's less widely known works.
The exhibition eschews the typical focus of Varo shows on surrealism or literature in favor of what philosopher Miguel de Unamuno called "intrahistory," curator Marisol Argüelles told EFE. In this view, "the subhistorical data are similar to the sea's deep, calm waters, while historical data such as great events are the waves and the surf," she said.
Varo (1908-1963) fled her adopted home of Paris during World War II and spent the rest of her life in Mexico. The show includes all 39 works in the museum's collection by the artist, which were donated in 2002 by her husband, Walter Gruen, and Anna Alexandria Varsoviano.
Included in the exhibition are writings from Varo and people who knew her that shed light on the motivations behind some of the works.Such is the case with "Musica del bosque" (1963), the only drawing that did not progress to an oil painting, where visitors may learn that the man depicted represents Gruen standing in a forest in his native Austria.
Photographer Eva Sulzer's comments reveal that "El gato helecho" (1957) was inspired by a dream of hers that she shared with Varo. The exhibit includes "Autorretrato" (1951), the artist's only selfportrait, "though there are those who say that all of Varo's characters are herself," Argüelles said. (MAM press-release)
MAM. Museo Arte Moderno. Paseo de la Reforma y Gandhi S/N. Bosque de Chapultepec. Ciudad de Mexico
Image: Roulotte. 1955 Remedios Varo
10 september - 11 december, 2016
Sao Paulo Biennial, established by the Sao Paulo Biennial Foundation, is one of the most important international institutions in the promotion of contemporary art and is hailed as one of the leading contemporary art events. It showcases the output of both Brazilian and foreign artists.
The 32nd edition of Sao Paulo Biennial will take place from 10 September to 11 December 2016 at the Ciccillo Matarazzo pavilion and will be curated by Jochen Volz, head of programmes at the Serpentine Galleries in London, with the assistance of Lars Bang Larsen, Julia Rebouças, Gabi Ngcobo and Sofia Olascoaga. This team of curators have chosen as the theme of this year’s biennial ‘live uncertainty’ to explore different ways of living with the unknown through ecology, the cosmology of beginnings and ends, extinction, collective knowledge, evolutionary myths and vital practices. The works of art featured in this edition, more than objects or expressions in time and space, must represent a vision of the world that can offer everyone tools and strategies for living with uncertainty.
The biennial features 90 artists and groups, among them the Spaniard Xabier Salaberría, who has the support of Acción Cultural Española. Salaberría’s sculptural practice is based on both research and the experimental spirit and is fully in tune with the theme of the event. He has produced a new work specifically for the biennial – an installation that is both an artwork and an element that both hinders and guides visitors on their way around. (AC/E pess-release)
Parque Ibirapuera, Portão 3, Pavilhão Ciccillo Matarazzo – São Paulo-SP – Brasil
Image: 32ª edición de la Bienal de São Paulo
22 september, 2016 - 26 february, 2017
The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Velázquez, will present a broad selection of his output – photographic works, drawings, sculptures and multimedia installations – spanning from the 1980s to the present day.
Curated by the Museo’s Deputy Director of Art, João Fernandes, the show will centre on the problem of form as both the particular way of understanding artistic creation and a process that assimilates its own transgression. To Badiola, the art form is always a “bad form” which, at the same time as it creates a vision, denies recognition. The artist works against culture, dismantling conditions of visibility and invisibility. The museum device, conceived from a curatorial process which has involved seven other close artists, gives shape to a kind of text-exhibition that enables at once simultaneity and a certain linearity, developing dialogue relations and references that cross through different works. Furthermore, a chronological reading becomes complex by dint of structural meta-comments and leaps in time that put forward possible developments or invoke forgotten origins.
After graduating from the Faculty of Fine Arts, Bilbao, Txomin Badiola worked at the same school as a professor between 1982 and 1988. He has put together a catalogue raisonné of Jorge Oteiza’s work and curated his exhibitions at the Caja de Pensiones Foundation in Madrid and Barcelona, and the Museo de Bellas Artes, in Bilbao, in 1988, as well as the show Oteiza. Mito y Modernida (Oteiza. Myth and Modernity), curated alongside Margit Rowell, for the Guggenhein Museum in Bilbao and New York in 2004 and 2005, and for the Museo Reina Sofía in 2005.
Awarded the Gure Artea Prize in 1986 and the ICARO Prize for outstanding young artist in 1987, his work has been the subject of solo and collective exhibitions, most notably PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 ejercicios 40 días 8 horas al día at León’s MUSAC in 2010; La Forme Qui Pense at the Museé d'Art Moderne de Saint-Étienne, France, in 2007, and Malas Formas 1990-2002 at MACBA, Barcelona, and the Museo de Bellas Artes, Bilbao, in 2002. (MNCARS press-release)
Palacio de Velázquez. Parque del Retiro. Madrid
until 1st may 2017
Now in its sixth year, the critically acclaimed Sculpture in the City returns to the Square Mile with contemporary works from internationally renowned artists.
Sixteen artworks in 19 locations ranging considerably in scale - from a seven-metre high cast iron head, to a series of delicate and playful lead paper chains - are thoughtfully placed between iconic architectural landmarks such as the Gherkin and the Cheesegrater. Wander the City's public spaces and stumble upon world-class public art, on an urban canvas recognised across the globe.
“Laura” (2013) is part of Jaume Plensa's on-going series of portraits. Each sculpture is drawn from a particular model of a young girl, whose image is then elaborated into a more universal symbol for dreaming and aspiring. Part of the technical process involves photography. The essence of the photograph – a moment caught in time – belies the architectural volume of the final form.
'Laura' hovers between childhood and nascent womanhood, personifying an individual future and being symbolic of the future of humanity. Each sculpture has a spirit that communicates to us across cultures and identities. When the viewer first sees Laura, her silhouette stands out against its surrounding, but when the viewer moves closer Laura appears to shift her orientation. The play on form and perception and a slippage between volume and image are part of Plensa's great contributions to postmodern sculpture
This year, discover exciting works by: Anthony Caro, Benedetto Pietromarchi, Enrico David, Gavin Turk, Giuseppe Penone, Huma Bhabha, Jaume Plensa, Jürgen artenheimer, Lizi Sánchez, Mat Collishaw, Michael Lyons, Recycle Group, Sarah Lucas, Shan Hur, Ugo Rondinone, William Kentridge & Gerhard Marx. (Sculpture in the City press-release)
Sculpture in the City. St. Mary Axe Gherkin
Image: Copyright the artist; Courtesy Galerie Lelong; Photograph by Nick Turpin
24 june – 13 december, 2016
Unleserlich (aka Speaking in Code, according to Laura González Cabrera’s work)
All interesting and / or relevant knowledge is kept secret, at least for a short period of time, for the simple reason that knowledge is, indeed, power. Yet when this knowledge is established as a “totalitarian power” it becomes its own enemy. Art created by women has lived for centuries under this “totalitarianism”, always fighting against it - though more in a dissident way than in a belligerent one.
That is, in fact, the example of the artist Laura González Cabrera (Las Palmas de Gran Canaria, Spain, 1976), and whose work has been focused, for more than a decade now, around the investigation of the different uses of coded and encrypted systems that eventually evolve, in the material creating process, into a sort of “textual abstract painting” where text, words, writing and colour join into an aesthetic combined experience.
Heir of the very first experiments of the Bauhaus, Situationism and post-conceptual paintings; Laura GC penetrates the pictorial essence from verbal scripts, providing writing thus with a new sense: the chromatic one, where its arithmetic-mathematical system reminds us of the origins of the most rudimentary binary calculation in computing, and its rhythmical and gridded spaces evoke our childhood memories, or the relevance of touch, the brushstroke, its physicality, its manufacture, its eroticism. An eroticism that strips its text turning it into visual poetry. A poetry which the artist develops by means of wall painting, painting on canvas, drawing or watercolor... all of these expanded or otherwise, as a shrunk focal point that emerges as an enigma.
Unleserlich is her first solo exhibition in Berlin, after having exhibited and produced several wall paintings in Las Palmas de Gran Canaria, Santa Cruz de Tenerife, A Coruña, Murcia, Madrid (Spain), Naples, Turin Milan (Italy), Dakar (Senegal) or Beijing (China). (Nova Invaliden press-release)
Nova Invaliden Galerie. Schönleinstr. 25. 10967 Berlin
Image: Laura González. Fünf, Acrilic on linen
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