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Spanish contemporary art worldwide

 

STOCKHOLM. Núria Guell “Manipulate the World. Connecting Öyvind Fahlström”Moderna Museet

21 october 2017 – 21 january 2018

In a text from 1964, Öyvind Fahlström urges to manipulate the world. What does this mean for artists today, in our era of alternative facts, relative truths and fragmented narratives?

In an exhibition filling two floors in the Museum, 28 Swedish and international artists explore and challenge Öyvind Fahlström’s ideas on manipulation and theatricality. Four historic works by Fahlström define the playing field for the exhibition, which takes place in three zones: the main exhibition hall on Floor 4, the spaces connecting both floors, and the exhibition halls on the lower ground floor.

Núria Güell's artistic practice is about the analysis of how power devices affect our subjectivity, subjecting it to law and hegemonic moral.
The main resources that she uses in her work are to flirt with the established powers, complicity with different allies and the uses of privileges that artistic institutions she works with have, as well as those socially granted to her for being a Spanish and European. These tactics, diluted into her own life, are developed in specific contexts intending to question commonly-assumed identifications and cause a disruption in power relations.

Artists in the exhibition: Lawrence Abu Hamdan, Rossella Biscotti, Juan Castillo, Aslı Çavuşoğlu, Kajsa Dahlberg, Detanico Lain, Economic Space Agency, Róza El-Hassan, Harun Farocki, Öyvind Fahlström, Goldin+Senneby, Núria Güell , Candice Lin, Jill Magid, Ibrahim Mahama, Nicholas Mangan, Sirous Namazi, Rivane Neuenschwander, Otobong Nkanga, Sondra Perry, Pratchaya Phinthong, Katarina Pirak Sikku, Natascha Sadr Haghighian , Jonas Staal, Hito Steyerl, Hanan Hilwé i samarbete med Walid Raad, Thu Van Tran, Alexander Vaindorf, Wermke/Leinkauf.

Moderna Museet Skeppsholmen, Stockholm

https://www.modernamuseet.se   http://www.nuriaguell.net

Image: Nuria Guell

KÖLN. Eduardo Navarro y Teresa Solar “KölnSkulptur #9: La Fin de Babylone”Skulpturenpark

from 15 october 2017

KölnSkulptur #9 opens on October 15, 2017, at 11am, marking the 20th anniversary and ninth edition of Skulpturenpark Köln. Under the exhibition title "La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!” the curator Chus Martínez invites you to listen to the stories that the park has to tell. 
The focus is on eight new works by artists Andrea Büttner, Claudia Comte, Jan Kiefer, Eduardo Navarro, Solange Pessoa, Lin May Saeed, Teresa Solar, and Pedro Wirz. The artworks are not magic, though they all share the idea that sensation is what fuels a new imagination of the world we are living in. They all animate the nonhuman - nature, metal, wood, stone, Earth - and bear witness to a common territory between us and animals, between plants and geological life.

Teresa Solar (b. 1985 / Spain) lives and works in Madrid (ES). Her work comprises varying practices that materialize in audiovisual as well as sculptural works while connecting those different languages and disciplines. She structures her projects around characters and constellations exploring the double natures of the elements. Her work has been shown at Kunstverein Munich (2017) and Matadero, Madrid (2018), amongst others.

Skulpturenpark Köln. Riehler Straße (Haupteingang). 50668 Köln

http://www.skulpturenparkkoeln.de http://www.teresolar.com

Image: Teresa Solar. Pumping Station, 2017. Resin, Porex, bronze

OSTEND. Carlos Aires “The Raft. Art is (not) Lonely” Mu.Zee

22 october 2017 – 14 april 2018

The Raft. Art is (not) Lonely’ is not only an exhibition, but also a conversation with Ostend, the City by the Sea with its own distinct history and scent. The baseline of the dramaturgy of Mu.ZEE’s exhibition, which will be presented in various locations spread across the Belgian seaside resort, is the thorough research conducted into ‘The Raft of the Medusa’ (1818) by Théodore Géricault and Jan Fabre’s utopian raft ‘Art is (not) Lonely’ (1986). Although there is an unmistakable 170-year time difference and a completely different historical origin, both works tie in with each other thanks to their visualisation of the expedition and the destination of the artist, which is a theme acting as a metaphor of the condition humaine.

Mar negro by Carlos Aires has been made with fragments of wood from old boats and frail immigrants’ vessels that have ended up in a ship graveyard in Cadiz. Constructed to resemble parquet in a herringbone pattern, although far from being a purely geometrical combination, this wooden ‘floor’ with its chromatic and textural variations brings to mind the remains of illegal vessels bearing people from Africa who have tried, successfully or otherwise, to fulfil their dream of entering European territory. An accompanying video shows images of the wood being removed from the boats and the process of making the floor. Carlos Aires has recovered material remains of a great human tragedy that is now occurring in the Mediterranean in order to transform them into an object of great formal and conceptual effect.

Carlos Aires(Ronda, Málaga 1974) currently lives in Spain, his work developped his aesthetic of ambiguity and analytical attitude to the way we perceive the reality around us. From collage to photography, video and performance, shows a provocative art, full of concern and skepticism. We dipped into a disturbing and questionable reality, where regular myths lose their meaning, the story takes new nature and gives space to the truth lies halfway. Carlos Aires liked propose games to the public, to find out how many and what might be the different ways of reading an image, a video, a performance, to interpret a situation

Mu.ZEE. Romestraat 11. B-8400 Ostend. Belgium

http://www.muzee.be  http://carlosaires.com

Image: Mar Negro. Carlos Aires 

NEW DELHI. “José Suárez, 1902-1974: Lively eyes that think” ” Instituto Cervantes

11 october – 10 december, 2017

The Instituto Cervantes and the Embassy of Spain open their doors on the 11th of October to the largest exhibition ever made on one of the great names of 20th century Spanish photography, José Suárez: an innovative artist who incorporated the European avant-garde movements, an intellectual friend of prominent writers and committed creator who lived in exile for more than two decades. A photographic journey through Spain, Argentina, Brazil, South Africa, the UK and Japan capturing the 20th century timelessly by one of the most innovative and avant-garde artists, who authored a photographic language and formed friendships with intellectuals and artists like Unamuno, Albertí, and Akira Kurosawa among others. After opening for the first time in Santiago de Compostela in November of 2015, the exhibition has subsequently traveled to the headquarters of the Instituto Cervantes in Madrid, the Borges Cultural Center of Buenos Aires, the Cultural Center of Spain in Montevideo, to Paris, Tokyo, and now here to New Delhi. Including 135 photographs, 111 documents and publications, 7 audiovisual montages and more the exhibition gives an insight into the evolution of the art form of photography itself. The exhibition presents several audiovisual montages (on plasma screens and tablets) and a series of portraits of intellectuals and artists whom he met throughout his life. Instituto Cervantes, 48 Hanuman Road, Connaught Place, Hanuman Road Area, Connaught Place, New Delhi, Delhi 110001, India (I. Cervantes press-release)

https://josesuarezfernandez.wordpress.com   http://nuevadelhi.cervantes.es

Image: Marineiros 1936. José Suárez

 

NEWCASTLE UPON TYNE. Juan delGado “The Flickering Darkness and Terminal Sur” Abject Gallery

4 – 28 october, 2017

The three-channel video installation The Flickering Darkness serves both to show fragmentation and connection, silence and sound, movement & stillness. Juan delGado accessed Bogotá as a foreigner; he embarked on a journey to explore the city as a living organism that eats, sleeps and has physical needs.

In observing and interpreting the social mutations of the city environment, delGado aimed to explore Bogotá neighbourhoods, focusing on those so-called “no-go” places that somehow stand out as a consequence of the briskness of economic and social change as well as its sometimes harrowing human costs.

delGado’s project reflects on the idea of belonging, to the need we all have for positioning, for locating ourselves in an environment; in other words, in a context that makes sense to us.

His works have been exhibited nationally, internationally and currently feature in touring programmes, including at the National Portrait Gallery, London; 4th Mardin Biennial, Turkey; Contemporary Arts Fair, Bogotá; ARCO, Madrid; End of the World Biennial, Mar de Plata; Birzeit Ethnographic Museum, Ramallah; Jerwood Space, London; Museum of Islamic Art and Fundación Laxeiro, Spain.

Abject Gallery. 8th Floor, Bamburgh House Market Street East. Newcastle upon Tyne, NE1 6BHUnited Kingdom 

http://cargocollective.com/JuandelGado

Image: Juan delGado “The Flickering Darkness and Terminal Sur”

DUBLIN. Santiago Sierra and Democracia “How to Say it the Way it is” RUARED

7 october – 2 december 2017

At a time when history is eating itself, bloated off war and genocide, we look towards its nuclear death. HOW TO SAY IT THE WAY IT IS! provides an alternative narrative to the current political status quo – one of timeless definace, resistence and disorder – from some of the most influential socially and politically engaged contemporary artists.

Santiago Sierra presents NO, GLOBAL TOUR ARMBAND (2017). This object was part of the staging of the #NoGlobalTour, which ran from 2009 to 2011 and was made into a film in 2011. 

A large metal sculpture of the word "NO" was transported by truck around the world and repeatedly installed in different locations. The drivers of the truck and technicians setting up the sculpture would were this logo on their arm.

Santiago Sierra (b. Madrid, 1966) lives and works between Madrid and Mexico City. Solo exhibitions include KunstWerke in Berlin, MACBA in Barcelona, Deichtorhalle in Hamburg, Museo Tamayo in Mexico City and MoMA PS1 in New York. He has also participated in the Biennales of, among others, Venice and Busan and was recently featured in Manifesta 11

The Spanish artists' collective Democracia was set up in Madrid in 2006 and comprises the two artists Iván López and Pablo España. Their decision to work as a group fosters an artistic approach that is geared towards discussion and the clash of ideas and means of expression. Not only that, but the fact that they work as a group engenders an interest in stepping into social spheres with a view to highlighting the revolutionary potential of everyday activities.The exhibition will feature works by: Franko B; Petr Davydtchenko; Democracia; Kendell Geers; Leon Golub; John Heartfield; IRWIN; Peter Kennard; kennardphillipps; Barbara Kruger; Oleg Kulik; Andrei Molodkin; Gustav Metzger; Shirin Neshat; Arsen Savadov; Andres Serrano; Santiago Sierra and Ai Weiwei, many of whom have never shown in Ireland before. Curated by pioneering performance and visual artist Franko B (RUARED press-release)RUARED: South Dublin Arts Centre,Tallaght, Dublin 24

http://www.ruared.ie   http://www.democracia.com.es

http://santiago-sierra.com

Image: Santiago Sierra “NO, GLOBAL TOUR”

 

BUENOS AIRES. “Miró: The Experience of Seeing” Museo Nacional de Bellas Artes

25 october 2017 - 25 february, 2018

This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró’s work.

The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist’s ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other —a principal feature of this exhibition.

The paintings and sculptures in the exhibition plumb the process of making art, part of Miró’s concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued. Curators: Carmen Fernández Aparicio y Belén Galán.

Museo Nacional de Bellas Artes, Av. del Libertador 1473. Buenos Aires

http://www.bellasartes.gob.ar

Imagen: Miró. Mujer, pájaro, estrella. Homenaje a Pablo Picasso, 1973. Óleo sobre lienzo. 245 x 170 cm. Museo Nacional Centro de Arte Reina Sofía

BRUSSELS. Joan Cornella “Art is comic” MIMA. Millennium Iconoclast Museum of Art

until 31 december, 2017

Born in 1981,Joan Cornellà lives in Barcelona. With the quite unbelievable statistic of 4,500,000 followers on Facebook (the equivalent of the working population in Belgium), and 1,500,000 on Instagram, Joan Cornellà is today at the top of the list of
the most followed plastic artists on social networks.  

The dark humour of his work challenges the taboos and the morality of society. In a soft and pastel like atmosphere, he creates a comical effect by contrasting the commercial faces of his characters with hyper-violent situations. The videos and paintings encourage people to revel in perversity, to positively enjoy situations which would/should otherwise be reviled .

MIMA. Millennium Iconoclast Museum, Quai du Hainaut. 1080 Brussels, Belgium

http://www.mimamuseum.eu  http://www.joancornella.net

Image: Joan Cornella 

MERIGNAC. Andrea Santolaya “Waniku: Where Water Rumbles” Mérignac Photografic Festival. Old Church of St. Vincent

5 october – 17 december, 2017

In Venezuela, the Warao share a set of myths and beliefs that are specific to the tribe. For these natives settled around the Orinoco Delta, everything is centred on the river and aquatic life. Andrea Santolaya gives us a personal interpretation of this tribal mythology which blends ancestral traditions and the heritage of Spanish missionaries. In these images, the omnipresent female figure testifies to the essential role of women within the tribe.

Andrea Santolaya(b. Madrid, 1982) earned her MFA from the School of Visual Arts in New York where she also worked for Manolo Valdes photographing his monumental sculptures in NYC. Previously, she photographed the Making of the film “The Honour of the Wronged” by artist Carlos García-Alix. 

She has published the Making of “Looking for Felipe Sandoval”, T. Editions, “Manolo Valdés. Sixteen Sculptures in New York” with TF Editions, “Around” with La Oficina Editions and “Manolo Valdes. Botanical Garden in New York with La Fabrica Editions. This book earned the 1st Prize for best art publication 2014 by the Ministry of Culture and Sports in Spain.

Andrea has exhibited in Spain, Italy, the United States and Venezuela. Her first individual exhibition on Women Boxers “Around” was at Marlborough Gallery in Madrid as part of Photoespaña Festival 2011. In 2012 she opened her solo show “And when I opened my eyes. They were already there” at Freites Gallery in Caracas, Venezuela. In 2014 she opened "Cartes de visite" at Palau de la Música in Valencia and "Waniku. Where water rumbles” at Mondo Galeria in Spain.

.  (Mérignac Fest. Press-release)

Old Church of St. Vincent. Rue de la Vieille Eglise. 33705 Mérignac

https://merignac-photo.com   http://www.andreasantolaya.com

Image: Andrea Santolaya “Waniku”

MERIGNAC.Anna Malagrida “Cristal House” Mérignac Photografic Festival. Old Church of St. Vincent

5 october – 17 december, 2017

Cristal House (crystal house) is the name of a racing horse. In her new project, Anna Malagrida draws upon photography, text and video to carry out the attempted depletion of a place: a horse-race betting house located in the center of Paris. From the street and through the large windows, Malagrida shoots repetitive movements and the waiting of the gamblers. Located in the interior of the room, she meets them and carefully listens to them. Lured by great megalopolis, a large majority of the gamblers are migrants coming from all over the world dreaming of a better life. The notions of dreaming and the inherent hope to every gambler unfolds into the image of the one who migrates.

A strange game of reflections places the audience before the hopes of the hapless. Their words, reproduced in the text fragments, shape the lives and dreams that converge in this venue of encounter and gamble. From the interior of this Cristal House, the camera records through the windows a passage of the life in the streets, showing the movement of the city while revealing its multiculturalism and intense pace. Malagrida attempts to depict all every-day things and events that the camera manages to capture through different perspectives given by the windows. Thus, the betting house is transformed into a theatre of hope and the city into its scenery. Seductive, a promise of a better life, the metropolis gathering individuals coming from all over the world becomes a transit space, of fortuitous intersections, and a multiplier of solitudes.

Anna Malagrida (Barcelona, 1970). Lives and works between Paris and Barcelona. Anna Malagrida essentially uses photography and video in order to explore and recreate our everyday life experience. The artist leaves representation behind and calls for our fantasy instead—we are invited to project ourselves onto the surfaces of her images and to create our own visual contents inside and outside them. As if by its own gravity, the city becomes a theatre stage, the ideal backdrop where to retell the fragile relationship between people and their environment. The artist first evaluates and afterwards invites us to look without being seen. It is from a lucid and unpretentious gaze that Anna Malagrida’s work seduces, reconciles and places the viewer between the visible and the invisible. (Mérignac Fest. Press-release)

Old Church of St. Vincent. Rue de la Vieille Eglise. 33705 Mérignac

https://merignac-photo.com  http://www.annamalagrida.com

Image: Anna Malagrida. Cristal-House

MERIGNAC. Isabel Muñoz “Family Album” Mérignac Photografic Festival. Old Church of St. Vincent

5 october – 17 december, 2017

It is not known when the human lineage separated from the African great apes. But the millions of years that split the species in two have not lessened what connects us. Our closeness is evident in the facial expression, tenderness and gestures of primates. Whether Isabel Muñoz makes their portraits in Basankusu, in Lwiro, in the east of the Congo or in the mountains of Kahuzi Biega, their attitudes are familiar to us. Maybe it is a question of DNA in common? Whatever the explanation, we can no longer deny belonging to this community. (Mérignac Fest. Press-release)

Old Church of St. Vincent. Rue de la Vieille Eglise. 33705 Mérignac

https://merignac-photo.com  http://www.isabelmunoz.es

Image: Isabel Muñoz. Family Album             

HOUSTON. Sergio Prego “Rose-colored Drift/To the Students” Blaffer Art Museum

28 october 2017- 27 january 2018

New York-based artist Sergio Prego creates unfamiliar perceptual and spatial situations in order to examine contemporary realms of experience, taking inspiration from the performative or experiential turn of the 1960s.

Sergio Prego: Rose-colored Drift/To the Students extends the artist’s recent investigation of pneumatic structures –a type of membrane construction that is stabilized by the pressure of compressed air– that references the utopian and nomadic inflatable projects of the late 1960s. Alongside the site-specific pneumatic structures, the exhibition consists of sculptures, works on paper and videos.

Sergio Prego, born in 1969 in San Sebastian, Spain, lives and work in Brooklyn, NY. He holds a BFA from the University of the Basque Country and attended Arteleku, an experimental art center in San Sebastian. From 1996 to 2002, Prego worked with Vito Acconci in Acconci Studio, an interdisciplinary architecture and landscape design team.

He has exhibited extensively in the United States and abroad including the Singapore Biennale 2008, the Moscow Biennial 2009, the Dojima River Biennale 2009 at Osaka, CA2M, the Guggenheim Museum Bilbao, MUSAC in Leon, Galería Soledad Lorenzo in Madrid, Alfonso Artiaco Gallery in Naples, Lehmann Maupin Gallery, Lombard Freid Gallery, TBA21 in Vienna, Palazzo Delle Papesse in Siena, The Museum of Contemporary Art in Denver, and MoMA PS1 in New York. (Blaffer Art Museum press-release)

Blaffer Art Museum, 4173 Elgin St, Houston, TX 77004

http://blafferartmuseum.org

Image: Sergio Prego

BARCELONA.Lita Cabellut “Retrospective” Espai Volart 2, Fundació Vila Casas

5 october 2017 – 27 may 2018

After the show Trilogy of Doubt, held in Espai Volart 2 in 2013, the Fundació Vila Casas is debuting a new gallery with this exhibition which surpasses the conventional limits of painting to locate itself in the terrain of risk, gesture, and psychological portraiture laced with a latent classicism reminiscent of Goya, Velázquez and Rembrandt.

Conceived and directed by Antoni Vila Casas and Lita Cabellut, Retrospective brings together works from recent years organised in series from between 2008 and 2017, such as Flower Installations (2016-17), Disturbance (2015), Blind Mirror(2015), Tempus & Divine (2015), Black Tulip (2014), White Silence (2014), Dried Tear (2013), After the Show (2012), Camaron(2011), Memories wrapped in gold paper (2012), Coco (2011), Frida (2011), Madness and Reason (2010), Installation (2010), State or Grace (2010), Country life (2009), Ethics (2017) and Dillusion (2008).

Beauty is the origin of everything that moves us, what is purest and most profound; but also of what is durable, since it can be hurtful, in the same way that cultivating it is painful. It is love. Like a rough kiss. And its eyes are intelligence.

Lita Cabellut(Sariñena, Spain, 1961) is an artist whose work goes beyond the limits of conventional painting. A free, determined creator with a strong, passionate character, Cabellut advocates painting that is not restricted by the norms governing the art market. For her, art must be above such things and the artist completely free, for only in that way can we ensure art for art’s sake.

Cabellut works with large-scale canvases and a personalized palette that has been carefully studied; her colours (like her work) are intense and temperamental, as her way of treating the canvas, enhancing surface materiality and voluptuousness. It should be emphasized that, even while using oil paint, many of her paintings have been done using the fresco painting technique.

Lita Cabellut is a highly prolific artist, with an abundant body of work which she has developed since she was just 15 years old, when she discovered painting at the Prado Museum, thanks to her adoptive family. In this exhibition, we present a selection of work bringing together the past 10 years of the career of this Aragon-born artist, who was raised in Barcelona and now lives in The Hague. The exhibit takes us through some of her most important pictorial series, testimony as they are of the views of one of the most significant artists in the international contemporary art scene. (Fundació Vilacasas press´release)

Espai Volart 2. C/ Ausiàs Marc, 22. 08010 Barcelona

http://www.fundaciovilacasas.comhttp://www.litacabellut.com

Image: Lita Cabellut

 

 

ANTWERP “José Cobo” Galerie SOLO

5 october – 17 november, 2017

José Cobo was born in 1958 in Santander, Spain. He studied at Facultad de Bellas Artes San Fernando in Madrid and also at the Art Institute of Chicago.

Cobo’s work derives from a fascination with the human condition. His sculptures refer to the innocence and infinite wonder of birth, adolescence, life, love, declining years and death.

He creates his figures from bronze to cast glass and in recent years he works with epoxy resin. José Cobo ’s works were represented at several art fairs in Europe (Arco Madrid, Art Cologne, Art Brussels, Arte Fiera Bologna, Kunst 12 Zürich) and in the United States (Pulse Art Fair NY and Art Chicago). His art has also been exhibited in the Museo Thyssen Bornemisza and in Kalamazoo Institute of Art in Michigan.

Galerie SOLO. Museumstraat 29 Antwerp, Antwerpen, Bélgica 

 http://www.josecobo.comhttp://www.galeriesolo.be

Image: Niño 1. José Cobo

MONTE-CARLO. “Discover the Dream World of Beatriz Moreno” Meta Gallery

12 october – 12 november, 2017

To celebrate the start of a new season, Meta Gallery is thrilled to present an exhibition with artist Beatriz Moreno​. The solo installation Discover the Dream World of Beatriz Moreno is a window into an unusual universe.
Clearly there is a message. Beatriz Moreno calls us to anew faith or a new type of worship. The elements of truth, storytelling and poetic intimacy generate art that transcends and draws out a new existence.

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

Meta Gallery. 39 Avenue Princesse Grace, 98000 Monte-Carlo, Mónaco

https://go.meta.mc   http://beatriz-moreno.format.com

Image: “les sentinelles de tellus” 2016. Beatriz Moreno

MEXICO. “UPFRONT” Centro Cultural de España

17 october 2017 – 18 february 2018

UPFRONT is an immersive exhibition project featuring the work of 23 top contemporary photojournalists from various Spanish-speaking countries, working in areas of conflict all over the world. 
The title of the project refers to the deadly front lines on which today’s photographic vanguard operates to quench the world’s thirst for non-stop news. It also alludes to the front row seats that we all get thanks to the brave men and women, often freelancers with no institutional support, who venture out to the most remote and dangerous zones to serve as our eyes.

The images provide a representative sample of the ubiquitous 24/7 visual feed that underpins our perception of the world. The unusual way the photos are presented also reflects the way the content captured and mediated by photojournalism is “consumed” today. UPFRONT also includes videos, a soundtrack, and an example of a photojournalist’s basic camera gear and survival kit.

Photographers: Abd, Bonet, Brabo, Calvo, Caro, Colón, Cubillos, de Vega, Félix, Gallego, Gª Vilanova, Ibarra, López, Lubaki, Martín-Chico, Martínez Casares, Maysun, Moral, Pirarenko, Fabrés, Sánchez, Valle, Ybarra, Gil Moreno. Curator: Ramiro Villapadierna.  (CCEMX press-release)

Centro Cultural de España en México Pasaje cultural Guatemala 18- Donceles 97 Colonia Centro Delegación Cuauhtémoc, 06010 México, D.F

http://www.upfront.es  http://ccemx.org

Image: Andrés Martinez Casares

MADRID. “Pablo Palazuelo: Pablo Palazuelo: without beginning or end” Galería Cayón

14 september – 4 november, 2017

Galeria Cayón is pleased to present, coincident with the opening of a new exhibition season, Pablo Palazuelo: without beginning or end, the fourth individual exhibit at the gallery devoted to Pablo Palazuelo (Madrid, 1915 – Galapagar, Madrid, 2007).

This exceptional event, held in the two spaces of Blanca de Navarra ten years after the artist’s death, comprises seven sculptures and eight paintings produced by Palazuelo during the last 20 years of his life. These pieces convey the culmination of his creative thought after more than 60 years of productivity. Based on a detailed observation of the implicit order found in nature, the work of this extraordinary artist reveals a universe made up of organic forms brimming with life. It shows as well the personal and remarkable use he made of his imagination. 

Fascinated by the shapes in nature, which he considered limitless in number, Palazuelo aspired to represent them in their simplest forms. Through geometry—a fundamental tool in his understanding of matter—the artist portrayed the hidden reality of the world around us.

Life creates itself and nature is the perpetual manifestation of that self-creation. What is real, whether veiled or unveiled, is the living movement of nature, with neither beginning nor end, and in that movement all its parts participate, none of which could create independently, by itself.[1]

The exhibit explores the mature years of Pablo Palazuelo´s career, featuring work born out of the knowledge he had acquired over a lifetime of scrutiny and artistic experimentation.

Pablo Palazuelo: without beginning or end has been made possible through the collaboration of various private collectors and the Fundación Pablo Palazuelo, an institution with which Galería Cayón has worked in recent years.

[1] Extract of an unpublished text, La Exploración (La Peraleda, May 18th, 1998), by Pablo Palazuelo, from which the title of the exhibit is taken. (Cayón press-release)

Galería Cayón. Blanca de Navarra, 7. 28010 Madrid 

http://galeriacayon.com

Image: “Pablo Palazuelo: sin principio ni fin” Galería Cayón

LONDON. “Dali / Duchamp” Royal Academy of Arts

7 october 2017 - 3 january 2018

This unique exhibition examines the relationship between Salvador Dali and the father of conceptual art, Marcel Duchamp. It is the first show dedicated to their friendship and the mutual influence on their work, exploring the common ground, both personal and aesthetic.

Dali and Duchamp maintained a friendship and mutual admiration throughout their careers, fuelled by their shared artistic interests – among them eroticism, language, optics and games- and their humour and scepticism, which led both, in different ways, to challenge conventional views of art and life.

This exhibition brings together around 60 works, including some of Dali’s most inspired and technically accomplished paintings and sculptures, and Duchamp’s ground breaking assemblages and ready-mades. It also showcases photographs by Dali, paintings by Duchamp, correspondence and collaborations between the two artists.

The exhibition has been organised by the Royal Academy of Arts, London, and The Dalí Museum, St Petersburg, Florida, in collaboration with the Gala-Salvador Dalí Foundation and the Association Marcel Duchamp. (RAA press-release)

Royal Academy of Arts. Burlington House, Piccadilly,. London, W1

https://www.royalacademy.org.uk/

Image: Salvador Dalí, Les premiers jours du printemps (The First Days of Spring), 1929. © Collection of the Salvador Dalí Museum, St. Petersburg, Florida / © Salvador Dali, Fundació Gala-Salvador Dalí, DACS 2016.

SHANGHAI.“Muntadas Video Works” OCAT Museum

8 october – 3 december, 2017

OCAT Shanghai is proud to present Muntadas Video Works, a survey of Antoni Muntadas’ works in medium of video which aims to show in China the contribution of this multidisciplinary artist, considered at international level as one of the most relevant figures in conceptual art and research art practices.

Muntadas. Barcelona, 1942. Lives and works in New York. Antoni Muntadas’s work has developed from its beginning –early seventies– a constant criticism towards the languages and messages of the media as clear instruments of power.

Since the first moment he used the video as a useful tool with which to dissect and make visible the mechanisms of communications of what he, referring to television, designated `media landscape´. This genuine study and treatment turned him into an early pioneer in the audiovisual artistic field.

Likewise, Muntadas has analyzed and questioned the relationships that are established between the public and the private through his video works, photographs and multimedia installations; it’s from the early nineties that he incorporates internet to this list.

Also, since the 90s, he starts new kinds of long term projects. In each of these projects a principal concept is developed, and it will extend through different stages and contexts. (J.Prats press-release)

OCAT. Shanghai, Zhabei, Wen'an Rd, 30. China

 http://www.ocat.org.cn

Image: 'Dérive Veneziane, Antoni Muntadas

LONDON. Daniel Silvo, Javier Artero and Sophie Mackfall “MOLDING TIME” The Scan Prject Room

6th - 28th october 2017

The exhibition brings together works by three artists who explore the relationship of image and time. Integrating ideas about regeneration and transformation in art, ‘Shaping Time’ reflects on the aesthetic appreciation of nature and questions about loss, fading, contemplation, and migratory processes in art. It gathers a selection of pieces that vary from video to painting, from sculpture to performance, narrating personal stories about displacement and settlement processes. The exhibition addresses themes about the transient and the discontinuous, as well as messages that persist and perish in nature and art. Curated by Paula Lopez Zambrano. MOLDING TIME is a Satelite Project by Isabel Hurley Gallery. (Scan Arte press-release)

The Scan Prject Room. 13-19 Herald Street, London E2 6JT

http://www.scan-arte.com

Image: Parking Stars. Daniel Silvo

 

PARIS. “Picasso 1932: Année Érotique” Musée Picasso

10 october 2017 – 11 february 2018

On the 15th of June 1932, Pablo Picasso makes the news: Tériade publishes an interview with the artist in the French newspaper l’Intransigeant, when the retrospective of his work was set to open at the Georges Petit gallery. As the critic introduces the artist by announcing « You will discover the expression of some of his ideas which are not only those of a painter, but also those of a man. », Picasso releases one of his most famous statements: « The art we make is a way of holding our newspaper. »

Both statements refer to the human and biographic dimension of Picasso’s work which will, indeed, become increasingly significant that year (1932). The artist, now face to face with thirty years of his own work, integrates the necessity to document his work day by day, by dating his paintings, sculptures, drawings and engravings. A procedure that leads to his capacity to keep a record of the most essential until the most modest traces of his exceptional life.

The first event dedicated to the work of an artist of the 1st of January until the 31nd of December, the « Picasso 1932 » exhibition thus reports a complete year of the life of the Spanish painter through the chronological presentation of his work and archives. The exhibition is organized in partnership with Tate Modern in London and attempts to grasp this existence which mixes, touches and attracts the big and small events and the main and secondary personalities.

It presents the essential masterpieces of the artist’s career like The Dream and is also a tribute to the opulence that the painter rich, praised and famous enjoys, together with the paradoxical strength of his work which plays with his past by inventing new and “oppressive” forms. (Musée Picasso press-release)

Musée Picasso, rue de Thorigny 75003 Paris.

http://www.museepicassoparis.fr

Image: Le Reve. Pablo Picasso 1932

KANSAS CITY. “Trough the Eyes of Picasso” The Nelson-Atkins Museum of Art

20 october 2017 – 8 april 2018

This major exhibition explores Pablo Picasso’s life-long fascination with African and Oceanic art, as well as works from the Americas, uniting his paintings and sculpture with art that fueled his own creative exploration.

In addition to paintings, sculpture, and drawings by Picasso, the exhibition will feature significant works of African and Oceanic art that transformed his artistic vision when he encountered them at the Musée d’Ethnographie du Trocadéro (now Musée du Quai Branly – Jacques Chirac in Paris) during the early part of the 20th century. For Picasso, the allure of these masks and sculptures was in the artists’ exploration of line, abstraction of the human body, and representation of metamorphosis.

Visitors also will see works Picasso collected, lived with, and kept with him through numerous studio moves, still owned by his family, and others that are in the Picasso Museum in Paris. (Nelson-Atkins press-release)

The Nelson Atkins Museum of Art. 4525 Oak Street. Kansas City, MO 64111

https://nelson-atkins.org

Image: Trough the Eyes of Picasso. The Nelson-Atkins Museum of Art

MADRID. Ana Prada “Perfection” Galería Helga de Alvear

14 september – 25 november, 2017

Perfection is the title artist Ana Prada has chosen for her new exhibition within the gallery space; an emphatic declaration of her intentions, defining her artistic practice.

In the words of the artist “seeking perfection is like chasing moon rays or hunting down shadows: useless, but it does not prevent dreamers from trying”.

Ana Prada’s desire consists in achieving the perfect vase, the perfect spoon, and the perfect candle. Through these types of dreams she is confronted with what can be called the problem of Plato’s chair: all the chairs are determined by the idea of the chair, all breads by the idea of bread.

For the artist, the most important aspect of her relationship with perfection is how she confronts the lack of perfection, encouraging infinite repetition and modification. Thus, the pieces she presents are based in the constant and endless search for the perfect object, or at least the fleeting moment of perfection. (Helga de Alvear press-release)

Galería Helga de Alvear. Doctor Fourquet 12 | ES–28012 Madrid 

http://www.helgadealvear.com

Image: Ana Prada. “Perfección” Galería Helga de Alvear

 

BARCELONA. Joan Ponç “Diábolo” La Pedrera

6 october2017 - 4 february 2018

Joan Ponç (Barcelona, 1928 – Sant Pau, 1984) was a visionary and mercurial insular artist who played an important part in the history of art of the post-war years in Catalonia and Spain. He set in motion the artistic renewal of the avant-garde after the Civil War, bursting onto the art scene in the 1940s and bewildering critics and poets, who immediately branded him as grotesque, tortured, diabolical, premonitory, beyond belief, magical, carnivalesque and hellish. Ponç was one of a kind.

The paintings Ponç produced delve into humankind’s darkest and most hidden corners. The unique and strange nature of his work led him towards solitude, an isolation and silence that transformed him into a recluse, visceral testimony of painting’s penetration into the mystery of life and of death as an experience.

This exhibition, curated by the art historian and critic Pilar Parcerisa, presents a comprehensive new interpretation of the life and work of the painter Joan Ponç, from his early days in the mid-1940s and the era of the Dau al Set group to his last works in the middle of the 1980s. The exhibition title, Diabolo, is a reference to Ponç’s playfulness, with the added ambivalence of the name that this Chinese juggling toy shares with the devil. (La Pedrera press-release)

CASA MILÀ "LA PEDRERA". Passeig de Gràcia, 92. 08008, Barcelona.

https://www.lapedrera.com

Image: “Nocturno”1950. Joan Ponç 

LONDON. Michelangelo Arteaga “Spiral of Life” St. Paul´s Cathedral

25 september - 27 october, 2017

Spanish artist Michelangelo Arteaga’s work Spiral of Life is part of Stations of Water, an art exhibition featuring nine contemporary artists in conjunction with justwater2017.org

Spiral of Life is a larger-than-life seashell resembling the Nautilus, a creature whose core is shaped by the Fibonacci spiral curve found everywhere in nature.
From the exterior, Spiral of Life appears to be solid, impassable…but by gazing deeply into the interior, one can imagine diving beneath the surface, surrounded by sea, and looking to the sunlight.

Michelangelo Arteaga is a sculptor and former town planner who learned the ancient art of stone carving from his father. In 2013, he studied Sculpture, Printmaking, and Jewellery at the City of Bath College and in 2014, completed his MA in Fine Arts at Chelsea College of Arts (UAL) in London, 2015.

He is a member of the Royal Society of British Sculptors. Born in Cadiz, Spain, Arteaga lives and works in London (St. Paul´s Institute press-release)

St Paul’s Cathedral London, EC4M 8AD United Kingdom

http://www.stpaulsinstitute.org.uk http://www.arteagasculpture.com

Image: Michelangelo Arteaga. Spiral of Life. 2017 Polyester resin, fiberglass, light and sound. 2.25 H x 1.50 L x 1.50 D meters.

BRUSSELS. Dora García “Somewhere, Two Planets Have Been Colliding for Thousands of Years (The Thinker as Poet)” La Verrière

6 october – 9 december, 2017

At the core of a minimalist installation at La Verrière, something is taking place. Visitors become the spectators of a performance that invests the gallery space. Dora García’s elegant, rigorous presentation seeks to generate a poetry accessible to all.

Curator Guillaume Désanges describes the latest exhibition at La Verrière, Brussels: ‘The piece takes the form of a self-contained unit: a virtually empty space, with diagrammatic drawings on the walls, and a book-sculpture, conceived as a backdrop to a continuous series of performances.’ Spanish artist Dora García’s radical approach strips La Verrière to its bare essentials: the space is conceived as a neutral support for the words and actions of her performance.

As the latest artist invited to take part in La Verrière’s Ballistic Poetry season, launched in 2016, Dora García chooses an enigmatic title for this new piece reflecting her programmatic practice, working with the raw material of poetry. García’s culturally demanding work plays on established norms, as here: the project is based on a discussion between two writers (Andrea Valdés and Manuel Asín) and a poetic text by the philosopher Martin Heidegger. Concepts of time and space, the written and spoken word and other mysteries of the human mind are addressed by several performers working continuously at the core of the exhibition.

 Born in 1965, Dora García is an artist whose work is defined by its conceptual inspiration and performative, sometimes participative aspect. Her practice is rooted in the relationship between artist and public, drawing on texts, websites, film and performances in which reality frequently brushes with fiction. García is regularly invited to exhibit at major international art events and represented Spain at the 2011 Venice Biennale.  (La Verrière press-release)

La Verrière / Fondation d’entreprise Hermès . 50, boulevard de Waterloo – 1000 Brussels

http://en.fondationdentreprisehermes.org  http://www.doragarcia.org

Image: Dora García, Two planets, Mad Marginal Charts Series, 2014-2017

NEW YORK. Ivana Larrosa “In search of lost Time” The International Center of Photography

16 september – 19 november 2017

How has the act of remembering—and forgetting—been transformed in the digital age?

Photography’s relationship with the concept of memory stretches its entire history and includes its every iteration. Only now has the distribution of photography exploded with newfound ubiquity, ushering in a paradigm shift that bears semblance to that of the Gutenberg press. Photography’s various forms have converged onto a point of accessibility where what was once a luxury is now a presupposition. As the degrees of separation between people decrease, so do those between past, present, and future. To remember is to engage with all three, and to create is to make them tangible. The collective consciousness of humankind speaks a visual language, and photography is poised, now more than ever, to upend the very notion of what it means to create.

This exhibition was curated by Miles Goscha (GS 2016), Mohamed AlMannai (DOC 2016), and Mengwen Cao (NMN 2016/DOC 2017)

Artists: Kinuko Esther Asano (DOC 2017), Maria Bilbao•Herrera (GS 2012), Sarah Blesener (DOC 2016) & Cédric von Niederhäusern (DOC 2016) with Robert Langellier, Camilla Cerea (DOC 2014), Jeri Coppola (GS 1989), Marjolaine Gallet (GS 2013), Kasia Gumpert (MFA 2014), Jhe Ming Hsu (GS 2013), Ivana Larrosa (MFA 2016), Paula Lombardi (GS 2016), Stacy Mehrfar (GS 2002), Caterina Miani F. (GS 2016), Heather M. O'Brien (GS 2009), Un-hee Park (GS 2010), Louise Prévert (GS 2013), Laís Pontes (GS 2011), Verónica Puche (MFA 2016), David B. Smith (MFA 2007), Daniel Temkin (MFA 2012), Eliso Tsintsabadze (GS 2016) & Pavel Filkov (GS 2016).

The International Center of Photography. ICP School, Rita K. Hillman Gallery. 1114 Avenue of the Americas, New York, NY

https://www.icp.org   https://www.ivanalarrosa.com

Image: Ivana Larosa. Hair Series project

BOGOTÁ. Ignasi Aballí “Sin principio / sin final“ Museo de Arte de la Universidad de Colombia

4 october 2017 – 3 march 2018

Sin principio / sin final (without beginning or end) is an anthological exhibition of the work of the artist Ignasi Aballí (Barcelona, 1958). Curated by João Fernandes, it was held at the Museo Nacional Centro de Arte Reina Sofía from October 2015 to March 2016 and featured a few works that were shown for the first time. The show is now travelling to the Museo de Arte de la Universidad Nacional de Colombia, in Bogotá, with the support of AC/E. The new version is curated jointly by João Fernandes and the university museum’s director, María Belén Sáez de Ibarra.
Ignasi Aballí’s work constantly challenges the spectator’s attention and perception. Using strategies characteristic of conceptual art, such as text, files and documents, his projects subvert the distinctions between artistic genres like painting, literature, photography, installation, cinema and video and likewise question the system of representational conventions of artworks and the cultural or economic value of objects.  
Since starting out in the 80s, he has focused on a number of constant features and concerns: inventing and reorganising texts, images, materials and processes and contrasting presence and absence, the material and the immaterial, the visible and the invisible, transparency and opacity, and appropriation and creation. He thus relates the excess of images in today’s society with the scarcity of meanings attributed to them.
Ignasi’s work combines pieces with a powerful critical content by using everyday referents to allude to the showing of his work and the interplay of the spectator’s perception. (AC/E press-release)

Museo de Arte de la Universidad Nacional de Colombia. Carrera 45 No 26-85 – Edificio León de Greiff. Bogotá D.C. – Colombia

http://patrimoniocultural.bogota.unal.edu.co http://www.ignasiaballi.net

Image: Ignasi Aballí

GDÁNSK. Blanca de la Torre “Imbalance” Laznia Centre for Contemporary Art

22 september – 19 november, 2017

Curated by Blanca de la Torre, Imbalance aims to provoke reflections on the potential of art as a useful path for reviewing our conceptions regarding some present-day environmental problems. The exhibition’s approach implies the understanding that our conceptions of natural fact and reality have to be re-examined, on the basis that our current situation of “ecocide” results, either directly or indirectly, from the way in which we have instrumentalized our natural environment.

The structure of the exhibition at the Laznia Centre for Contemporary Art consists of four conceptual chapters: 1. Domestication of Landscape, Politics of Land and other Dialectics of Nature; 2. Environmental Catastrophes as a Consequence of the Capitalocene; 3. Looking at the Global South; 4. Management of Resources and Consumerism Habits.

Artists: Lara Almarcegui, Sergio Belinchón, Julius Von Bismark, Kamila Chomicz, Lúa Coderch, Mujeres Creando, Joan Fontcuberta, Philipp Fröhlich, Chus García Fraile, John Gerrard, Máximo González, Andreas Gursky, Federico Guzmán, Cecylia Malik, Antoni Muntadas, Jun Nguyen-Hatsushiba, Oligatega Numeric, Perejaume, Marjetica Potrč, Xavier Ribas, Anri Sala, Allan Sekula, Jennifer Steinkamp, Superflex, Manuel Vázquez

Laznia Centre for Contemporary Art. 1, Jaskolcza st. 80 – 767 Gdánsk. Poland

http://www.laznia.pl http://musac.es

Image: Federico Guzmán. MUSAC

BARCELONA. “Ciutat de vacances” Arts Santa Monica

03 october – 19 november, 2017

“Ciutat de vacances” is a project that unites the forces of the three institutions and will take shape in Venice, as a place where the results of the research and production work carried out at Es Baluard and Arts Santa Mònica will be made visible. And these institutions are joined frorm Alicante by the museum MACA, and from Italy by the IED, for pedagogical training for design of a fake-ephemeral prototype of tourist information point and a research group.
Our aim in developing this tourist information point is to be able to continue testing and analysing in real time the phenomenon of the flows of planetary displacement and their relationship to the cities that currently experience the maximum intensity of a fundamental type of tourism – art tourism, during the most important Biennale in the world, that of Venice.
This project has the support of Acción Cultural Española (Spain’s public agency for cultural action, AC/E, and the Vice-President and Regional Minister for Innovation, Research and Tourism of the Balearic Islands (Agència de Turisme de les Illes Balears - ATB). With the collaboration of Mallorca Hotel Business Federation (FEHM) and Polo Museale Veneto, as well as other public and private entities.The exhibition content will be shown in the Museum of the Palazzo Grimani of Polo Museale Veneto (in Venice) from 10th May 2017.Inauguration: 10th May at 6 pm.
Ciutat de vacances: tourist information point at the Palazzo Grimani is being developed by the pupils of the IED – Istituto Europeo di Design (Venice) and will be located at the access point on the first floor of the palace.
In it, the works developed since 2016 by the following collectives and artists will be presented: Juan Aizpitarte, Ángela Bonadies, Domènec, Idensitat (Ramon Parramon and Gaspar Maza), Left Hand Rotation, Ángel Marcos, Neus Marroig, Marc Morell, Ana A. Ochoa, Irene Pittatore, Marina Planas and Arxiu Planas, Miguel Trillo. General management and curatorship: Nekane Aramburu. (Es baluard press-release)

Arts Santa Mónica. La Rambla, 7, 08002, Barcelona

http://artssantamonica.gencat.cat/ca/detall/Ciutat-de-vacances

 Image: Ángel Marcos. “End of Season”

MILAN. Nuria Mora “Drishti” Galería Patricia Armocida

27 september - 25 noviembre, 2017

“Nuria’s universe is a mix of external and internal stimuli, starting with her artistic family, her architect father, and a mix of prompts which then became regulated at university in Madrid where her art and architecture studies became the pretense to begin looking at space with a particular gaze, where every single part, both then and now, could become a new visual hypertext of forms, codes, languages, and chromatisms.
Nuria develops new forms, lines, and modules capable of being incorporated into various sorts of architecture, she opts for solutions that hover between abstract and concrete, where phytomorphisms of various origins become a single code, a signature without a signature. The artist claims there are no direct references to the history of art or architecture, yet upon observing her creations, one can detect a connection to Neoplasticism in which the geometric figures, in Nuria’s case, are distorted, with slanted lines, and the rigidness of angles is softened by a typically Mediterranean palette inspired by folk tradition, by Spanish Romanesque style, and by the contemporary urban landscape with its visual paradoxes.
For Drishti, the artist’s first Italian solo exhibition, the unconventional characteristics of her trait meld together with and communicate with the occupied space. Drishti is an initiatory approach, it’s the instant in which the body, in a specific yoga pose, channels the necessary energy to assimilate new stimuli. Hence the title is to be considered a starting point, open to any choice made by the artist who, in this case, opts for a large installation called Buoys and various works on paper whose patterns created on the street reveal never-before-seen solutions, new codifications, and specific settings. These chromatic forms evolve in order to assist the expansion of a motif, within which the elaborate nuances intertwine.
With both the buoys and the acrylic-on-paper works, the object is not modified on site but rather taken away, misappropriated so that its initial function is changed.
In her past works with utility poles, some of the parts were made in ceramic to function as a non-conductor and connector: those objects, created for a specific purpose, when seen alone are elements in and of themselves, bodies made from an ancient material through an artisanal process.
And so those pieces in ceramic, salvaged from deterioration and destruction, colored, coated, transformed, merged with wood, with ropes, with glass, float in the air, no longer attached to a functioning structure, instead they become subjects of presence, waiting, and defense.
Matter and form acquire new significance, both esthetic and functional, molded by a visionary artist who is able to harmonize delicate chromatic hues and meticulous geometric backgrounds, giving life to an original lexicon where abstraction seems more concrete than ever before. Excerpt from Fabiola Naldi’s critique “A Promise Kept”.

Nuria Mora (Madrid, 1974) got her start in the mid-90s in the complicated and motley world of European urban art and is considered one of the leading figures in using public space for illegally and commissioned abstract works. Co-founder of Equipo Plastico (with Nano4814, Sixe, and Eltono), Nuria has created large murals, installations, sculptures for indoor and outdoor spaces, works on paper, rugs, glass and wood objects in conjunction with brands such as Sybilla, DAC Rugs, Ikea, Facebook, Loewe. In 2013, she won the Absolut Art Award. . (Galería Patricia Armocida press-release)

GALLERIA PATRICA ARMOCIDA. Via Argelati n° 24, 20143 Milano (MI)

http://www.galleriapatriciaarmocida.com  http://www.nuriamora.com

Image: Nuria Mora, Papaguena, 2017, Galería Patricia Armocida

ROME. Picasso “Tra Cubismo e Classicismo: 1915-1925” The Scuderie del Quirinale

22 september 2017  -21 january 2018

The Scuderie del Quirinale presents one of the most largest exhibitions ever dedicated to Picasso in Italy, a century after the artist set foot in the country.

The exhibition examines Italy's long-term impact on Picasso's work – his inspiration from ancient Roman statues and erotic frescoes in Pompeii – and his private life – he met his first wife, the Russian ballet dancer Olga Khokhlova in Rome while he designed the costumes and sets for the ballet Parade. The 100 works on display range fro 1915 to 1925, comprising Cubism to Classicism, with loans from major museums in London, Paris, New York, Berlin and Barcelona.

The show includes masterpieces such as Olga in an Armchair (1917), Léonide Massine as Harelquin (1917), Two Women Running on the Beach (1922), and Harelquin with mirror (1923). In addition to the Scuderie, Palazzo Barberini hosts an immense canvas that Picasso painted as the backdrop for Parade, the reason for his arrival in Italy in February 1917. (Scuderie del Quirinale press-release)

Scuderie del Quirinale, Via XXIV Maggio 16, Roma 

https://www.scuderiequirinale.it

Image: Pablo Picasso - Deux femmes courant sur la plage, 1922

PORTO. Daniel Steegmann Mangrané “A Transparent Leaf, Instead of the Mouth” Serralves Museu

30 september 2017 - 07 january  2018

Daniel Steegmann Mangrané was born in Barcelona in 1977 and has lived in Rio de Janeiro since 2004. In 2015 he was selected by Artnet News as one of the "50 Most Exciting Artists in Europe Today”. He is the eighth artist in the "Contemporary Projects” series - a dynamic platform for the presentation of works by emerging or established artists, that aims to foster new forms of art using different disciplines and targeted at the younger generation.

Daniel Steegmann Mangrané’s works assume a variety of forms, representing built environments and the natural world.

Inspired by stories of modernist abstraction, architecture and the perpetual and organizational structures of nature, Mangrané’s oeuvre includes drawings, sculptures, lighting design and films, and is developed as part of poetically planned environments.

For the exhibition in Serralves, Mangrané has conceived a living landscape for the Museum’s central room. A glass pavilion houses a garden and mimetic creatures, a series of sculptures, a drawing on the wall, a hologram and several windows, that alter the spectator’s experience. All these elements are combined to create a living ecosystem of transfigurations and metamorphoses, both real and symbolic.

The exhibition is organized by Serralves and curated by the Museum’s Director, Suzanne Cotter, and by Paula Fernandes.

This exhibition benefits from scientific advice from the science communication team of CIBIO-InBIO (Research Centre in Biodiversity and Genetic Resources, Associated Laboratory) which develops scientific dissemination activities related to biodiversity and fosters intersection between art and science, in Serralves - in the framework of a protocol signed between the two institutions and the Foundation for Science and Technology (FCT).(Serralves press-release)

Serralves Museu. Rua D. João de Castro, 210. 4150-417 Porto Portugal

https://www.serralves.pt   http://danielsteegmann.info

Image: Daniel Steegmann Mangrané “A Transparent Leaf, Instead of the Mouth”

LISBON. Joan Miró “Materiality and Metamorphosis” Palacio Nacional da Ajuda

8 september 2017 – 8 january 2018

The exhibition ‘Joan Miró: Materiality and Metamorphosis’ is based on the collection of 85 works by Miró, owned by the Portuguese State. This important exhibition is curated by Robert Lubar Messeri, a leading world expert in Miró's work. 

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 ‘Joan Miró: Materiality and Metamorphosis’ is organised by the Serralves Museum of Contemporary Art and is curated by Robert Lubar Messeri

The exhibition ‘Joan Miró: Materiality and Metamorphosis’ is organised by the Serralves Museum of Contemporary Art and is curated by Robert Lubar Messeri

Palácio Nacional da Ajuda

Palacio da Ajuda. Largo da Ajuda, 1349-021 Lisboa 

Image: Joan Miró “Materiality and Metamorphosis”

BERLIN. SALUSTIANO "Presente Pluscuamperfecto" Galerie Brockstedt

07 september - 11 november, 2017

Only nature is able to create effects of colossal subtlety in a totally spontaneous way.The human being tries to emulate it over and over again when it seems clear that it is impossible if we stick to the fact that he himself is - consciously or unconsciously - one of the essential elements for its harmony in plenitude. The ultimate principle is just one. It is in everything, it is everything.

Just on very specific occasions does an authentic symbiosis arise between them, their roles are confused and the result is of an acuity such that it can only be contemplated under the prodigious gaze of magic

Salustiano is a clear example of this symbiosis. His work is based on the depth of the spirit and the superficiality of human passions.

Salustiano does not want to be a protagonist, he does not pretend to talk about himself or his emotions. He does not judge or interpret, does not ask or respond. Salustiano is his painting, it is what in his work we see, he is us, we are he; In his paintings lies the most absolute idea, and it is in each one to understand what we see, how we see it. That's what it's all about, it's all one, one is everything.

Salustiano's painting is the spirit, the thought and the creative energy, it is simply, magic

. (Lucia Mendoza press-release)

Galerie Brockstedt OHG. Mommsenstraße 59. D-10629 Berlin

http://www.brockstedt.com http://www.salustiano.com

http://www.luciamendoza.es

Image: SALUSTIANO "Presente Pluscuamperfecto"

 

BARCELONA.Jordi Colomer “TBC” Galería ADN

28 september - 11 november, 2017

 

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

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

adn galería. C. Enric Granados, 49. 08008 Barcelona

http://www.adngaleria.com   http://www.jordicolomer.com

Image: Jordi Colomer

TOULOUSE. “Eugeni Forcano” Instituto Cervantes and Galerie du Château d´Eau

19 september – 27 october, 2017

Eugeni Forcano (Canet de Mar, 1926) entered the world of photography like a whirlwind, answering Josep Vergés and Néstor Luján's invitation to joint the magazine Destino in 1960. Self-taught and intuitive, he gazed with wisdom, passion and irony at all around him. In 1964, Joan Perucho highlighted the human depths of Forcano's work, whilst in 1966, Josep Pla, always sparing in this praise, said of him: "He is a great photographer, a great artist. He is different and unpredictable. Singular". According to José Corredor–Matheos Forcano "makes us to see that reality is always surprising". Forcano has the gift of anticipation. Andrés Trapiello insists that "the most important thing in his photographs is the beating of all that is still alive", whilst Josep Maria Espinàs considers that "you can hear his characters speak".
Photography marked Forcano's life forever. An evolutionist and a dreamer, his career embraced different stages: fashion, illustration, symbolism... as well as painstaking research into colour as a new form of artistic expression. Jorge Rueda, writing about Forcano's colour photography, congratulated him: "At last you have managed to photograph sighs". Javier Pérez Andújar defines him as follows: "He is, more than an avant-garde photographer, a vitalist photographer who understands the language of his time".
The facts would appear to confirm this. According to Josep Maria Huertas Claveria, Forcano is "one of the greatest photographers Catalonia has ever produced". Rosario Martinez Rochina. Curator and art critc.

Instituto Cervantes. 31, rue des Chalets. 31000 Toulouse (FRANCIA)
Galerie du Château d´Eau (Toulouse) / Galería Arca de Agua (Toulouse). Place Laganne. 31000 Toulouse (FRANCIA)

http://www.eugeniforcano.info  http://toulouse.cervantes.es

Image: Eugeni Forcano

CORDOBA. Ar. “The Color of Optimism, Spanish Illustrators” Centro Cultural de España

29 september – 24 november, 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. (CCEC press-release)

Centro Cultural de España. Entre ríos 40, Ciudad de Córdoba. Córdoba, Argentina

http://ccec.org.ar

Imagen: Paula Bonet

BUCAREST. Clara Durán “Hacia el mar” Instituto Cervantes

22 september – 30 october, 2017

Clara's photographic work expresses a high commitment exploring both symbolic, expressive and formal levels in a very interesting way. Her experimental and open approach to the use of photography in a larger field of media doesn't contradict a honest interest for photography as a media with a huge artistic potential. Javier Vallhonrat

“Using photography as the main medium, I push its boundaries, and integrate other media such as painting, poetry and performance.
Water is my main interest; it has endless poetic symbolism, and Gaston Bachelard is a big source of inspiration. It links as well with Zygmunt Bauman’s concept of ‘liquid modernity’. Walter Benjamin raises the questions of the ‘reproducible’ and the ‘unique’ in my work” Clara Durán

Instituto Cervantes. Bd. Regina Elisabeta 38. 10517 Bucarest. (RUMANÍA)

http://bucarest.cervantes.es http://www.claraduran.com

Image: Clara Durán. “Hail radiates across the ripple”

BEOGRAD. Pierre Gonnord “Rooted” Instituto Cervantes

22 september – 1st november, 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. Cika Ljubina, 19. 11000 Beograd. (SERBIA)

http://belgrado.cervantes.es

Image: Pierre Gonnord

GENEVA. Rafael Navarro “Another View of the World” Fondation Auer pour la photographie.

14 september– 25 november, 2017

Born in 1940 in the city of Zaragoza, Rafael Navarro began his long artistic career in the early seventies.

His work is a reflection of his inner world, where showing the obvious has rarely been a target. The artist, who as an experienced teacher masters the technological aspect of art, often waives the control of the movement, the acutance, or the rigorous mechanical accuracy that enables photography, to leave the eloquence of the form open, and the essential crossroad of subjectivities, where the artwork and the reader can truly meet.

His fascination with nature and the importance that it exerts in his work is one of the constants in his extensive work. The human body, free from the artifices of the garment, where a fold is another kind of landscape or how cycles and time make their way and leave their mark on a stone or a vegetation.

His work has been exhibited in national and international galleries and museums more than 700 times, and is part of around the world relevant institutions’ collections. Hundreds of references and publications document both his work and his personal journey from 1975 to the present day.

In recognition of his contribution to contemporary art, The Royal Academy of Fine Arts of St. Louis, has awarded its admission as full member. Ángel Mª Fuentes de Cía

Rafael Navarro is the author of the following books: Dípticos (1986), Le forme del corpo (1997), Catálogo razonado 1975-1998 (2000), Don't disturb (2001), Photobolsillo 44 (2002), En el taller de Miró (2006), Cuerpos iluminados (2006), A destiempo (2011), Elipsis (2015) y Polifonías (2016). (auer press-release)

Fondation Auer pour la photographie. 10, rue du Couchant. CH-1248 Hermance-Ginebra.

http://auer01.auerphoto.com/fr   http://rafaelnavarro.es

Image: Involución #1. Rafael Navarro 1976

BARCELONA. “Brossa Poetry” MACBA, Museo de Arte Contemporáneo

21 september  2017 – 25 february 2018

MACBA presents a comprehensive survey of the work of this pioneering artist, through his books, his visual investigations, and including his work in the theatre, cinema, music and artistic actions.
Joan Brossa (Barcelona, 1919-1998) was first and foremost a poet, but we believe it is necessary to see this in relation to his way of working, his poiesis. This exhibition establishes a dialogue and confronts Brossa’s work with the artists Marcel Marien, Nicanor Parra and Ian Hamilton-Finlay. Brossa was a poet, but his works stood at a crossroad of languages. Frequently collaborating with other artists, musicians, filmmakers, dancers, comedians and even magicians, his work constantly went against the grain and beyond the limits between disciplines.
Brossa developed his artistic practice in the 1940s in a social-political context marked by Franco’s dictatorship and in a cultural milieu characterised by the absence of avant-garde and innovative proposals. From the beginning, Brossa’s work was one of aesthetic renewal, based on literary and artistic research. Up until his death, his extensive production never ceased to develop new forms of expression and ways of experimenting with different media.
In 2011, the Museu d’Art Contemporani de Barcelona was made the depository of the Fonds of the Fundació Joan Brossa, which contains the legacy of the artist. The Fonds consists of manuscripts, documents, correspondence and his personal library, among other materials. It is a unique tool for understanding Brossa’s extremely interesting work.
The exhibition that MACBA is preparing approaches Brossa’s work by reappraising his influence and interrelationship with the practice of other artists. The project brings to the fore the constellations of artists around Brossa, his interrelationship with works he may have been unaware of, but which allow us to establish parallels and seek dialogues and tensions. It also aims to emphasise the performative aspects of Brossa’s poetic practice, his poiesis.
Accompanying the exhibition there will be a publication exploring these aspects, realised in collaboration with Roger Bernat, Isabel de Naverán and Maria Salgado.
To secularise this great poet is not an easy task and this is the challenge facing this project, half way between Marx and Mallarmé: to give Brossa back his simple and popular voice, the voice of the people, whether they wear a hat or not; the voice of a light bulb, a train ticket, a playing card, a set of handcuffs or confetti. People speak Brossa.  Curators: Teresa Grandas and Pedro G. Romero (MACBA press-release)

Museu d'Art Contemporani de Barcelona. Plaça dels Àngels, 1, 08001 Barcelona, España

http://macba.es   http://www.fundaciojoanbrossa.cat

Image: Poema objeto. Joan Brossa. Macba

 

MADRID. Juan Asensio “New Works” Galería Elvira González

14 september – 28 october, 2017

Juan Asensio was born in 1959 in Cuenca (Spain), where studied and worked. His first pieces were small sculptures made from wood and clay. He exhibited in various group exhibitions. He discovered the work of Oteiza and Chillida in the Museo de Arte Abstracto de Cuenca in 1987. This same year Asensio moved to Madrid where he started to make his first pieces in Pedro Panadero’s stone and marble workshop. He began to get involved in Madrid’s artistic scene in 1990, meeting gallery directors and art critics. While he produced his own work, he also collaborated occasionally in the production of stone sculptures by other artists, such as Martin Chirino, Jorge Oteiza and Manolo Valdés. Juan Asensio has been awarded various prizes, such as First Prize in the XX Certamen de Artes Plásticas de Caja Madrid in 1996, the same year in which he had his first solo exhibition in Galería Elvira González. 
His work is included in various private collections in the USA, Mexico and Europe, as well as in the collections of several Spanish banks. Juan Asensio has made monuments and sculptures for the following places: Leganés, Madrid in 1999 and 2003; Torrelavega, Santander in 2001; the Nuevo Edificio de Juzgados, Salamanca in 2004; Cuidad Banco Santander, Boadilla del Monte, Madrid in 2005; Plaza de Vizcaya,  Bilbao, 2008 and Palace of Justice, Burgos in 2011. (Elvira González press-release)

Galería Elvira González. Hermanos Álvarez Quintero 1. 28004 Madrid

https://www.elviragonzalez.es  

Image: Galería Elvira González

CHIANG MAI. Alicia Framis “Blind Date House" Land Foundation

17 september – 31 december, 2017

“Blind Date House" is a project in-process by Alicia Framis, requested by Thai artist and founder of the Land Foundation, Rirkrit Tiravanija. It is under development at the Land Foundation’s rural site outside of Chiang Mai, Thailand and will be used as an artist residency site.
"Blind Date House" is a joint construction of two houses that offer separate but overlapping space for two residents. Each resident has his or her own house, and one room is a shared space: one created in line with Land Foundation’s goal of fostering exploration and experimental collaborations. The shape of the house is focused on exchange and has varying degrees of openness. If the residents want to increase their living and working spaces, they can access the shared space, and even open parts of their home to the shared area. This space between work, home, and personal life provides a site of discovery. The empty, unknown space, which is a vacuum between the two living areas, straddles the worlds of intimacy and privacy. This vacuum is full of promise and potential: a place that confronts you with your own conception of individuality, and your willingness or need to share with others. This house will let the cohabitants explore their attitudes towards courage, risk-taking, and self-consciousness.
Alicia Framis will be staying at the Land foundation in Chiang Mai for an extended period of time to build the interior of the house, finish it and make it livable. She will also work on the outside and paint the walls in two distinctive colours (yellow and lily) to emphasize the fact that it’s two houses attached to one another and to show how they connect. This mural will be a collaboration between Framis and the founder of the Land foundation, Rikrit Tiravanija, entitled “Are we dreaming under the same sky”. Framis will prepare the house in a scenographic manner and shoot her film there. The film will serve as visual material to promote the residency involving both a western and an eastern artist, living and working together in the Blind Date House.
Alicia Framis has been researching the subject of human interaction for 25 years and has often focused on the importance of living together and the multitude of things we can learn about space from this. "Blind Date House" confronts us with the choice to share or be alone. How much intimacy are you allowed when the other person is in the same room? How often and for how long will you want to touch? And what do you want to reveal about yourself to someone you barely know? These confrontations also have a culturally specific component. The two residents come from completely different cultural backgrounds where concepts such as privacy (if existent at all) and public space have entirely different meanings. (AC/E press release)

The Land Foundation. 48 Moo 1, T.Banmae. A.Sanpathong, . Chiang Mai 50120. Thailand.

http://www.thelandfoundation.org http://www.aliciaframis.com

Image. The Land Foundation

GOTHEMBURG. “Francesc Ruiz, Pedro G. Romero “ GIBCA, Goteborg International Biennial for Contemporary Art

9 september – 19 november, 2017

GIBCA presents acclaimed national and international contemporary art. Each biennial consists of several major exhibitions taking place both in established art institutions as well as the public space. A rich educational program is developed for children and youth and program activties include guided tours (in four different languages), artist talks, conferences and performance. The organiser of GIBCA is the Röda Sten Konsthall, who are the applicant for this current funding opportunity.
GIBCA 2017 animates public discourse on a subject of urgent social and political significance, that of secularity and will revolve around the question "what role should secularity have in society today?" GIBCA 2017 is curated by Nav Haq, Senior Curator at MuHKA Antwerp, and presents the works of approx. 30 artists in established exhibition arenas and in the public and semi-public space in Gothenburg. The biennial will include a wide programme of seminars, film screenings, mediation formats.
AC/E supports the participacion of  Francesc Ruiz with his project "The Street".  Francesc Ruiz has undertaken extensive research into the history of comic books, particularly in relation to issues of subculture, social class and sexuality in different cultural contexts. For this project titled “The Street”, he is interested in creating the construction of narratives using a commercial street as non-linear comics in which every shop window works as one panel of a comic strip. The installation will take the form of a life-size street, made through a large drawing by Ruiz, which people can walk through to view.
Ruiz will design and build an actual street façade structure based on his drawings, similar to the ones used on the sets of films and TV series, creating only the façade, to simulate a street. This street will be approximately 20 metres in length, and will be presented outdoors in public space and developed in a site-specific way, following site research undertaken by Ruiz in Gothenburg.
AC/E also supports the participation of Pedro G. Romero with the project The Archivo F.X., that Pedro G. Romero has been developing since 1999, consisting of a vast collection of images and artefacts documenting iconoclasm in Spain between 1845 and 1945.
Pedro G. Romero has used the archive to create numerous research-based exhibitions in different international institutions. Often he uses material in the archive to create philosophical links to movements of the artistic avant-garde. In the archive, individual documents of iconoclasm – including decapitated statues, stained pictures, demolished buildings, expropriated sacred space, the reuse of religious buildings, the melting down of objects of worship for civil industry - are coupled and archived with names of styles, artists, movements, titles of magazines, artists and works of the modern avant-garde.
A continuing expanding tool, the Archivo F.X. is presented and communicated in formats that range from publications or multimedia objects to complex exhibitions, thus continuously redrafting the archive’s conceptual framework from new perspectives.. (AC/E press-release)

GIBCA. Röda Sten Konsthall. Röda sten 1. 414 51 Göteborg

http://www.gibca.sehttps://www.facebook.com/francesc.ruiz.3

Imagen. Francesc Ruiz. Museo Reina Sofía Madrid

MADRID. Conxita Herreo “The city in vignettes” CentroCentro Cibeles

until 1st october 2017

The series 'The city in vignettes', which every three months features a writer who uses their own particular style and graphic narrative to explore the buildings, people and stories that inhabit Madrid, currently has its spotlight on Barcelona creative Conxita Herrero. She draws, makes fanzines and writes poems and songs. She's worked for 'VICE' and 'El País Tentaciones', and was a team member on the CITI project (2015) of the Sala de Arte Joven de Madrid, where she created three murals. Last April, the publisher Apa-Apa cómics released 'Gran bola de helado' ('Big scoop of ice cream'), her first graphic novel. (CentroCentro press-release)

CentroCentro. Plaza de Cibeles, 1. 28014 Madrid

http://centrocentro.org   http://megaqu.blogspot.com.es

Image: Conxita Herrero. La Ciudad en Viñetas

CHICAGO. “Jesús Chamizo, The Architec of Images” Instituto Cervantes

14 september – 30 october, 2017

Jesus Chamizo is an established Spanish photographer best known for his architecture series. He builds images based on the emotions that space produces through lines, angles, light, perspectives and shapes.This exhibition consists of 12 photographs capturing the constructions of the Spanish architect Antonio Palacios who created the most emblematic buildings in Madrid and transformed the city into a modern capital during the early 20th Century.

The eclectic style of the architect Antonio Palacios, who combined elements from the Plateresco, The Vienna Secession and the School of Chicago is what really attracts the photographer. Chamizo enhances and transforms these architectural elements into different compositions where buildings are shown in a non-conventional way, thus transforming him into an architect of images. (I. Cervantes press-release)

Instituto Cervantes. 31 W. Ohio. 60654 Chicago Illinois

http://chicago.cervantes.es  http://www.jesuschamizo.com

Image: Jesús Chamizo

AMSTERDAM. “Dalí:Genius” Moco Museum

until october 31st

A short time before the birth of Salvador Dalí on 11th May 1904, his brother – who was also called Salvador – died. Dalí grew up in the small town of Figueres in the Spanish region of Catalonia. He came from a good family; his parents encouraged his artistic ambitions and he studied at the Madrid Academy of Art. His studies saw the beginning of his eccentric lifestyle.
In the 1920s, he went to Paris and came into contact with artists such as Picasso, Magritte and Miró. This led to his first phase in surrealism.
Dalí’s work began to explore three themes: The universe and human sensation, sexual symbolism, and pictography.
Even before this period, Dalí was an enthusiastic reader and fan of the theories of neurologist Sigmund Freud. The psychic, surreal and hallucinatory creatures and spaces which originated from within were in stark contrast to his classical painting technique which was influenced by the Renaissance artists.
After meeting the love of his life, his muse Gala in 1929, they achieved the kind of star status as a couple that we are now familiar with today.
His unbridled ambition and his decision to become a genius took him to unprecedented heights. As he said himself: “When I was six years old, I wanted to be a cook. When I was seven, I wanted to be Napoleon. Since then, my ambition has continued to grow at the same pace.”
After World War II, he moved with his wife to the United States where his classic period of artworks began. He became fascinated by religion and the scientific discoveries of his time. In addition, Dalí learned how to work commercially: in 1969, he designed the logo for the well-known lollipop brand ‘Chupa-Chups’.
In 1988, Dalí was taken to the hospital in Figueres with a failing heart. He died in 1989 and was buried beneath the Theatre-Museum.

At Moco, we believe that art is there to change the world.
Our inner world and human possibilities are increased through the imagination of artists. Humanity’s open-mindedness and mental capacity can still be taken to ever greater heights and, in this, Salvador Dalí was a role model. As he once said himself: “I don’t do drugs, I am drugs.” (Moco press-release)

Moco Museum Museumplein Amsterdam Honthorststraat 20 1071 DE Amsterdam

https://www.mocomuseum.com

Image: Claude Lina

DUSSELDORF. “Manolo Valdés” Beck & Eggeling International

8 september – 4 november, 2017

The gallery’s ties of work and of friendship with Manolo Valdés go back a long way. In the course of his career that spans more than fifty years (and counting), his body of work has been honoured with numerous exhibitions at renowned international institutions. Manolo Valdés began his career in 1964 in the artist collective Equipo Chrónica, which consisted of himself and Rafael Solbes. This collaboration was cut short with the early death of Solbes in 1981. Since then, Valdés has continued to his art practice alone, establishing his own, unmistakable visual language in collage-like wall works in paper, sackcloth and paint, as well as in sculptures and graphic art. All of these works are characterized by ever-present direct references to art history and at the same time each of the motifs becomes his own through his treatment of the material and his sense for composition and effect.

Supporting his oeuvre – though not defining it as a whole – is a profound knowledge of the history of art and a contemplation of how art is disseminated, marketed and what follows from it. Yet, at the heart of his interest is the question of what will remain of art, what will outlast the centuries. His aim is to preserve the magic of art, the beauty found in the silhouette of a figure, in colour and ornament, the miracle that may arise from the stroke of a brush. In each of his works, Valdés searches anew for the possibility of an experience through the senses and seeks to enable an experience of art.

He has also had an increased presence with sculpture in the public space since the 1990s. In 2006, in the context of the Düsseldorf Quadrennial, Beck & Eggeling facilitated the acquisition of several sculptures from his series Las Meninas by the City of Düsseldorf. Following the generous gift by Manolo Valdés and the gallery, the complete group can today be viewed at the Hofgarten. (Beck & Eggeling press-release)

Beck & Eggeling International. Bilker Straße 5 und Bilker Straße 4–6. 40213 Düsseldorf. Germany

http://www.beck-eggeling.de  

Image: Manolo Valdés. Beck & Eggeling International 

MIAMI. “Goaltending” Centro Cultural Español

7 september – 30 october, 2017

Goaltending proposes to understand the production of contemporary art, defined by mediating elements which interfere in the works perception,  proposing a reading of current art beyond the artists’ initial intentions and to some extent of their procedural relationships.

The project is debated between two divergent conceptual aspects, from one side to emphasize how the curatorial practice, as a mediating gesture inside the aesthetic processes, converges heterogeneity and similarities, implicit in the discourses and practices of the current art; and by other side, to point the Works in their particularity, defined by their contextual relationship goals.

In this sense, it´s interesting to emphasize the coexistence of artists who belong not only to physically distant latitudes, such as Spain, Cuba and the United States, but also to generational, thematic and generic distance. And how, through dissimilar weft, the selection of works get to contrasts different nuances within painting, photography, sculpture, installation and video art, sketching out a point of view marked by the fragmentation and plurality of tendencies that constitute the idea of ​​the current art.

From the curatorial action it´s proposed a rereading of the works beyond the intentions of the artists, pointing out different meanings, marked by a diversity of points of view, generated by the theier spaces of social circulation.

On the other hand, the exhibition highlights its own contradictions by questioning the curatorial discourse in favor of works, that is, approaching an accumulation of different narratives where the most important could be the works themselves, breaking the hierarchies between the artists’ point of view and the look of the viewer.

The exhibition tries to underline two different areas from where to understand the practice of contemporary art:

One is the aesthetic process as a structural relationships system, in which different readings converge, where the works and their concepts are consequences of different frames and negotiations.

And on the other hand, an aesthetic approach that highlights the specific value of works through subjective linkages, which fracture the correspondence between the intentions of the artists, the works and the way in which these can be perceived by the public.

Artists: Paula Rubio Infante,  Waldo Díaz Balart , Eugénio Ampudia,
Eugénio Merino,
 Ruben Martín de Lucas, Juan Francísco Casas, Yunior Mariño , Marina Vargas,  Manuel Franquello, Grupo DEMOCRACIA , Ángela Valella, Juan Pablo Ballester, Lisbet Fernández, Marcos Valella, Ernesto Capdevila, José Bedia, Yeny Casanueva, Alejandro González (Procesual press-release)

Centro Cultural Español. 1490 Biscayne Boulevard Miami, FL

http://www.ccemiami.org   http://procesual.com

Image: “Noli me tangere” Marina Vargas

CHICAGO. Jaume Plensa “One Thought Fills Immensity/ Secret Garden” Richard Gray Gallery and Gray Warehouse

14 september – 11 november, 2017

Richard Gray Gallery is pleased to announce two exhibitions of work by the Spanish artist Jaume Plensa. At Gray Warehouse, Secret Garden presents recent sculptures in wood, stainless steel, and bronze in conjunction with a new suite of drawings. The exhibition continues at Richard Gray Gallery’s Hancock space with a portrait series carved in alabaster, as well as a second exhibition of historical works titled One Thought Fills Immensity. Featuring works from 1989 to 2002, One Thought Fills Immensity offers a deeper view into the artist’s prolific career. The two exhibitions open with a public reception for the artist at Gray Warehouse on Thursday, September 14 from 6-8 pm. Secret Garden will be the second exhibition to take place at the gallery’s newly inaugurated space.

An exhibition walk-through and Q&A with Jaume Plensa and curator Brooke Kamin Rapaport will take place at Gray Warehouse on Friday, September 15 at 10:30 am.

Secret Garden is a rumination on silence and introspection. In this exhibition, Jaume Plensa expands his study of portraiture, a theme central to the artist’s practice since his creation of Chicago’s Crown Fountain in 2004. The exhibition features a new body of work in wood, stainless steel, bronze, and alabaster, and a suite of works on paper. It marks the international debut of a new series of portraits rendered for the first time in stainless steel. The material’s luminous surface echoes the lightness and fragility of his models’ serene expressions. Seeking to connect with his viewers on an intuitive level, Plensa’s use of material conveys and inspires quiet thoughtfulness. Secret Garden posits the mind and body as spaces of great potential. For Plensa, silence is an essential and vital component for contemplation and the activation of this potential. The exhibition opens with Julia’s Words, a carved wood sculpture suspended from the ceiling. The girl presses her finger against her lips, requesting silence. With this gesture Plensa questions the efficacy of verbal communication and asks his viewers to seek growth and potential from within.

The pursuit of self-knowledge is a central concept in Plensa’s studio practice. In his work, he consistently creates physical and psychological spaces within the din of the everyday that encourage quietude and allow for abstract thought. One Thought Fills Immensity borrows its title from William Blake’s Proverbs of Hell, 1790. As an avid reader of literature, Plensa finds much inspiration in the work of poets like José Ángel Valente, William Blake, and Elias Canetti. On Blake the artist states, “‘One thought fills immensity’ [is] a marvelous concept in which our ideas are expanding out [and] filling up the space, not with physical objects, but with energy.” This pursuit of a heightened awareness and inquiry is articulated across Plensa’s oeuvre. One Thought Fills Immensity features important early works such as Firenze II (1992), the first work in which Plensa took the concept of the question as a point of departure. (Richard Gray press-release)

Richar Grey Gallery . 875 NORTH MICHIGAN AVENUE. 38TH FLOOR. CHICAGO, IL 60611

GRAY WAREHOUSE. 2044 WEST CARROLL AVENUE. CHICAGO, IL 60612

http://www.richardgraygallery.com  http://jaumeplensa.com

Image: Isabella.2016. Jaume Plensa. 

BORDEAUX. José Manuel Navia “Cervantes, a contemporary spirit” Instituto Cervantes

6 september – 26 october, 2017

The exhibition (Cervantes, a contemporary spirit), organised by AC/E and the Instituto Cervantes, shows the photographs produced by José Manuel Navia in connection with the celebration of the 400th anniversary of the death of Miguel de Cervantes in 2016. For this project, Navia followed in Cervantes’ footsteps, visually capturing the places and paths trodden by the great author throughout his life – a troubled and uncertain life that is also revealed to us in a veiled manner in his works.  
The photographs that make up the exhibition – between 60 and 80 – are mostly new, taken especially for this purpose. The project is based on the act of photographing the main places linked to Miguel Cervantes’s life, the traces of a lifetime, so that the end result is not just another collection of pictures of different places but a series of photographs that embodies the personal gaze of a traveller who wishes to embrace Cervantes’s real and literary territory through image. The photographs are accompanied by detailed texts and literary quotes that refer to the author’s life as well as to his works.  (I.Cervantes press-release)

Instituto Cervantes. 57, Cours de l'Intendance. 33.000 Bordeaux

http://burdeos.cervantes.es http://jmnavia.blogspot.com.es

Imagen: Calatrava. José Manuel Navia 

KÖLN. Onay Rosquet, Dino Valls, Jorge Villalba “The Art of Reality Painting” 100KUBIK Gallery

september, 8th - november, 10th 2017

With the painters Dino Valls (*1959, Zaragoza), Jorge Villalba (*1975, Alicante) und Onay Rosquet (*1987, Havanna) 100 kubik art gallery is going to present three different kind of positions within Hyperrealism. Each artist does not only tie up this contemporary trend with big topics of art history in his particular way - but also actualizes them: Villalba tells us about myths and tales, Rosquets still lives remind us of Sánchez Cotán's "Bodegones" and the infinite, hidden references and symbols in the secret world of Dino Valls' images seem to be only waiting to be discovered. (100 kubik press-release)

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

http://www.100kubik.de

Image: Dino Valls

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

august 06 — november 05, 2017

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

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

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

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

https://meadowsmuseumdallas.org

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

VENICE. Fernando Zóbel “Contrapuntos” Fondaco Marcello

until 26 november, 2017

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

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

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

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

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

http://biennalezobel.ayalamuseum.org

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

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

12 july – 01 november, 2017

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

1320 N Courthouse Road. Arlington, Virginia. Estados Unidos

http://www.mmmm.tv

Image: mmm…. Meeting Bowls

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

29 june 2017 – 7 january 2018

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

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

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

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

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

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

july 1 - november 19, 2017

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

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

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

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

http://www.fondation-maeght.com

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

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

june 23rd - august 25th

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

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

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

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

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

Image: Álvaro Martinez Alonso. 100 Kubik galerie

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

13 may  – 26  november, 2017

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

Giardini La Biennale di Venezia

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

Image: L´avenir.  Jordi Colomer

 

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

27 may – 18 february, 2018

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

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

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

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

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

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

https://www.vam.ac.uk

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

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

5 may – 3 december, 2017

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

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

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

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

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

https://www.nelson-atkins.org

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

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

13 may -  26 november, 2017

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

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

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

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

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

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

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

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

WORDLESS DIALOGUES. 10. Alejandra López Zaballa / Irene Cruz

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

Wordless Dialogue 10. Alejandra López Zaballa / Irene Cruz

Dialogue 10. Alejandra López Zaballa

Dialogue 10. Irene Cruz

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

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

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

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

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

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

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

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

Image: Dialogue 10. Alejandra López Zaballa / Irene Cruz

quepintamosenelmundo.com

 

 

WORDLESS DIALOGUES. 09 Irene Cruz / Gisela Ráfols

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

Wordless Dialogue 09 Irene Cruz / Gisela Ráfols

Dialogue 09 Irene Cruz

Dialogue 08 Gisela Rafols

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

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

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

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

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

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

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

Image: Dialogue 09. Irene Cruz. 08 Gisela Ráfols

quepintamosenelmundo.com

WORDLESS DIALOGUES. 08 Gisela Ráfols / Eva Diez

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

Wordless Dialogue 08 Gisela Ráfols / Eva Diez

Dialogue 08 Gisela Ráfols

Dialogue 07 Eva Diez

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

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

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

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

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

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

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

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

Image: Dialogue 08. Gisela Ráfols / Eva Diez

quepintamosenelmundo.com

WORDLESS DIALOGUES. 07 Eva Diez / Diana Coca

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

Wordless Dialogue 07 Eva Diez / Diana Coca

Dialogue 07 Eva Diez

Dialogue 06. Diana Coca

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

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

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

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

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

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

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

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

quepintamosenelmundo.com

WORDLESS DIALOGUES. 06 Diana Coca / Berta Jayo

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

Wordless Dialogue 06. Diana Coca / Berta Jayo

Dialogue 06. Diana Coca

Dialogue 05. Berta Jayo

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

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

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

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

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

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

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

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

quepintamosenelmundo.com 

WORDLESS DIALOGUES 05. Berta Jayo / Bego Antón

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

Wordless Dialogue 05 Berta Jayo / Bego Antón 

Dialogue 05 Berta Jayo

Diálogue 04 Bego Antón

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

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

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

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

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

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

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

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

Image: Dialogue 05 Berta Jayo. 04 Bego Antón

quepintamosenelmundo.com

WORDLESS DIALOGUES. 04 Bego Antón / Beatriz Moreno

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

Wordless Dialogue 04: Bego Antón / Beatriz Moreno

Dialogue 04. Bego Antón

Dialogue 03. Beatriz Moreno

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

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

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

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

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

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

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

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

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

Image: Dialogue 04 Bego Antón / Dialogue 03 Beatriz Moreno

quepintamosenelmundo.com

 

WORDLESS DIALOGUES 03. Beatriz Moreno/ Marta Soul

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

Wordless Dialogue 03 Beatriz Moreno / Marta Soul

Diálogo sin Palabras 03. Beatriz Moreno

Diálogo sin Palabras 02. Marta Soul

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

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

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

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

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

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

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

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

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

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

Image: 03. Beatriz Moreno / 02 Marta Soul

quepintamosenelmundo.com

PARIS. “Picasso Primitif” Musée du Quai Branly

28 marzo - 23 julio, 2017

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

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

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

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

http://www.quaibranly.fr

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

WORDLESS DIALOGUES 02 Marta Soul / Alejandra Carles -Torlá

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

Wordless Dialogue 02: Marta Soul / Alejandra Carles - Torlá

Wordless Dialogues 02. Marta Soul

Wordless Dialogues 01. Alejandra Carles-Toldrá

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

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

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

Wordless Dialogues

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

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

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

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

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

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

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

WORDLESS DIALOGUES 01 Alejandra Carles Tolrá / QPM Blanca Mora

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

Wordless Dialogue 01 Alejandra Carles Tolrá / QPM. Blanca Mora

Dialogue 01. Alejandra Carles Tolrá

Dialogue 00. QPM Blanca Mora

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

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

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

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

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

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

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

quepintamosenelmundo.com

BERLIN. Manolo Gómez “Cachebache” Galerie Kaidikhas

24 january – 1 april, 2017

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

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

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

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

kaidikhas.com

Image: Manolo Gómez Romero. Cachebache 

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

21 march – 9 june, 2014

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

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

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

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