Spanish contemporary art worldwide
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2 april – 29 may, 2015
"The man, the citizen is alone just like the lover in the poem. He is alone when performing his tasks, when decision-making, when he takes his choice whether vital or insignificant; a truly existentialist loneliness which condemns us to be free by just the mere act of choice, of throw the dices. Alone in a world he feels it is foreign to him, a denaturalized world, but from which he can not escape as well as neither can he escape from his condition as free being"
The exhibition “New York Side B” by Jaime Belda (Valencia 1982) arises from the Masters in Photography, fotogràfic Espai d'art. .(I.Cervantes press-release)
Instituto Cervantes, 57 Cours de l´Intendance. 33000 Burdeos. (FRANCIA)
Image: Jaime Bleda
11 april – 5 july, 2015
With this exhibition MACBA, with the collaboration of AC/E, investigates the potential of photography as a tool for re-reading recent history through themes that invite us to reflect on our immediate surroundings. Nitrate is the central axis of the exhibition in the Museum, which also includes projects carried out by Xavier Ribas in the last decade. With Nitrate, the exhibition by Xavier Ribas (Barcelona 1960) presents a project that exposes the political geography of the Atacama Desert and the history of the extraction of this mineral. Through a series of works, including photographic polyptychs, texts and videos, Ribas unfolds an investigation in which photography becomes an object of reflection rather than a mere documentary support. By inspecting sites, artefacts and images, the project traces the route of nitrate, a traditional component of fertilisers and explosives, in the genealogical line of the exploitation and appropriation of non-renewable resources that define the process of globalisation. The work shows the mineral in its natural state, its processing in the oficinas (depots) of the Atacama Desert, the transporting of the product for its prospective sale, and its symbolic value in the mansions of London and its surroundings. Other projects by Ribas featured in the exhibition include the series Geografías concretas (Concrete Geographies), since 2003, and Santuario (Sanctuary), 1998–2002, dedicated to the analysis of places whose uses and meanings are highly vulnerable and controversial. These are enclaves in Ribas’ trajectory that reveal his ongoing interest in the representation of human geography, a concern that has led him to conceive photography as a register of absences. . (AC/E press-release)
The Bluecoat, School Lane. Liverpool. United Kingdom
Organized: MACBA, AC Española, Museo Universidad de Navarra y the bluecoat.
Image: Javier Ribas
WeARTe is an exhibition proposal which aims to display and highlight the vanguard of a group of artists from the Iberian peninsula, which, being of different generations, bring to us the world and its realities through art.
This exhibition is a unique and honest view, that joins emerging and recognised artists in establishing an artistic coalition that seeks to create an international point of contemporary meeting in the beautiful city of Poznan, providing the public with the chance to be part of this connection. Comisariado: Katia Muñoz y Beata Pflanz.
Artists: Aysel Gözübüyük, Turkey, Carla Tabora, Spain / Brasil, Gloria Keller_Spain / Germany, Jacqueline Rodríguez, Peru. Susie Gadea, Spain / Peru, Vicente Greus ,Spain . Eduardo Mezquida, Spain. Antonio Aires, Portugal. Rosemary Cassidy Buswell , UK / France. Mariola Landowska, Portugal /Poland, Mercedes Casas Ocampo Spain-Argentina. Cecilia Moreno Yaghoubi_Colombia-USA. (Czapski Art Foundation press-release)
Czapski Art Foundation. ul. Wawrzyniaka 39 bud. C II piętro. 60-502 Poznan
Image: Vicente Greus
24 march – 2 may, 2015
Behind a seemingly playful work, the work of Joanpere Massana (Ponts 1968) delves into the recesses of memory, the most ancient symbolism of his thought, without too many concessions, wants to extract those most appropriate meanings represented through a personal and unique vocabulary.
The Water Book, The Book of the trees, The Book of Games are antecedents that make the process of a full reflective work of symbolic content. In these parts has researched steadily while repetitive elements in their work a place of reflection.
While the term limit is linked to an imaginary conception, the border is a transition between two cultures, two worlds, two religions, two ways of understanding life. But also a place of waiting, rest, a break where you can become a deep thought. BORDER is the title the artist has chosen to present his latest work. An exhibition at Fort PARTUS, Bellagarde a French fortress at the border that separates the French town Vallespir de l'Alt Empordà Catalan. An emblematic space which in turn leads to a very pronounced symbolism and history that precedes it. A geographic area where the boundaries of the territory fail to place his poetic and artistic discourse.
A series of paintings and drawings, some large format, along with various facilities, make a process that explores the limits of the concept. The dimension of the line is treated as an element separator separates us from what is real and some fictitious case, without ever forgetting the individual and collective memory in this field divisive. Report as containing experiences, experiences, imagined and unfulfilled desires within us that wander fleetingly element but remain impregnated as part of our existence.
The nature, time, memory, ambiguity, focus the speech sample. It is known that Joanpere Massana repeatedly uses the relationship between man and nature as a full life experiences shared dialogue. A changing nature, full of possibilities where everything swap, everything goes, everything disappears, but something is. Insects, leaves, animals, seeds, plants ... constitute a representative of a curious creator, observer of the world poses new ways to understand and comprehend our surroundings corpus. It is evident, therefore, that this great catalog of images of nature accumulated over time will leave marks and footprints that appear unconsciously, but at certain times emerge in a kind of inner journey walking trails lived through perceptions, looks, places, feelings ... This appropriation of fragments of reality (seeds, leaves, stems, ....) is a way of referring to the complexity of the universe and the basis for approaching knowledge. (Constantini press-release)
Imagen: La piel de los nidos. Joan Pere Massana 2014
14 march – 16 april, 2015
The exhibition consists of about 30 works of different format, an installation of fiberglass over four meters made specifically for this project , and two video creations : The Lifeguard and Hauptunkt . It was produced by the Education, Culture and Universities department of the Balearic government ..
Born in Son Servera (Mallorca ) in 1973 , Amparo Sard has a degree in Fine Arts from the University of Barcelona, where he now teaches art, and is one of Mallorca's most internationally renowned artists . He has won the City of Palma "Antoni Gelabert " Painting Prize and the Deutsche Bank International Award (1999 ) , in 2004 was a finalist for the 2005 Generation Award, Caja Madrid, among other awards . Amparo Sard commented that his work often moves in the field of metaphor. (MACRO press release)
MACRO, Via Nizza 138, 00198 Roma
Image: Limits, Amparo Sard
5 march – 2 april, 2015
With a series of 21 photographs the exhibition "Mare stone" runs nearly the whole coast of the Mediterranean. This "Mare Nostrum" by Isabel Muñoz, in the words of Christian Caujolle, curator of the exhibition, "seems to be made of water but illusions and seductions evoke the sculpture". The technique used by Isabel Muñoz to perform his works is platinotype. This technique obtains monochrome copies sensitized by contact with iron and platinum salts.
Isabel Muñoz (born 1951, in Barcelona) is a Spanish photographer who lives in Madrid. In 1986, she made her first exhibition, "Toques" and she has already made more exhibitions in several countries of the world for more than 20 years. Her works are in the Maison Européenne de la Photographie, in Paris, the New Museum of Contemporary Art, in New York, the ContemporaryArts Museum in Houston or private collections. (Manége press-release)
Manége Museum Manége sq, 1. Moscú. Rusia
Imagen: Isabel Muñoz
28 february – 26 april, 2015
The beautiful photographs by José Manuel Ballester for the Project, Glimpses of Asturias. Illuminate retain intact all of his creative qualities, discovering the region’s industrial and natural landscapes with the romantic clarity that defines his work and that has remained present in it throughout his long career, inspiring a poetic intimacy. Between 2010 and 2013, Ballester has taken more than 5,000 photographs of Asturias, visiting almost every corner of the region and giving special attention to the central area and axis of the region’s three largest cities, where for the last century and a half, nature and industry have lived together in diverse industrial environments.
José Manuel Ballester is not an artist of architecture, although the majority of his work is inspired by it. In each composition, he registers presences that are no longer there, that have disappeared or that have not appeared yet. Although his work began three years ago, along with the construction process of the Oscar Niemeyer International Cultural Centre in Avilés, other industrial environments have also gained importance in the project that, finally, has been entitled, Allumar, a word from the Asturian language that has a variety of meanings, including, ‘to illuminate, to give birth and to enchant.’ (Museo da electridade press-release)
Museu da Eletricidade. Av. de Brasília, Central Tejo. 1300-598 Lisboa
Image: José Manuel Ballester
KÖLN. Pablo Milicua and Yolanda Tabanera “Risikofreude. Objekts, installations and works on paper” 100 Kubik Gallery
20 march – 23 may, 2015
Yolanda Tabanera (*1965, Madrid) and Pablo Milicua (*1960, Bilbao) deal in their works with the imponderability of the art in its becoming and reception.
The objects and installations of Yolanda Tabanera reflect her interest in materiality, volume and the texture of surfaces. Materials such as glass, esparto grass, leather and ceramics express originality and naturalness.
Pablo Milicuas collages seem exuberant and can’t be perceived by the eye at first glance. He celebrates in his works the accumulation of the trivial, his curiosity in and the combination of many different subjects and the pleasure of a mythical nature.
Both artists celebrate in their works the pleasure of the unknown and the art itself, which includes always the desire to take risks. (100 kubik press-release)
100 Kubik gallery, Mohren Str. 21. 50670 Köln
Image: Pablo Milicua. Collage
BEIJING. Diana Coca, Pilar Escuder, Jorquera, Hector Peinador, Gisela Ràfols, Carlos Sebastiá. “Input: 10 years of Spanish Photography in China” Aotu Studio
21 march – 17 april, 2015
The collective exhibition Input _: 10 years of Spanish Photography in China revisits the recent work of six Spanish photographers who live and work in China. In their artwork, each photographer captures their personal analysis of "CHINA" and the influence it has played in their creative development.
From Jorquera’s study of growing individualism and obsession with success among Chinese youth, to the brutal urban transformation of China captured by the photographic poetry Héctor Peinador and Carlos Sebastiá; from Diana Coca's reflection on survival in an extremely hostile environment to Pilar Escuder's concerns about uncontrolled pollution in cities such Beijing; or even Gisela Ràfols' analysis of identity, this brilliant generation of cutting edge Spanish photographers, attracted by China and its contemporary culture, all highlight relevant and important, social and cultural issues through their works.
Input is curated by Spanish independent curator Susana Sanz and made possible by the support of the Embassy of Spain in China, the Cervantes Institute in Beijing, the ICO Foundation, and Nophoto , a group of Spanish photographers.
Aotu Studio, 67 Beixinqiao Toutiao, Dongcheng District
Image: Diana Coca
TIRANA. Santiago Sierra “Workers leaving the studio. Looking away from socialist realism” Albanian National Gallery of Arts
february 27 – april 5, 2015
On February 27, 2015, the National Gallery of Arts and The Department of Eagles have the special pleasure to open to the public in the temporary exhibitions wing the international exhibition “Workers leaving the studio. Looking away from socialist realism”, curated by Mihnea Mircan. The exhibition includes works by Irwin (Slovenia), Armando Lulaj (Albania), Ciprian Mureşan (Romania), Santiago Sierra (Spain), Jonas Staal (Netherlands), and Sarah Vanagt (Belgium), as well as an exclusive selection of works from the collection of the National Gallery of Arts.
According to curator Mihnea Mircan, “This exhibition is an attempt to articulate specific fragments of the collection at the National Gallery of Arts in Tirana and contemporary art projects whose concerns revolve around the notion of realism. It works through two hypotheses about the realism of socialist times, the two ways in which that discourse did not end. The heroic drive in those images, banishing metaphor but having it return as Freudian slip, undermines and corrodes their realist aspirations, and deflates the mimesis of a world 'to come.' On the other hand, the relations between artistic freedom and political subservience that underpin socialist realist art production radicalize an equation that contemporary engaged practices must also respond to, even if within a different regime of political interlocution.” This exhibition is also supported by the Prince Claus Fund, Netherlands. (National Gallery press-release)
Albanian National Gallery of Arts. Bulevardi "Dëshmorët e Kombit" .Tirana, 1001
Image: National Gallery Tirana
5 march – 5 april, 2015
In order to reach the American Dream in "El Norte," thousands of undocumented migrants from Central America climb onboard "La Bestia," a freight train that travels from southern Mexico to the US-Mexican border. For a current exhibit on view at Centro Cultural Recoleta the Spanish photographer Isabel Muñoz recently boarded the train alongside the desperate stowaways to capture their stories on film.
Isabel Muñoz (Barcelona 1951) Spanish photographer who has featured in contemporary photographic field for its technical (using platinotype and large format), like its subject: the body, eroticism, dance, rural tribes and urban and children, among others; establishing, through his eyes, a social commitment. He has won various awards and most notably Bartolomé Ros Award for his entire career in PhotoEspaña 2009, the Gold Medal in Fine Arts 2009 and obtaining two-time World Press Photo and the National Award Unicef Spain 2010 at the Advocacy and Social Mobilization and COVET Foundation award. His work is in collections of the National Museum Centro de Arte Reina Sofía, Photo Colectania, Fundación Canal Madrid, Maison Européenne de la Photographie and New Museum of Contemporary Art in New York. (CCEBA press-release)
Centro Cultural Recoleta, Junín 1930 (C.P. 1113) Buenos Aires
Image: Isabel Muñoz
12 – 25 march, 2015
Every week, girls from Korogocho slum in northern Nairobi, Kenya's capital city, have the chance to learn boxing. An initiative organized by BoxGirls, this local association promotes boxing in areas where sexual abuse towards women and girls is very common. BoxGirls main goal: to boost the self-esteem and self-defence of women and girls as well as to make them stronger both physically and psychologically.
My series of portraits from this urban sprawl of Nairobi aim to capture the fragility and the strength of these young girls; the challenges they face to take part in BoxGirls and the path to success. Patricia Esteve.
Instituto Italiano di cultura. Grenadier Tower - 5th floor. Woodvale Close n. 1
Imagen: Patricia Esteve
09 – 31 march, 2015
Os adeuses. Photographs by Alberto Martí is an exhibition that recreates images of a relatively recent historical fact: The Galician exodus to America between 1957 and 1963 from the ports of A Coruña and Vigo and subsequent return to Galicia
Alberto Martí Villardefrancos (A Coruña, 1922) is considered a "portrait of human stories". Each of his photographs has emotion, feeling, freshness and naturalness. This selection by the exhibition curator, José Caruncho, allows us to see images in many cases never before revealed, moments to remember and reconstruction of the past who were actors or spectators of emigration of those years, a phenomenon that represented a full lighting and shadowing process but it was one of the fundamental aspects of Galician contemporary history because it affected all facets of their social economic and political life.
The title "Os adeuses" (Goodbyes) perfectly symbolizes the world of the feelings that accompanied persons, crates, bales and bags, recording them forever in the collective memory. With over 70 years dedicated to photography -50 of them worked as a reporter for La Voz de Galicia, Alberto Martí has received numerous national and internacionals awards at speeds as Madrid, Barcelona and Buenos Aires, and part of his work is published a monograph published by the City of a Coruña. (I.Cervantes press-release)
Instituto Cervantes. R. Visconde de Ouro Preto, 62. 00000 Botafogo Rio de Janeiro
Image: Alberto Martí. “A Coruña 1957”
TOKYO. Ricardo Cases / Óscar Monzón / Aleix Plademunt / Antonio Xoubanova “Photography Now! Vol.2: New Spanish Horizon,” IMA CONCEPT STORE
march 13 - april 26, 2015
Ricardo Cases gained recognition in the photography world with his series "Paloma al aire," which captures Spain’s colorful pigeon races. Óscar Monzón's book KARMA receive acclaim for exposing the relation between people and their cars. Aleix Plademunt's "Almost There" is a meditative book that examines the extremes of things nearest and farthest away. Antonion Xoubanova shot "Casa de Campo" at the large-scale urban park of the same name located in west Madrid. All of their works were produced over a period of four years or longer. In a culture that favors immediacy, these four photographers slowly and patiently create their works, which examines Spain as their subject.
The current exhibition was held at the photography gallery“LE BAL”in Paris in December 2014. The widely acclaimed exhibition, which sought to translate photobooks into a photography exhibition featuring four different artists, brought the works into a new narrative and successfully blew new life into the contemporary photography scene. The exhibition has been newly edited for the IMA gallery space.
“Photography Now! Vol.2: New Spanish Horizon” is a collaboration between contemporary Spanish photograph and IMA. It will provide an opportunity for visitors to experience the current state of Spanish photography and likely propose new ideas for the Japanese photography scene as well. Project support: AMPARO. Sponsor: Embassy of Spain (IMA press-release)
IMA CONCEPT STORE 5-17-1 AXIS Bldg. 3F Roppongi Minato-ku, Tokyo
Image: Ricardo Cases
29 march – 24 may, 2014
In Reinterpretada Reinterpreted, Enrique Marty (b. 1969, Salamanca) re-interprets for Deweer Gallery the exhibition he made a few months ago for the Museo Lázaro Galdiano in Madrid. Enrique Marty is the first of a series of Spanish artists who were invited by curator Rafael Doctor to “work” with the collection of the museum. Many of the works Marty created for Madrid now will be on view in Otegem, among others a series of 120 watercolours. On the occasion of the exhibition Deweer Gallery will publish the book Enrique Marty – Reinterpretada Reinterpreted, that illustrates each of these watercolours. (Deweer gallery press-release)
Deweer Gallery. Tiegemstraat 6A. 8553 Otegem. Belgium
Image: Enrique Marty, Revealed Outdoor Scene 4, 2014
13 february – 06 september 2015
The Tattoo exhibition is dedicated to old traditions and new stories. It takes a look at the vibrant, innovative and multifaceted tattoo culture, with a focus on artistic, artisanal and culture-specific issues. International exhibits from diverse perspectives are displayed and current debates considered. This is the first time that an exhibition has brought together such a broad range of references, presenting the phenomenon of the tattoo with a particular focus on art and design, since these enduring pictures, words and symbols inspire artists and designers. The theme of the exhibition is therefore the reciprocal influence of art, traditional and lived tattoo art and visual design
Art is Dangerous, Pablo & Ruth 2010 by Enrique Marty (*1969, Spanien) Oil paint on latex on polyurethane, human hair, textiles, metal, 155 x 90 x 53.5 cm/143 x 60 x 35 cm, loan: Deweer Gallery, Otegem, Belgium Real portraits are always the starting point for Enrique Marty’s tragicomic sculptures. The tattoos of “Pablo & Ruth” in the “Art is Dangerous” series refl ect the iconography of the tattoo motifs in Japanese yakuza which the artist has explored in detail and incorporated into his work. His grotesque fi gures also make reference to early sculptural traditions such as those used in the quaint waxworks exhibitions of the 19th century. He builds on these themes and develops an original sculptural world. Ironic inversions and humour are essential strategies which he uses as an effective weapon. “Art is dangerous”: protest or parody? An allegory of the market system? Can art be dangerous? Or should it be? What role does the art of tattooing play? (MKG press-release)
MKG. Museum für Kunst und Gewerbe Hamburg. Steintorplatz. 20099 Hamburg
Image: Pablo&Ruth 2010. Enrique Marty
18 march .- 25 april, 2015
Joan Hernández Pijuan (Barcelona 1931 -2005) is one of the most important artists in contemporary modern Spanish art. His landscapes, mostly those of Catalonia, are abstract. But he refuses to be called an abstract artist. In his late work the artist makes use of just a few basic media. He reduces chromaticity and mostly keeps his pieces in black, whalería Boiite, green and ochre. Lines are set advisedly, everything that is not necessary is left out. In 2003 Pijuan had a solo show at the MACBA and in 2005 he was represented at the Biennale in Venice.(Bisserée press-release)
Image: "Arbre ocre" Joan Hernández Pijoan 1990
Boisserée Gallery, Drususgasse 7-11 - D-50667 Cologne. Germany
04 march – 08 april, 2015
The exhibition will include the most resent works by the artist, some of the paintings were recently presented at Fundacio Vila Casas in Barcelona, and also the exposition will include three new works created in 2015 especially for the show
Xevi Vilaró (b. Girona 1975) is a multimedia artist, in his artworks he uses not only oil on canvas, but also acrylic glass, backlit and incorporates video, exploring and mixing together traditional materials and techniques. The main heroes in his works are people- faceless or mysterious, disturbing facial expressions, in the way of paradox, but in contact with nature, suffering the poorest emotions as the human beings without socialization.
The main problematic of Xevi Vilaró work is the lack of natural path for humanity, artist represents the character of a man, who lost on the way, and how the individuality can be lost in the faceless society, during the emotionless materialization of everyday life.
“I just always bear in mind that although we believe that are eternal, and we rule the nature, our spirit can disappear”.
Xevi Vilaró is looking for a way for the humanity to return back to the roots, to find the connection with ground, trees and stones. Since then, this artwork brings up the feelings, that live inside the mass and nameless people, their dignity and strength that will stand on the way back to the true essence of human existence
Galereya Osnova. VINZAVOD 4º Syromiatnichesky per, 1-6. 105120 Moscow
Image: Xevi Vilaró. L’abortament de Maria Magdalena, 2013
12 march – 11 april, 2015
“Projections: Searching” brings together new artworks by Spanish artist Raul “Skount” Garcia Periera in an exhibition inspired by the study of psychological projection. For the first time, Skount will showcase photography along with 11 new works and a short film.
Skount (Jerez de la Frontera, Spain, 1985), currently based in Amsterdam (The Netherlands). Inspired by the classical Spanish theatre of his hometown, Skount’s oneiric masked characters beckon the viewer from the urban environment into their mysterious and playful dreamscapes. The great playwrights of Skount’s youth formed a lasting impression, where he regards life as a wonderful play, in which everyone has a role.
Driven by the fundamental desire to free his own mind, Skount’s creativity knows no bounds. With a background in Streetart, his artistic expression spans paint, paper, music and performance, to video art, sculpture, and installation. Yet Skount always comes back to masks. Humans the world over, have used masks since ancient times for sacred rituals, as ornamentation, and in performances and theatre. The mask disguises the identity of its wearer, and symbolizes the need to hide or repress a person’s desires, fears and concerns. Skount observes that everybody carries a mask, with it we conceal our identity and adopt a more socially acceptable image to get by day to day. But we can also choose the moments and people with whom we can reveal our true nature, and take off our masks.
Skount’s irrepressible curiosity for other cultures has inspired him to travel and study different forms of creativity and traditions around the world. Skount has worked and exhibited throughout Spain, Europe, Israel, China, Japan, Australia, Mexico and the United States.Text by: Phillipp Barth. Curator: Visual Therapy. (V.T. press-release)
AlMakan Gallery. Mubarak Al Kabeer St. in Sharq, Kuwait.
11 march – 18 april, 2015
Born in Madrid, 1975 Secundino Hernández lives and works in Berlin
Secundino Hernández’s diverse and energetic painting practice resists easy characterisation. His work features intricately structured compositions that mix strong linear elements and rich bursts of colour. Some canvases feature abstracted, atomised forms, while others have more densely overlaid imagery in which it is possible to pick out figurative elements.
His paintings deftly combine representation and abstraction, linear draughtsmanship and colouration, minimalism and gesturalism. Over the course of his career Hernández has mixed diverse references: a physicality that recalls Action Painting, the shorthand figuration of cartoons, and passages evoking painterly precedents ranging from El Greco to Giacometti, Velázquez to Picabia. This stylistic multiplicity grows out of Hernández’s detailed and informed knowledge of art history. While his references are broad he has, in recent years, developed a specific engagement with the work of old and modern masters from his native country, Spain, as a way of getting in touch with his personal and artistic roots.
In keeping with the breadth of his influences, Hernández employs a variety of techniques including washing, scraping, and working directly from paint tubes. He has a meticulous and process-oriented approach to making work, and his paintings openly display the triumphs and struggles of the artist’s practice, creating a tension between beauty and destruction. (Múrias Centeno Press-release)
Galería Múrias Centeno, Rua Capitão Leitão 10/16. 1950-051 Lisboa - Portugal
Image: Ohne Titel, 2008, Secundino Hernández
22 march – 28 june, 2015
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.
Joan Miró: Instinct & Imagination is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía. This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities. It is presented at the Denver Art Museum with the generous support of donors to the Annual Fund Leadership Campaign and the citizens who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine, CBS4 and The Denver Post. (Denver Art Museum Press-release)
Denver Art Museum. 100 W 14th Ave Pkwy. Denver, CO 80204
Image. Joan Miró,Woman, Bird and Star (Homage to Picasso)
26 february – 6 april, 2015
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. (AECID press-release)
Real Academia de España en Roma, Piazza San Pietro in Montorio, 3, Roma. Italia
Image: Paula Bonet
3 march – 7 may, 2015
The Gabarron Foundation Center for the Arts is pleased to present Contemporary Mula, a group exhibition that awards the creativity and imagination of twelve creators born and based in the town of Mula (Murcia), situated in southeastern Spain, the birthplace of artist Cristobal Gabarron, founder of The Gabarron Foundation. He also developed a cultural organization in 2004, The Painted House Foundation of Mula (La Fundacion Casa Pintada de Mula), committed to the investigation and promotion of contemporary art in its town.
Curated by Nono Garcia and Juan Garcia Sandoval, this exhibition consists of twelve artists, each with their own style, material and concept that will leave no one indifferent, both for its variety and quality of the works. Completely different styles can be found, such as paintings by Ayllon, Daniel Belchi, Calero, Carlos Caballero, Andrés G. Mellado and Cristina Gutiérrez; as well as a video installation by Ramon Lez.
The paintings and photographs face life with a critical attitude in quality artworks. Doubtlessly, with different visions and situations reflected in the paintings, that enrich us all with an interesting reflection from art and its participation in the construction of cultural models, understood as an extensive feeling and varied works of the studies of these artists who mainly share a passion and an environment in which they search for their inspiration. (F. Gabarrón press-release)
The Gabarron Foundation - Carriage House Center for the Arts. 149 East 38th Street. New York, NY 10016
Imagen: Mi alma desnuda 2. Cristina Gutierrez
march 14 - april 19, 2015
Munch Gallery is proud to present Bubi Canal’s second solo show in New York. Magic Garden presents new photography, video, and sculpture. The exhibition’s eponymous sculptures, assembled from colorful pieces of found plastic, radiate totemic energy. One photographic series, Beautiful Mystery, features a typical American suburban den — replete with faux wood paneling, baseboard radiator, and gold rug metamorphosed into a surreal backdrop for tactile anthropomorphic figures who are all the more beguiling for their context.
“I began to work on Beautiful Mystery with the intention of producing a series of still lifes, but what emerged instead were portraits. So, the project took an entirely different path. For me, it is important to let the work speak and tell me what it wants to be, without imposing any preconceived notions.” In doing so, Canal reveals the world that lies beneath the surface of immediate sensation, a subliminal cosmos of awe and magic.
The artist’s video, Hologram, depicts characters who embark on a journey from darkness and fear to light and love. According to Canal, “the external world of Hologram is a manifestation of the characters’ subconscious. They communicate with each other through a choreography that transforms them.” He believes that optimism and illusion are contagious, and hopes that his work will have a similarly transformative effect on the viewer. Like a hologram, the coherent totality of Canal’s universe can be accessed through each of the works on view. Every piece activates a dimension where memory, imagination, and reality are mutable and inextricably linked. Magic Garden is imbued with wondrous intent. Exhibition text by Sara Rubinow, co-director of RV.PAPERS (Munch gallery press-release)
Munch Gallery, 245 Broome St, Nueva York 10002
Image: Beautiful Mystery. Bubi Canal, 2015
REGUENGOS DE MONSARAZ. Santiago Morilla “aaaai see nothing”” Alentejo Triennial, Castelo de Monsaraz
4 – 31 march, 2015
"I see nothing" (No veo nada) were the last words uttered by the famous bullfighter Manolete before bleeding to death after suffering a blow struck by the bull "Islero" at Linares square, in the 28th August, 1947. It was said that Manolete was the icon representing the perfectly pure, brave and honest bullfighter. Even today, there are those who ensure that no other surpassed him in the "killing". A mystical attitude is associated with the performance of his "art", an almost presbyteral and liturgical offertory.
A drawing in whitewash reveals the impassive face of Manolete at the arena of the Monsaraz Castle during the great feast of “touro da morte" (bull of death), during the Festivities in Honor of Nosso Senhor Jesus dos Passos. The centenary tradition that proceeds to the killing of the bull in the arena was permitted in this medieval village in the previous day of the event, held on the 13rd of September 2014, which established this “garraiada” as the last to see adopted its regime of exception in Portugal. During the course of the festival, dilettantes and other aficionados jump, stumble and drink os n the face of the myth, erasing its image, until its completely disfigured in the real and symbolic setting of a double death, of the Manolete and of the animal. This is a review of the old and controversial exercise of artistic iconoclasm - that has always existed at the service of the representation of religious and popular power symbols - behind the formalization of transcendent images in contaminated contexts and scenarios.
In addition to the video recording of the performance, the artist produced also site-specific sculptures, a series of drawings that love and maim themselves and a Pantocrator to be installed on the altar of the Igreja de Santiago. The words "no veo nada" are embroidered in a custom cloak symbolizing the impossibility of seeing, as opposed to the reverence to a representation of something that is worshiped. (Trienal no Alentejo press-release)
Castelo de Monsaraz. Reguengos de Monsaraz, Portugal
Image: Santiago Morilla
4 march – 19 april, 2015
From the beginning photography, which offered the generic quality of “mechanically” reproducing reality as an unfailing truth —or so it was thought—, slowly infiltrated the mould of classic pictorial genres to become an art that is now practiced as such. Thus, the representation of the landscape that would reveal the beauty of nature to laymen, as well as document previously unknown far-away lands, underwent enormous development over the course of the nineteenth century to create, over time, a specific aesthetic.
Meanwhile, portraiture, directly inspired by the rules of painting, fluctuating between the exact and supposedly objective representation of the subject, the evoking of the subject’s beauty and uniqueness and, above all, the magic act against death, still constitutes an unparalleled singularity. Indeed, it is built within the framework of a trilogy in which each role is clearly defined and the expertly-organised game between the artist, his model and the viewer is clearly moderated by the artist.
Ricardo López Bueno voluntarily chose a classic yet very personal approach that affirms rigorous, specific and uncompromising choices. In his work he plays with the tradition nal issues of viewpoint —seated subjects, often in three-quarter view and indoors—, frame —close-ups of the face or bust to better capture the subject’s personality—, light —the permanent presence of double artificial lighting to give a sense of volume—, decoration—as neutral as possible, that is, people standing out against a black background in modern clothes—, and the choice of subjects, who he prefers be simple and anonymous. This exhibition will thus reveal the artist’s talent and, undoubtedly, a part of himself. (Dichroma press-release)
Manége sq, 1. Moscow. Russia
Image: “Carmen” Ricardo López Bueno
5 march – 23 april, 2015
The exhibition Women & Women, curated by Blanca Berlin, was put together in 2010 to mark the cultural start to the Spanish presidency of the European Union in the United States. Its purpose was to familiarise American audiences with the work of Spanish artists at their height of creativity. The photographs featured in the exhibition portray the essence of the female body and express the changes that have occurred on the art scene in recent decades. Works in different formats by five contemporary Spanish artists – Beatriz Moreno, Isabel Muñoz, Ouka Leele, Gabriela Grech and Soledad Córdoba – have been selected for the show. (I. Cervantes press-release)
Instituto Cervantes. Via Nazario Sauro, 23. 80132 Nápoles
Image Córdoba Soledad “Un lugar secreto” 2007
march 1 - may 1, 2015
A large-scale sculpture by the Spanish artist Jorge Palacios will occupy a privileged space in Manhattan’s mythical Spring Street alongside the iconic Trump SoHo building.
The installation coincides with the opening of the artist’s latest solo exhibition in New York, organized by the prestigious Fridman Gallery. Palacios’s work has attracted the interest of such legendary names in architecture as New York-based Peter Marino,Hernández de la Garza from Mexico and Eric Owen Moss from California.
The artist has brought his sculptural works to public spaces in capital cities and cities of cultural heritage all over the world and has been described in art publications as one of the most important emerging artists. Following in the footsteps of such masters as Eduardo Chillida or, more recently, Jaume Plensa, Jorge Palacios (born 1979 in Madrid) has joined the list of representatives of Spanish art on the international stage.
A large-scale sculpture in teak, his project for the city of New York serves to enrich the dialogue between art and architecture, integrating itself into an environment dominated by large towers of glass and steel. Entitled “Sketch in the Air”, this impressive work of public art is being presented by the renowned Fridman Gallery, which is based in the city of skyscrapers.
Palacios’s work explores abstract forms to test the limits of material, line and restrained expression. A balance is established between the sculpted material and sculpted air, as the works explore the dichotomy between soundness and lightness. The shapes reveal a permanent tension between line and curve.
The title of the exhibition is a reference to the different convergences between lines and planes, which reveal to us the path taken by the artist through the realms of geometric and organic abstraction.
Born in Madrid in 1979, Jorge Palacios has explored the realms of science and nature to discover pure and essential geometric masses and forms, in many cases molecular. He finds inspiration in these shapes to reach maximum expressiveness through minimal expression. In spite of his youth, Jorge Palacios has exhibited alongside such internationally recognised artists as Andy Warhol, Damien Hirst, Sol Lewitt, Olafur Eliasson, Jean Tinguely, Ernesto Neto, Michelangelo Pistoletto and John Baldessari. His sculptures have made their way to all the corners of the planet (Canada, Switzerland, the United States, Spain) and are featured in both public and private collections. He has participated in major international art fairs in the U.S, Belgium, the Netherlands, Italy and other countries and has contributed to international projects for numerous cities (Toronto, Seoul, Chaco, Panama City, New Orleans, etc.) Palacios’s track record as a creator of site-specific projects reveals his keen interest in establishing a dialogue between his sculptures and their surroundings and the importance of this dialogue for his particular conception of art. .(Fridman press-release)
Fridman Gallery: 287 York Spring Street. NY 10013
Image: “Balance and inertia” Jorge Palacios
25 february – 16 april, 2015
Notes on a Working Space is conceived as a residency in which Laura F. Gibellini will explore specific components of her artistic practice in relation to the built environment. Gibellini's installation in the gallery will reflect the environmental conditions as well as transitional nature of South Williamsburg, Brooklyn, where Los Sures is located. The residency will be used to explore impermanence, invisibility and the difficulties of representing the fluid nature of a particular place. The work incorporates Gibellini's writing, drawing and video. Notes on a Working Space reflects on the gaps implicit in representation and on how that which is irrepresentable (the air, the ocean) remains unacknowledged and that which is unacknowledged remains un-thinkable. It is this 'unthinkability' and the possibility of imagining the irrepresentable that Gibellini is most interested in documenting.
Laura F. Gibellini's recently completed DOM (Variations) a permanent public art installation for three subway stations in New York City that inspired the subsequent solo show De Rerum Natura , Slowtrack, Madrid, (2014). Her recent solo and group performative lectures and projects include Constructing a Place, ICI, New York (2013); Muestras de Archivo, Matadero, Madrid (2012); Variations on a Landscape, asm28, Madrid (2011); YANS & RETO, Anthology Film Archives, New York (2011); Night of Festivals 2012, Nottingham (2012); Video Guerrilha, Urban Space Projections, Sao Paolo, (2011). Gibellini's first book Construyendo un Lugar /Constructing a Place was published by Complutense Universtiy of Madrid in 2012. (Museo Los Sures press-release)
El Museo de Los Sures .120 South 1st St., Brooklyn, NY 11249
Image: Laura F. Gibellini
16 february - 13 march, 2015
Organized by the embassy, the exhibition presents selected masterpieces from the collection owned by Japanese confectionery company Yoku Moku. The Yoku Moku collection boasts 500 of Picasso’s ceramic works, many of which have been exhibited at the Museum of Modern Art, Saitama last year as part of the events commemorating 400 years of Spain-Japan relations. And that exhibition paved the way for another collaboration between the embassy, the museum and Yoku Moku, resulting in the current show.
In the embassy’s stylish exhibition space, visitors will be welcomed by ingenious ceramic works with playful imaginations, such as “Tripod” (1951) and “Duck flower-holder” (1951) featuring unique faces; a colorful “Fish” service (1947); and large vases with women.
Embajada de España, 1-3-29 Roppongi, Minato-ku. Tokio 106-0032.
Image: Embajada de España en Tokio.
BRUSSELS. Alberto García Alix “Faces, Now. European Portrait Photography since 1990” BOZAR, Centre for fine Arts
18 february – 17 may, 2015
Ever since the invention of photography portraits have become commonplace. In the 1990s photographers rediscovered the portraiture genre. Since the fall of the Wall they have used photography to question the identity and place of the individual in the digitalised and globalised world. What do the face, pose, clothing and backdrop tell us about the person portrayed? FACES NOW exhibits the works of 31 renowned European photographers, including the likes of Alberto García Alix, Tina Barney, Anton Corbijn and Stephan Vanfleteren.
Curator: Frits Gierstberg. Participating artists : Tina Barney, Sergey Bratkov, Koos Breukel, Clegg & Guttmann, Anton Corbijn,Christian Courrèges, Denis Darzacq, Luc Delahaye, Rineke Dijkstra, Jitka Hanzlová, Konstantinos Ignatiadis, Alberto García-Alix, Stratos Kalafatis, Boris Michailov, Nikos Markou, Hellen van Meene, Jorge Molder, Lucia Nimcova, Adam Panczuk, Dita Pepe, Anders Petersen, Paola De Pietri, Jorma Puranen, Thomas Ruff, Clare Strand, Beat Streuli, Thomas Struth, Juergen Teller, Ari Versluis & Ellie Uyttenbroek, Stephan Vanfleteren, Manfred Willmann. (Bozar press-release)
Centre for fine Arts, Rue Ravenstein 23. 1000 Bruxelles
Image: Alberto García Alix. “Mi lado femenino 2002”
february 24 - June 7, 2015
The Davis presents the world premiere of What Does History Know of Nail Biting?, the latest multi-channel video work from acclaimed Spanish artist Francesc Torres (b.Barcelona 1948). Examining the extraordinary history of the Abraham Lincoln Brigade, a group of American volunteers who went to fight for the Republican side against fascism during the Spanish Civil War (1936-9), the work juxtaposes recently recovered archival footage of these soldiers and their battles with recent documentation of the sites of major military encounters during the Spanish Civil War. Curated by Michael Maizels, Mellon Curator of New Media Art, with generous support from the Kathryn Wasserman Davis '28 Fund for World Cultures and Leadership. (Davis Museum press – release)
Davis Museum. Wellesley College, 106 Central Street. Wellesley, MA 02481-8203
Image: Francesc Torres. Film Still from What Does History Know of Nail Biting? (2014).
26 february - 28 march, 2015
"Contemporarte" comes to Instituto Cervantes Dublin to give you the possibility to admire the most recent photography created in Andalusia: contemporary images with different aesthetics to allow you to value the visual wealth in young creators’ works.Contemporarte is an artistic creation competition organised by the University of Huelva (Spain) jointly with the other public universities in Andalusia, in a common frame called Proyecto Atalaya.
The programme, financed by the Andalusian government, seeks to promote the work of universities on promoting culture, artists and arts programmes on-line, and it works as an observatory of the arts in Andalusia.Born in 2009, the initiative Comtemporarte awards contemporary photography works by authors within the Andalusian university community, who do not receive a standard award, instead they fix a price for their work and judges decide whether the piece deserves to be acquire or not. This way, artists introduce themselves to the standard procedures in the Arts market, and learn to value their own work attending to real world criteria.
Contemporarte has selected a collection acquired in the past few years to be shown at Instituto Cervantes Dublin from 25th February to 28th March 2015, with the title “Contemporarte 2009-2015: Visions of Contemporary Andalusia”. (I. Cervantes press-release)
Instituto Cervantes, Lincoln House, Lincoln Place. 2 Dublin. (IRLANDA)
Image: Contemporarte 2009-15
5 february – 20 april, 2015
Anthological works by 14 artists of different generations and nationalities: the urgency and relevance of producing art from elements present in the world, attributing new meaning to materials, subverting meanings and reinventing ways of seeing and feeling things. A highlight of the 32nd Biennial’s parallel circuit, the exhibition aims to establish a sort of bridge between a founding moment of contemporary art—the creation of the first ready-mades exactly a century ago by Marcel Duchamp—and the fertile reinvention of this type of operation today.
The materials explored are most diverse: inner tubes, toothpicks, electronic waste, weapons, candy, vehicles and even garbage. The techniques, as well, are deliberately unusual, intermingled and daring. “We looked for works that seek to create the new without creating more things, that start with what already is, already exists,” curator Marcello Dantas explains. Two years of intense research resulted in a widely diversified panorama which combines big names on the international circuit, such as Chinese artist Song Dong and the Portuguese Joana Vasconcelos, with younger artists whose careers are still on the rise, like the Uruguayan Julia Castagno and the Italian Lorenzo Durantini.
Artists: Daniel Canogar, Daniel Senise, Douglas Coupland, Joana Vasconcelos, Julia Castagno, Lorenzo Durantini, Michael Sailstorfer, Michelangelo Pistoletto, Pedro reyes, Daniel Rozin, Petah Coyne, Ryan Gander, Song Dong, Tara Donovan, Tayeba Begum Lupi.(CCBBB press-release)
Centro Cultural Banco do Brasil Brasília. SCES, Trecho 02, lote 22CEP: 70200-002 | Brasília (DF)
Image: Daniel Canogar, photo: Wellington Nemeth
20 february – 4 april, 2015
“Kaleidoscope” is an exhibition showcasing 12 hand-selected artists that have created, inspired and lead the public art movement in Spain over the past 10 years: Nuria Mora, Zosen, Okuda, Felipe Pantone, Kenor, Murone, Btoy, Txemy, Pez, Demsky, Uriginal, Spok
Artists that initially placed their mark on abandoned buildings, villages, city streets and dark alleys, have now reached international attention for their artwork in galleries and museums across the globe. ‘Kaleidoscope’ aims to analyse, challenge and celebrate the influences, patterns and trends that can be found in Spanish art and understand how their culture, location and heritage has helped them develop their colourful creative voice. Spain has always enjoyed a unique position in relation to modern art history. Through the innovation of Masters such as Goya, Picasso, Dali and Miro, to name but a few, the region and culture has earned a reputation as truly rebellious, striving to carve out its own identity as a breeding ground for the avant-garde, breaking away from the ruling Parisian Salons of their day. Now in 2015, Spain’s legacy of insurrection continues to fuel a collection of urban artists exploring various mediums, styles and dimensions, from large murals to intricate, detailed paintings and stencils; experimenting with colour, humour and the varied Spanish landscape.
The underlying similarities and paradoxical diversity of style originating from Spain can be largely accredited to this rich heritage and, with artists persisting to experiment, not content to simply mimic the successes of others, the region continues to bubble over with a raw, and largely undiscovered, collection of genius. Unlike much of the international street art scene, Spain’s large rural communities have allowed artists access to space on not just the steel shutters, concrete blocks and industrial surfaces of the modern city, but on to the barn doors, rocky outcrops and stone walls of the Mediterranean landscape. Many of the sleepy towns and villages across Spain are left to their own regulative devices and, although in some respects the law is strict in relation to public art, we see many artists have honed their skills outdoors due to the welcome lack of attention by their local authorities. These small communities have effectively allowed the Spanish public art movement to grow with relative freedom and, with the use of photography, these once secret masterpieces have reached the eyes of millions through the internet and social media platforms.
MYA aims to bring together an innovative and highly influential group of contemporary artists from all corners of Spain in one exhibition, illustrating the pure talent that has developed from this unique culture. Specifically curated for MYA’s own award winning gallery space, even inviting choice artists to paint directly on to the interior walls, the exhibition sets to capture the attention and imagination of the London art market, urging them to recognize and connect with this powerful group of living artists. Alongside the exhibition MYA will showcase a collection of photographs from these artists demonstrating the impact that their public artworks demonstrate in the original settings, from abandoned farm buildings to city streets. The exhibition will also host a detailed panel discussion about the collection, discussing the artists within the show and the history of this powerful contemporary movement. (MYA press-release)
MYA Gallery, 150 Commercial Street. London, E1. 6NU
Image: Nuria Mora
19 february – 29 march, 2015
Spaced is a recurring international event of socially engaged art that showcases newly commissioned artworks developed in response to the distinctive characteristics of western australian sites and communities. spaced seeks to foster the development of new modes of interaction between artists and communities and establish dialogue between regional, metropolitan and international points of view. Following on from the great success of the inaugural spaced: art out of place, spaced 2: future recall will comprise 12 commissioned projects that will take place in regional Western Australian locations throughout 2013-14. National and international artists have been invited to undertake residencies in regional host communities throughout Western Australia to produce works that respond to Western Australia’s culture, society and natural environment. The unique outcomes of these projects will be premiered in the host communities before being gathered together in a group exhibition at the Western Australian Museum (WAM), Perth in early 2015. This exhibition will tour nationally throughout 2015-16. AC/E collaborates in this project supportin the participation of the Spanish artist Rubén Santiago. In 2014 Madrid-based artist Ruben Santiago, traveled to Derby, Western Australia to begin his spaced 2 residency. Held in partnership with DADAA, Santiago’s project involved the investigation and development of creative works around local subjective perceptions of Derby’s history. Interested in creating a space for reciprocal learning between existing local interest groups and the artist himself, Santigao developed a project focussed on an art form specific to the Kimberley area – boab nut carving. Santiago over a period of six weeks engaged and held workshops with Derby’s community of boab nut carvers, learning the intricate techniques and narratives associated with this craft. This activity is a vital source of income for many in the Kimberley region, and has generated around it a community of artists, both amateur and professional. Although this technique is traditionally seen as a craft, many nut carving masters have repeatedly proven its potential as an effective art form that favours the persistence of memories, the cross-cultural process of sharing knowledge as well as being a valid medium for the expression of individual concerns or for the public voicing of political and social messages. Santiago’s project Not what it’s cracked up to be will see the artist present a collection of 60 carved boab nuts, one for each day of his time in Derby. Santiago’s collection will display a critical and subjective analysis of different aspects of Derby`s history with the aim to expand the narrative potential of a relatively recent art form, while paying tribute and claiming increased recognition for the work developed by many local carvers, present and past. .(AC/E. press-release)
Western Australian Museum James St Mall, Perth Cultural Centre. Australia
Image: Rubén Santiago
24 january – 28 march, 2015
The work of Madoz presents black and white photographs of objects that combine the ordinary with illusory perceptions of reality. The images generate clever imagination games, paradoxes and metaphors which lead him to create his own world, often impregnated with fine irony. Madoz questions reality and invites the viewer to discover hidden poetry in the most common objects by altering their context and their functions.
Born in Madrid, Spain, in 1958, Chema Madoz studied art history at the Centro de Enseñanza de la Imagen. His work has been shown throughout Europe, Asia, South America, and the United States and is in museum collections worldwide. Madoz will have an exhibition in France at Les Rencontres d'Arles Photographie 2014. (MAM press-release)
Mario Mauroner Gallery, Residenzplatz 1.5020 Salzburg.Austria
Image: Chema Madoz
SALZBURG. Iziar Barrio, Daniel García Andújar, Francisco Ruiz and María López Ruido “Invisible Violence“ Salzburger Kunstverein
14 february – 10 april, 2015
Invisible Violence is a multi-disciplinary project curated by Zoran Erić, Séamus Kealy and Blanca de la Torre, and hosted by Artium, Basque Museum-Centre of Contemporary Art, Vitoria-Gasteiz, Spain, the Museum of Contemporary Art, Belgrade, Serbia, and the Salzburger Kunstverein in Austria.The original geo-political context of this project was a European triangle formed out of the Basque region, Ireland (especially Northern Ireland), and Serbia, all which bear the stereotypical image of being notorious for violence and terror. This common denominator and constellation was a backdrop to the project, which has now expanded to include Austrian and broader European contexts.
This exhibition explores so-called invisible violence as it is globally discernable within quotidian, domestic, work-related, and everyday life. This includes administrative and bureaucratic violence; forms of visual violence in media; as well as subtle forms of sectarianism and community animosity from recent historical and current socio-political circumstances. These comparisons of violence are being explored by bringing together artists’ work that problematize territorial, nationalistic, mythological and identity-related topics. Overall the project strives to not be bogged down by partitioned or oppositional representations. Artists: Kader Attia (FR), Itziar Barrio (ES), Ursula Biemann (CH), Rossella Biscotti (IT/NL) & Kevin van Braak (NL), Sarah Browne (IE), Declan Clarke (IE), Willie Doherty (IE/UK), Eva Engelbert (AT) & Katharina Schniebs (DE/AT), Harun Farocki (DE), Daniel García Andújar (ES), Eva Grubinger (AT), Dejan Kaludjerović (RS/AT), Vladimir Miladinović (RS), Locky Morris (UK/IE), Adrian Paci (AL/IT), Christodoulos Panayiotou (CY), Garrett Phelan (IE), Nikola Radić Lucati (RS), María Ruido (ES), Francesc Ruiz (ES). (Salzburger Kunstverein press-release)
Salzburger Kunstverein, Künstlerhaus. Hellbrunner Straße 3, 5020 Salzburg. Austria
Image: Itziar Barrio
5 february – 4 april, 2015
To begin 2015, the Brussels based artist Isaac Cordal takes possession the Spacejunk network with legions of tiny, middle-aged men in suits who navigate dreary, oppressive environments. Realized to be placed in the street, taking advantage of the existing architecture, Isaac lets us see a rough view of our society. Through ingenious installations, it points out the imperfections of our consumerist routines, the intellectual enslavement of mass and highlights environmental issues. (SpaceJunk press-release)
SpaceJunk 35, rue Sainte-Catherine. 64100 Bayonne - FRANCE
Image: Isaac Cordal
06 february – 01 april, 2015
Manuel Hernández Mompó. He was born in Valencia in 1927. From a very early age he was interested in painting. He was admitted to the Valencia School of Arts and Crafts in 1943 when he was barely 15 years old. From 1948 he obtained various scholarships which enabled him to travel and extend his studies in Granada, Paris and Rome. During his stay in Paris he came into contact with Informalist circles, a movement which would mark his subsequent production. He continued to travel throughout his whole life, alternating periods in Spain with others in Amsterdam, Rome and the United States. He had exhibitions in cities such as Madrid, Valencia, Rotterdam and Rome, and also took part in collective exhibitions both in Spain and abroad. Throughout his career he received a number of awards, including the UNESCO Prize at the Venice Biennale in 1968. He died in Madrid in 1992. (I.Cervantes press-release)
Instituto Cervantes, 7, Rue Quentin Bauchart. 75008 París
Image: Manuel.Mompó. I.Cervantes Paris
06 february – 06 april, 2015
Curated by Julia Morandeira Arrizabalaga. Canibalia is a research and exhibition project curated by Julia Morandeira Arrizabalaga around the figure and notion of the cannibal. Gathering artists from North and South America, Portugal and Spain, the exhibition will entail a visual exploration on the anthropophagic subject.
Canibalia explores the construction of the cannibal as the bricolage of these different tropes through the friction of historical documents, contemporary works and objects. By so doing, the aim is to trouble the visual and epistemological archive, thus problematizing a naturalized or univocal reading. The cannibal conforms a multi-stable, seismic image in which different temporalities and lines of flight to apparently distant but profoundly attuned topics converge and collide. As a result, the fundamental ambivalence of the cannibal trope is rendered visible: how cannibalism – as a landscape of different metaphors – constantly defies and rearticulates coloniality’s rhetoric, be that imperial or global; how it implies both the fear of dissolution of the self and the appropriation of difference. Further exploring the logic of predation, capture and digestion of the other, it posits a geography of devouring perspectives and positions, in which subject, territory and environment reciprocate the plasticity of thought. In sum, Canibalia is a counter-topia from where to (un)think cannibalism and the cannibal as spaces of dissidence, desire, community, ecology and exchange.
Atists: Théodore de Bry, Coco Fusco, Jeleton, Runo Lagomarsino, Candice Lin, Pablo Marte, Carlos Motta, Pedro Neves Marques, Manuel Segade y Daniel Steegmann Mangrané.
With the support of Acción Cultural Española and François Ghebaly Gallery(AC/E press –release)
Kadist Art Foundation, 19bis/21 rue des Trois Frères, 75018
04 february – 27 march, 2015
In February 2015 we exhibit work of the prominent Spanish artist, Abraham Lacalle (Almeria, 1962). The exhibition includes a selection of his most recent paintings.
Lacalle lives and works in Madrid and belongs at the top of contemporary Spanish artists. His work is characterized by literary references, Lowry, Pessoa, de la Serna. In his paintings there are references to great masters of painting, as Marcel Duchamp, Picasso and Mondrian.
His works impress with the special subjectivity that makes the color treatment. A turn in it so ironic and sarcastic, constant references to the great artistic and literary movements of the 20th century social criticism. (Alicia Winters press-release)
Alicia Winters Galllery Walstraat 60, 6811 BD Arnhem, Países Bajos
Image: Abraham Lacalle
6 february – 3 may, 2015
Tàpies: From Within is a major historical survey that features a selection of more than 50 large-scale paintings and sculptures, representing diverse moments from throughout Antoni Tàpies’ (b. 1923, Barcelona, Spain; d. 2012, Barcelona, Spain) career. These include early examples from 1945 through to recent works created in 2011—the year prior to his death. The exhibition explores the Spanish artist’s use of unusual materials and forms and the development of his unique visual language, which earned him an international reputation as one of the most successful abstract painters of his generation.
Curated by former Tate Director Vincente Todolí, this retrospective offers a unique view into Tàpies’ groundbreaking practice, which fused impoverished materials with symbols of Eastern and Western culture to create dense works covered with graffiti-like gestures. His alchemical practice mixed spiritual and existential questions with unique material investigations of surface, mark-making, and found objects. The exhibition presents an intimate and unusual view of his oeuvre, through a selection of works drawn exclusively from his own private collection and that of the Fundació Antoni Tàpies. (Perez Art Museum press-release)
Perez Art Museum, Biscayne Blvd. Miami, FL 33132
Image: Antoni Tàpies, Embolcall (Wrapping), 1994
16 january – 16 july 2015
The Mysteries of Columbus is created by Mr. Gabarron in 2006. The work is inspired by the famous explorer and navigator, Christopher Columbus, and his journal. To pay the tribute to human spirit of adventure and the discovery of America, Mr. Gabarron created ten symbolic pieces. Their rounded forms and clear lines suggest the natural lives of mankind and primitivism. The works are also heavily filled with blocks of different colors, which well represents the Indian culture in America.
However to the artist, the meaning of this group of sculptures is much beyond than this. Coming from Murcia, Mr. Gabarron wants to express his reflection on the role of art in our lives, as well as the coexistence and the development of human values through this works.
Such pursuing guided him to the space of public art. His strong commitment has led him to multiple public art projects for different sites and cities. During the creation process, he has been constantly seeking balances among elements of art and urban space: the balance between the closeness with the viewers and improvement of the environment where their daily lives evolve; the balance between humanity and efficient urban planning; the balance between modern metropolitan centers and the culture anchored within it. The Mysteries of Columbus is the answer to those how-to-balance questions. The sculptures play with the monotony urban environment with its most varied forms and colors. Mr. Gabarron also leveraged on his experience in painting and extended the color beyond the boarders of facets and softened the sharpness of angles. By doing so, he redefined surfaces of the sculptures and created more possibilities. The open and free color scheme and form invite the viewers to make a small parenthesis in his or her daily routines and to explore the meaning of the work. No matter what conclusions they draw from them, the process already brings changes to their lives and breaks the walls of intransigence and intolerance. (Gabarrón foundation press-release)
China Art Museum, Pudong, Shanghai. China
Image: Cristóbal Gabarrón
31. January 2015 - 25. May 2015
With his imaginative motifs, Joan Miró (1893–1983) is one of the most popular twentieth century artists. He envisioned a dynamic art that makes its way into life. For him, painting meant creating his own, unique world. Instead of rendering reality, his work was characterized by a new emotional visual language. In February 1920, the 27-year-old Miró left his native city of Barcelona in a quest for inspiration and recognition in Paris. He moved into a studio on rue Blomet which became a gathering place for literary Paris. Miró, who loved to read, was greatly influenced by his friendship with such avant-garde writers as Tristan Tzara, Robert Desnos, Paul Éluard and Michel Leiris. Miró pushed the boundaries of painting and incorporated words to generate associations in many of his painting poems – a term that became the title of many of his works after 1925. The exhibition Miró. Painting as Poetry illustrates how Miró’s pictorial symbolism emerges from his playful treatment of words and images. In the same way that he was inspired by literary works, his own works inspired poets, including André Breton, spokesman of Surrealism. Miró and his literary friends worked on many joint projects together. In addition to around 50 paintings from all of his creative periods, the exhibition will show a representative selection from the more than 250 illustrated books that he designed.
Loans come from the Successió Miró, the Fundació Joan Miró in Barcelona, the Fundació Pilar i Joan Miró a Mallorca and museums in Europe and America.
In collaboration with the Kunstsammlung Nordrhein-Westfalen. The exhibition is under the joint patronage of Mateo Isern Estela, Mayor of Palma de Mallorca, and State Secretary Wolfgang Schmidt, Commissioner of the Free and Hanseatic City of Hamburg to the European Union. The exhibition is sponsered by ExxonMobil, Bankhaus Lampe and Lampe Asset Management.(Bucerius kunst forum press-release)
Bucerius Kunst Forum gGmbH. Rathausmarkt 2. D-20095 Hamburg
Image: Joan Miró (1893-1983): Cercle rouge, étoile (Roter Kreis, Stern), 13. Juli 1965, Privatsammlung als Dauerleihgabe in der Fundació Pilar i Joan Miró a Mallorca, © Successió Miró / VG Bild-Kunst, Bonn 2015
LONDON. Angela de la Cruz, Angels Ribé “Adventures of the Black Square: Abstract Art and Society 1915 – 2015” The Whitechapel Gallery
15 january – 6 april, 2015
Curated by Iwona Blazwick and Magnus af Petersens, this major show traces the genesis of geometric abstraction from the early 20th century to present day, shedding new light on its evolution. The exhibition brings together over 100 works by 80 modern masters and contemporary artists including Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica, Alexander Rodchenko, Sophie Taeuber-Arp, Rosemarie Trockel, Theo Van Doesburg and Andrea Zittel, taking over six exhibition spaces across the gallery. The selection of works also includes pieces by Spanish artists Angela de la Cruz and Angels Ribé.
Angela de la Cruz was born in 1965 in La Coruña (Spain). After graduating in Philosophy at the University ofSantiago de Compostela in the late eighties, she moved to London, where she enrolled at the Chelsea College of Art and then furthered her artistic training at Goldsmiths College and the Slade School of Art. Her career burgeoned in 2010 thanks to the show entitled ‘After’, staged at the Camden Arts Center and for which she was nominated for the Turner Prize. Her works are today included in important public collections like Artium Centro Museo Vasco de Arte Contemporáneo (Vitoria, Spain); British Council (London); Contemporary Art Society (London); Colección Helga de Alvear (Madrid/Cáceres, Spain); Colección Iberdrola (Madrid); FRAC (Nord Pas de Calais, France); Fundació La Caixa (Barcelona); Moderna Museet (Stockholm); Morgan Stanley Bank (London); National Gallery of Victoria (Melbourne, Australia); or TATE Collection, (London), among others.
Àngels Ribé was born in Barcelona in 1943 and is part of a generation of artists who embarked on their careers in the late sixties, in the midst of profound political and social changes that had a direct impact on the way artistic practice is conceived. In 1969 she moved to Paris, where she began to develop her interest in art and started to focus on creating actions where the inclusion of elements and materials in nature, the work in the space, the presence of the artist’s or the spectator’s body as narrative elements, and the integration of geometrical forms became a fundamental part of her discourse. With a strong international presence, she worked alongside artists such as Vito Acconci, Laurie Anderson, Gordon Matta-Clark, Lawrence Weiner, Hannah Wilke, Martha Wilson, Francesc Torres, and Krzysztof Wodiczko, among others and is considered one of the most important Spanish conceptual artists of the 70s. (Whitechapel press-release)
Whitechapel Gallery. 77-82 Whitechapel High Street. London. E1 7QX
Image: Dóra Maurer Seven Rotations 1 – 6, 1979, collection of Zsolt Somlói and Katalin Spengler © Dóra Maurer
15 january – 21 may 2015
Jaume Plensa was born in Barcelona in 1955, and shares his residence between Paris and Barcelona. Between his first exhibition in his hometown in 1980 and today, he has been living and working in Germany, Belgium, England, France and the US. Also, teaching at the École Nationale des Beaux-Arts in Paris, giving lectures at a wide array of universities and art institutions, currently as professor at the School of the Art Institute of Chicago.
His sculptural work has, with time, undergone several changes, but always dealing with humanity, body and soul, in mostly figurative expressions. Even when the body is physically absent, it is implied; by gongs ready to be struck, empty houses or cells waiting to be occupied, or text required to be read. Whether made out of steel, glass, bronze, and alabaster or by light, vibration or sound, his ideas and associations are always brought forward. Plensa believes sculptures to be an extraordinary vehicle for accessing emotions and thoughts. His work asks questions and sets up situations that encourage us to think and think again, to talk with one another, to be silent and meditative, to touch, and experience togetherness. The artist is keen to encourage communication and understanding with others and ourselves, producing work with the hope of reconnecting us with our own souls. For Plensa, life is the key concern and thus art is merely a consequence of it. Still it possesses an enormous capacity to touch people deeply, to introduce beauty into any situation, and to celebrate human potential.
A significant part of Plensa´s production is set in the context of permanent public sculpture. “The Crown Fountain” in Chicago´s Millennium Park is one of his most well known works. In 2005 he finished “Breathing”, which was installed in the new BBC building in London, and in 2007 he made an impressive public project for the Place Masséna in Nice. The huge woman’s head, “Dream”, for St Helens in Liverpool was inaugurated in 2009. He is currently working on several new public projects as “Wishing Well” for the Bow Calgary in Canada, “Mirror” for Rice University in Houston, and “Together” for Chichester Cathedral in UK. Plensa´s work has been exhibited in numerous galleries and museums in Europe, USA and Japan; Fundació Joan Miró in Barcelona, Galerie Nationale du Jeu de Paume in Paris, Henry Moore Sculpture Trust in Halifax, Malmö Konsthall, Museum Moderner Kunst Stiftung Ludwig in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, BALTIC The Centre for Contemporary Art in Gateshead, Musée des Beaux-Arts in Caen, The Nasher Sculpture Center in Dallas, Picasso Museum in Antibes, Galerie Lelong in Paris and New York, and The Yorkshire Sculpture Park to mention a few. (Andersson/Sandström press-release)
Andersson/Sandström Gallery, Hudiksvallsgatan, 6. 113 30 Stockholm
Image: Sanna Dream 2014. Jaume Plensa
23 october 2014 – 3 may 2015
What would be about the world without the things that don’t exist?)
Its creation was inspired by the striking experiences provided by the project “Terra Rasgada”, held in the 1990s, in partnership with local artists. The two projects carry in their tittles the meaning of the name “Sorocaba” that, translated from Tupi-Guarani, means “place of slit”.
With execution by Sesc and curation by Josué Mattos, the transdisciplinary project, focused on the visual arts, has participation of artists of different generations and nationalities. It is developed from the interrogative “What would the world be without the things that do not exist?”, inspired by the play “What would we be without the things that do not exist?” conceived and set up in 2006 by Lume Teatro – Núcleo Interdisciplinar de Pesquisas Teatrais da Universidade Estadual de Campinas (Interdisciplinary Core of Theater Research at the University of Campinas).
With the purpose of creating collaborative actions between private and independent local institutions, as well as combing educative processes and continuing education partnerships were established with the Sorocaba City Hall, through the Secretary of Culture. The Estrada de Ferro Sorocabana Museum, Barracão Cultural, Palacete Scarpa Cianê Shopping also cover the project and Patio
Cristina Garrido and Bruno Moreschi presents “THIS IS ART NOW & ART BOOK” If it’s hot in the world today, it’s in these books, this seminar, this wall and this Triennal, the artist duo Bruno Moreschi and Cristina Garrido confronts us with very important questions in the debate concerning modern historiography: Who are the agents that construct history? What aspects define the inclusion of a happening, or a character, in the history books? Who has the power to select the point of view in regard to a determined historical moment? What are the relationships between fiction and reality in the con struction of historical facts?
Inspired by the spacial and social complexity of Brazil’s favaelas, artist and documentary photographer Dionisio González has re-imagined the poor urban dwellings through the lens of modern and contemporary architecture. “Favelas” includes digitally manipulated images from 2004 and 2006 that pose an intriguing challenge to aesthetic notions of shantytowns.
Nuria Güell (Barcelona, 1981), whose practice goes a step beyond allowing the visualization of the structures and strategies of exploitation and subjugation of the individual in the current state of things. Sometimes nonalignment is not enough, infiltration strategies are necessary to create room to maneuver. Whether it is in a communist or a capitalist context, the documentation of the actions of this artist opens an horizon of visibility of the abuses of power allowed by the established “legality” and the dominant morals but they are always the second stage of an active and subversive infiltration into the system. (FRESTAS presss-release)
Frestas Trienal de Arte. Sorocaba. Sao Paulo.
Image: Heliópolis 2006. Dionisio González
22 november 2014 – 10 may 2015
By 2030 the world population will have grown to a staggering eight billion. Of these people, two-thirds will live in cities. And most of them will be poor, with limited access to resources. This uneven growth will be one of the greatest challenges faced by societies all over the world. In the coming years, municipal authorities, urban planners and designers, economists and many others will have to join forces to prevent major social and economic disasters. They will all have to work together to ensure that these expanding megacities are inhabitable places.
The exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities has brought together six interdisciplinary teams of researchers and professionals who, for 14 months, have held workshops aimed at examining new architectural possibilities for six world metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York and Rio de Janeiro. Each team has developed a proposal for a specific city to be presented in November 2014 at the MoMA. The proposals have taken into consideration how the emergent forms of tactical urban planning can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions and other major issues in near-future urban contexts. They have all defied the current assumptions about relations between formal and informal, bottom-up and top-down urban development.
AC/E is collaborating by supporting the participation in the project of the Zoohaus group, which has carried out research on the city of Lagos through its project Inteligencias Colectivas (Collective intelligences). Zoohaus is a creative networking platform that was started up in 2007 to combine the interests of various agents related to architecture and other peripheral disciplines. This platform focuses its interests on projects that reinterpret urban dynamics through fields such as architecture, urban planning, art and the economy and its work is underpinned by community participation and reactivation. (AC/E pres-release)
MOMA, 11 West 53 Street, New York, NY 10019
Image: MOMA. N.Y.