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Spanish contemporary art worldwide

 

EDINBURGH. Jacobo Bugarín. 6 th Hidden Edingurgh. Interview Room 11

16 march – 15 april, 2018

Interview Room 11 celebrates its 6th edition of the Hidden Edinburgh event in 2017, which once again highlights the work of Spanish artists in the Scottish capital. In the project, each one engages in a dialogue with Edinburgh, but not with the Edinburgh we know from the postcards, but the one that hides far from the castle. For several months, each artist will explore and analyze a specific aspect of the Scottish capital to create an exhibition related to their artistic practice.
This year's artist, Jacobo Bugarín, with the support of AC/E, plans to interact with the artistic community and with the streets of Edinburgh, creating a specific intervention. On this occasion he will work in the city center, looking to analyze the most well-known streets of the city from a very different perspective. Bugarín will tour the most emblematic streets following the footsteps of a tour guide. He will analyze the words that are repeated day after day introducing small comments or gestures to interrupt and modify the discourse established. He will also introduce new elements in the route, thus establishing an unexpected game between the guide and the tourists, creating a parallel history to the existing one.
This line of artistic research depends a lot on the people that the artist chooses during the creation of the piece. So far Bugarín has developed four pieces in exhibition areas: one at the Pazo de Tor Museum with Silvia, one of the guides that makes the daily visit, at the Museum of Contemporary Art Gas Natural Fenosa, with the museum's teaching group, in Zone C of Santiago with Uxía, the person in charge of the room, and with Christian Fernández of the mediation group in the Young Art Room of the Community of Madrid. . (AC/E press-release)

Interview Room 11. 38 Castle Terrace, Edinburgh. UK

http://www.ir11.org.uk

http://jacobobugarin.es

Image: “Sacar espacio. Fijar tiempo”.2017. Jacobo Bobugarín

VILNIUS. VILNIUS. Daniel Steegmann Mangrané. Phantom. Contemporary Art Centre

2 march – 1 april, 2018.

The Contemporary Art Centre (CAC) in Vilnius is pleased to present the first solo exhibition by Spanish artist Daniel Steegmann Mangrané in the Baltic States. The exhibition Phantom comprises two works in the form of an interconnected installation, presented in the CAC’s South Hall. 
The work of the Rio de Janeiro based artist often examines the hazy area that exists between strictly oppositional notions in Western culture, such as culture and nature, subject and object, reality and reverie, seen and hidden. The artist frequently pairs diverse elements such as the natural with artificial, or places them in alien environments. In doing so, Steegmann Mangrané fabricates situations where predetermined hierarchies bow out and the boundaries of seemingly inverse things dissolve to provide new vistas of middle grounds.
The title of the exhibition, Phantom, by definition is something that is visible despite not being carnal. It is an accumulation of contradictions in itself and also refers to the work exhibited at the CAC titled Phantom (Kingdom of all the animals and all the beasts is my name), 2015. For this work Steegmann Mangrané used a Lidar scanner to capture a fraction of one of the fastest disappearing environments in the world; the Brazilian Mata Atlántica rainforest. The resulting point cloud, an intricate network of greyscale dots, is made accessible via a virtual reality headset. Each new technology advent provides a distinct way of representing the cosmos, ultimately changing our perception of reality and our place in it. Virtual reality brings a unique opportunity to experience otherwise inaccessible or non-existent places. In Phantom (Kingdom of all the animals and all the beasts is my name) you can look up to see lush trees and branches and foliage around you. You look down to find roots and soil, but your own arms or legs are not there. In virtual reality we are bodiless and virtual reality is bodiless in itself. It strives and fails to replace what it is referring to, instead constituting another milieu of promiscuous sensations, dissolving oneself into a larger whole.
µ, 2017, is the second of Steegmann Mangrané’s works presented at the CAC and consists of a series of suspended sculptural elements. The artwork is made up of eight aluminium chains that carry a winding and somewhat natural-looking, somewhat unknown alphabet-reminiscent shapes that are dispersed in the space. µis the twelve letter of the Greek alphabet derived from the Egyptian hieroglyph for water. The aluminium chains cut the South Hall in vertical slices, proposing multiple serpentine paths to explore in the exhibition and further direct the gaze of visitors to the greyscale winter landscape, seen through the vast windows.
Daniel Steegmann Mangrané was born in 1977 in Barcelona and lives and works in Rio de Janerio, Brazil. He has had solo exhibitions at Serralves Foundation in Porto, Portugal (2017), Museum of Modern Art Medellín in Antioquia, Columbia (2016), project space the Green Parrot in Barcelona (2016), the Museum of Modern Art in Rio de Janeiro (2015), Casa Modernista in São Paulo (2015), Contemporary Art Centre CRAC Alsace, France (2014), the Casa França-Brasil in Rio de Janeiro (2013). His works have been shown in group exhibitions at the Centre Pompidou-Metz, France (2017), Biennale de Lyon (2017), NMNM New National Museum of Monaco (2017), the CAC in Vilnius (2017), the Arario Museum in Seoul (2016), the 9th Berlin Biennale in Berlin (2016), the New Museum Triennial in New York (2015), the Kadist Art Foundation in Paris (2015), contemporary art centre of Barcelona MACBA (2015), the 9th Mercosul Biennial in Porto Alegre, Brazil (2013) and 30th Biennale of São Paulo, São Paulo (2012) among others. Curator: Neringa Bumblienė. (CAC press-release)

Contemporary Art Centre. Vokieciu 2. LT- 01130 Vilnius. Lithuania

http://www.cac.lt/en

http://danielsteegmann.info
Image: Courtesy of the artist and Esther Schipper, Berlin.

PARIS. GUERNICA. Museum National Picasso

27 march - 29 july, 2018.

Following the 80th anniversary of the creation of the work, the Musée national Picasso-Paris, in partnership with the National Museum Reina Sofía Art Center, presents an exhibition about Guernica, masterpiece of Pablo Picasso. The anti-Franco, anti-fascist and pacifist symbol, was preserved in 1981 to Madrid where it is now permanently displayed. Thanks to an exceptional collection of sketches and archives, the exhibition proposes a lesson on the history of Guernica.
AC/E supports the participation of Pilar Albarracín who will perform on Guernica as part of the exhibition "Guernica", and on the date of the anniversary of this historic event (April 26, 1937). Her work proposes a reflection based on physical experience to bring the public closer to  Guernica as a symbol of the contemporary battlefield covered with civilian corpses after a bombing. At the same time proposes a review of the historical and cultural role of women as a suffering machine.
The performance consists of a hundred women who will lie on their stomachs, their sides or their backs, immobile forming a multicolored tapestry in the only access to the  museum and at the end of the exhibition tour, at the exit to the street. The visitor who wishes to access the rooms and then leave them will be forced to walk over the bodies or to look for a space between them to move around. This action integrates the viewer into the work itself as it would happen years ago in performances such as "Imponderabilia" (1977) by Marina Abramovich and Ulay. (AC/E press-release)

Musée National Picasso 5 rue de Thorigny 75003 Paris.

http://www.museepicassoparis.fr

Image: Etude pour Guernica (Tête de cheval). Pablo Picasso, Paris, 2 mai 1937. Musée de la Reine Sofia, Madrid. Photo © Musée de la Reine Sofia, Madrid

 

BARCELONA. Francesc Torres. The Ermetic Bell. Space for a Non Transferable Anthropology. MACBA

10 march – 11 september, 2018.

In relation to contemporary artistic practices, the work of Francesc Torres (Barcelona, 1948) lays halfway between the proposals of those artists who, in the mid-sixties, were in favour of institutional critique and those who, during the eighties, refused to be part of the art market by making work that was only viable within a museum space. Torres was a pioneer of multimedia installations at a time when Neo-Expressionism was the dominant trend. His installations are a critical reflection on power, politics, violence, memory and contemporary culture. 
The Wunderkammer or cabinets of curiosities were a phenomenon that emerged in the sixteenth century as collections of antiquities and artistic objects, but also exceptional objects such as fossils, coral, exotic oddities, weapons, armillary spheres, etc. These were artefacts that reflected the economic clout and academic knowledge of their owners. In time, they became ‘time capsules’ of the moment at which they had been created. The principle of more or less systematic accumulation of that period brings us to Torres’ The Hermetic Bell: a sui generis Wunderkammer that is also an accumulation of layers of sediment, an archaeological site, a warehouse, an archive, a brain. In fact, Torres speaks of the archaeological campaign he has conducted, with the complicity of MACBA, to rescue from his archive – and memory – all those objects and documents he has preserved for years, rigorously ordained, unedited. In opening the boxes and files of his personal archive, the artist has discovered, to his surprise, the history of all the subjects he has been addressing and unfolding in his artistic production to this day. 
The symbolic potential and the capacity for creating an abstract way of thinking of most of the objects, toys and images that the visitor will find in this ‘hermetic bell’ are responsible for the most critical, sharp and intelligent creations of Torres’ artistic career. Antònia Maria Perelló. (Macba press-release)

MACBA . Plaça dels Àngels, 1 . 08001 Barcelona 

https://www.macba.cat/es

Image: Francesc Torres. La Campana Hermética. Espacio para una antropología Intransferible

 

ROTTERDAM. Juan Muñoz. Hyperrealism Sculpture. Kunsthal Rotterdam

march 10 – july 1, 2018

The Kunsthal Rotterdam crosses over to the third dimension with the exhibition ‘Hyperrealism Sculpture’. This exhibition will show a unique selection of three-dimensional works by all important hyperrealist sculptors of the past 50 years. From the early American pioneers, including George Segal, Duane Hanson and John DeAndrea, to the rise of the international movement, represented by Juan Muñoz (Spain), Maurizio Cattelan (Italy), Berlinde de Bruyckere (Belgium) and Ron Mueck, Sam Jinks and Patricia Piccinini (Australia).

With 35 artworks by 28 artists, the Kunsthal will present - for the first time in the Netherlands - an overview of the worldwide developments in hyperrealist sculpture over the past fifty years. In the 1960s and 1970s a number of sculptors, each from their own perspective, became interested in a type of figurative art based on representations of the human figure that were as vivid and lifelike as possible. Standing face to face with these works provokes a reaction from the visitors, raising questions about the extent to which human beings can be manipulated and about identity in general. How do we see ourselves and others? – An interesting topic in the light of the current selfie culture on social media. (Kunsthal press-release)

Kunsthal Rotterdam. Museumpark, Westzeedijk 341. 3015 AA Rotterdam. The Netherlands

https://www.kunsthal.nl

Image: Installation view Escultura hiperrealista 1973 – 2016, Museo de Bellas Artes de Bilbao. © Photo: Anders Sune

 

MADRID. Nano4814. Turno de noche. Delimbo Gallery

17 february - 1 april, 2018

Attempting to go through any work by Nano 4814 (Vigo, 1978) involves delving into a hole-like shape––a space appearing laconically before us and dragging us toward the joys of synesthesia, where we know full well that one or another of our senses may undergo a fracturing, a transmutation, or some kind of quiet upheaval. Once inside, enticed by the journey through the work’s transparent traps, there appears a sort of twinkle, heavy with a routineness we believe we digest every day but will positively rethink on the way out.(Extract test) Daniel Muñoz

Nano4814(Vigo, 1978) is an artist born in the small galician town of Vigo, were he started to use the streets as a place for self expression in the mid 90s. Originally inspired by the character forms of traditional graffiti writing, his figures soon started to load themselves with narrative and iconic particularities, developing his own creative world, either aesthetically and conceptually speaking. In this world the inner sense meets the observation of the outside world and together they become strange partners in the quest for hidden (in)coherence.
After studying fine arts and passing through a brief formative stage in London, in such prestigious schools as Saint Martins School of Arts and the London College of Printing, he moves to Madrid in 2004 where he develops his work as an artist, exhibiting in galleries and participating in different projects both in Spain and abroad, bringing inside his own experience working outdoors and questioning personal subjects in a strange contex. Delimbo press-release)

DELIMBO GALLERY MADRID. Doctor Fourquet 30. 28012.

http://www.delimbo.com

Image: Nano4814

 

UTRECHT. Contemporarte 2018. Instituto Cervantes

9 – 31 march, 2018

Contemporarte comes to Utrecht 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,
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. (I. Cervantes press-release)

Curator: Universidad de Huelva.Photographers: Jesús Marina Barba, Cristina Monereo, Sandra Mirey, María Luna, Juan José Jiménez. Cronología: 2009/2018.

Instituto Cervantes (Utrecht) - Sala de Exposiciones / Expositiezaal . Domplein, 3. 3512 JC Utrecht (PAISES BAJOS)

http://utrecht.cervantes.es

http://culturauhu.wixsite.com/contemporarte

Image: Juan José Jiménez

LONDON. Uriel Segui. A Collage of drawings. Luna13 Galeria. Spanish House

16 march 29 april 2018

Luna13 Galeria in collaboration with Spanish House London will present the exhibition “A Collage of drawings” that shows a fantastic collection of Uriel Segui’s drawings.

Uriel Seguí is a Doctor in Architecture, University Professor, artist, tireless creator and above all a person with a great passion for life. Born in Madrid in 1969, his very large artistic creation covers different techniques ranging from painting on canvas, on wood, on wall to installations and drawings and has been exhibited in galleries around the world like The 8th Floor Gallery in New York, the Circle Of Fine Arts in Madrid, or at international art fairs such as ARCO in Madrid or the Biennials Of Istanbul, Venice and Florence to name a few.

Uriel defines himself as an obsessive and disinterested drawer who cannot go long without drawing. "The art of drawing is a disease I could not live without" and confesses that this vice makes him lose interest in other plans just so they do not interfere with his tireless need to draw. Continue reading about the artist and his works  (Luna 13 press-release)

Spanish House London. 26-32 Voltaire Road. London. SW4 6DH. United Kingdom

https://luna13galeria.com

https://www.urielsegui.com

Imagen: Uriel Segui

MUNICH. Teresa Solar Abboud. Blind Faith. Between the Visceral and the Cognitive in Contemporary Art. Haus der Kunst

2 march – 19 august, 2018

Geopolitical tensions as well as unsettling ecological, social, and economic developments are challenging the current world order. Faced with such growing uncertainty, trust in the pillars of our society is continually waning. Although it is certainly not the first time in history that the world appears to be a precarious place, there is a crucial and unprecedented difference which has fundamentally changed the way we perceive and cope with current conflicts: the world is now digitally mediated.

The artists in the exhibition Blind Faith share a growing doubt about this means of viewing the world. Consequently, they question the current conventional methods of measuring and evaluating our existence and respond by taking recourse to the human body and mind as a source of knowledge and a resonance chamber for political and social realities. Blind Faith: Between the Visceral and the Cognitive in Contemporary Art brings together 28 international artists who view the body not just as a metaphor, a site for examination or a source of information, but also as their material in the most literal sense. In the search of reality and truth in the world, sensual perception as well as alternative psychological states are investigated with a view to their potential for expanding consciousness. The informative value of body parts and organs is examined, and both the functionality and the vulnerability of the body are put on display. Adopting a wide range of media such as drawing, sculpture, video, installation, robotics, animation, sound and performance, the artists explore our understanding of the present. They probe the limits of language and knowledge production, reconsider models of historiography and fiction, and plunge into the origins of life itself. They suggest new systems of learning, establish alternative narratives, or show rituals in a new light. While the expression “blind faith” seems, at first glance, to address the methodological dangers associated with a pathology of the contemporary moment, the artistic visions in the exhibition demonstrate a new and critical, yet holistic means of seeing and understanding that encompasses both the physical and spiritual.

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

Participants include Ed Atkins, Kader Attia, Olga Balema, Melanie Bonajo with Théo Demans and Carolin Gießner, Mariechen Danz, Cécile B. Evans, Andrea Éva Győri, Benedikt Hipp, Nicholas Hlobo, Marguerite Humeau, KAYA (Kerstin Brätsch and Debo Eilers), Hanne Lippard, Wangechi Mutu, Otobong Nkanga, Jon Rafman, Naufus Ramírez-Figueroa, Mary Reid Kelley with Patrick Kelley, Lili Reynaud-Dewar, Raphael Sbrzesny, Jeremy Shaw, Teresa Solar Abboud, Jol Thomson, and David Zink Yi with Angie Keefer. The exhibition is curated by Julienne Lorz, Daniel Milnes and Anna Schneider.(Haus der Kunst press-release)

Haus der Kunst . Prinzregentenstraße 1. 80538 Munich

https://hausderkunst.de

http://teresolar.com

Image. Teresa Solar Abboud. Ground control. 2018

NEW YORK. Laia Cabrera. SELF ON THE SHELF. Times Square. Spring Break Art Show 2018

6 – 12 march, 2018.

Spanish filmmaker Laia Cabrera and animator / videomapper Isabelle Duverger co-create an interactive immersive installation for Spring Break Art Show 2018.Through immersive interactive projection mapping, video art, illustration and animation, Laia Cabrera and Isabelle Duverger, in collaboration with interaction designer Nicola Carpeggiani, will create a child's bedroom and bring it to life as it responds to a series of clues or hints, which will be given to visitors as they enter the room.
Extracted from a 2012 journal entry about Chris' son and his relationship with James, his first Elf on the Shelf, the concept of this stranger from the North Pole was born.The dramatic visual effects will transform the room as the viewer explores feelings, emotions and limits between reality and fantasy.

Laia Cabrera is a filmmaker and video artist born in Spain and based in New York since 1997. She merges cinematic arts, dance, music, theater and visual arts. Recipient of many awards including AVA and Telly awards, three-timesNYIT nominee for Outstanding Innovative visual design in 2013, 2014 and 2015, and 2015 NYIT award winner for "Night" Outstanding Performance Art Production with the New Stage Theatre Company, KrTU Young Creators Grant, the 2010 Grant from the Consell Nacional de la Cultura i de les Arts (CONCA), and Kodak & Color Lab award for Best Cinematic film for "Under Influence" presented in festivals worldwide.

She is currently the creative director of the film & Multimedia company LAIA CABRERA & CO co-founded with French animator Isabelle Duverger, a team of film, animators and visual artists producing a wide range of multimedia projects and recently winner of the 2016 Silver Telly Award for Best Direction for “I AM” a short documentary featured in Vogue. She also curated and directed award winning multi-media international art shows and more. She is currently member of the Board of Directors of Topia Arts Center, Adams, MA and an advisory board member at the Fashion Institute of Technology (FIT) and director of their annual film documentary. She graduated from the Conservatoire of Barcelona, Spain, has a MFA in Audiovisual Communication and a BFA in Media Studies and Journalism from the Autonomous University of Barcelona, Spain, and in Film Production at the New School University in New York.

4 Times Square, New York, NY 10036. Entrance at 140 West 43rd Street

http://www.springbreakartshow.com

http://www.laiacabrera.com

Image: Laia Cabrera

MILWAUKEE. Jaime Hayon: Technicolor. The Bradley Family Gallery. Milwaukee Art Museum

until 25 march 2018

Jaime Hayon: Technicolor brightens up wintertime in Milwaukee with a colorful splash of fun and fantasy. The energetic exhibition features work from two decades of the Spanish artist-designer’s career, including textiles, ceramics, glass, drawings, and playground equipment. These works represent a wide range of approaches to making, thinking, and viewing, while also remaining unified by a refreshing sense of playful whimsy.

Jaime Hayon trained in his native Madrid and in Paris before directing the design department at Fabrica, the Benetton-funded design and communication academy in Italy, for nearly a decade. In 2003, he left Fabrica to focus on his own studio practice. Hayon Studio now has offices in Italy, Spain, and Japan and is acclaimed worldwide.

The centerpiece of the exhibition is Technicolor, a set of textiles and ceramics which—like most of Hayon’s projects—began as drawings, some of which are included in the exhibition. Hayon uses drawing as a tool for exploration, allowing him to creatively construct the characters and scenes that populate his work. In doing so, he draws upon the fantastical realm of his own imagination and his wide-ranging travels. This includes his exposure to the bold graphics of skate culture and street art, which he was immersed in as a teenager. The details waiting to be discovered in Technicolor, from subtly sinister vampire fangs to topsy-turvy houses, provide ample opportunity for viewers to use their own imaginations as they experience the work.

Materials and process are also important to Hayon’s conception of Technicolor, especially the relationship between machine and hand production. The textiles were woven at the Tilburg Textile Museum’s TextielLab in the Netherlands on Jacquard looms, a centuries-old technology that automates textile production. Hayon brought this technology into the twenty-first century by incorporating new synthetic materials, including some that produce shimmering metallic surfaces for the weavings. The Technicolor ceramics exhibit a comparably hybrid quality; the vessels were manufactured by the Italian ceramics company Bosa before being painted by Hayon. This mixing and matching between machine and hand production is a common theme in the Museum’s Design Collection, which seeks to complicate the boundaries between art, craft, and design through works such as Hella Jongerius’ Repeat collection bowl, which dares to mix ceramics with cotton thread.

Finally, the most recent works in the exhibition are a set of glassworks, together titled Afrikando. Commissioned specifically for the Milwaukee Art Museum’s permanent Collection, this “family” (as Hayon describes it) of seven vessels infuses the storied history of Murano blown glass with Hayon’s unique sensibility. For more on Afrikando, look out for another upcoming blog post that will focus on this exciting new work.

Jaime Hayon: Technicolor is organized by the High Museum of Art, Atlanta, and on view at the Milwaukee Art Museum in the Bradley Family Gallery

Milwaukee Art Museum. 700 N. Art Museum Drive, Milwaukee, WI 53202

https://mam.org

http://www.hayonstudio.com

Image: Installation view of Jaime Hayon: Technicolor, Milwaukee Art Museum, 2017. Photo by John R. Glembin

LONDON. Mauro Vallejo and Mónica Restrepo. Locating Outside the Sign. SCAN Project Room

3 – 31 march, 2018

This exhibition project curated by Rafael Barber, with the participation of the artists Mauro Vallejo and Mónica Restrepo, is the result of a research project carried out at the “Lugar a dudas” residence in Cali-Colombia, which was supported by Acción Cultural Española through the PICE's grants.
“Locating Outside the Sign” is an exhibition of contemporary art created from the film 'Ce' gamin la ', (that kid from there) made in 1975 by Renaud Victor about the communities of autistic children of Les Cévennes in the south of France. These communities were created by Fernand Deligny, a revolutionary thinker who investigated the possibilities of communication beyond language, understanding these as tools for the production of libertarian content.
“Locating outside the sign” takes this film as a catalyst in space and sets up an ecosystem that presents the works of artists who understand art as a tool capable of weakening the sign as an element of power that can be attenuated by investigating its nooks and crannies, decontextualizing it to make it habitable beyond its symbolic function. (AC/E press-release)

 THE SCAN PROJECT ROOM. 13-19 Herald Street, London E2 6JT. Bethnal Green Tube Station

http://www.scan-arte.com

http://www.maurovallejo.com

Image: Mauro Vallejo

 

TEGUCIGALPA. From doodles to pixels. Over a hundred years of Spanish Animation. CCE

1 – 30 march, 2018

 

The works selected by curator Carolina López and include films by directors such as Segundo de Chomón, Josep Escobar, Francisco Macián, José Luis Moro, Jordi Amorós, Tomàs Bases, Raúl García, Juan Pablo Etcheverry, Isabel Herguera, Javier Mariscal, Anna Solanas, Marc Riba, Alberto Vázquez, Pedro Rivero, Izibene Oñederra, Nicolai Troshinsky and Rocío Álvarez, among many more. The project has involved the collaboration of Filmoteca de Catalunya, Filmoteca Española and Movierecord, as well as a number of companies and organisations.

Some of the least known and most fascinating films in this cycle are: Garbancito de la Mancha (Arturo Moreno, 1945), the first feature-length animated film made in colour in Europe; black-and-white advertisements from the 30s by Catalan cartoonists such as Serra i Massana and Ferran; La Edad de Piedra (Gabriel Blanco, 1965), with cartoons by Chumy Chúmez; the commercials of the Moro and Estela studios; and a short film made by Frederic Amat for the occasion. (AC/E press-release)

Centro Cultural de España en Tegucigalpa. 655 Calle de la Colonia Palmira, Tegucigalpa, Honduras

http://ccet-aecid.hn

Imagen: Minotauromaquia: Pablo en el Laberinto. Juan Pablo Etcheverry, 2004

BERLIN. Unfinished. Akademie der Kunste

10 february – 18 march, 2018

In Spain, architecture in particular has been badly affected by the economic crisis. Construction started on many public and speculative buildings, but after 2009 no decisions were made as to whether they were necessary, and many remained unfinished. The exhibition, which was shown at the Spanish Pavilion of the Architecture Biennale in Venice in 2016, where it won the Golden Lion, presents current architecture, approved in the excess of the pre-crisis period, which can be seen as unfinished and constantly evolving. (Akademie der Künste press-release)

Producers and co-organizers: Gobierno de España, Ministerio de Fomento y Acción Cultural Española.

Akademie der Künste. Pariser Platz 4. 10117 Berlin

https://www.adk.de

www.unfinished.es

Image: Pabellón de España. Bienal de Arquitectura. Venecia 2016

LIVERPOOL.Marcos Moreno. Sin fronteras. Universidad de Liverpool

5 march – 27 april, 2018       

  

Marcos Moreno has been a photojournalist since 2004. He collaborates as a correspondent for several photography agencies such as Agence France Presse (AFP), Getty Images and Associated Press (AP), among others. He has also collaborated with Europa Press, La Vanguardia, El País, Libération and his photographs have been published in media at an international level, in The Guardian, The New York Times, The Times, The Irish Times, Le Monde, National Geographic o Spiegel. He currently works with the NGO Doctors of the World.

He was awarded the journalism International Award Mingote in 2010 and has received an Honorable Mention at the 1st International Photojournalism Biennale of the International Federation of Photographic Art (FIAP) in 2013. Some of his images topped some of the global photography rankings such as Pictures of the Year International (2012) in the General News category, Pictures of the Year international Latam (2012) in the categories Folk Festivals and Traditions and Photo for Peace, photo for tolerance. He has exhibited his works in Spain, Morocco, Ireland and Serbia. 

Universidad de Liverpool . Dept of Hispanic Studies,Modern Languages Bui
L69 7ZR Liverpool (U.K)

http://www.marcosmoreno.com

https://www.liverpool.ac.uk

Imagen: Marcos Moreno

BARCELONA. Antoni Tapies. T for Teresa. Fundacio Tapies

6 february – 28 october 2018

The exhibition includes the series of drawings entitled Sèrie Teresa (Teresa’s Series, 1966), together with the series of lithographs, litho-collages and collages Cartes per a la Teresa (Letters to Teresa, 1974), pays tribute to their relationship by celebrating a private language accessible only to those who spoke it.

In Memòria personal (A Personal Memoir, 1977), Tàpies recalls ‘the clear green of [Teresa’s] eyes, her fine and blond hair, her Slavic cheekbones, her appealing lips...’ 

Antoni Tàpies (1923–2012) met Teresa Barba (1934–) at the end of the 1940s, when she was still a young girl. A few years earlier, she had lost her mother and had to take care of her five siblings, while looking after her father. This gave her a maturity and humanity uncommon for her age. During the artist’s stay in Paris in 1950–51, they exchanged a regular and intense correspondence that united them through intimate links. On Tàpies return from Paris, they formalised their relationship and in October 1954 Antoni Tàpies and Teresa Barba were married in Barcelona.

The presentation of the series of drawings entitled Sèrie Teresa (Teresa’s Series, 1966), together with the series of lithographs, litho-collages and collages Cartes per a la Teresa (Letters to Teresa, 1974), pays tribute to their relationship by celebrating a private language accessible only to those who spoke it. The two sets of works display a repertoire of signs without translation for the viewer: a series of gestures that preserves the couple’s intimacy despite explicit allusions to domesticity and a shared sexuality.

Both titles refer to the methodology of serial music with which the possible combinations of the series of twelve tones is explored. Tàpies considered that music, freed from the more traditional narrative, was a purer form of expression. So he decided to apply this methodology to drawing. When in 1971 he made the series Cartes per a la Teresa (published in 1974 in the form of a portfolio), the artist plays with the double meaning of the word carta (letter and card). On the one hand, a written communication that alludes to the romantic correspondence between him and Teresa, and, on the other, in a far more esoteric sense, referring to a stack of cards used to play certain games or to perform illusionist tricks.

Teresa is also a name that carries a political meaning. As Tàpies said in the fragments for his autobiography, ‘in the early sixties [...] Teresa and I lived more intensely than ever the injustice wrought onto our vexed country, onto the working classes, onto the devoted members of the opposition. We became aware of the struggle one had to sustain to demand the most elementary rights that should be enjoyed in any democratic country. Both Teresa and I felt a growing identification with that struggle.’ (F.Tápies press-release)

Fundació Antoni Tápies. Aragó 255. 08007 Barcelona

https://www.fundaciotapies.org

Image: Fundació Antoni Tápies

LONDON. Picasso 1932 – Love, Fame, Tragedy. Tate Modern

8 march - 9 september 2018

The Exhibition: Picasso 1932 – Love, Fame, Tragedy  will be one of the most significant shows the gallery has ever staged. It will take visitors on a month-by-month journey through 1932, a time so pivotal in Picasso’s life and work that it has been called his ‘year of wonders’. More than 100 outstanding paintings, sculptures and works on paper will demonstrate his prolific and restlessly inventive character. They will strip away common myths to reveal the man and the artist in his full complexity and richness.  

1932was an extraordinary year for Picasso, even by his own standards. His paintings reached a new level of sensuality and he cemented his celebrity status as the most influential artist of the early 20th century. Over the course of this year he created some of his best loved works, from confident colour-saturated portraits to surrealist drawings, developing ideas from the voluptuous sculptures he had made at his newly acquired country estate. 

In his personal life, throughout 1932, Picasso kept a delicate balance between tending to his wife Olga Khokhlova and their 11-year-old son Paulo, and his passionate love affair with Marie-Thérèse Walter, 28 years his junior. The exhibition will bring these complex artistic and personal dynamics to life with an unprecedented range of loans from collections around the world, including many record-breaking works held in private hands. Highlights will include Jeune fille devant un miroir (Girl before a Mirror), a signature painting that rarely leaves The Museum of Modern Art, and the legendary Le rêve (The Dream), a virtuoso masterpiece depicting the artist’s muse in ecstatic reverie, which has never been exhibited in the UK before.  

1932 was a time of invention and reflection. Having recently turned 50, in collaboration with Christian Zervos, Picasso embarked on the first volume of what remains the most ambitious catalogue of an artist’s work ever made, listing more than 16,000 paintings and drawings. Meanwhile, a group of Paris dealers beat international competition to stage the first ever retrospective of his work, a show that featured new paintings alongside earlier works in a range of different styles. Realist portraits of Olga and Paulo revealed Picasso’s feelings of pride and tenderness for his family, while his sexually charged new paintings revealed for the first time the presence of the secret woman in his life.  

Picasso’s journeys between his homes in Boisgeloup and Paris capture the contradictions of his existence at this pivotal moment: a life divided between countryside retreat and urban bustle, established wife and recent lover, painting and sculpture, sensuality and darkness. The year ended traumatically when Marie-Thérèse fell seriously ill after swimming in the river Marne, losing most of her iconic blonde hair. In his final works of the year, Picasso transformed the event into scenes of rescue and rape, a dramatic finale to a year of love, fame and tragedy that pushed Picasso to the height of his creative powers.  

Achim Borchardt-Hume, Director of Exhibitions, Tate Modern and co-curator of the exhibition said: 
Picasso famously described painting as “just another form of keeping a diary”. This exhibition will invite you to get close to the artist, to his ways of thinking and working, and to the tribulations of his personal life at a pivotal moment in his career. By showing stellar loans from public and private collections in the order in which they were made, this exhibition will allow a new generation to discover Picasso’s explosive energy, while surprising those who think they already know the artist.’ 
Achim Borchardt-Hume

Curated by Achim Borchardt-Hume, Director of Exhibitions, Tate Modern and Nancy Ireson, Curator, International Art, with Juliette Rizzi and Laura Bruni, Assistant Curators. The exhibition is organised in collaboration with the Musée National-Picasso, Paris (Tate press-release)

 

Tate Modern, the Eyal Ofer Galleries. Bankside. London SE1 9TG

http://www.tate.org.uk

Image: Pablo Picasso. Le Rêve (The Dream)1932. Private collection© Succession Picasso/DACS 2017

BUCAREST. Ignacio Uriarte. Borderline Relation. Eastwards Prospectus Gallery

25 january - 24 march, 2018

Borderline Relation exhibition showcases, on both floors of the gallery, works by Marieta Chirulescu, Felipe Cohen, Svenja Deininger, Caroline Duchatelet, Vlatka Horvat, Željko Jerman, Ivan Moudov, Ulay, Ignacio Uriarte and Ruth Wolf-Rehfeldt. The exhibition offers an opportunity to reflect on the relations between artistic practices that emerged in different temporal, geopolitical, social and economic contexts. This can affect the perception of the concept of a work of art and, above all, the conditions of production in which it is created. This is the reason why the exhibition brings together artists of different generations, some of them being already very famous and holding acclaimed historical artistic positions, while others are emerging of younger generations. 

Ignacio Uriarte (1972) was born and grew up in Krefeld in Germany. He studied business administration in Madrid and Mannheim, then worked for various corporations in Germany, Spain and Mexico. There, he graduated in audio-visual arts from the Centro de Artes Audiovisuales in Guadalajara, Mexico. He left the corporate world ten years ago and dedicated himself fully to art, calling his work “office art”, and moved to somewhat more artist-friendly Berlin in 2007. Uriarte draws inspiration from 'the little creative moments' within office routines. The two-channel video Blue Ribbon takes as its starting point the simplest of all office doodles: filling out squares on graph paper. Whether monumentalising the 'cascade' function in Windows by spacing sheets of paper over a wall, or drawing shapes with two different shades of black marker pen, Uriarte uses administrative tools to restore creative agency to the office worker.

Eastwards Prospectus Gallery. Strada Plantelor nr. 50, Sector 2, 023975, Bucureşti, România

 https://www.eastwardsprospectus.com

http://www.ignaciouriarte.com

Image: Ignacio Uriarte. Four Times, 2017. Pigmented ink on paper

MEXICO. Ruben Grilo. Draped Extension. Future Gallery

february 6 – april 7, 2018

Future Gallery is proud to announce the inauguration of our new Mexico City space located in a traditional casita on the rooftop of the historic Humboldt building in the Centro Historico district.

The exhibition will be an extension of the Draped show currently on view in our Berlin space, featuring a new constellation of works by Rubén Grilo, Spiros Hadjidjanos, Femke Herregraven, and Nicolas Pelzer

“Draped”, is a group exhibition featuring new works by Rubén Grilo, Spiros Hadjidjanos, Femke Herregraven and Nicolas Pelzer. Drapery refers to fabric used for decorative purposes. Fabric in general is thought of as woven threads bound together into a whole often used for clothing or wrapping something. The examples in the show offer different often counterintuitive lines of logic regarding the utility of fabric. Through digital processes these seamingly textile generated works have been manifested as: laser etched sheets of denim demonstrating the reversal of labor driven wear and tear, a 3D printed cloth with an extruded photograph coming out of it, the satellite infrared financial geo-mapping of a resource rich landscape in east Africa, and a stretched acrylic print usually used as an advertisement but rather used to demonstrate what a 3D rendered archaic tool would look like.

‘Pattern Free: Ripped from Zara’ is an ongoing series of work Rubén Grilo started in 2013. Grilo will present works from this series, where he reproduces the “used look” of Zara jeans. Examining the relationship between the body and craftsmen work, he designs industrial objects targeted for consumption and is observing the field of artistic production from the industrial perspective and vice-versa. Revealing the jeans traces of usage can be attributed to wear and tear caused by movement and friction, but here they are laser etched. This laser technique derives from high-street fashion, which helps to imprint the denim cloth with a single mark that can be replicated several times. He is designing creations of grotesque body imagery as huge handprints. Grilo’s observation of a fashion detail leads to the history of the material that is at the same time a history of altered body-labor relations. Marks of physical labor becoming almost obsolete in the digital era, artificial signs of hard work becoming increasingly exoticized. Grilo’s usage of standardization, scaling and abstraction deals with the history of industrialization and modern production with a view on the cultural digital paradigm shift and the Internet.

Ruben Grilo (Lugo 1981), lives and works in Berlin. Selected solo exhibitions include ‘Solo’, Nogueras Blanchard, Madrid (2017); ‘Proof of Concept’, Union Pacific, London (2016); ‘Rubén Grilo’, Fundació Joan Miró – Espai13, Barcelona (2015); ‘Mit eigener Hand’, Kunstverein Hildesheim (2014); ‘Drawings of Alien Control’, V4ULT, Berlin (2013); ‘The Need for Speed’, CIRCA Projects, Newcastle upon Tyne (2013); ‘Bioscope’ Wilfried Lentz, Rotterdam (2012); ‘They’re Not All Funny, but They’re in a Row’ 1646 (La Haya) o ‘PowerPoint Karaoke’, MARCO, Vigo (2011). He has also participated in group shows at la Casa Encendida, Madrid (2017), el Künstlerhaus Halle für Künst & Medien, Graz (2015); Galerie Martin van Zomeren, Amsterdam (2013); Tatjana Pieters, Ghent (2012); CSS Bard, New York (2011); CGAC, Santiago de Compostela (2009), amongst others.

Grilo has been a resident artist at Rijksakademie van Beeldende Kunsten, Amsterdam (2011-2013) and Gasworks, London (2015), and he has received the Fundación Botín grant, Santander (2013), the ARCO prize from Comunidad de Madrid (2016), and Generación 2017 prize. (Future gallery press-release)

Future Gallery Casita. Edificio Humboldt. Calle del Artículo 123 116, #401. Colonia Centro, Juárez, 06000. Ciudad de México

http://futuregallery.org   http://www.rubengrilo.net

Image: Rubén Grilo

CHICAGO. Xavier Toubes. PushMoon4. Chicago Cultural Center

9 february – 13 april, 2018

In Xavier Toubes’ PushMoon4, the deft handling of material and skillful glaze technique is created by the palms but executed at the back of the mind. The “fluttering inventions” mingle experience with emotions, touching on the real, aware of the historical moment but un-consumed by it. The objects are fluid, electrical, absurd, theatrical and existential –with wild lone beauty.

The work of Xavier Toubes is based on ceramic sculpture. Toubes was born in Coruña, Spain, but has been working in the U.S. for a number of years. In 1989, he became involved in the creation of the European Ceramics Work Centre in s-Hertogenbosch, The Netherlands, and was its artistic director from the opening in 1991 until the autumn of 1999, when he started teaching at the School of the Art Institute of Chicago. He has exhibited frequently in both the U.S. and Europe and also in Asia, and lectured in numerous universities and international forums. (spainculture press-release)

Chicago Cultural Center, Michigan Avenue Galleries, South 78 E. Washington St., Chicago, IL 60602

http://www.xaviertoubes.com

https://www.cityofchicago.org

Image: Xavier Toubes

STUTTGART. Aurora Valero. Space for Art. Institute of Space Systems (IRS)

25 january – 31 july 2018

For years the Institute of Space Systems (IRS) at the University of Stuttgart has been enticing space experts and space enthusiasts with the traditional lecture series “A passion for space” to the Vaihingen Campus. Now art experts and art lovers are also now coming to the renowned space institute to see the exhibition “Space for Art“ by the Spanish artist Aurora Valero. In the images from the institute exhibition space and art enter into an exciting and fascinating relationship with each other.

Visitors will experience space and art so to speak on two parallel lines leading to infinity. In their respective specific perspective of the cosmos they search for accesses to the mysteries of life.   

This is what Aurora Valero says about the proximity of science and art: “Science and art attempt to approach the truth. Science does this in a logical and concrete way. Art goes the way of intuition in order to see what otherwise remains hidden: feelings but also findings. When I saw the universe with all the tensions, speeds, constrictions and regenerations, I experienced what moves everything – not only on our planet but in the universe: the incredible feeling of beauty that coincidentally appears but is perfectly structured.“

Aurora Valero, born in 1940 in Alboraya, Valencia, Valero already discovered the great works of art history at the age of 13 and worked as an art educator after studying in Valencia. In 1988 she did her doctorate on the work of the Canarian artist Manolo Millares. Besides her rich artistic work she has taught at several Spanish art universities. She is a member of the Royal Academy of Fine Arts San Carlos in Valencia

Universität Stuttgart, Institut für Raumfahrtsysteme, IRS. Öffentlichkeitsarbeit

https://www.uni-stuttgart.de

http://auroravalero.com

Image.: Aurora Valero. Sueños del Alba III. 2017. 200X130cm. 

LISBON. Maria Luisa Fernandez. Works 1980 – 1990. Galeria Maisterravalbuena

1 february – 5 april, 2018

María Luisa Fernández’s works are characterized be the use of disparate artistic languages, ranging from post-conceptual and minimalism to elements coming from the intersections between constructivism and the tradition of the Basque sculpture, training ground of the artist. The use of “doublé entendres” and puns is also frequent in her production, as well as incorporating a critical vision to official versions of the 20th century history of art. Thus, María Luisa Fernández remains attentive to the influence of the 80s, which brought back notions like those of authorship, effort or genius loci, constantly questioned in her works. In this context, Fernández also asserts that in addition to “having something to see” we can also work “so as to have something looking at us and something to look with”.

The work of María Luisa Fernández (Villarejo de Órbigo, León, 1955) has been shown in institutions such: Reina Sofía National Art Center Museum MNCARS 2013-2014; CVA (1980-1984), Artium, Center-Basque Museum of Contemporary Art, Vitoria-Gasteiz, 2004 / Center d'Art La Panera, Lleida, 2005; Expressionist teasing, Trayecto Galería, Vitoria-Gasteiz, 1993; Berini Gallery, Barcelona, ​​1991; Sculptures, CREDAC, Paris, 1990; Oliva Arauna Gallery, Madrid, 1990; Jeunes sculpteurs espagnols, Center Albert Borschette, Brussels, 1989; Sculptures: Mª Luisa Fernández, Pello Irazu, Juan Luis Moraza, Amadis Room, Madrid, 1987; Myths and Crimes, Sala Metrònom, Barcelona / CAM, Bilbao, 1985; o The ground as support, Sala Metrònom, Barcelona, ​​1986.
His works are part of the collections of the Reina Sofía National Art Center Museum (Madrid); MACBA (Barcelona); Fundació la Caixa (Barcelona); Artium, Basque Center-Museum of Contemporary Art (Vitoria-Gasteiz); as well as different private collections. (Maisterravalbuena press-release)

Galeria Maisterravalbuena. Reinaldo Ferreira 40 — 1700 – 324. Lisboa

http://maisterravalbuena.com

Image: Maria Luisa Fernandez. Cobarde temerario, 1989. Wood, oil. 107 x 55 x 97 cm

SHEFFIELD. Marta Soul “Ama y Bebe” DINA Venue

14 february – 30 march, 2018

Marta Soul´s exhibition, Ama y Bebe (Love and Drink), is a series of theatrical photographs, films and live performance where the camera investigates the hidden world of the individuals’ private relationships.
Marta Soul is the winner of The Potential Prize, an annual arts award created by DINA arts centre, to spotlight new work developed by the merging of digital and analogue disciplines.
Marta invites couples to take part in her show and have their portraits taken on the opening night, portraits will be taken on a first-come first-served basis, with free drinks as a reward for their participation.

I was born in Madrid, where 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

 (Dina venue press-release)

Dina Venue 32 Cambridge Street, S1 4HP Sheffield. UK

http://dinavenue.com

http://martasoul.com

Image: Marta Soul. Ama y Bebe, Armonía

DUBAI. Salvador Dali “The Memories” International Financial Centre (DIFC)

february 11 - april 22, 2018

Salvador Dali. The Memories, the will feature lithographs, photographs and originally paintings by the Spanish surrealist artist sourced from private collections from around the world.

One of many star pieces of the exhibition will be Shower of Jasmine, an oil on canvas painting that was first unveiled to the world in 1954 in New York City at Carstairs Gallery. The piece has only been seen in Rio de Janeiro, Brazil, at Museu Nacional de Belas Artes. Since then, the painting has been kept in a private collection and in Dubai, it will be visible to the public for only its third time ever.

Also including in the exhibition will be photographs of Dali taken by close friend and specialist of the master, Robert Descharnes. The photographs, which were selected by Nicolas Descharnes, Robert’s son, also an expert on the life and works of Dali and a guest curator of the exhibition, show the icon intimately working with his tools in the process of making what is now some of the most acknowledged art in the world. (DIFC press-release)

Dubai International Financial Centre (DIFC)Sheikh Zayed Rd - Dubai - United Arab Emirates

https://www.difc.ae

Image: Salvador Dalí “Shower of Jasmine” (DIFC)

BARCELONA. Ramón Surinyac “SENSES” 3 Punts Gallery

7 february – 10 march, 2018

Ramon Surinyac uses pictorial matter and gesture to build his new paintings on canvas. He organizes the forms by means of a slow and fluid calligraphic drawing which expands on the surface to propose a visual game to the viewer, and leads them to discover, from an almost mimetic figuration, the most gestural abstraction.

Surinyac starts with real images, often natural landscapes, which he analyzes to obtain the elements that will help him build the painting.

Each of his paintings is organized from the dialogue that emerges between the accumulation of small chromatic spots and the white pictorial surface. Empty space prevails, which makes it easier for the eye to interpret the shapes as defined structures and allows the viewer to complete the image.

When we approach Surinyac's paintings, seduced by the landscape, we are surprised to see that the structure of the surface, the calligraphic gestures and the chromatic diversity disclose their pictorial language.

Ramón Surinyac (Barcelona, 1974) Bachelor in Fine Arts, specializing in painting at the Faculty of Fine Arts, University of Barcelona (1998).
Erasmus at Saint Martin College of Art and Design in London (1998). Doctorate courses. Faculty of Fine Arts, University of Barcelona (2001). 
(3 Punts press-release)

3 PUNTS GALERIA. Enric Granados 21. 08007 Barcelona

http://3punts.com

http://www.ramonsurinyac.com

Image: Surinyac "WINTER" 2017. Óleo sobre tela.

NEW YORK. Andrés Jaque and Miguel de Gúzman “Sex and the so-called City” Storefront for Art and Architecture

2 february – 3 april, 2018

What are the social, environmental, and political consequences of our urban lifestyles?

This year, Sex and the City, New York City’s most influential archisocial manifesto, turns twenty. The series, an often prescient telling of the cultural trends that have played out in the two decades since its release, follows the glitz and un-glamour of its four main characters through a tumultuous period of transformation for our beloved city: the late 1990s and early 2000s.

 For Sex and the So-Called City, Andrés Jaque / Office for Political Innovation in collaboration with Miguel de Guzmán / Imagen Subliminal, make use of lifestyle forensics to unveil and present the underlying themes of Sex and the City, unblackboxing New York City’s obvious (and therefore invisible) blueprints. These investigations collectively offer a groundbreaking – and sometimes shocking – understanding of the outcomes and impacts of contemporary urban life.

The exhibition dives deeply into issues such as real estate development, energy generation, reproduction, the hypercapitalization of society, and of course, sex, opening up conversations about the relationship of these issues to design, architecture, and the production of the city. In a time when our experiences and our surroundings are highly designed, what does New York City, the ultimate capital of choice, offer us? How many degrees of separation from questionable ethical practices do we feel comfortable with? How has the contemporary image of the city created new forms of design thinking and practice?

 This forensic study of the city’s contemporary culture is presented in the form of a transmedia studio with 360-degree videos capturing interior and exterior landscapes that play host to the narratives and issues the series explores. Alongside the media room is an installation of evidentiary objects comprising the complex network of materiality that occupies and animates our urban context. A public program with two major events will utilize the space and the items to stage and film four new episodes on particular themes, capturing the objects, bodies, and actions of our lived experiences in the city.

 Storefront for Art and Architecture, 97 Kenmare St, New York, NY 10012

http://storefrontnews.org

http://andresjaque.net

Image: Andrés Jaque y Miguel de Gúzman “Sex and the so-called City. Office for Political Innovation”

MANCHESTER. Guille Ibáñez “Tierra Santa” Instituto Cervantes

31 january – 3 april, 2018

'Tierra Santa' is a documentary project on cultural rites of passage but it is also (and perhaps more relevant) an introspective look at his own roots and memory. The Spanish photographer Guille Ibáñez explores the theatre of religion and the way in which people and villages construct elaborate mythologies around their beliefs.

This exhibition will feature an inaugural event organised together with RedEye, a network of photographers from the United Kingdom, will be leaded by Guille Ibáñez and experts from the Manchester Metropolitan University  to give different points of view on the work on the 31st January. The expo will be available and open for everybody until 3rd April.

Born in Madrid (1977) but drawn to Manchester, where he now lives, Guille Ibanez (1977) is a photographer whose work focuses on culture, tradition and human interaction. Originally trained as a cinematographer, he still combines professional film and video work with his passion for photography. The tension between the moving and the still image goes to the heart of Guille's work, and his pictures are often referred to as being like frames from a film.

His discovery of photography began relatively recently with street photography. However, he quickly realised that photography was about more than just capturing isolated moments and that the real power of the camera was as a means of exploring human behaviours and stories and as a tool to connect and interact with the world and the people around him.

Guille develops long term projects mostly in his home country of Spain, but he also works within the UK and Asia. Religion and human faith play a major part in his work which has been part of many festivals around Europe and America and he has been a finalist at prestigious festivals such as MIFA (Moscow International Foto) and BSPF (Brussels Street Photography Festival).

Instituto Cervantes (Mánchester) - 326-330 Deansgate, Campfield Avenue Arcade
M3 4FN Mánchester (REINO UNIDO)

http://manchester.cervantes.es

http://www.guilleibanez.com

Image: Guille Ibañez “Tierra Santa”

NEW YORK. Eloy Arribas “CAMA” Arts+Leisure

10 february – 11 march 2018

The exhibition features the new collages on fabric by Eloy Arribas drawing upon the allusive power of language and forms.

The latest artworks by Arribas present a network of associations in a discourse of shifting relationships, grounded in a vibrant multimedia framework. A self-described “plastic artist,” Arribas embraces spontaneity and the impromptu dynamism of artistic creation. Fields of negative space are punctuated by freewheeling abstract forms and seemingly incidental marks, bursts of unfettered expression that charge the work with a surging energy. Unbothered by conceptual pretenses and the influence of the contemporary art market, his practice exists as a pure dialogue between artist and canvas.

Language plays a central role in his art, and several of the collages feature words which, divorced from a narrative structure, take on an iconic, sigil-like character. Paired with scrawls, smudges, and other bits of studio detritus, the collages evoke a disjunction between text and image, a sort of non sequitur that reflects both the allusive possibilities of language and its restrictions, for example, the feeling of being “at a loss for words.” As postmodern parables of communication and miscommunication, the works grasp for a mode of describing life’s ambiguous states, a response, in the artist’s words, to the lack of nomenclature that we have for the world of sensations, fears and desires.

Eloy Arribas was born in 1991 in Valladolid, Spain, and received his BFA from Salamanca University in 2014. He has had solo shows at Galería Herrero de Tejada, Madrid, Spain; Silves Arte Contemporáneo Gallery, Madrid, Spain; Mojácar Factory Gallery, Mojácar, Almeria; and DA2 Salamanca, Salamanca, Spain. He received the Premio-Grant from the Corselas Foundation of the University of Salamanca in 2016, and has completed residencies at Atelierhaus Salzamt in Linz, Austria, as well as at Javier Silva Gallery in Valladolid, Spain. (spainculture press-release)

Arts+Leisure, 1571 Lexington Ave, NY, NY 10029

http://www.artsandleisure.net

http://eloyarribas.com

Image: Eloy Arribas

CAMBRIDGE. MA. Antoni Muntadas “Before Projection: Video Sculpture 1974-1995 “ MIT List Visual Arts Center

8 february – 15 april, 2018

Spanish video artist Antoni Muntadas is one of twelve international artists whose work will be shown in an exploration of monitor-based sculpture.

Before Projection: Video Sculpture 1974-1995 shines a spotlight on a historical moment and a body of work in the history of media art that has been largely overlooked since its inception. The exhibition explores the connections between our current moment and the point at which video art was transformed dramatically with the entry of large-scale, cinematic installation into the gallery space. This exhibition presents a re-evaluation of monitor-based sculpture since the 1970’s and serve as a tightly focused survey of works that have been rarely seen in the last twenty years. Curator: Henriette Huldisch, Director of Exhibitions & Curator, MIT List Visual Arts Center.

Muntadaspresents Credits (single-channel video, cube monitor, wall armature; 1984) in Before Projection. Muntadas isolates the credits of several TV and film productions from their original context, drawing attention to how producers represent themselves through language, sound, visuals, graphics, format, and rhythm, In Credits, Muntadas analyzes the media landscape and what he terms the “invisible” information behind mass media productions.

In addition to Antoni Muntadas, artists featured in the exhibition are Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder.

Considered one of the pioneers of media art and conceptual art in Spain, for over four decades Antoni Muntadas (Barcelona, 1942) has been creating projects that foment critical reflection about key issues in the configuration of contemporary experience. His aim is to detect and decode the control and power mechanisms through which hegemonic ways of seeing are built, exploring the decisive role played by the mass media in this process.

In his works, which always have a clear processual dimension and often make a direct call for viewer participation, Muntadas uses a number of media, languages and discursive strategies, from interventions in public space to video and photography, from the publication of printed material to the use of Internet and the new digital tools, from multimedia installations to the organisation of multidisciplinary, collaborative research projects.

MIT List Visual Arts Center, 20 Ames Street, Building E15 Atrium level, Cambridge, MA 02139. USA

https://listart.mit.edu/exhibitions/projection-video-sculpture-1974-1995

Image: “Credits” Antoni Muntadas. Courtesy of Electronic Arts Intermix (EAI), New York (http://www.eai.org)

 

BARCELONA. José María Sicilia “Phasma” Galería Joan Prats

09 february – 23 march, 2018

José María Sicilia (b. Madrid 1954) was one of the most significant representatives of Spanish painting in the eighties who identified himself with the young generation of artists that at the beginning of that decade, took up the practice of a `material´ perspective in painting

From 1985, Sicilia initiates a new series of works on the subject of flowers, by which he is specially recognized in Spain. This new thematic development would take him deeper in an investigation focused in the analysis of the shape, the construction of space and the structure of light.

In the abstract painting that this artist has developed lately, the use of wax acquires a main role for its possibilities of dialogue with light and the creation of spaces in the pictorial surface. (Joan Prats press-release)

Galeria Joan Prats. Carrer Balmes, 54. 08007 – Barcelona, Spain

http://www.galeriajoanprats.com

Image: José María Sicilia. La locura del ver, 2016-17

FORDE. Beatriz Alonso “Crown shyness” Sogn og Fjordane Kunstmuseum

17 february  - 03 june, 2018

This group exhibition, based poetically on a botanical phenomenon, brought together artistic practices that promoted or gave visibility to new possible scenarios for living together in the world. It was the result of the prize for young curators organised jointly by MARCO Vigo, FRAC Lorraine and SFKM Førde, the 7th edition of which was awarded to the project of curator Beatriz Alonso. AC/E supported the participation of the Spanish artists invited to take part in Beatriz Alonso’s exhibition: Lara Almarcegui, Marta Fernández Calvo, Dora García and Alex Reynolds.
The point of departure for this show was crown shyness, a natural phenomenon whereby each tree defines the growth limit of its crown, ensuring a harmony in the forest canopy which enables species to coexist without competition. One of the possible reasons for trees’ awareness of their growth limits is related to their ability to exchange chemical signals, providing them with a system of communication between them which allows light in but hinders the access of elements harmful to their overall survival. As well as questioning some hegemonic interpretations of nature, the poetic observation of this phenomenon establishes a dialogue with our contemporaneity and underlines the urgent need to imagine a system based on synergies instead of on the survival of the fittest.   
Tapping into the potential of this metaphor, this exhibition brought together artistic practices that fostered or gave visibility to new scenarios for living together in the world and learning from each other, embracing otherness and difference. The aim was to use art to reconsider the concept of community, contributing to a greater understanding of the common without neglecting conflict, instability or utopia. For this purpose, it proposed a more flexible and distorted approach to nature by promoting more intuitive and poetic methods of research and learning. (AC/E press-release)

Sogn og Fjordane Kunstmuseum, Storehagen 1, 6800 FØRDE

SFKM, Sogn og Fjordane Kunstmuseum

Image:  La timidez de la copa de los árboles” Sogn og Fjordane Kunstmuseum

MULHOUSE. Teresa Lanceta and Esther Ferrer “The Live Creature” La Kunsthalle

15 february – 29 april, 2018

This exhibition aims to explore the connections between art, education and everyday life through the artistic practice. This would take us through a parcours where research and production processes, together with different approaches to the understanding of pedagogy and knowledge transmission –very much connected with their performative and collective potential become subjects and tools of contemporary artistic production.
The Live Creature takes its title from the first chapter of John Dewey’s book “Art as Experience”. This was published in 1934 and, even though at the time, it was received with different enthusiasms, time and renewed approaches to its reading have placed it as a central contribution to art education and the connection of art and everyday life. For Dewey the autonomy of the artistic experience is grounded on the social function of art, promoting a practice that increases our capacity of doing and, understanding the agency of the relations we establish within the conditions of production.
Dewey's theory could be seen as an attempt to shift the understanding of what is important and characteristic about the art process from its physical manifestations in the “expressive object” to the process in its entirety, a process whose fundamental element is no longer the material “work of art” but rather the development of an “experience”.
This understanding of experience was later very influential to artists such as Allan Kaprow who pushes Dewey’s philosophy into the experimental context of social and psychological interaction, where outcomes become less predictable. Therein, the given natural and social forms of experience provide the intellectual, linguistic, material, temporal, habitual, performative, ethical, moral and aesthetic framework within which meaning maybe made .
A more contemporary reading: Maria Puig de la Bellacasa states in one of her latest published articles that knowledge production, which we would freely associate to the artistic practice, is situated and therefore could not be understood without the multitude of relations that make it possible.
This exhibition aims to explore the connections between art, education and everyday life through the artistic practice. This would take us through a parcours where research and production processes together with different approaches to the understanding of pedagogy and knowledge transmission –very much connected with their performative and collective potential become subjects and tools for contemporary artistic production.
These principles would give us the frame to explore the connections between art education and art practice, craftsmanship as a way of relating to the world, the body as a subject of transmission but also, the relevance of the urban and natural process that surround us as a departure point for the artistic production and as a tool for generating a better understanding on the way we live.
Participant artist are Anna Craycroft (USA), Esther Ferrer (ESP), Adelita Husni-Bey (IT), Allan Kaprow (USA), Teresa Lanceta (ESP), Nicolas Malevé (BE), Aimée Zito Lema (NL). Curator: Soledad Gutiérrez. (AC/E press-release)

La Kunsthalle. 6, rue de la Fonderie, 68093 Mulhouse. France

http://kunsthallemulhouse.com            

http://www.teresalanceta.com

http://estherferrer.fr

Image: Franjas III 2017. cosidos sobre tela pintada - 250 x 150 cm

St. PETERSBURG. Fl. “Dali / Duchamp” The Dalí Museum, St Petersburg

10 february – 27 may 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)

The Dali Museum, 1 Dali Blvd, St Petersburg, FL 33701

http://thedali.org/exhibit/daliduchamp

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.

CHICAGO. Daniel Cerrejón “Beyond Meausure” Tiger Strikes Asteroid

january 28 — march 10, 2018

Daniel Cerrejón’s sculptural practice gives systems of bodily measurement a material and relational presence. In the CORPUS series, Cerrejón vacuum seals tangles of rope whose lengths are derived from the International Organization for Standardization’s average body metrics for the American population. The cold language of his titles brushes up against the fleshiness of the knots and the makeup (also derived from ‘average’ flesh tones) that coats them. If these measurements seem to evacuate corporeality, then Cerrejón’s sculptures usher it back in.

In the other bodies of work exhibited, Cerrejón offers material approximations of proxemics, the field of study that seeks to define average distances between human bodies in different behavioral scenarios.

Tiger Strikes Asteroid is a network of artist-run spaces with locations in Philadelphia, New York, Los Angeles and Chicago. Each space is independently operated and focuses on presenting a varied program of emerging and mid-career artists. The goal is to bring people together, expand connections and build community through artist-initiated exhibitions, projects, and curatorial opportunities. The network seeks to empower the artist’s role beyond that of studio practitioner to include the roles of curator, critic, and community developer –and to act as an alternate model to the conventions of the current commercial art market.

Tiger Strikes Asteroid Chicago, 319 N Albany Ave, Chicago IL 60612

http://www.tigerstrikesasteroid.com/tagged/beyondmeasure

https://danielcerrejon.com

Image: Daniel Cerrejon. Zero Sum Objects, 2015, Rubber and steel, 8” x 8” x 2

SAN FRANCISCO. Paz de la Calzada “Portale” Kalmanovitz Hall, University of San Francisco

5 february – 25 march 2018

In “Portale,” artist Paz de la Calzada invites visitors to explore the meaning of passage and transformation.

This site-specific installation creates a path through the stone portal in USF’s Kalmanovitz Hall atrium to The Nomadic Labyrinth (2013) on the building’s rooftop sculpture terrace. For Portale, de la Calzada incorporates a common ornamental pattern used in churches of Northern Italy to form a path that links the monument and the space. Using gaudy reclaimed carpets from hotels and casinos, de la Calzada evokes with irony the relationship between the sacred and the profane.

Paz de la Calzada, a native of Spain, is an artist working in drawing, installation and sculpture. She received a BFA at the University of Salamanca, Spain, and her MFA at UNAM, Mexico City. Her work has been shown nationally and internationally, including the San Jose Museum of Art, the Palo Alto Art Center, the Berkeley Art Center, the Mission Cultural Center for Latino Arts in San Francisco, the Union Fenosa Museum and the Fundacion Caixa Galicia in Spain and the Leon Trotsky Museum and the San Angel Cultural Center in Mexico City.

De la Calzada came to the San Francisco Bay Area in 2003 as an Artist in Residence at Djerassi Resident Artist Program. She has since been in several residency programs like Kala Art Institute in Berkeley, Millay Colony for the Arts in New York and Valparaiso Foundation in Spain. She is a recipient of a Cultural Equity Grants by the San Francisco Arts Commission and the Academy of Fine Arts Award and the County of La Coruña Grant, both in Spain.

Her current work reflects the artist’s vision of creating art that is playfully in dialogue with the urban space, exploring the relationship between nature and urban environment, daily life and ritual. (usfca press-release)

Kalmanovitz Hall, University of San Francisco, 2130 Fulton St, San Francisco, CA 94

https://www.usfca.edu/event/2018-02-05-0900/portale-paz-de-la-calzada

http://www.pazdelacalzada.com

Image: Paz de la Calzada

DALLAS. “Memory, Mind, Matter: The Sculpture of Eduardo Chillida” Meadows Museum

4 february – 3 june 2018

Eduardo Chillida (1924-2002) is one of the major sculptors of the post-war international art movement. His monumental public works can be found throughout Spain, Europe and the Americas. Memory, Mind, Matter: The Sculpture of Eduardo Chillida presents 66 works of sculpture, drawing, collage, gravitations, graphic works, and a small selection of artists’ books, representing a general view of the mature phase of this key sculptor of the post-war avant-garde. Co-curated by William Jeffett, curator of exhibitions for The Dalí Museum, and Ignacio Chillida, the artist’s son, the works in the exhibition come exclusively from the Museo Chillida-Leku in Hernani (San Sebastián, Spain). The exhibition seeks to demonstrate the artist’s interest in space and form, which is understood as anchored in the human body and organic concerns (rather than reading his work as abstract, an idea Chillida rejected). It considers how he represents the legacy of the pre-war avant-garde’s interest in human subjectivity and notions of form as it bears poetic content, and will also include a reflection on the artist’s engagement with poetry and philosophy, and his proximity to writers of the period.

This exhibition is co-organized by The Dalí Museum and Fundación Eduardo Chillida-Pilar Belzunce, in collaboration with the Meadows Museum, SMU, Dallas. Additional support for the Meadows Museum’s presentation is generously provided by The Meadows Foundation. (Meadows Museum press-release)

Meadows Museum 5900 Bishop Blvd., Dallas, TX 75205

https://meadowsmuseumdallas.org

Image: Eduardo Chillida. Archivo Eduardo Chillida

BERLIN. Concha Argüeso “DER TRAUM DES PHOENIX” KM13 Studio Showroom Storefrom

27 january -16 march, 2018

“I have always asked myself, what it is that I see in the artworks by Concha Argüeso.  There is something that is not really visible –not in a way that is clearly recognizable. Sometimes it is the silhouette of a body, or just a circle, a gate, mostly not even that. And the more I look at it, the more addicted I become. It must be something like the soul.” David Kermani

KM13 Studio Showroom Store. Kurmärkische Str.13. 10783 Berlin
www.conchaargueso.eu

http://km13.info/en

Image: Concha Argüeso

BARCELONA. Blanca Casas Brullet “Material Sensible” Rocio SantaCruz Art

11 january – 10 march, 2018

From the beginning, the work of Blanca Casas Brullet (Mataró, 1973) has been nourished by images inscribed in the everyday language, the polysemy and the poetic load that hides in the interstices and in the passage from one language to another.

The rhetorical figures and the images of the language we invoke to give an account of the world permeate the artist’s gaze, always attentive to losses and false friends, to misunderstandings and to the poetic -and sometimes also ludic- potential of translation

For some years now, the artist has questioned herself plastically about the moment of the appearance of the image, as well as its manufacturing process. He conceives, at the end of the day, the work of creation as the place where to develop a plastic language to try to “make sense” while “forming”. That is why the workshop, the work table, the blank page are the center of their exposure devices, as well as the overflows, wrinkles, holes and accidents that occur in the process of the plastic material in transformation.

We find, in the work of Blanca Casas, materials, means and processes used in a contradictory way in paradoxical proposals that put in question the essay, the attempt or the unfinished. Proposals that speak metonymically of work from the interrogation of its own consistency: the image appears to us as unstable, unfixed, in the form of uncertain and incipient objects.

Thus, the set of attempts and errors that inhabit the corners of the workshop, the crumpled papers that fill the paper mills, the sometimes costly assemblies of different materials, tell us about the work of plastic research itself. And is that despite the tendency to hide the error (in a world that would be effective), the drift and the trial, the accident and the unexpected are at the base of all learning and creation process, at the root same as the work, artistic or not.

In Material sensible, the interrogation on the fragmentary, the discontinuous or the unstable refers to the notion of precariousness. Her plastic exploration is situated in the suspension between two states, while, within her paradoxical logic, the artist appropriates construction materials on this occasion to ask herself how to resist and build from that uncertain space. The plastic forms and materials come into resonance with social, economic, political, historical situations, but without being an illustration of them.

It is, in short, an unhindered exploration of polysemy and analogy, composing with words, materials and forms, with displacements, losses and enrichments, the deviations and interrelationships of the translation of one discipline to the other, of a technique to another, from one medium to another. (Rocio SantaCruz press-release)

Rocio SantaCruz Art. Gran Via de les Corts Catalanes 627. 08010 Barcelona

http://rociosantacruz.com

Image : Blanca Casas Brullet. Plan de travail, 2015

LONDON. Alejandra Carles-Tolra, Sam Laughlin and Lua Ribeira “Jerwood/Photoworks Awards” Jerwood Space

17 january - 11 march 2018 

New work by Alejandra Carles-Tolra, Sam Laughlin and Lua Ribeira shows at Jerwood Space, London in the second Jerwood/Photoworks Awards exhibition. The exhibition explores themes of such as death, belonging and the fragility of the natural world. Following its London premiere, the show will tour across the UK to venues including Impressions Gallery, Bradford and Belfast Exposed. Spectrum Photographic is the Jerwood/Photoworks Awards official print partner.

Alejandra Carles-Tolra is interested in the relationship between individual and group identity and how one identity influences the other. In Where We Belong she explores themes of belonging, femininity and escapism by following a group of Jane Austen devotees.

We are delighted to be presenting this, the second edition of the Jerwood/Photoworks Awards, a unique opportunity, recognising and supporting potential with a distinctive combination of mentoring, production resources, and a national exhibition tour. It has been an incredible year of dialogue and development for the Awardees who have each received support from the team at Photoworks and Jerwood Charitable Foundation and insights from our brilliant mentors. It’s been a privilege to see their ideas develop and this year’s exhibition is truly diverse, both in the subjects explored and the artists’ individual approaches to image-making. The Awards have already proved to be an important platform for artists and we look forward to seeing Alejandra, Lua and Sam’s careers continue to flourish. Celia Davies, Director of Photoworks and Sarah Williams, Head of Programme, Jerwood Visual Arts

Jerwood Space, 171 Union Street, London SE1 0LN

jerwoodvisualarts.org 

http://www.alejandractr.com

Image: “The Bears” Alejandra Carles Torla

SOMERSET. Fernando García-Dory “The Land We Live In – The Land We Left Behind” Hauser & Wirth

20 Jan – 7 May, 2018

Hauser & Wirth Somerset is delighted to announce ‘The Land We Live In – The Land We Left Behind’, curated by Adam Sutherland. This ambitious survey exhibition explores the contradictory nature of society’s relationship to the rural. The presentation features over 50 international artists and creatives, as well as works on loan, by artists working from the 1500s to the present day, including Paul McCarthy, Beatrix Potter, Carsten Höller, Laure Prouvost, William Holman Hunt, Samuel Palmer, Frank Lloyd Wright, Marcus Coates, Fernando García-Dory, Mark Dion, Roni Horn, Aaron Angell and Mark Wallinger.

With protagonists ranging from 10th-century anchorites to 21st-century urban ruralists, ‘The Land We Live In – The Land We Left Behind’ tells the story of humanity’s evolving connection to the land, our perception of, and reliance upon it. Viewers will have the opportunity to engage with the themes of the exhibition through a series of participatory artists’ projects and practical presentations, such as aquaponics, fermentation, goat milking and cheese making.

The exhibition’s title refers to a toast used by migrants in the 18th and 19th centuries, which celebrated the land they had arrived in, followed by a riposte celebrating their country of origin – a place that for many embodied romantic longing. The selected works suggest the rural as a laboratory for the development of ideas, in particular the notion of a rural utopia, exploring the religious migrants, the industrial escapees, the metaphors of the flight from Egypt and the return to Eden, that are embedded in humanity’s collective unconscious. This vision is counter-balanced and punctuated by pieces of documentary and reportage, from works illustrating the reality of modern farming, to artefacts relating to boy racers’ car culture. The exhibition explores these tangible themes of territorial friction, procreation, death, and our primeval base instinct, against the backdrop of a more elusive and arcadian incarnation of the rural.

Upon arriving at Hauser & Wirth Somerset viewers may encounter goats grazing in the grass farmyard; artist Fernando García-Dory and Hayatsu Architects have created a wooden pavilion – a functioning artwork – for goats to climb on and socialise.

Fernando García-Dory ´s (b. 1978) work engages specifically with the relationship between culture and nature now, as manifested in multiple contexts, from landscape and the rural, to desires and expectations concerned with identity, through to (global) crisis, utopia and the potential for social change. He studied Fine Arts and Rural Sociology, and now prepairing his PhD on Agroecology. Interested in the harmonic complexity of biological forms and processes, his work addresses connections and cooperation, from microorganisms to social systems, and from traditional art languages such as drawing to collaborative agroecological projects, actions, and cooperatives.

Hauser & Wirth Somerset. Durslade Farm, Dropping Lane, Bruton, Somerset BA10 0NL. U.K

 https://www.hauserwirth.com

http://fernandogarciadory.info

Image: “The Land We Live In – The Land We Left Behind” Hauser & Wirth

KHÓLN. Matías Krahn “Rubedo” 100 Kubik Gallery

26 january -13 march 2018

With "RUBEDO“, Matías Krahn  presents the last series of his alchemistic journey into his self-knowledge as an artist, which bonds and unite the preceding ones. After “Nigredo” and “Albedo” Krahn’s unadulterated image-language and stylistic handwriting reaches yet again a higher level of harmonic stability: Once more, aspects like the pure and varied use of bright colours as well as the poetic materiality of the surface are to the fore in his artworks. This witty and intellectually stimulating result of a steady wish to understand the world, is hopefully going to enchant as well as positively surprise you as much as us! (100 Kubik press-release)

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

http://matiaskrahn.net

http://100kubik.de

Image: S/T. Matías Krahn

SAN FRANCISCO. Walter Martin y Paloma Muñoz “Through That Which Is Seen” The Palo Alto Art Center

january 20 – april 8, 2018

The exhibit spotlights the use of dioramas in contemporary art, featuring work by Walter Martin and Paloma Muñoz among other artists.

Much can be said about why the practice of creating miniature worlds persists, and in particular why so many contemporary artists find this art form to be a useful tool of expression. Dioramas can turn even the most mundane of subjects into something special and worthy of attention; they direct focus and consideration on their narratives, encouraging an extended gaze; they are a means of escape from the everyday and a window into the dream world; they facilitate a suspension of belief; and at their best, like those earliest examples, blend fantasy and reality so seamlessly we are magically transported into another dimension.

Each of the artists in this exhibition wants to tell you a story through sculpture, photography, painting, or video works. Some of these stories, as those by Walter Martin and Paloma Muñoz, are full of alienation and dark humor, and some crystalize a feeling of foreboding or a coming apocalypse. Others are carefully crafted social commentaries, either about current events or about the controversial history of the diorama itself. Many are pure reverie. All of them reflect the careful craftsmanship and inner dream worlds of their makers.

For centuries artists have tried to fit reality’s scale into smaller confines: framed canvases, chiseled statues, portraits on ivory… Walter Martin and Paloma Muñoz have climbed into their own distinct niche. Known collaboratively as Martin & Muñoz, they sculpture and arrange miniature, three-dimensional scenes of alienation, dread and dark humor and set them inside snow globes.

Participating artists include: Matthew Albanese, Gregory Euclide, Abigail Goldman, Ju Lim, Walter Martin and Paloma Muñoz, Didier Massard, Michael McMillen, & Gerber, David Opdyke, Curtis Talwst Santiago, Joshua Smith, Wendy Red Star, Charles Young

The Palo Alto Art Center. 1313 Newell Rd, Palo Alto, CA 94303

https://www.martin-munoz.net

https://www.cityofpaloalto.org

Image: Walter Martin and Paloma Muñoz

MONZA. Bernardi Roig “Blow Up” Serre della Villa Reale

21 december 2017 – 23 march 2018

In order to be developed in the park of Villa Reale in Monza, Bernardi  Roig’s Blow-Up project requires the positioning of five, life-sized, white aluminium statues that face each other and constantly dialogue with the natural space of the landscape. The sculptures, hidden among the greenery and shrubs of the park, force the viewers to search for the revelation of the hidden image. This is a show of sculptures that, while being heavy and voluminous, seem not to be present. Just as Thomas (the photographer) obliged us, by way of his oblique view, to follow a trail into which to insert a meaning with his intervention in the park of Villa Reale, Bernardi Roig attempts to push the viewers further beyond their own view.  All his work has always been based on the close relationship and tension with the memory of images, always using light as a metaphor for memory itself. This is the plot of the story that allows us once again to deal with our visual heredity and put us on the frontline of our emotions.

Through his sculptural work, mainly his white sculptures created from casts of living people, which are a post-mythological reflection on the very meaning of the human figure as a final and solitary presence, Bernardi Roig proposes an itinerary based on strong ideas about the heroic act of looking. By using light, not in order to illuminate but quite the reverse, to blind us, he obliges us to explore an image imprisoned within our memory. 

His latest works are nothing other than an emotion, a contemporary vanitas that we build as a result of the impossibility of creation in order to follow along our path over the ashes of images.

Bernardi Roig (Palma de Mallorca, 1965) is one of the most outstanding Spanish artists of the current international scene. His multidisciplinary work (sculpture, video, drawing, painting, texts) is an obsessive reflection on isolation, erotic drive and desire through a distilled language of minimalist and conceptual heritage that places the representation of the human figure in the epicenter of its problems. His obsessive and disturbing works can be understood as devices of solitude in which the urge to “speak from the impossibility of speech” is present, trying to find figures and images for a deranged time. Organized by M.AR.CO. Monza Arte Contemporánea

Serre Reali, Viale Brianza 1, Monza (MB) Italia

http://www.monzaartecontemporanea.com

Image: Bernardi Roig

MARSEILLE. Borondo “ Matiere Noir” Galerie Saint Laurent

until 31 january 2018

It smells like dust and wood. We get into the limbo of memory. An endless number of carefully carved objects tell us that there was once a time when clocks could take their time. There are mirrors of all sizes. Contained inside the glass is a heavy, sparkling history that is now coming across new eyes. I can’t stop wondering how many glances coexist in this reflection.
Within this universe of furniture, certain vessels of different cultures materialise. Sound waves lie hidden in its curvatures, words from a past life that do not reveal its secret. Hundreds of statuettes, old-time icons, have gone from being avant-garde to being memories, to discover the sound of an unstoppable metronome that seems to set the beat faster and faster. Singing of the past, voices reverberate out of magnetic tapes and interfere directly in the present. At the same time, an absent-minded listener modifies these sounds with his contemporary perception in a return trip around the collective consciousness. Meters and meters of celluloid, immortalised memories are afraid of losing their eternal nature when confronted with fire.
On 8-millimeter film, a little girl looks at her dad’s camera while she is playing in the river. The little girl is laughing and dancing. She fascinates us speaking about the unique, yet it scares us when she shows us what is unrepeatable. She draws an invisible past, without which our existence would be impossible. Dark matter of the present time.
According to cosmologists, dust, wood, mirrors, vessels, statuettes, the little girl and any other thing we can see with our eyes, or through using instruments at our disposal, are just five percent of the universe. The rest is dark energy and dark matter, a mysterious substance that reminds us just how much we do not know compared to what we know. That our perception is limited and subjective and that life would not be as it is without this mysterious and dark reality. Just as it would not be as it is if the little girl, her father, the camera or the river had not existed. Just as life anywhere in the world would be the same if all these thwarted realities at Marché aux Puces in Marseille had not taken place. Just as all the stories lying about in the market had not occurred if the rest of the universe had not been in motion. My dark matter.
A reality that is not there anymore and whose echoes are the only things I can still hear. A reality that is not mine and I do not mind, because I do not even know that it exists. A reality that I cannot touch and whose unknown nature scares me. The sleeping truth in the unconscious. The invisible. My dark matter. Borondo

In collaboration with BRBR FilmsCarmen MainDiego López BuenoEdoardo TresoldiIsaac CordalRobberto AtzoriSBAGLIATO. Gif by A.L. Crego. Curated by Carmen Main

Galerie Saint Laurent. Hall des Antiquaires, 130 Chemin de la Madrague-Ville, 13015 Marseille

http://www.galeriesaintlaurent.com

https://gonzaloborondo.com

Image: Borondo. Matiere Noir. Marché aux Puces. Marseille

GUANGZHOU. Carlos Irijalba / Jon Cazenave “Simultaneous Eidos” Guangzhou Image Triennial 2017

15 december 2017- 8 march 2018

The predecessor of Simultaneous Eidos -- Guangzhou Image Triennial was Guangzhou International Photography Biennial Exhibition hosted by the Guangdong Museum of Art, which was one of the major international photography biennials in China. Its basic purpose is to uphold the humanistic standpoint with international horizon and sociology of images and participate and promote the development of contemporary photography and culture in China. Reviewing the past three photography biennials (in 2005, 2007 and 2009), each exhibition established a theme and academic orientation focused on the history of photographic photography in order to showcase contemporary photographic practices. At the same time, the passion of national art museums for photography research and collection is ignited. Curators: Wang Shaoqiang, Alejandro Castellote, Bao Dong, Zeng Han

The exhibition showcases 16 international visual artists whose works establish different kind of dialogues among each other: Daisuke Yokota, Kensuke Koike and Go Itami (Japan); Carlos Irijalba and Jon Cazenave (Spain); Caio Reisewitz and Gisella Motta&Leandro Lima (Brazil); Marcela Magno (Argentina); Giancarlo Shibayama, Felipe Esparza and Pepe Atocha (Peru); Thomas Sauvin, Noémie Goudal and Antoine D’Agata (France), and Penelope Umbrico (USA).

Carlos Irijalba was born in Pamplona,Spain in 1979 and graduated in 2002 at the Fine Arts Basque Country University and studied at UDK Berlin.He currently lives and works between Amsterdam,Netherlands and New York,USA.

Inertia deals with the construction of reality.The piece emerged from some scenes,not included in the video of previous twilight project,that refer to the transit of light from one location to another.In both projects the lighting device engages directly with the real.In Inertia ,the route is a place and the vector imposes itself on the object.The present then tends to disappear in a continuous movement and what happens is indeed its non-presence.

Over its four-minutes length,Inertia responds to the conventions of rhythm,visual axes,and other narrative norms with the rules that we use to assimilate the entire audiovisual spectrum.There occurs a specific accident between the fragile rules of narration and the sophistication of what is staged,confronted with the inescapable physical connotations of gravity,weight,or the volume of the elements in its service

Jon Cazenave  born in Basque Country,Spain,in 1978 graduated from the University of Deusto in 2001. Cazenave' swork has been exhibited at international art institutions including Canal de Isabel ll Foundation(Spain),CCCB(Spain),Museum Belvédère(The Netherlands),Foto Museum Antwerp(Belgium) or CaixaForum(Spain).He has also participated in several international photography festivals such as Les Rencontres de la Photographie d'Arles(France),Noorderlicht(The Netherlands),Photoespaña(Spain) or Tokyo International Photography Festival(Japan). In 2016 he was selected to participate in the 18th edition of "European Eyes on Japan"program as a representative of the European Capital of Culture San Sebastian 2016. (Guangzhou Image Triennial press-release)

Image:”Carlos Irijalba.  Inertia 3 , photography ( C-print ), 127cm×190cm, 2012.

http://www.guangzhouimagetriennial.org/en

http://www.carlosirijalba.com

http://joncazenave.com

GUANGZHOU Image Triennial 2017 Guangdong Museum of Art , Er-sha Lsland ,Guangzhou , China. 

FREIBURG. Pilar Millan “In good times and in bad. How to operate” Museum für Neue Kunst

until 8th april 2018

How can art endure, age, change? How can the museum create and cultivate relationships with artists, as well as with private and public partners? Indeed, how can it use and enrich the history of its own collection? How can the collection be developed and extended in future? Both in good times and in bad? A new special exhibition will address these questions, focussing in particular on one influential feature of the museum as a public site: it undertakes a responsibility over a long period, promoting discourse and fostering connections and relationships.

Five artists from the contemporary collection – Monika Baer, Katharina Grosse, Svenja Kreh, Chiharu Shiota and Georg Winter – were asked for suggestions regarding which artist or which work they consider to a be fitting counterpart for their work. Not only does the Museum für Neue Kunst listen to these opinions, it also accords them a lot of weight.

What has emerged from these consultations are a number of exciting and unusual connections, dissonances and collaborations which will be on show for a period of six months. 

This experimental format permits the museum to reflect upon its collection and readjust the paradigms and perspectives that attend it. At the same time, it represents an opportunity for a fresh approach to the museum's duties: collecting, conserving, researching, exhibiting and educating.

How art comes about. Who makes art. How art endures – these three aspects will be examined during the exhibition run. This unusual approach unearths interesting and illuminating facts and circumstances hidden in the artworks on display.

Monika Baer | Cynthia Cruz | Liza Dieckwisch | Frédéric Ehlers | Katharina Grosse | Svenja Kreh | Pilar Millán | Lila Rose | Chiharu Shiota | schwarabia import-export | Martina Wegener | Georg Winter | Amelie von Wulffen

Museum für Neue Kunst. Marienstraße 10ª. 79098 Freiburg im Breisgau

http://www.freiburg.de/pb/,Len

http://www.pilarmillan.com

Image: Pilar Millán “Su peso en oro”, 2015, balanza para pesar hilos de 1837 de la antigua aduana barcelonesa en bronce, hilo de melhfa saharaui

NEW YORK. Santiago Ramón y Cajal “The Beautiful Brain” Gray Art Gallery

9 january – 31 march 2018

Santiago Ramón y Cajal, considered the father of modern neuroscience, was also an exceptional artist. He drew the brain in a way that provided a clarity exceeding that achieved by photographs. Combining scientific and artistic skills to produce drawings with extraordinary scientific and aesthetic qualities, his theory that the brain is composed of individual cells rather than a tangled single web is the basis of neuroscience today. This traveling exhibition of Cajal’s original drawings was organized by the Weisman Art Museum in collaboration with Drs. Eric NewmanAlfonso Araque, and Janet Dubinsky, neuroscientists at the University of Minnesota and leaders in the field of neuroscience. Dr. Araque was formerly at the Instituto Cajal in Madrid, where Cajal worked and where his drawings are housed.

The exhibit is organized in collaboration with Ricardo Martinez Murillo, neuroscientist and curator of the Cajal Legacy at the Cajal Institute (CSIC) in Spain. Eighty of Cajal’s drawings, many appearing for the first time in the United States, will be accompanied by a selection of contemporary visualizations of the brain, photographs, historic books, and scientific tools. After the debut at WAM, the exhibition will travel to university galleries and museums throughout the United States and Canada. (WAM press-release)

Grey Art Gallery. 100 Washington Square E, New York, NY 10003

https://greyartgallery.nyu.edu

Image: Santiago Ramón y Cajal “The Beautiful Brain”

NORTHAMPTON. Silvia Lerin “Open Exhibition” NN Contemporary Art

13 january – 17 march 2018

Every two years NN Contemporary Art hosts its Open Exhibition of work by artists from across the world in a wide range of media. The show is selected by a changing panel of judges; this year’s panel were co-directors of originalprojects Kaavous Clayton and Jules Devonshire and artist and Goldsmiths Senior Lecturer in Fine Art Practice (Studio Practice) Roxy Walsh 166 artists responded to the open call submitting 347 individual works. From this selection the judges chose 73 artists to feature in the exhibition.

The Open Exhibition launches at NN on 12 January 2018 at 6pm and visitors will be able to see a wide range of artworks: from a video about slugs to utopian philosophy, from washing machine parts and wool to photographs of doves and much more from across the globe including Ukraine, Iran, Lithuania and the UK.

Silvia Lerín (Valencia, 1975). Bachelor of Fine Arts from San Carlos Fine Arts College of Valencia. Lives and works in London, UK. Lerin has exhibited extensively in the UK and Europe. In 2014, she won the Pollock-Krasner Foundation Grant, New York. Her art work can be found in museums and foundations across Spain, UK and Germany.

Artists: Jonathan Alibone, Zahra Amirkamali, Emily Arnold, Tristram Aver, Catherine Baker, Sharon Baker, Sophie Bament, Emma Barford, Ben Bird, Giulia Cacciuttolo, Lorsen Camps, Tadao Cern, Anya Charikov-Mickleburgh, George Chinnery, Fran Copeman, Benjamin Duax, Daniel Earey, Robert Fitzmaurice, Louise Freeman, James Fuller, Alison Goodyear, Anna Gonzalez, John Griff, Colette Griffin, Keren Goresh-Freedman, Luke Harby, Jade Hanley, Matt James Healy, Charlie Hurcombe, Sarah Jenkins, Sarah Louise Keber, Jonathan Kelham, Kyle Kirkpatrick, Marine Lefebvre, Silvia Lerin, Maria Lewis, William Lindley, Eugene Macki, Zara Makhdoom, Tahira Mandarino, Ryoko Minamitani, Alvin Ong, Sylvia Owens, Alistair Payne, Karen Piddington, Maksim Podorozkin, Duncan Poulton, Richard Powell, Lisa Price, Srecko Radivojcevic, Alison Ranson, Attia Rashid, Chernaya Rechka, Scott Robertson, Luís Filipe Salgado Pereira Rodrigues, Marjan Samie, Cassander Edftinck Schattenkerk, Veronica Slater, Emily Sparkes, Stephanie Spindler, Alcaeus Spyrou, Natalka Liber Stephenson, Pamina Stewart, James Tebbutt, Clare Thatcher, David Theobald, Ross Tomkins, Mererid Velios, Satu Viljanen, Jane Walker, Mark Wilsher, Claire Yspol, Jasmin Yusuf. (NN press-release)

NN Contemporary Art Number. Nine. Guildhall Road. Northampton. NN1 1DP, UK

http://www.nncontemporaryart.org

http://www.silvialerin.com

Image: My own electricity I and II, 2017 © Silvia Lerin

BRISBANE.Picasso “The Vollard Suite” Queensland Art Gallery

2 december 2017 – 15 april 2018

Pablo Picasso jammed plenty of creativity into his 91-year life, including paintings, sculptures, prints, ceramics, stage design, plays, poetry and more. During the 1930s, he also etched and engraved a set of 100 pieces, in a series that was named after the art dealer who commissioned them: The Vollard Suite.

Produced over an eight-year period, the collection takes inspiration from stories, tales and myths, as well as the human form, his mistress and politics at the time. In other words, it proves an artistic overview of his favoured themes and fascinations, while also offering an autobiography of sorts.

It's the kind of intimate work that gives fans an insight into the Spanish master beyond his more famous pieces. And, courtesy of the National Gallery of Australia — who boast a complete set — the suite is on display at the Queensland Art Gallery from December 2 to April 15. (QAG press-release)

Queensland Art Gallery . Stanley Place, South Bank, Brisbane

https://www.qagoma.qld.gov.au/whats-on/exhibitions/picasso-the-vollard-suite

Image: Pablo Picasso, from the Vollard Suite. Etching and scraper, printed in black ink. National Gallery of Australia. ©Succession Picasso. Licensed by Viscopy, 2017.

AMSTERDAM. Lara Almarcegui “Terrestrial Records” Manifesta Foundation

24 november 2017 – 25 may 2018

Manifesta is proud to present Terrestrial Records by Ellen de Bruijne PROJECTS. Terrestrial Records is part of an ongoing series of in-house exhibitions hosted by Manifesta in its Amsterdam headquarters. Every 6 months, a different contemporary art gallery from Amsterdam is invited to curate a site-specific show that links to the key topics of Manifesta biennials or reflects the history of Manifesta HQ, a 17th-century canal house on Herengracht. The exhibitions become a starting point for public meetings, discussions, performances and receptions. Through this program we would like to show our appreciation and support towards the Amsterdam art scene. Curated by Ellen de Bruijne PROJECTS, Terrestrial Records features a series of works that explore diverse contemporary themes, such as our attitude and relationship with nature; the interplay between digitalization, power and privacy; and the hidden presumptions within our societies.

Lara Almarcegui’s “Mineral Rights (Tveitvangen)” questions ownership of the Earth and her natural resources. In her "City Weights" she creates awareness for our urban environment opposed to nature, and in her "Guides" she focusses on the importance of wasteland within our constructed surroundings. “Naturist Campsite” by Maria Pask shows our distance and alienation from nature. Presented as a video work within the Terrestrial Records exhibition, “Naturist Campsite” was a one-day live event at the back garden of Marres in Maastrict, where hired actors played the roles of naturists, confronting the visiting public with a fully functioning naturist campsite. A large projection work by Pauline Curnier Jardin “Explosion Ma Baby” depicts how seemingly primitive rituals merge into a Catholic religious process.

Artists: Lara Almarcegui, Pauline Boudry/Renate Lorenz, Pauline Curnier Jardin, Jeremiah Day, Maria Pask, Falke Pisano, Michael Smith

Manifesta Foundation offices. Herengracht 474, 1017CA Amsterdam

https://manifesta.org

Image: “Mineral rights” Lara Almarcegui

BRUSSELS. “Private Choices : 11 Brussels Collections of Contemporary Art” CENTRALE

9 november 2017 – 27 may 2018

Private Choices lifts the veil on a significant aspect of art: contemporary art collections and its initiators, the art lovers. The latter play an increasingly important role in the constantly growing art world and, in the era of disproportionate commercialisation and globalisation of the art market, these passionate people invest time and money in contemporary creation, often lavishly.

This project sheds light on 11 Brussels collections including works by Belgian and international artists, both confirmed and emerging, in an attempt at showcasing the specificity of each one. Through a selection process carried out hand in hand with the collectors, we discover a facet of their vision of art and life.

Carine Fol, art director at the CENTRALE and curator of the Private Choices show confides:
I experienced a fascinating journey as I went on the discovery of works, collections and the many fascinating personalities behind them. From kitchen to dining room, from bedroom to entrance hall, each room tells a story through dialogues between the works. Consciously or unconsciously, each collector gives sense to the work inside her/his universe. Whether these collections are methodical, intuitive, secretive or shared, they all tell a private story: the tale of the collector who found them, the acquisition, and the (mental and physical) proximity of works that feeds their lives. Constantly mutating and endlessly growing, their collection gives them energy, motivation to travel, to question their choices, sometimes beyond reason…

From the first to the last piece (personal tastes change whether one is 20, 40 or 60), all these works testify of the commitment towards an artist and her/his creation, confirming that collecting means staying alive all the while stirring certainties, unsettling and questioning the complexity of creation and its ties to the world. A collection reveals the collector insofar as collecting is a personal activity, a work onto oneself that allows the collector to look at the world differently in an aim of discerning its inconsistencies.

Among these artists, stand out the works of Spanish artists: Oriol VilanovaPep VidalCristina GarridoChema Madoz and Carlos Aires. (CENTRALE press-release)

 CENTRALE. Place Sainte-Catherine 44 Sint-Katelijneplein. Bruxelles 1000 Brussels

http://www.centrale.brussels

Image: Private Choice. CENTRALE

WARSAW. "Painted architectures” Xanadu Gallery

1 – 20 december 2017

Xanadu Gallery invites for a very special exhibition titled "Painted architectures. Architecture in Spanish Painting of the XXI century" organised in cooperation with Spanish Embassy in Poland and Spanish ministry of culture, education and sport. The opening will take place on December 1st 2017 at 6 p.m. - 9 p.m.

The exhibition will present works of 17 renowned contemporary Spanish artists: Ángel Mateo Charris, Marcelo Fuentes, Dis Berlin, Damián Flores, Carlos García Alix, Paco de la Torre, Teresa Tomás, Joël Mestre, Roberto Mollá, Jorge Tarazona, Fernando Martín Godoy, Elena Goñi, Juan Cuéllar, Guillermo Peñalver Fernández, Nelo Vinuesa, Chema Peralta and Gonzalo Elvira. Curators: Juan Cuéllar and Roberto Mollá. 

The artists participating in the exhibition are known as representatives of the Spanish post-conceptual Figuration. What joins them together too, is undertaking the subject of architecture, geometry and space in their art. On the exhibition we will show mostly paintings and drawings, but also a spatial installation and a video. The exhibition has been already presented with a great success in MEINBLAU Projektraum in Berlin, Germany in November 12-20th 2017.  (Xanadu press-release)

Xanadu Gallery and Auction House. 51 Hoża Street. 00-681 Warsaw, Poland

http://www.galeriaxanadu.pl

Image: Juan Cuellar

MADISON. Jaume Plensa “Talking Continents” Madison Museum of Contemporary Art

1st december 2017 – 15 april 2018

Jaume Plensa: Talking Continents is an exhibition of work by the celebrated Spanish artist, internationally known for his large-scale public sculptures that tap into literature, psychology, language, and history to address the collective unity inherent to the human condition.

Installed in the State Street Gallery, Talking Continents includes nineteen stainless steel sculptures suspended in the gallery space to create a floating archipelago of cloud-like shapes. Plensa’s biomorphic creations are comprised of a multitude of die-cut steel letters derived from nine different languages. Metaphorically imagined as islands or continents, the multi-lingual sculptures speak to the diversity of language and culture, while simultaneously gesturing toward global interconnectedness as a path to tolerance and acceptance. This notion of universal understanding is reinforced by representations of human figures seated atop five of the floating continents. Similarly assembled from a steel motif of alphabetic characters, the gathering of figures encourages us to think about the ways in which we are linked together as a collective humanity. Through his installation, Plensa offers us a space to meet, observe, and contemplate while engaging in a dialogue that inspires inward reflection and outward generosity. (MMoCA press-release)

Madison Museum of Contemporary Art. 227 State Street, Madison, WI 53703 

http://www.mmoca.org      

 http://jaumeplensa.com

Image: Talking Continents  Jaume Plensa         

BARCELONA.“RAW MATERIAL” Fabra i Coats. Centre d´art Contemporany

8 november 2017 – 1 april 2018

RAW MATERIAL is an expository project whose intention is to explore the current local ecosystem of visual artists in order to develop a map of some of the most significant projects and work created here over the past few years. In this sense, the exhibition, as the fruit of a labour of exploration, is a sort of mining exercise of this RAW MATERIAL principally worked with by local organizations, public and private, involved in research, production, exhibition and contemporary art mediation in our country.

Like another type of mining, data mining, RAW MATERIALaims, through the management of the information derived from this exploration and from its results, to initiate a process of generation of patterns of approaches to and the reading of symbolic value and of the material circumstances present in our artistic ecosystem.

Within the framework of the premises of this exploration, in RAW MATERIAL the range of observation of the local visual art ecosystem has centred on those artists who, having already left – often far behind – a first emergent phase of their trajectories, today find themselves in the midst of the consolidation of their artistic careers. In the majority of cases, this is a course that is permanently unstable and temporally undefined. These are artists and trajectories that some, while eschewing generational implications, have defined as "mid-life", halfway between local emergence and international consecration.

These "mid-life" artists and trajectories make up the RAW MATERIAL of our local ecosystem of visual arts, and are the reason that an exhibition space like Fabra i Coats in Sant Andreu–whose mission it is to become the centre of contemporary art to which this city aspires – must carry out a systematic exploration designed to discover them and make them visible. Curatorial committee: David Armengol, David G. Torres i Martí Peran

Artists:Antoni Hervàs, Antonio Ortega, Avelino Sala, Dani Montlleó, Daniela Ortiz, David Bestué, Domènec, Enric Farrés Duran, Erick Beltrán, Ester Partegàs, Jaume Pitarch, Javier Peñafiel, Joan Morey, Joana Cera, Jordi Mitjà, Lúa Coderch, Luis Guerra, Luis Bisbe, Luz Broto, Martí Anson, Mireia Sallarès, Núria Güell, Oriol Vilanova, Patricia Dauder, Pere Llobera, Rafel G. Bianchi, Regina Giménez, Tere Recarens, Xavier Arenós and Yamandú Canosa.  (Fabra i Coats press-release)

Fabra i Coats. Centre d´art Contemporany. c/ Sant Adrià, 20. 08030 Barcelona

Fabra i Coats. Centre d´art Contemporany.

http://ajuntament.barcelona.cat/centredart/es/

Image: MATERIA PRIMA. Pere Llobera

THE HAGUE. “González, Picasso and friends” Gemeente Museum

25 november 2017 - 02 april 2018

Together with Constantin Brancusi and Pablo Picasso, the Spanish artist Julio González (1876 – 1942) is considered one of the most important sculptors of the 20th century. This retrospective of over 100 works, most of which are being exhibited in the Netherlands for the first time, sheds light on his personal development: from his days as a metal worker in his father’s workshop in Barcelona to his time as an avant-garde sculptor in Paris. It also addresses the unique collaboration and friendship between González and Picasso (1929 – 1932). This collaboration played a decisive role in the development of González’ unique and innovative style, and it also gave rise to new forms of expression in Picasso’s work.

They worked together on a number of sculptures over a four-year period. For both artists, the collaboration provided a major push to further development. Thanks to González, Picasso discovered new modes of expression in sculpture and for González the collaboration was the final leg of his journey towards a distinctive artistic style. This exhibition at the Gemeentemuseum Den Haag focuses principally on González’s development from craftsman to avant-garde artist. With no fewer than 20 works by Picasso, it is also a celebration of the friendship between the two men.

The exhibition also examines the highly personal friendships that Julio González maintained with other artists. He worked for some years as an assistant to Constantin Brancusi (1876 - 1957). Pablo Gargallo (1881 - 1934), who drew on González’s technical expertise as early as 1923, recognized his artistic talent and encouraged him to devote himself entirely to sculpture. And it was in González’s workshop that Gargallo’s son-in-law, Hans Hartung (1904 - 1989), created his first and only sculpture in 1938. (Gemeentemuseum press-release)

Haags Gemeentemuseum. Stadhouderslaan 41, 2517 HV Den Haag

https://www.gemeentemuseum.nl/en

Image: Julio González (1876-1942), Monsieur Cactus (L’Homme Cactus I), Collectie Gemeentemuseum Den Haag

BARCELONA.Francesc Torres / Santiago Ydáñez “does history know of nail-biting? Troquel” Arts Santa Mónica

31 october 2017 – 14 january 2018

This exhibition proposes a dialogue between two artists from highly distinct generations and two projects created using completely different techniques. On one hand, Francesc Torres presents us with a video installation stemming from unpublished film and photographic material from the University of New York library donated by Harry Randall, a photographer and cameraman for the Lincoln Brigade, an outfit of American volunteers who travelled to Spain to defend the Republic during the Spanish Civil War. The footage was filmed during 1937 and 1938, featuring several war fronts - Central Region (Guadalajara), Terol and the Ebre river-, with the appearance of relevant figures, such as Ernest Hemingway, journalist Martha Gellhorn and Vladimir Copic, commander of the 15th Brigade, to which the Lincoln Brigade was deployed.

On the other hand, Santiago Ydáñez, having previously revised historical periods such as Nazism, presents us with a series of large-format paintings that depict, expand upon and delve deeper into specific moments of the aforementioned video documentary.

Until now, Francesc Torres’ video installation had been shown independently at various museums, such as The Davis Museum of Wellesley College, Massachusetts USA, 2015 and Museo de Teruel, 2016.

On the occasion of this new presentation, Torres requested that Ydáñez create a new project also based on Harry Randall’s unpublished video documentary. This fact grants the project an entirely new dimension, due to the fact that the duplicity of viewpoints on a single historical source transforms the end result in accordance with the specific art form employed by each artist. Torres uses video, photography and found objects; Ydáñez focuses exclusively on painting, interpreted as a translation of static moments from the film in a removed, immediate and almost conceptual way.

Idea: Glòria Picazo: Curators: Francesc Torres and Santiago Ydáñez. Organized: Arts Santa Mònica (Barcelona) and Centre d’Art La Panera (Lleida). Colaboration: Museo de Teruel and Newhouse Center for the Humanities (Wellesley) ). (Sta.Mónica press-release)

Arts Santa Mónica. La Rambla, 7 08002 Barcelona

http://santiagoydanez.com          

http://artssantamonica.gencat.cat/es

Image: Santiago Ydañez

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

15 october 2017 - 15 march, 2018

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 

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

 

 

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. 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

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

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.eu 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.eu

 

 

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.eu 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.eu

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.eu,  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.eu 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.eu

WORDLESS DIALOGUES. 07 Eva Diez / Diana Coca

To the already consolidated agenda of exhibitions in quepintamosenelmundo.eu 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.eu,  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.eu 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.eu

WORDLESS DIALOGUES. 06 Diana Coca / Berta Jayo

To the already consolidated agenda of exhibitions in quepintamosenelmundo.eu 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.eu,  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.eu 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.eu 

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.eu 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.eu,  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.eu

WORDLESS DIALOGUES. 04 Bego Antón / Beatriz Moreno

To the already consolidated agenda of exhibitions in quepintamosenelmundo.eu 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.eu,  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.eu 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.eu

 

WORDLESS DIALOGUES 03. Beatriz Moreno/ Marta Soul

To the already consolidated agenda of exhibitions in quepintamosenelmundo.eu 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.eu,  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.eu 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.eu

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.eu 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.eu,  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.eu 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.eu 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.eu

EDIMBURG. Olmo Blanco “Transforming The Everyday” Interview Room 11 gallery

30th october, 2015

Olmo Blanco’s drawings transform everyday contexts. Geometrical patterns cover walls, floors and the most common objects. His works are based on the ephemeral, in the persistent repetition of simple figures that turn into a kind of mantra, into a memory of our most recent archaeology. This is the first time that Olmo visits Edinburgh. As collaboration between Summerhall and Interview Room 11 gallery, Olmo will transform a part of Summerhall building. This space, built at the beginning of the 20th century, is the perfect location for this artist’s works. For one week he will be working in one of its walls.
This performance will become a permanent installation that will be part of the everyday of this building. His drawings will cover the walls applying to them another layer of history. (Interview Room 11 gallery p ress-release)

http://www.ir11.org.uk   http://www.olmoblanco.com

Image: Olmo Blanco

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)

MUNICH. Jaime Belda “New York. Side B” Instituto Cervantes

29 october -13 dicembre, 2013

"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. The images are captured in an international destination, in this 3rd edition, the city of New York. This time, the theme proposed was "Ausias March in New York” whose purpose was to promote indigenous cultural values ​​on a tumultuous cultural moment.The jury: Francesc Vera, Roman de la Calle and Tomás Llorens. (I. Cervantes press-release)

Instituto Cervantes. Alfons-Goppel-Strasse 7.D-80539 Múnich Baviera. (ALEMANIA)

http://munich.cervantes.es   http://www.jaimebelda.com

Image: Jaime Belda

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