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What to See During This Year’s ARCOmadrid

From a sprawling exhibition dedicated to the influence of Indigenous art of the Americas to Stephanie Comilang’s first solo show in Spain


Marta de Gonzalo and Publio Pérez Prieto, El Sueño (The Dream), 2023, engraving and acrylic inks on laminated board, 180 × 80 cm. Courtesy the artists and Galería Formato Cómodo

Artists and secondary-school teachers Marta de Gonzalo and Publio Pérez Prieto have a long history of developing critical curricula and running experimental, inclusive education projects with art centres, notably as part of the Las Lindes working group, which launched in 2009 at the Museo Centro de Arte Dos de Mayo. This exhibition, however, is born from the frustration that the duo’s aspirations for young people have largely been hampered within the state-school system. A series of panels made from gouged and painted desks depict scenes derived from several ‘disobedient’ classroom performances realized with their students. The accompanying video Una Mañana (One Morning, 2024) wryly pictures the artists’ hope for an emancipated educational space as a school desk and chair set up in different outdoor locations, such as a beach or a field. Shot in six 50-minute sequences, its structure mirrors the timetable of a school day in Spain.

FRIEZE
MAR 8 2024

*
Victoria Gil is part of an essential group in the history of Spanish art, which emerged during the
transition period and is composed of artists from Seville or based in Seville. Among these
innovators and radicals are Fede Guzmán, Pedro G. Romero, Chema Cobo, Agredano, and
Loncho Gil.
In Renaissance Europe, owning tapestries was a sign of social, economic, and cultural
distinction that only royalty, nobility, and the clergy could afford. Tapestries were
commissioned from workshops in Flanders or Antwerp, had high prices, and usually depicted
bucolic, hunting, rural, and popular themes. Victoria Gil uses humor and metaphor again, and
both the bucolic scene of flower picking and the image of peasants giving thanks for their food
and harvest are interrupted by the appearance of black birds that harass and assault the
protagonists of both scenes.
FEB 23 2024 - Miquel Mont

NOV 5 2023 - Tania Blanco

OCT 21 2023

OCT 10 2023 - Victoria Gíl
Victoria Gil. Coser el río
Coser el río es un relato visual y afectivo generado con el trabajo de Victoria Gil
(Badajoz, 1964), una de las primeras artistas españolas cuya práctica ha estado
posicionada en las corrientes feministas desde sus inicios a finales de los años ochenta.
Obras creadas específicamente para esta exposición se muestran junto a otras
anteriores que contextualizan su trabajo y ayudan a generar un espacio que elude
formas de control e invita a dejar fluir los pensamientos y los deseos.
En esta muestra conviven cuadros, dibujos, documentación de performances o
prácticas textiles, en los que la artista propone una clara desjerarquización de los
géneros, formatos y técnicas establecidos a lo largo de la historia. Se trata de
propuestas que versan sobre de los abusos de poder, la construcción política de los
cuerpos, los tabúes impuestos por la religión, la reificación de las mujeres en la
sociedad patriarcal, las consecuencias de los procesos decoloniales y los efectos del
capitalismo en nuestras identidades, deseos, cuerpos y subjetividades, temas a los que
podemos añadir el amor y las relaciones que se derivan de las interpretaciones
siempre subjetivas de este sentimiento. Son trabajos en los que podemos apreciar
herramientas fundamentales de la práctica de Gil: la transgresión y un particular
sentido del humor.
La obra de Victoria Gil cuestiona la banalidad de la categorización binaria establecida
por la historia heteropatriarcal oficial que divide a las mujeres en buenas y malas,
porque esta artista es una Houdina que escapa a las ataduras impuestas a las mujeres
socialmente y libera a muchas otras. A brujas y hechiceras como Circe (Circe hace un
brebaje) para quienes reivindica la condición emancipadora de sus saberes; a mujeres
como Teresa de Ávila y María Alcaforado (en las series ¿Qué mandáis hacer de mi?),
capaces de ejercer sus libertades a pesar de formar parte de una de las instituciones
más conservadoras de la historia de la humanidad; o las piratas como Mary Read y
Anne Bonny a quienes inmortaliza en un cuadro que reconoce la fortaleza de la
amistad y que sugiere un desafío a las identidades impuestas pues sugiere una
dimensión queer.
La artista no solo homenajea a mujeres conocidas que han pasado a la historia con
nombre propio, sino también a aquellas ciudadanas anónimas cuyas vidas y labores
son tan fundamentales como las de las otras: trabajadoras del campo (Estábamos tan
tranquilitas), cuidadoras (La buena vecina) o colonizadas (Los locales trabajan). En
estas piezas recupera la memoria doméstica de las mujeres que los relatos oficiales
han obviado. Para ello, recurre a las artes textiles como lenguaje artístico entendiendo
que la costura, el bordado y el tejido no son un pasatiempo de las mujeres relegado al
ámbito de lo doméstico, sino una acción política feminista con el potencial de activar
debates sociales.
Victoria Gil afirma trabajar desde la intuición, pero la suya es, sin duda, una “intuición”
formada e informada, alimentada por lecturas, películas, exposiciones, conversaciones
y experiencias, así como por reflexiones, que comparte con nosotras, para que juntas
podamos coser muchos más ríos.
JUL 27 2023 - Berta Cáccamo
Roma, siempre Roma: infinitas formas. Mujeres de la Academia de España en Roma en las artes visuales.
La exposición, organizada en el marco de la conmemoración del 150 aniversario de la Academia, es muestra de la actividad que algunas de esas artistas han realizado durante su residencia. Aun no estando todas presentes, para ofrecer una mirada lo más amplia posible de su trabajo y de sus diferentes lenguajes expresivos y técnicos, la exposición se ha organizado en dos fases. Reúne una serie de pinturas, esculturas, dibujos, grabados, fotografías y vídeos que sirven de ejemplo de las numerosas obras estrechamente ligadas al directo influjo ejercido por la ciudad. Se pretende mostrar el universo de matices e inspiraciones igualmente resultado de la experiencia romana y de la vida en comunidad de los creadores e investigadores que comparten su vida durante los meses de su residencia en la Academia.

Las artistas participantes son: Irma Álvarez-Laviada, Greta Alfaro, Paula Anta, Isabel Banal, Rosalía Banet, Natividad Bermejo, Gabriela Bettini, Ángela Bonadíes,Berta Cáccamo,Naia del Castillo, Pilar Cossío, Miren Doiz, Laura F. Gibellini, Diana García Roy, Carmen Garrido, Yeyei Gómez, Begoña Goyenetxea, Inma Herrera, Susanna Inglada, Pilar Insertis, Jana Leo, Isabel Martínez Marín, Leire Mayendía, Rosell Meseguer (+ Adler Guerrier), Clara Montoya, Ruth Morán, Blanca Muñoz, Sonia Navarro, Esther Pizarro, Shirin Salehi, Antonia Santolaya, Elo Vega, Begoña Zubero, Maria Teresa Peña Echeveste y Belén Rodríguez.

https://fundacionenaire.es/exposicion/roma-siempre-roma-infinitas-formas/
Roma, siempre Roma: infinitas formas. Mujeres de la Academia de España en Roma en las artes visuales.
Marta de Gonzalo and Publio Pérez Prieto participate in exhibition Poética de la memoria, organized by Palacio de los Condes de Gabia in Granada, untill 7 May. The exhibition is curated by Ramón Barbancho and the following artists participate in it:

Roberto Aguirrezabala, Fernando Baena, Jorge Barbi, Ana Condado, Marcelo Expósito,Marta de Gonzalo y Publio Pérez Prieto, Nuria Güell, Rogelio López Cuenca, Gregorio Méndez, Ana Navarrete, Lola Pérez, Espe Pons.

In the work that our artists present,Más muertas vivas que nunca(2002), a young dead woman speaks in our ears. After participating in the land collectivizations in Extremadura and Andalusia, he was one of the 4,000 people shot in the Plaza de Toros de Badajoz starting on 14 August 1936, the day the city was taken by Franco's troops during the Civil War. She speaks from death, waiting for what the living can make of their societies.
FEB 3 2023 - Mar Guerrero

The Generación 2023 exhibition features different sculptural and audiovisual projects conceived from a spatial logic and organised around terms that question themes related to current issues. The installations and expanded objects are open to completion by spectators as they move through the space.This year the jury was composed of Aimar Arriola, a freelance curator and associate researcher (2020-2023) at Azkuna Zentroa, Bilbao; Yaiza Hernández, lecturer in visual cultures at Goldsmiths, University of London; and Catalina Lozano, chief curator at the Basque contemporary art museum, ARTIUM Museoa.

Un viaje eterno by Mar Guerrero starts from an investigation into the evolution of the dog and the artificial manipulation of canine breeds by humans, which is related to genetic manipulation in biotechnology. The main objective is to investigate ecology and temporality from the reference of animal genetic manipulation and the obsolescence of materials and resources, emphasizing the concepts of recycling and reuse through the use of organic and/or discarded materials, such as silencers from motorcycle, blown glass and canine hair.
ENE 2 2023 - Berta Cáccamo

Presentación del libro "Berta Cáccamo. Horas Felices"
Evento a cargo de Juan de Nieves
en la Galería Formatocomodo

El libro publicado por el Patio Herreriano Museo de Arte Contemporáneo Español.
Textos de Juan de Nieves y Patricia Dauder.
Diseño Tipos móviles. Coordinación editorial - Juan de Nieves.




DIC 2 2022 - Tania Blanco
Dégustation UNLID

Dégustation UNLID / Single channel video / HDV, colour, sound, 16:9 / 18min. 18sec

UNLIDis a project which focuses on world food policies and the food industry. It consists of a series of sculpture-paintings thought to shape an installation that reflects and questions the origin and impact of processed foods that are daily purchased in supermarket chains and department stores. UNLID is developed from the recreation, appropriation and reinterpretation of the packaging of processed food from the corporate monopoly. The alteration of the original graphic layout of the packaging is intended to shed light on the power system, international policies and agricultural models.


https://www.condeduquemadrid.es/actividades/pan-y-circo
 Dégustation UNLID
NOV 19 2022 - Engel Leonardo
Forecast Form: Art in the Caribbean Diaspora, 1990s–Today

Nov 19, 2022 - Apr 23, 2023

The 1990s were a period of profound social, political, and economic transformation. From the dissolution of the Eastern Bloc to the rise of transnational trade agreements, the decade’s large-scale shifts ushered in an era of international connectivity and social upheaval. In the cultural sector, art exhibitions expanded and turned global, and dialogues around identity, especially by those who have suffered systemic oppression, were featured front and center in cultural debates. The forces of this pivotal decade also had a major effect on the production, circulation, and presentation of art from the Caribbean.

The exhibition is curated byCarla Acevedo-Yates, Marilyn and Larry Fields Curator, withIris Colburn, Curatorial Assistant,Isabel Casso, former Susman Curatorial Fellow, andNolan Jimbo, Susman Curatorial Fellow.

  • Adán Vallecillo  Alia Farid  Álvaro Barrios  Ana Mendieta  Candida Alvarez Christopher Cozier Cosmo Whyte David Medalla Deborah Jack Denzil Forrester
  • Donald Rodney Donna Conlon and Jonathan Harker Ebony G. Patterson
  • Engel Leonardo  .y mas

https://visit.mcachicago.org/exhibitions/art-in-the-caribbean-diaspora-1990s-today/
NOV 11 2022 - Damian Ucieda
CAMINOS III
CAMINOS III

11 November 2022 - 21 May 2023
Centro Galego de Arte Contemporánea
First floor
Curated by Alberto Carton and Santiago Olmo

Artists participating in the exhibition: 
Vito Acconci, Janine Antoni, Miguel Ángel Blanco, Mar Caldas, Benvenuto Chavajay, Mona Hatoum, Kubra Khademi, Manolo Laguillo, Juan Lesta, Priscilla Monge, Jürgen Partenheimer, Damián Ucieda, Oriol Vilanova
CAMINOS III
JUL 7 2022 - Damian Ucieda
Hay un río de oro negro bajo A Coruña
EL PAIS.BABELIA  Hay un río de oro negro bajo A Coruña

Gloria Crespo Maclennan

‘Camiño negro’ es una serie fotográfica que recorre el itinerario trazado por un oleoducto soterrado a lo largo de seis kilómetros en la ciudad gallega, que pone de relevancia las contradicciones entre la idea de progreso y otras alternativas de subsistenciaExiste una ruta soterrada en A Coruña que no es fácil de detectar. Se extiende a los largo de seis kilómetros, entre arrabales, carreteras y zonas verdes. Un camino de ida y vuelta, por donde circulan toneladas de petróleo. Parte del puerto hasta alcanzar la refinería del valle de Bens, pero su recorrido es solo visible en su primer tramo, cuando cruza la carretera desde el puerto y a su paso por el barrio de los Castros. El resto queda oculto a los ojos de los transeúntes. Solo unas balizas bicolor, las cámaras de seguridad o distintos carteles advierten indirectamente de su existencia. Un camino de oro negro que revela la transformación de un territorio y pone en evidencia las contradicciones entra la idea de progreso y la pervivencia de otras formas de vida y subsistencia. La tensión entre la población y una industria pesada que Damián Ucieda (A Coruña, 1980) ha sabido captar con su cámara para dar forma a un libro y a una exposición que comparten título, Camiño Negro

https://elpais.com/babelia/2022-07-07/hay-un-rio-de-oro-negro-bajo-a-coruna.html
Hay un río de oro negro bajo A Coruña
ABR 26 2022 - Berta Cáccamo
Description of the day


 

CRITICS`PICKS  ARTFORUM

A

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Berta Cáccamo, Descrición do día (Description of the day), 1988–90, mixed medium on canvas and board, each piece 27 1/2 x 21 1/2ARTFORUM








Berta Cáccamo

MUSEO PATIO HERRERIANO DE VALLADOLID
Calle Jorge Guillén, 6
January 29–May 15, 2022

After living in Barcelona, Paris, and Rome, Berta Cáccamo returned in the mid-1990s to her native Galicia, where she made “Horas felices” (Happy Hours), a series of one-line abstractions in which a thick, sinuous brushstroke expands across each canvas, folding in on itself like an intestine. The series lends its title to this exhibition, which brings together paintings by the artist dated from the late 1980s to 2018 alongside notebooks, sketches, annotations, and a collection of knickknacks and discarded objects.

These years map a trajectory, from the discreet informalism of her early output, to the embrace of a more autonomous stroke—slow and meandering—to colorful abstractions, to a more process-oriented approach open to various mediums and techniques. In untitled works from 1990, the paper absorbs the ink, creating organic marbling patterns. Other times, as in Blue, 1996, the brush is dragged so that, with the winding or straightness of the gesture, paint accumulates on the edges of the stroke or is dispersed by the movement of the bristles. From her own statements, we know that Cáccamo conceived of painting as a method of introspection where literature and philosophy also played a part. Here, we are deprived of her words, left to somehow content ourselves with a body of work cut tragically short with the artist’s death in 2018, at age fifty-eight. Seeing how the same motifs and colors emerge repeatedly in her work, we can fantasize that painting, even in the absence of its author, continues to converse with her.

Translated from Spanish by Michele Faguet.

https://www.artforum.com/picks/berta-caccamo-88399



Description of the day
MAR 12 2022 - Loup Sarion
saliva
Text by Emma McCormick-Goodhart x Bureau Eponym

Saliva

“Brassaï: In the lower strata of the valley of Les Eyzies, excavation archaeologists had the brilliant idea of preserving a cross-section four to five meters high, with layers built up over millennia. It’s like a mille-feuille.
 
Picass And you know what’s responsible? It’s dust! The earth doesn’t have a housekeeper to do the dusting. And the dust that falls on it every day remains there. Everything that’s come down to us from the past has been conserved by dust.”—Pablo Picasso to Brassaï
 
“It's just dirt, really.”—Peter Schlesinger
 
. . .
 
Brassaï’s “mille-feuille,” Picasso’s phantom duster: such stratification is a leitmotif in Loup Sarion’s two new parallel bodies of work in Saliva, of architectonic resin panel reliefs, and nose forms sculptured in beeswax.
 
Sarion’s panels’ sedimentations—his “mille-feuille”—are not so much of timescale, though, but of site and species of skin. Composites and complex infoldings, in part, of fissure and cupule-filled walls of his studio, and floors of his apartment, his panel casts, via the molds that mothered them, migrate lived architectures in Bushwick, Brooklyn, to neutraler ones in Cologne. As if skin tissue being grafted, they clothe gallery walls in sudden synthetic material fictions of an epidermal kind of urban Palaeolithic, which, in feeling, share something of the inevitability and drama of a fossil’s sedimentary re-emergence as readymade relief. What was first floor is now wall—not that such axes hold, as in caves, which are simply volumes wrought by water. Spatialities of uninterrupted geological fabric.
 
Here, casts molt city surfaces, turning hide in their unpeeling, and into which real dust—like white noise—paints itself, by itself, in particle heap. An aesthetics of the nan specs of black floor paint, rust flecks from a belt. Even sheen endures its translation from negative to positive. One thinks of Heidi Bucher’s “skinnings,” of interior architectures coated in latex and then stripped, rendered entire, except Sarion makes stranger, chimeric figurations; ones that move further from their sources. His are haptic, but unfaithful facsimiles—and in their playful imaging of fabric and occasional frottage-applied pigment, whether charcoal or metal dust, more like Pati Hill’s xeroxes than indexical molds.
 
Leather belts, mostly sidewalk foraged, their skin still legible as such; walking canes, always sensory prostheses and spatial stethoscopes that “see” for us. A shirt, uncannily soft even in newfound solid form, though note its loose soil hem. These layerings have their origin in his and any’s lovers’ clothes’ own entwinings—the hasty undress in the kitchen, the strewing—inadvertent mapmaking reencountered as chance logic mornings after. As casts of molds that themselves “kissed” walls, Sarion’s panels are love letters of a mille-feuille kind. Of an eros of the imprint.
 
Nose extrusions, in counterpoint, perform a prosthetic kiss of remote sensing—as aerial, olfactive “tongues,” and mouths for molecules, whose machinations remain occluded from view. They insist, sotto voce, that unmoldable anatomical cavities are the lived architectures that give us to sense, to wish to touch, to want to mold, in the first place. Urges that exceed origin.
 
New York City, March 2022



Loup Sarion: Born 1987 in France, lives and works in New York. 

Selected solo and 2-person exhibitions:
AD, New York, USA / Berthold Pott, Cologne, Germany /
C L E A R I N G, New York, USA / Jeanroch Dard, Brussels, Belgium / Formatocomodo, Madrid, Spain / Kunstverein Heppenheim, Germany / M+B, Los Angeles, USA / Sorry We Are Closed, Brussels, Belgium / Spazio A, Pistoia, Italy

Selected group exhibitions:
Carl Kostyal, Sweden, MAC Val Museum, France / Socrates sculpture park, New York, USA /

Upcoming: International Objects, New York, USA (April 2022) / Le 109, Biennale de Nice, France (June 2022)
saliva
MAR 2 2022 - Victoria Gíl
VASOS COMUNICANTES . MUSEO MNCARS

A Drunken Boat: Eclecticism, Institutionalism and Disobedience in the ‘80s

Nouvel Building, Floor 0

In the 1980s, different exhibitions sculpted the sensibilities of the time. For the 1982 Documenta in Kassel, the curator Rudi Fuchs contemplated the possibility of titling the exhibition The Drunken Boat, after Arthur Rimbaud’s poem, in reference to an art drifting aimlessly, wandering outside of “style wars”. This absence of hegemonies would end up translating into an eclecticism of forms that defined artistic practices in that decade. Part of historiography interpreted it as a shift towards conservative values, where the absence of history and critique, as well as the recovery of artistic individualism, corresponded to a social and political reality dominated by the Reagan-Thatcher era.

The fledgling democracy in Spain would drive an institutionalisation of art that replaced social struggles against Francoism, and within this context the creation of the ARCO Art Fair and the Centro de Arte Reina Sofía came with an intense policy of national and international exhibitions, and a return to painting as the lingua franca. Opposite this apparent conservatism, a series of practices of disobedience rose to the surface, expressing their discontent with institutions and facing crises such as the AIDS pandemic. An art that embraced post-punk attitudes, new versions of feminism and the subversion of bodies.

https://www.museoreinasofia.es/coleccion/episodio-6






VASOS COMUNICANTES . MUSEO MNCARS
FEB 24 2022 - Miquel Mont
PANORAMA
En esta segunda edición de PANORAMA MADRID las exposiciones y galerías seleccionadas han sido:
 
Belén Uriel, Rayo Verde. The RYDER Projects
Fernando Sánchez Castillo, Ex Positio. Albarrán Bourdais
Gonçalo Sena, Circular Spaces. Galería Heinrich Ehrhardt
Juan López, Surco. Galería Juan Silió
Julian Rosefeldt, Penumbra. Galería Helga de Alvear
Los Torreznos,  Las Palabras y las Cosas. Galería Freijo
Martin Llavaneras, Delta. Intersticio
Mercedes Azpilicueta, Katalina, Antonio, Alonso. NoguerasBlanchard
Miquel Mont, Deseos Borrados Recoloreados. Galería FORMATOCOMODO
Oriol Vilanova, Con los ojos abiertos en la oscuridad. Galería Elba Benítez
PANORAMA
FEB 23 2022 - Damian Ucieda
The publication Camiño Negro
The publication Camiño Negro. Damián Ucieda is already on sale in bookstores, digital platforms and on the website of the publishing house Turner Libros.
To order
The publication Camiño Negro
FEB 3 2022 - Christian Garcia Bello

ENE 29 2022 - Berta Cáccamo
HORAS FELICES
HORAS FELICES     de Berta Cáccamo Patio Herreriano.

Museo de arte contemporáneo Español . Valladolid 29 -1 / 29-5/2022


“Horas Felices” es una exposición de carácter retrospectivo en torno a la obra de la artista gallega Berta Cáccamo (Vigo, 1963-2018), una de las pintoras más relevantes de su generación. En ella, su comisario, Juan de Nieves, propone un juego de asociaciones poéticas entre obras de diferentes momentos, desde finales de los años ochenta hasta su muerte en 2018. El título de la exposición hace referencia a una serie de pinturas realizada a mediados de los noventa, un sencillo enunciado mediante el que la artista apela a un momento vital muy preciso de reafirmación de la pintura como práctica liberadora. Berta Cáccamo se formó en Barcelona, donde entró en contacto con la tradición catalana, y marchó en 1989 a París, donde comenzó a forjar un estilo propio basado en una intensa y rigurosa reflexión sobre el hecho de pintar. De esta incesante investigación da fe el buen número de dibujos y de cuadernos que le acompañaron toda su vida y que pueden verse en esta exposición. A su regreso a Galicia, Cáccamo trabajó exhaustivamente en una pintura en la que vertía, a un mismo tiempo, ricas referencias a la historia del arte y un poderoso caudal emocional. La programación de "Berta Cáccamo. Horas felices” responde a nuestra voluntad de revisar y presentar la obra de mujeres pintoras activas en nuestro país y pertenecientes a generaciones diversas, como Soledad Sevilla o Mercedes Mangrané.
https://museoph.org/
HORAS FELICES
SEP 20 2021 - Engel Leonardo

SEP 14 2021 - Christian Garcia Bello

JUL 7 2021 - Victoria Gíl

MAY 4 2021 - Mar Guerrero
Presentación del proyecto y LIbro  ( 3 de Mayo al 8 de Mayo )

La luna de cristal, 2020
Realizado en Talleres de Obra Gráfica de la Fundación Pilar y Joan Miró, Mallorca (ES)

Diez estampaciones mediante serigrafía sobre papel Oikos 300g en diferentes formatos. Serie limitada de veinte copias, 36 x 52 cm.

Hallazgos recientes sugieren que la capa de hielo que cubre la luna Europa contiene cloruro de sodio (NaCI), el principal componente de la sal que encontramos en la Tierra. Esta referencia sirve de punto de partida para desarrollar una serie de imágenes que simulan fotografías tomadas de la superfície de esta luna de Júpiter, siendo imágenes procedentes de la costa mallorquina. Esta dualidad espacial nos sitúa en un territorio invadido por la ambiguedad y la incertidumbre. Las esferas que componen las imágenes emergen en un mapa de movimientos distantes y encuentros estelares.



ABR 29 2021 - Mar Guerrero
PILAR JUNCOSA & SOTHEBY’S AWARDS AND GRANTS 2020. London
PILAR JUNCOSA & SOTHEBY’S AWARDS AND GRANTS 2020.   London


https://miromallorca.com/en/pilar-juncosa-sothebys-awards-and-grants-2021-open-call/

PILAR JUNCOSA & SOTHEBY’S AWARDS AND GRANTS 2020.   London
ABR 24 2021 - Daniel Boccato
Enrenfeld

Exposición colectiva : „Ehrenfeld“

24 de abril - 29 de mayo de 2021

Daniel Boccato, Jonathan Binet, Samuel Francois, Max Frintrop, Manor Grunewald, Agata Ingarden, Jens Kothe, Colin Penno, Johanna von Monkiewitsch, Evan Robarts, Loup Sarion



http://bertholdpott.com/

Enrenfeld
OCT 20 2020 - RODRÍGUEZ-MÉNDEZ
Del hijo, la respiración’, de RODRÍGUEZ-MÉNDEZ (Proxecto de intervención en Capela do Carmen)
Dos superficies de tela de 9x6m. sobre sendos bastidores son colocadas en los laterales de la Capilla del Carmen en Lugo. Estos lienzos contienen en su parte superior todo el aceite que ha sido entregado por los miembros de la cofradía del Carmen y depositado en una vasija dispuesta en el interior de la iglesia.En Del hijo, la respiraciónel aceite se va desvelando verticalmente por la superficie de la tela, como una presencia que se descubre lentamente y que habla de un peso, una forma corporal sutil extendida construyendo a su vez un paradójico y vívido plano.Me resulta especialmente emotivo que ese material (el aceite) provenga de los espacios íntimos y privados de las familias de los cofrades para unirse en un solo “cuerpo” en la vasija, que posteriormente, en un proceso lento y sin intervención de ningún tipo irá ocupando las dos superficies de tela en una transfor- mación que parecería no acabar nunca, como lento y sin término es el proceso del conocimiento.Contiene en el título de esta obra la atención a dos materiales que simbólicamente se encuentran indivisibles, el oxigeno y el aceite, la condición física limi- tante de un cuerpo en el misterio de ser vivo desde la pertenencia a un origen, un padre y por lo tanto a alguien más y mayor que sí mismo y la de la expan- sión rítmica de la inhalación del oxigeno que como “membrana inmaterial” lo ocupa todo y lo vivifica. 


Del hijo, la respiración’, de RODRÍGUEZ-MÉNDEZ (Proxecto de intervención en Capela do Carmen)
OCT 1 2020 - RODRÍGUEZ-MÉNDEZ
ENSAYO ANTES DE LA ACTUACIÓN” EVOLUCIONA. LA HEREDAD

Inauguración 1 de octubre a las 20 horas. Caja Blanca de Las Cigarreras

Exposición dentro de la Convocatoria Buitblanc de la Concejalía de Cultura, Centro Cultural Las Cigarreras.

Rosana Antolí / Gonzalo Puch / Zilvinas Landzbergas / Julia Mariscal / Rodríguez-Méndez / Eduardo Infante. Comisaria, Diana Guijarro

La exposición Ensayo antes de la actuación es un proyecto de investigación curatorial que busca generar un territorio en proceso de crecimiento. Una especie de fase  preparatoria donde las diferentes propuestas se encaminan a reflexionar sobre la presencia corporal, sobre las posibles interacciones entre los cuerpos y el espacio, y en cómo las partes pueden convertirse en un todo complementario.La propuesta pretende profundizar en las múltiples posibilidades que nos brinda el ensayo y el error entendidos como experimento abierto a la incertidumbre, una prueba
para conocer si algo funciona o no y en base a esto, ajustarnos y enlazarnos en una supuesta sincronización dentro de un entorno que se encuentra marcado por diferentes pautas.De esta forma la exposición se entiende como un espacio dinámico, un lugar que los artistas harán crecer exponencialmente a través de una serie de actividades que
buscarán la participación activa de los diferentes públicos.




PROYECTO DE RODRÍGUEZ-MÉNDEZ -LA HEREDAD

La heredad.

Papel 50x70cm. Grafito y tintura dorada. La Habana, Cuba 2018 (en proceso).

Simultáneamente un grupo de niños y niñas menores de 6 años dibuja sobre papel una escalera, tomando como modelo una escalera de mano real situada en el mismo espacio donde sucede la acción.
Una vez finalizados todos los dibujos el artista interviene sobre las horizontales de esos dibujos con líquido dorado.

Esta obra está en proceso desde enero del 2018, fecha en la que se inició en la ciudad de La Habana con una se- rie de 6 piezas. Actualmente se ha repetido esta acción en el CCCC - Centre del Carme Cultura Contemporània, Valencia. y proximamente en Las Cigarreras de Alicante.

Protocolo:

- Un grupo de niños y niñas no mayores de 6 años.
- En la sala se colocará una escalera de mano apoyada en la pared y que sea visible para todos los niños. - Después de la explicación sobre en que consiste la actividad, se le entregará un lápiz a cada niño.
- Dibujarán sobre el suelo descalzos.
- La orientación de la escalera en el papel puede ser tanto en la vertical como la horizontal del papel.
- El que lo desee podrá repetir el dibujo tantas veces como quiera.
- Esta acción se repetirá si fuese necesario o posible con diferentes grupos de niños y niñas.






https://www.agendacultural.org/es/ayuntamiento-de-alicante/exposicion-ensayo-antes-de-la-actuacion

ENSAYO ANTES DE LA ACTUACIÓN” EVOLUCIONA. LA HEREDAD
SEP 29 2020 - Christian Garcia Bello
Pongo mi pie desnudo en el umbral

Fundación DIDAC
19 september / 27 november
Curator: David Barro

Pongo mi pie desnudo en el umbral is an exhibition project with three layers: a short story written by me for the occasion, the exhibition’s  device and a collaboration with the artist María Roja through a specific performance.

The title —a verse stolen from the galician poet José Ángel Valente— leads us to think of a story that could end or begin, but a story that goes forward by walking, touching, stepping, as happens in the short story that forms the backbone of this whole project and the exhibition.

This short story is the tale of a find: the travel diaries of a woman named Dirse who made a pilgrimage from Antwerp (Flanders) to A Guarda (Galicia), sometime between the 16th and 17th centuries, and who spent her last days on Mount Santa Trega, looking at the river mouth of the Miño, the threshold that separates Galicia from Portugal.

The exhibition is presented as a collection of fragmented and overlapping points of view on the history of Dirse that punctuate the room and articulate a spatial narrative around the landscape, spirituality, ritualism, architecture and vernacular forms.

Pongo mi pie desnudo en el umbral
SEP 17 2020 - RODRÍGUEZ-MÉNDEZ

SEP 28 2019 - Daniel Boccato
DANIEL BOCCATO

BAD ACTORS

Gillian Ayres / Pamela Bartlett / Sandra Blow
Daniel Boccato / Howard Dyke / Dominic Kennedy
David Ostrowski / Kes Richardson


KARST
Plymouth

28 de Septiembre — 9 de Noviembre 
Bad Actors is a painting exhibition that takes its cue from Pirandello’s play Six Characters in Search of an Author. The play calls into question the nature of reality, artifice and authenticity. Each artist will present one significant painting. All the paintings are ambitious in scale, either sharing or exceeding the proportions of the human body. They will be displayed informally – propped, wedged, or hung from the columns of the gallery – asserting a physical presence in the space. This exposes both the factual human activity of their making and the illusion of the picture plane, or the work’s character. Each painting utters a private monologue. These utterances will connect across the space to create interactions and a constantly shifting story.
SEP 14 2019 - Daniel Boccato
Daniel Boccato and Loup Sarion,

M+is pleased to present Cannibal Valley, an exhibition of new works by Daniel Boccato and Loup Sarion, the artists’ first exhibition with the gallery and in Los Angeles. The exhibition runs from September 14 through November 9, 2019, with an opening reception on Saturday, September 14 from 6 to 8 pm.

 
Cannibal Valley brings together the sculptural objects of Loup Sarion and Daniel Boccato, united by the artists’ collaborative friendship and interest in abstract figurative forms.


ttps://www.mbart.com/exhibitions/186/overview/

Daniel Boccato and Loup Sarion,
AGO 4 2019 - Engel Leonardo
FAROL
Engel Leonardo proposes for the balcony of MAC Niterói the sample of a series of colored sculptures that have their origin in the drawings of Flávio de Carvalho. With its balcony as a privileged place - that certainly recalls the panoramic use of a lighthouse - each of the sections of the building will receive a sculpture that comes from the various elements extracted from Carvalho's project: door and tiles, in addition to the guacos and palms designed by the Brazilian architect.

visit website

ENGEL LEONARDO

Farol

MAC Niterói

Rio de Janeiro, Brazil

April 14 - August 4, 2019


FAROL
JUL 27 2019 - Christian Garcia Bello
Almugárbas
Congratulations CHRISTIAN GARCÍA BELLO
Winner of the IV Prize Cervezas Alhambra with his project Almuqárbas  
The Almuqárbas project proposes a contemporary rethinking of the Mozarabic through with the design of a new module based on the poetic and geometric significance of the Alhambra of Granada.
Almugárbas
JUL 20 2019 - Engel Leonardo
MONOGUAYABO
The relations between the human and the history, the architecture and the material culture are some of the central topics in the work of Engel Leonardo. His production is usually based on research on modern tropical architecture, stories repressed by modernity, and the transmission of indigenous and African knowledge through objects generally seen as handcrafted, folkloric or ethnographic.
In "Manoguayabo", the works use as a starting point the research on the work of Flavio de Carvalho and Lina Bo Bardi, as well as the painting "O lago" by Tarsila do Amaral and the traditional Dominican egg kills. Creating a conversation with the viewer which is developed through the use of structures of geometric character and modernist ancestry, Leonardo seeks to reinterpret elements of the nature of the Caribbean and the tropics; a reduction of forms, colors, and relationships that account for an immensely rich but equally complex context.
MONOGUAYABO
JUL 17 2019 - Daniel Boccato
STONE SOAP GLORY
DANIEL BOCCATO
STONE SOAP GLORY


July 25 - September
Mister Fahrenheit
New York
misterfahrenheitny.com
danielboccato.com
STONE SOAP GLORY
JUL 15 2019 - RODRÍGUEZ-MÉNDEZ
Lo Perfecto. Arriba* En

RODRIGUEZ-MENDEZ carries out an editorial and exhibition project for CICLÓN, coordinated by David Silva and Misha Bies.
 

Opening the 31 of July
Santiago de Compostela

 

The work of Rodríguez-Méndez analyzes the material principles of sculpture and the essential physical experience of man in projects that combine action and sculpture to explore the interaction or balance of energies between the two.
The artist's use of forms and materials such as cylinders, peat, oil, sound, words and the body are understood as intangible, as elementary or absolute geometries. These questions and conditions the processes of construction and decision making that leads to the final result.
Using languages of marginal influence in the exhibition space, Rodríguez-Méndez exploits the incorporation of materials and the open and latent state of their condition to configure a game of loss and restitution that testifies to the definitive and essential nature of life and change.

Lo Perfecto. Arriba* En
JUL 10 2019 - Sally Gutierrez
Margen de Error
SALLY GUTIERREZ y colectivo Declinacion Magnética
MARGEN DE ERROR

Bienal Sur
Montevideo y Lima
declinacionmagnetica.wordpress.com
Margen de Error
JUN 8 2019 - Christian Garcia Bello

Only a few months after its official opening, Museo Patio Herreriano presented an ambitious exhibition entitled Cuatro dimensiones, a project that seeked to survey the developments in the field of sculpture taking the works in the Colección de Arte Contemporáneo as a point of departure.

Una dimension ulterior, installed in five large rooms on the second and third floors of our Museum, takes that show as a reference in order to explore the developments in the field of sculpture up until our present day. It is formed by some of the works included back then and many belonging to contemporary artists working today. If Cuatro Dimensiones eluded the grand tales of Art History, Una dimensión ulterior seeks to enhance the value of minor histories. This is why we have chosen the indefinite article “Una” (“a”) instead of the definite article “La”  (“the”), because, as it is well known, there is no longer room for univocal readings of the art of our times, and the one we have here at stake is only one of many other possibilities. However, what we try to put forward here is our humble ambition to present some of today’s key aspects of sculptural practice.


Artistas participantes: Ignasi Aballí, Elena Aitzkoa, Elena Asins, Jorge Barbi, David Bestué, Elena Blasco, Jacobo Castellano, Jordi Colomer, June Crespo, Ángela de la Cruz, Patricia Dauder, Diego Delas, Pepe Espaliú, Ángel Ferrant, Nuria Fuster, Fernando García, Christian García Bello, Cristina Iglesias, Pello Irazu, Carlos Irijalba, Antoni Llena, Eva Lootz, Juan López, Asier Mendizabal, Mitsuo Miura, Itziar O  Okariz, Jaime Pitarch, Adolfo Schlosser, Fernando Sinaga, Teresa Solar, Julia Spínola y Susana Solano.


ABR 27 2019 - Engel Leonardo
La Déesse verte
Établissant un parallèle entre les formes de l’art et les formes de la nature, l’exposition prendra la forme ludique d’une vaste serre dans laquelle les artistes créeront de nombreux paysages, jardins, représentations mythiques, imaginaires et/ou historiques de la nature, en lien avec l’art, les cosmogonies indigènes, la technologie ou la science-fiction.

Artistes : Gwladys Alonzo, María José Argenzio, Mariana Castillo-Deball, Carolina Caycedo, Chelsea Culprit, Dewar & Gicquel, Naomi Fisher, Galerie Rezeda, David Gumbs, Cristóbal Gracia, Cynthia Gutiérrez, Renaud Jerez, Lake Verea, Lucile Littot, Engel Leonardo, Caroline Mesquita, Miguel Penha, Calixto Ramírez Correa, Clémence Seilles, María Sosa, Fabiola Torres-Alzaga.

Commissariat : Dorothée Dupuis

Estableciendo un paralelo entre las formas del arte y las formas de la naturaleza, la exposición tomará la forma lúdica de un gran invernadero.Para esta exposición, la curadora Dorothée Dupuis se inspiró en el famoso jardín de Las Pozas, un logro caprichoso y utópico, ubicado en el estado de San Luis Potosí en México, por el poeta Edward James en la década de 1970.Sujeto de una guerra interminable tanto contra sus poderes destructivos como por el control de sus recursos, la naturaleza es un Eldorado que los humanos consideraron desde muy temprano como una deidad simbolizada en diferentes mitologías por animales, figuras femeninas y otras entidades a menudo antropomórficas.

https://eldorado-lille3000.com/agenda/liste/event/17680186



La Déesse verte
ABR 23 2019 - RODRÍGUEZ-MÉNDEZ
Libraría

Rodríguez-Méndez presenta o Episodio #05 de Creación Contemporánea: «Ir»


O artista galegoRodríguez-Méndezserá o gran protagonista doquinto e últimoEpisodio de Creación Contempoáneade NUMAX co seu traballoIr. A obra será presentada oluns 16 decembro ás 20:00nun acto que tamén contará coa presenza do comisario do ciclo,Ángel Calvo Ulloa

A obra que ocupará a vitrina de NUMAX nas vindeiras semanas leva por títuloIre fai parte dun traballo aínda en proceso que se presentou en 2018 na exposiciónDos mesas Monte, acompañando outra obra tituladaRegión de validezque o artista presenta así: «Desde o ano 2007, a miña nai (xastra de profesión) confecciona, cada mes, un pantalón e unha camisa coas dimensións do meu pai, que envía ao meu enderezo de Madrid nun paquete que nunca abro. Unha acción que uso como pretexto para recibir e acumular o meu nome escrito por ela, sobre unha embalaxe que contén unha información física e actual de meu pai.»Ir dá continuidade ás liñas de traballo máis persoais deRodríguez-Méndez, un artista adscrito ao campo da escultura cuxa obra adoita reflexionar sobre a súa propia condición perecedeira e efémera. Un traballo de temporalidades moi persoal que somete ao espectador, pero tamén ao propio artista, a unha sorte de estrañamento a partir da impredicibilidade coa que actúan tempo e materia. Así describe a materialidade deIr o propio artista:



https://numax.org/actualidad/detalle/episodio-de-creacion-rodriguez-mendez
ABR 20 2019 - Mar Guerrero
Earth
Earth
ABR 10 2019 - RODRÍGUEZ-MÉNDEZ
Thinking about the gesture inevitably leads us to think about movement, a form of non-verbal communication in which the body, face or hands take the lead to transmit messages through other visible expressions. The gestural act implies a meaning, a determined intentionality that encloses a more complex reality, visible through small nuances enhanced by the instants experienced in shared contexts. This is where we question whether all space can be lived in terms of performativity, if the narrative of the gesture can be merged to amplify our links in a kind of new "affective management" that makes us participants in the spaces we now identify like ours. Reiterating the image to make it real is the basis of any performative process and is something also present in the symbolic construction, the alliance that exists between a signifier and a meaning.

RODRÍGUEZ MENDEZ 
TOTALIDAD E INFINITO*
Economías de la transferencia en otro(s) tiempo(s)

Fragmentos que Representan al Mundo 

EVA FÁBREGAS + ROSANA ANTOLI + LAIA ESTRUCH + GERARD ORTIN + RODRÍGUEZ MENDEZ 

Sala Carlos Pérez del Centre del Carme de València 
February - June, 2019



visit website


MAR 9 2019 - Nacho Criado
El juego del arte
Rothko committed suicide in New York, 1970. The figure of the painter was then evoked by Nacho Criado in one of his first solo exhibitions in the Sen gallery in Madrid, with a series of works that were framed in the minimalist poetics and that supposed a radical break with the proposals of Madrid's art scene then. With this and other works of that show, the artist considered the installation, which would be one of the lines that would guide his later creation. This work also assumes the introduction of color in the minimalist scheme, and in fact, compared to the usual neutrality of minimalism, this piece by Criado based a good part of its meaning on the chromatic aspect.
The present work is constituted by several rectangular tables that, leaning on one another forming different angles and inclinations, reach the verticality in the wall. The tables create different strata or phases: a physical progression that affects the color in its luminosity and causes a series of gradations on the scale of the black, contained at its ends by the wood painted in red that act as a visual limit. Within the minimalist aesthetic in which this early work by Nacho Criado is included, innovative in the Spanish art scene, the dedication to Rothko acts as an evocation not only of the chromatic qualities of his painting, but also of an idea of ​​absolute art that Simón Marchán has defined as "contemplative, pure and reductionist, in which the real and the virtual are already counterbalanced".

www.march.es

El juego del arte
DIC 6 2018 - Clara Montoya
NADA Miami
Savage Carnival. Has only been celebarted in Bruselas for the past five years,but it brings together characters and costumes inspired by ancient traditions from around the world.Although the carnival as we know it today is a festival related to Christianity and Lent,its origins are much older and derive from the celebration of the summer solstice. Clara Montoya is a part of the community in charge of organizing this contemporary urban version of the festival each year.Although she normally works in sculpture,in this instance Montoya has decided to employ acrylic on canvas to portary her companions and their costumes Nonetheless there is a sculptural element to these vestments that resolves their relationship to the city space and the radical,festive aspects of performance, establishing the axes that traverse these paintings..In the savage carnival each participant makes their own costumes,reinterpreting examples from ancient pagan carnivals that in some cases are still being celebrated today ,in which the disguises represent ancestral fears and desires .The characters that roam the heart of the city throughout the day are Christmass tree warriors, monsters,half-human half animal beings, machine-men which are constructed in the days leading up to the celebration.At the end of the carnival many of the costumes are burned in a large bonfire.


NADA Miami
JUL 10 2018 - RODRÍGUEZ-MÉNDEZ
I say error / Digo error & The Perfect. On / Lo Perfecto. Arriba Llull

I say error / Digo error & The Perfect. On / Lo Perfecto. Arriba Llull
JUN 1 2018 - Miquel Mont
Traces et affects
Exposición de Miquel Mont .

Galerie de l’artothèque – Salle du Temple, place Notre-Dame, 35500 Vitré
Commissariat : Isabelle Tessier
Exposition visible du 2 juin au 16 septembre


http://www.mairie-vitre.com/-Artotheque-.html
Traces et affects
ABR 20 2018 - vítor Mejuto
critics´ picks ARTFORUM
For centuries, the education of painters revolved around scrutinizing masterpieces in order to grasp how their makers resolved problems of a purely technical nature. No one looks at painting as mercilessly, and with as little sense of metaphor, as a painter. In “Pintor en la corte,” (Painter in the Court), Vítor Mejuto revisitsDiego Velázquez,Antonello da Messina,Jaime Serra,Francisco Goya, andTitian, among others. Mejuto’s small-format paintings are concise and honed, to say nothing of elegant, reproductions of the geometric aspects of some of those masters’ works.Despite its schematic proposal, the show is friendly, even domestic, because the images distributed around the gallery are familiar. Particularly suggestive is the 2018 series “sepulcro vacío” (empty grave). These works, hung in a somewhat scattered way along a wall, explore how different painters have treated a space miraculously unfilled: the gravestone and the ditch. Initially inspired byJuan de Flandes’sResurrection of Lazarus, 1514–19, the series encompasses an assortment of tombs from over the course of art history that Mejuto has compiled. From these images, the artist has created paintings that are either imitations, interpretations, or inventions.

Viewers embark on a journey to decipher the fragments in Mejuto’s paintings: a swath of robe, a wedge of building, a piece of brocade. The small canvases, like lost puzzle pieces, conjure memories of complete masterpieces. Abounding with citations and suggestions, the exhibition reveals the contemporariness of the well-known images that form the basis of Western art. It is with good reason, then, that a number of titles reference burials and resurrections. Each generation pays, in its fashion, its debt to its ancestors.Translated from Spanish byJanie Brodie.Joaquín Jesús Sánchez

https://www.artforum.com/picks/vitor-mejuto-75006
critics´ picks ARTFORUM
ABR 13 2018 - Daniel Boccato
Daniel Boccato, You are not a tree, Corrugate Contemporary, Ohio, US
Exhibitions Daniel Boccato , You are not a tree.

http://corrugatecontemporary.com
Daniel Boccato, You are not a tree, Corrugate Contemporary, Ohio, US
ABR 9 2018 - Daniel Boccato
Centinela exposición en TABACALERA
 Centinela is the project that Daniel Boccato presents specifically for the studies of Tabacalera. The ‘centinelas’ are watchful lions that are in a moment between action and inaction while they watch us carefully from their posts. Descending from the European heraldic traditions, it is common to find them today in gardens protecting the doors of contemporary homes, directing their gaze to whoever accesses them or thinks about doing so. Sitting on pedestals, these lions are concrete replicas of classic sculptures, this time perched on objects from another era that have lost their function over time. The classic white pedestal generally acts as a separation between the sculpture and the ground, between the object and the abject, art and architecture, high and low. The attention usually tends to focus on what is dynamic, while the static is usually in the background. Thus, when the sculpture becomes a constant and the support in a variable, the roles are inverted and the sculpture becomes a support for the pedestal. Daniel Boccato’s work explores the relationship between form and language, abstraction and figuration, constantly challenging the spectator's impulses to label, declare, categorize and differentiate. Unruly and even cumbersome, their pieces put to the test the limits of painting, sculpture and drawing, made with industrial materials such as agglomerates, concrete, polyester, as well as with ready-made objects,
presenting simple shapes of striking colors.
Centinela  exposición en TABACALERA
MAR 17 2018 - Justin Thompson
My paper is called The Medium is the Massage: Racialized Mediums
I am honored to be speaking atBlack Portraiture(s) IV: The Color of SilenceMarch 22-24 at Harvard. I am delivering a paper based on the past 8 years of research and interviews with artists of the African Diaspora.
My paper is called The Medium is the Massage: Racialized Mediums

http://www.blackportraitures.info/sessions/the-artist-at-work/
My paper is called The Medium is the Massage: Racialized Mediums
MAR 16 2018 - Justin Thompson
project realized in collaboration with Bradly Dever Treadaway and Jason Thompson f
Here is a recent project realized in collaboration with Bradly Dever Treadaway and Jason Thompson for the Miller Gallery in Kutztown PA.The Antenna of the Raceis a media-based installation that centers on three conceptual foundations: engaging Marshall McCluhan’s theory on historic labor division as a primer for thriving in an ‘acoustic environment’, local Pennsylvanian history in the patenting of a device capable of the diffusion of public television and a critical deconstruction of authenticity and cultural appropriation. McCluhan’s examination of the simultaneity of the media assault sets the service culture as one of playing roles in contrast to specialization and literacy of a ruling class as pursuing goals, ultimately determining that the role players are more capable of thriving in a hyper saturated acoustic world given their forced adaptability.
project realized in collaboration with Bradly Dever Treadaway and Jason Thompson f
MAR 4 2018 - Mar Guerrero

ART CENTER/SOUTH FLORIDA RESIDENCY

 

 

Mar Guerrero ha sido seleccionada para realizar una estancia en residencia en Art Center/South Florida, Miami. Esta residencia es una oportunidad que se ofreció a los artistas baleares participantes en el  programa de formación “Les Clíniques d’Es Baluard”, cuyo objetivo principal es fomentar la profesionalización del sector y facilitar las herramientas de análisis, conocimiento, recursos y seguimiento de la práctica creativa y de pensamiento desde el museo. Por ello, la residencia en el Art Center/South Florida constituye una gran oportunidad para conocer el contexto artístico de Miami así como los programas de formación de artistas desarrollados desde esta institución artística. Esta residencia es posible, además, gracias a la colaboración mantenida entre Es Baluard y el Illenc. La residencia tendrá lugar durante el mes de marzo de 2018 y permitirá participar a la artista en el Program for Applied Artistic Research.

 

http://www.artcentersf.org/

MAR 4 2018 - Sally Gutierrez
Te acuerdas de Filipinas ?
La pelicula de Sally Gutirrez participa en la ficci, Festival internacional de cine de Cartagena de Indias .
la pelicula Ta  acorda Ba tú el Filipina forma parte de la coleccioón del Museo Nacional Centro de arte Reina Sofia .

http://www.ficcifestival.com

Conflictos y dictaduras; colonizadores y colonizados; represión y ansias de libertad; totalitarismo y democracia, se reúnen en esta segunda versión de “La guerra y la paz”, ficciones y documentales que dejan oír voces, reclamos, preguntas, soluciones. Películas que se hacen cargo del lugar del cine no como un simple notario de la realidad sino como un instrumento de transformación.
Te acuerdas de Filipinas ?
NOV 4 2017 - Christian Garcia Bello

OCT 20 2017 - Christian Garcia Bello
ARTFORUM

Christian García Bello.

If Christian García Bello’s second show at this gallery seems to stage no major overhauls of his first, progress nonetheless lies within the reaffirmation of his perseverance. In this light, the exhibition represents a remarkable step forward in his still-young career. Titled, somewhat awkwardly, “Ahora no es pretérito todavía” (Now it is still not the past), the show reflects on how our relationship with time informs our perception of space. His drawings and sculptures share a precise blend of representation and abstraction, mathematical rhetoric and transcendent nebulousness, as he draws from rigorous classical humanism and from hazier Romantic movements in equal measure.

On entering the gallery, one easily detects the relevance of rhythm in his exquisite installation. It stems from a careful study of human proportions in the context of the gallery’s singular architecture. Drawing out our gaze, a vertical wooden form expands toward the wall, punctuated by both drawings and sculptures that share a distinctive ingredient: On all of them, thin layers of wax subtly accumulate to produce dense surfaces with an enthralling aura. They represent architectural motifs as well as shadows and hollow spaces, relentlessly swinging between the tangible and the ethereal. The three wooden sculptures on view are found objects that evolve into abstractions evoking a melancholic sense of longing, while unambiguously reflecting shapes and symbols drawn from traditional art of Galicia. Apathetic toward fuzzy trends and unnegotiably committed to austere formalism, García Bello understands his work as a body of complex textures providing a humble and serene take on the infinite.

— Javier Hontoria

 

All rights reserved. artforum.com is a registered trademark of Artforum International Magazine, New York, NY



https://www.artforum.com/?pn=picks§ion=eu#picks71555


ARTFORUM
OCT 6 2017 - Christian Garcia Bello
El Refugio de Garcia Bello
El Refugio de Garcia Bello
OCT 5 2017 - Mar Guerrero
Cosmic networks

is developing her project Cosmic networks at the Nirox Foundation (South Africa), within the residency program of El Ranchito de Matadero Madrid – AECID.


Dates:  October 2017

Cosmic  networks
SEP 22 2017 - Ana Esteve Reig
LA PANTALLA MAGICA
Ganadora de una de las 10 l becas BBVA  Multiverso a la Creación en Videoarte en la convocatoria 2017, para llevar a cabo su proyecto La Pantalla Mágica.

La comisión evaluadora ha estado presidida por Chus Martínez, directora del Instituto de Arte de la Academy of Art and Design de Basilea, e integrada por Laura Baigorri,  Eugeni Bonet,  Nuria Enguita,; Karin Ohlenschläger, María Pallier, Manuel Segade, ; Blanca de la Torre, y Virginia Torrente,
SEP 20 2017 - Christian Garcia Bello
Gallery weekend
Gallery weekend
SEP 20 2017 - Christian Garcia Bello
Seleccionamos aquí diez exposiciones que no deben faltar en este primer recorrido galeristico.
La segunda muestra individual en la galería Formato Cómodo de Christian García Bello (La Coruña,
1986) toma como punto de partida el Estudio filosófico del tiempo recogido en las Confesiones de San
Agustín y su definición del hombre como centro del universo. A partir de ahí, García Bello trabaja
con escultura y dibujo, tomando como escala de trabajo su cuerpo y como referente el paisaje y
la arquitectura más esencial

http://www.elcultural.com/revista/arte/El-arte-nos-recibe-en-casa/40018
Seleccionamos  aquí diez exposiciones que no deben faltar en este primer recorrido galeristico.
SEP 8 2017 - Engel Leonardo
PODIUM
participate in the exhibition PODIUM, at the Instituto de Visión of Bogotá.
PODIUM
SEP 7 2017 - Daniel Boccato
Gallery weekend Bruselas

presents his new solo exhibition nut, nuts, nut job at the gallery Sorry we're closed in Brussels.



Fechas: 7 de Septiembre - 28 de Octubre 2017 

 
Gallery weekend Bruselas
JUL 17 2017 - Ana Esteve Reig
Tracing utopia

Somewhere. nowhere. Utopia. 

 

Twelve young emerging curators from China and Germany will stage a joint exhibition following the traces of "Utopia". Inspired by their research on the contemporary curatorial practice at the documenta 14 in Kassel and Skulptur Projekte in Münster the team explores utopian thinking in matters of space and time by means of visual arts, installations, performances and interventions in the outdoor and indoor space.

The two-part exhibition will be presented at Starke Foundation in Berlin-Grunewald as well as at Zentrum für Kunst und Öffentlichen Raum and Schlosspark Biesdorf. 

Participating artists:
Dominik Annies, Chen Baiyi, Janosch Becker, Florian Birk,Juan Blanco, Felipe Duarte, Shi Fu, Philipp Hainke, Lisa Herzog, Fangling Huang, Qin Lingsen, Luo Qiang, Li Quing, Ana Esteve Reig, Natalia Irina Roman, Felipe Sánchez, Liu Shihao, André Stache, Deo Gisa Brian Senyondo, Annika Stoll, Daniel Theis, Sabine Maria Voltz, Victoria Wald, Tao Xia, Yan Xiang, Ligeng Zhang

 

Tracing utopia
JUN 21 2017 - Engel Leonardo
20th Sesc_Videobrasil

Associação Cultural Videobrasil and Sesc São Paulo announce the list of artists who will be participating in the 20th Sesc_Videobrasil Contemporary Art Festival, one of the leading plataforms for contemporary art in the Global South, to be held from October 2017 through January 2018 in São Paulo. Nearly 2,000 artists from 109 countries submitted works during the Open Call for the 20th Festival. The Brazilians Ana Pato, Beatriz Lemos and Diego Matos, and the Portuguese João Laia collaborated with the chief curator Solange Farkas, and were responsible for selecting the 50 artists from 25 countries who will showcase their works in this new edition.

Engel Leonardo


20th Sesc_Videobrasil
MAY 5 2017 - Christian Garcia Bello
BIENAL DE LALÍN

 5 de mayo 21 de julio

LUGAR: Museo Municipal de Lalín

ARTISTAS: Emilio Araúxo, Misha Bies Golas, Emma Crichton, Manuel Eirís, Tamara Feijoo, Christian García Bello, Irene Grau, Rubén Grilo, Carlos Maciá, Álvaro Negro, Carme Nogueira, Kiko Pérez, Alejandra Pombo, Bandia Ribeira, Lua Ribeira, Rodríguez-Méndez, Armindo Salgueiro, Diego Santomé, Xoan Torres, Damián Ucieda e Diego Vites.


BIENAL DE LALÍN
ABR 27 2017 - RODRÍGUEZ-MÉNDEZ
Dende o Panóptico: Cada cela unha fiestra.
RODRÍGUEZ MÉNDEZ.
 
participa en la muestra Dende o Panóptico: Cada cela unha fiestra.

La exposición O Vello Cárcere de Lugo. Da guerra á posguerra está compuesta por un libro de memorias, notas y cartas de los presos a las familias, entre otros. También forma parte de ella la recreación de una celda individual en la época de la guerra

13 artistas repiensan desde la actualidad la Vieja Cárcel. Para eso, la muestra Dende o panóptico: cada cela unha fiestra, que reúne por primera vez una serie de trabajos de diferentes figuras del arte gallega

Para recuperar la memoria de las mujeres antifascistas borradas de la historia, el módulo femenino acogerá la exposición itinerante Vermellas (Chamábanlles rojas). Se componen de 20 paneles con textos.



Fechas: A partir del 28 de Abril, Centro Sociocultural O Vello Carcere de Lugo.
Dende o Panóptico: Cada cela unha fiestra.
MAR 17 2017 - RODRÍGUEZ-MÉNDEZ
The perfect on
The Perfect on .
Rodriguez-Mendez curador Angel Calvo Ulloa.
El resultado del trabajo en la residencia Paulo Reis .

http://ateliefidalga.com.br/


The perfect on
MAR 14 2017 - Engel Leonardo
A round-up of the best shows in the Spanish capital ahead of this year's edition of ARCO, which opens tomorrow BY JULIA MORANDEIRA ARRIZABALAGA FIREZE.COM
Critic’s Guide: Madrid A round-up of the best shows in the Spanish capital ahead of this year's edition of ARCO, BY JULIA MORANDEIRA ARRIZABALAGA FIREZE.COM

Engel Leonardo, ‘Ansapit’
Galería Formato Comodo
4 February - 31 March

Engel Leonardo’s practice performs a difficult balancing act: synthesizing Caribbean geography and visual culture without reducing its complexity. Research into the craft aesthetics of his native Dominican Republic manifests through several forms. Titled ‘Ansapit’, the Creole name for one of the four main land crossings from Haiti, the show shares the name with a dress piece whose pattern documents the popular architecture of the region. Leonardo’s Vevés paintings made with plantain juice and depicting abstracted voodoo symbols, and his Lista series, which transforms traditional basketwork found in the borderlands between the Republic and Haiti, further explore porous limits: between neighbouring countries, art and design, and high modernism and a craft vernacular.

https://frieze.com/article/critics-guide-madrid-0


A round-up of the best shows in the Spanish capital ahead of this year's edition of ARCO, which opens tomorrow  BY JULIA MORANDEIRA ARRIZABALAGA  FIREZE.COM
FEB 9 2017 - Javier Campano
Campano en color

Campano en color
ENE 16 2017 - RODRÍGUEZ-MÉNDEZ
"...al menos un modo provisional de asentarse en un lugar"

"...al menos un modo provisional de asentarse en un lugar" - Del 14 de diciembre al 22 de enero - Azkuna Zentroa (Bilbao) y del 20 de enero al 28 de febrero - Montehermoso (Vitoria-Gasteiz)
 
La exposición …al menos un modo provisional de asentarse en un lugar es el resultado del programa Komisario Berriak, iniciativa de DSS2016EU en colaboración con Azkuna Zentroa (Bilbao), Tabakalera (Donostia), Artium y Montehermoso (Vitoria-Gazteiz) que apoya la formación de nuevos comisarios. En estas tres ciudades han tenido lugar a lo largo de 2016 los encuentros en formato de laboratorios en torno a las prácticas curatoriales que concluyen con esta muestra

Artistas: Allora & Calzadilla, Emilio Araúxo, Pedro Barateiro, Zigor Barayazarra, Josu Bilbao, Alex Cecchetti, Lúa Coderch, Janice Kerbel, Irene Kopelman, Louisa Martín, Amaia Molinet, Enrique Radigales, Rodríguez-Méndez, Eriz Moreno, Eulàlia Rovira & Adrian Schindler y Tina Vukasović.

Equipo curatorial de Komisario Berriak: Valerio Del Baglivo, Ángel Calvo Ulloa, Irati Irulegi, Laura Diez, Leyre Goikoetxea, Natasha Kadin, Pilar Cruz, Iker Fidalgo, Sonia Fernández Pan y Juan Luis Toboso. Acompañados por Aimar Arriola, Tamara Díaz Bringas y Sabel Gavaldón.

DIC 16 2016 - Engel Leonardo
Bienal Tropical

Bienal Tropical
NOV 10 2016 - Sally Gutierrez
MULTIVERSO
Multiverso, Exposición Ayudas Audiovisual BBVA 
 Exposición de los proyectos realizados con la Ayudas al Audiovisual de la Fundación BBVA.
Con la ayuda de esta beca he realizado su película  Sally Gutierrez - Ta Acorda Ba Tu EL Filipinas?,


http://cultura.elpais.com/cultura/2016/10/06/actualidad/1475773405_254784.html?id_externo_rsoc=FB_CC
MULTIVERSO
NOV 6 2016 - Nacho Criado
Works from Nacho Criado will be presented at the Juan March Foundation in the exhibition
Works from Nacho Criado will be presented at the Juan March Foundation in the exhibition
  • Escuchar con los ojos. Arte sonoro en España, 1961-2016

The exhibition Listening with the eyes, Sound Art in Spain (1961-2016) was created thanks to the invited curators José Iges and José Luis Maire, and with the collaboration of many other artists and experts. Its aim is to show the origins, the diversity of the trajectories and the vitality of the Art Sound made in Spain since 1961.

Through the extended range of more than 400 selected works and a large documentary material, the exhibition wants to make visible (and above all audible) the sound organised with artistic criterias in Spain, even in times (during the 60's and 70's) when the proper term “Sound Art” hadn't been created yet.


Dates: October 14th, 2016 - January 15th, 2017
Works from Nacho Criado will be presented at the Juan March Foundation in the exhibition
OCT 4 2016 - Daniel Boccato
Loup Sarion + Daniel B