The skin of reality: The house of flesh and the second skin of truth
In the heart of Bilbao, the Okela Kultur Elkartea space stands as an apex where the perception of existence becomes labyrinthine. “FRONTS” is a swarm of geometric canvases that metamorphose architecture into a skin that beats, breathes, and pulsates with a vitality that transcends its own mortality. In this context, architecture transforms into a gigantic wall that constantly collapses and reconfigures itself, as if the very skin of reality was trying to escape its finite condition.
The exhibition evokes the classic tale “The Fall of the House of Usher” by Edgar Allan Poe. Here, the twisted and distorted tarpaulin reveals the fissures and cracks between appearance and reality, between the visible and the invisible, where a wall partition slowly crumbles, devoured by an invisible force, in which boundaries are permeable and getting more and more blurred.
In this labyrinth of memory, the visitor is taken on a pilgrimage through the space that was once a butcher shop and now holds the remnants of time’s passage. The work is a wall that becomes a metaphorical network of dry leaves that crackle and unfold like a blanket, enveloping him/her in a sensory experience. Each piece of the sculptural ensemble is a precarious balance between two opposite extremes. A defence that turns into a growing carpet upwards and downwards, forming a miniature space within the same space.
In this sense, the canvas takes on natural forms: curls, extensions, and withered lines to lead us to the boundary between the outer and the inner world. A wall that has turned into a bottomless moat that aims to swallow the visitor, absorb him/her in its depth. The exhibition invites to explore the border between the concrete and the abstract, where the pieces are nothing but an extension of the human body itself: our skin beyond ourselves.
-K-
Karlos Martinez B. (Bilbao, 1982) lives and works between the Basque Country and Madrid. His speciality is sculptural production with objects in different plastic and visual media. Some of his exhibitions include: “Dark Matters” at La Taller Gallery, Bilbao (2024); “Gaps & Corners” at Nadie Nunca Nada No, Madrid (2023); “Black Patterns” at Carreras Múgica, Bilbao (2021), and “Egin Berri” at the Guggenheim Museum, Bilbao (2017).
His work has been incorporated into the Collection of the Reina Sofía Museum in Madrid, la Colección Compartida (Shared Collection) of the Museum of Contemporary Art of the Basque Country-Artium Museoa, the Museum of Fine Arts in Bilbao and Tabakalera in Donostia-San Sebastián.
Martínez works sculpture from drawing and from two dimensions, a process in which the volume comes to life from the plane. Currently, his work focuses on exploring one’s desire, capturing it, and questioning the possibility of doing so, with the suspicion that actually, binding desires rather means submitting to them.
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.
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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.
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.
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.
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.
https://www.condeduquemadrid.es/actividades/pan-y-circo
Nov 19, 2022 - Apr 23, 2023
- 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
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
CRITICS`PICKS ARTFORUM
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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
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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
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
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
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.
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.
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.
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M+B 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.
visit website
ENGEL LEONARDO
Farol
MAC Niterói
Rio de Janeiro, Brazil
April 14 - August 4, 2019
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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.
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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.
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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.
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
https://numax.org/actualidad/
Currently working on her new project at
SÍM Residency, Reykjavik (Iceland)
artist websiteVisita la WebVisita la WebVisita la Web
Visita la WebVisita la Web
Visita la Web
Visita la Web
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
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 |
Galerie de l’artothèque – Salle du Temple, place Notre-Dame, 35500 Vitré
Commissariat : Isabelle Tessier
Exposition visible du 2 juin au 16 septembre
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/
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presenting simple shapes of striking colors.
My paper is called The Medium is the Massage: Racialized Mediums
http://www.blackportraitures.i
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/
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.
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
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
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,
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
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
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
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
