tag:blogger.com,1999:blog-68287467991376630652024-03-19T06:07:16.590-07:00Please, more artInternational Art Magazine.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-6828746799137663065.post-38235285964914479432023-10-27T03:32:00.005-07:002023-10-27T03:57:41.466-07:00Le temps de Giacometti (1946–1966) | Les Abattoirs, Tolosa de Llenguadoc<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi09wt8uYW4iU8yDcmO8qeiumlri0c5oDUNEejdh4tD88-8jBWzzcJw23mLd_iMP3zaS4b6uCTpMO-KaUsbOiHJFp_9DbhAynNZGQ1tXTeqWsAtGf9Bnj1r7guoXPN6YX2Q6-JyZdd0WC5Hbun4CXcx7O7dV8ndA-JQQXeKvUnavW8lh11PIclNfLpQgWnr/s800/Le%20temps%20de%20Giacometti%20-%20Les%20Abatoirs%20-%20Tolosa%20de%20Llenguadoc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi09wt8uYW4iU8yDcmO8qeiumlri0c5oDUNEejdh4tD88-8jBWzzcJw23mLd_iMP3zaS4b6uCTpMO-KaUsbOiHJFp_9DbhAynNZGQ1tXTeqWsAtGf9Bnj1r7guoXPN6YX2Q6-JyZdd0WC5Hbun4CXcx7O7dV8ndA-JQQXeKvUnavW8lh11PIclNfLpQgWnr/w640-h360/Le%20temps%20de%20Giacometti%20-%20Les%20Abatoirs%20-%20Tolosa%20de%20Llenguadoc.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div> The exhibition <i><a href="https://www.lesabattoirs.org/en/Exhibitions/le-temps-de-giacometti/#apropos" target="_blank">Le temps de Giacometti (1946–1966)</a></i> [Giacometti's years], held at <a href="https://www.lesabattoirs.org/en/Exhibitions/le-temps-de-giacometti/#apropos" target="_blank">Les Abattoirs</a> (Tolosa de Llenguadoc) co-organised with the <a href="https://www.fondation-giacometti.fr/en" target="_blank">Fondation Giacometti</a>, gives visitors an unprecedented look at the art and life of artist Alberto Giacometti in the context of the post-war years up until his death in 1966.<br /><br />The artistic journey of <b>Alberto Giacometti</b> (1901–1966), an iconic twentieth-century artist, was quite unique. In the 1920s he joined the Cubist movement, then in its closing years, before going on to become the embodiment of the ultimate Surrealist sculptor. After World War II however, as abstraction was gaining ascendancy on both sides of the Atlantic, he held to his own approach (which he shared with a few others) – that of figurative art. His was an extraordinary path. He was greatly esteemed for his famous portrayals of humankind, both wounded and undergoing change; he was in tune with existentialist thought; and he was the creator of an art that reflected recent history with its war, massacres and anxiety over the nuclear threat.<br /><br />He was a humanist, totally absorbed in his work, but he was also a man of his time, a social creature whose creative work must be read in the various contexts that surrounded him: the circle of artists, writers and philosophers he frequented, the younger generation that visited him, the photographers that took his picture, and the galleries he exhibited in and for which he developed the staging design, such as at the Galerie Maeght in 1951. This exhibition aims to bring to the fore all these aspects, which came together in his response to the great artistic and philosophical questions of his time, from late Surrealism to the beginnings of Existentialist thought.<br /><br />The exhibition is primarily composed of works loaned by the Fondation Giacometti, which preserves artworks that the artist retained throughout his life. It brings together some one hundred emblematic works such as <i>Women with Chariot </i>(ca. 1945), <i>The Cage</i> (1950),<i> Walking Man II</i> (1960), and <i>Tall Woman I </i>(1960), as well as a collection of paintings, drawings on magazines, photographs and archival material, thus creating a vast account of the artist as a key actor in the post-war world, through his artworks, connections with the intellectual and artistic world of the time, exhibitions and writings.<br /><br />In a continuation of the exhibition, a contemporary section generates encounters between Giacometti and artists of today, around the action of the “Walking Man”, exploring its downfalls but also the hope it continues to hold. With works from: Pilar Albarracin, Claude Cattelain, Esther Ferrer, Regina José Galindo, Mona Hatoum, Rebecca Horn, Hiwa K, Kubra Khademi, Éric Pougeau, José Alejandro Restrepo.<br /><br />In addition to the main exhibition, <i>E.R.O.S</i> (1959): The Story of a Surrealist Exhibition through the Daniel Cordier Collection takes visitors on a journey to the eighth Exposition inteRnatiOnale du Surréalisme, which was presented in Cordier’s gallery in 1959 and in which Alberto Giacometti participated. <br /><br />An exhibition co-organised with the Fondation Giacometti.<br /><br /><b>About Fondation Giacometti<br /></b><br />The Fondation Giacometti is a private foundation of public utility created in 2003. It is the universal legatee of Annette Giacometti, the artist's widow, and owns the world's largest collection of works by Alberto Giacometti, with nearly 10,000 works and objects. Based in Paris, it is directed by Catherine Grenier, general curator of heritage and art historian.<br /><br />The Giacometti Foundation aims to protect, disseminate and promote the work of Giacometti. It organises exhibitions, grants loans in France and abroad, and organises the authentication committee for the artist's works. The Giacometti Institute is the current exhibition space of the Giacometti Foundation, which is also dedicated to art history research and education.<br /><br />Exhibition with the support of the City of Toulouse / Toulouse Métropole.<div><br /><div>Exhibition:</div><div><br /></div><b>Le temps de Giacometti (1946-1966)</b> <div>[Giacometti's years]</div><div>22.09.2023 - 21.01.2024</div><div><br /></div>Les Abattoirs, Musée - Frac Occitanie Toulouse<br />76 allées Charles de Fitte - Tolosa de Llenguadoc</div><br /><div><a href="https://www.lesabattoirs.org/en/Exhibitions/le-temps-de-giacometti/#apropos" target="_blank">+ information</a></div><div><br /></div><div><br /></div><div><span style="font-size: x-small;">[Israel Shenker, "Alberto Giacometti in his exhibition, Galerie Maeght", 1951, photographie Fondation Giacometti © D.R. / Alberto Giacometti, "Walking Man II", 1960, Plaster – 188.5 x 29.1 x 111.2 cm ; Fondation Giacometti © Succession Alberto Giacometti Adagp, Paris 2023].</span></div><div><span style="font-size: x-small;"><br /></span><div><br /></div></div>Redaccióhttp://www.blogger.com/profile/16134080623565608712noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-52098677161977081552023-09-26T09:11:00.002-07:002023-09-26T09:11:35.381-07:00 Roman Ondak. Infinitum | Fundació Antoni Tàpies, Barcelona<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FXSTq16Dq2dm5ppZEs2qJfQefct5WhZ-SqPloeLfT6l2yDCgnQOupsfwhxeVqsCm0GsOfU30lg2aebFaPOrT2dO9WZFEznJ_JBsSYlLXkHHkCD-Y9h7Q4fKgf9trXrwO7DT_d6RnsIUBPNNJcBhz7dlP-EcAu1lFlKQ4H5UwUemRe4ipOC5fDDhv2JiX/s800/Our-Son-Watching-His-Parents-800x553.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="553" data-original-width="800" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FXSTq16Dq2dm5ppZEs2qJfQefct5WhZ-SqPloeLfT6l2yDCgnQOupsfwhxeVqsCm0GsOfU30lg2aebFaPOrT2dO9WZFEznJ_JBsSYlLXkHHkCD-Y9h7Q4fKgf9trXrwO7DT_d6RnsIUBPNNJcBhz7dlP-EcAu1lFlKQ4H5UwUemRe4ipOC5fDDhv2JiX/w640-h442/Our-Son-Watching-His-Parents-800x553.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div>Roman Ondak’s practice brings together various methodologies, from simply formulated situations in which he binds relationships between members of his family, various groups of people or spectators entering his exhibitions, to modified found objects or constructed spatial installations. Space and time are often systematically thematised in his works and intertwined with his personal history, bearing fragments of his memories of the years he spent as a child and teenager in relatively isolated Czechoslovakia during the autocratic communist regime.<br /><br />Ondak grew to understand society’s attempt to order existence through divisions and classifications of inclusion and exclusion. This structure’s failure is what the artist questions in his work by revealing the potential of other orders, other patterns of behaviour, and, ultimately, alternative social and political possibilities. The impression that his work often gives, of reality having been slightly adjusted, is in part a tactical replication of the propagandist alterations of image and statement that were an everyday fact of life for the artist while growing up.<br /><br />The exhibition Roman Ondak. Infinitum plays between fiction and reality. Reality, which is informed by the artist’s personal experiences from the past while he grew in a society where reality was partially experienced as a fiction. The sculptures, spatial installations and photographs in this exhibition pay tribute to the everyday. The ready-made or constructed objects or situations depicted alternate between what they were while they were still part of reality and now, when they are shifted to subtly fictionalised forms confronting a viewer.<br /><br />Roman Ondak (Žilina, Slovakia, 1966; lives and works in Bratislava)<div><br /></div><div><b>Roman Ondak. Infinitum</b></div><div>12.05.2023 – 23.11.2023</div><div>Fundació Antoni Tàpies, Barcelona</div><div><br /></div><div><a href="https://fundaciotapies.org/exposicio/roman-ondak-infinitum/" target="_blank">+ information</a></div>Redaccióhttp://www.blogger.com/profile/16134080623565608712noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-20828385021974455692022-02-10T03:06:00.003-08:002022-02-10T04:15:36.728-08:00The point of sculpture | Fundació Joan Miró <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgb2TCO28A9LL7LEFojvfMeN3tcUadZ9ZAqpEzf4ScZbvnt_TOPUpMrS0RHWCBgsM766XdHZlooq80_lDxM5FJKD-TTYl7KooF-cGUYBuvJUFQ3aaQkinvpAw9kcGcwunFysdi26bxV44LtrRGuwQi0EZSNlTpsk1q0Xz9mtFwMWH3fLYptVZkm2zSxUA=s550" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="367" data-original-width="550" height="428" src="https://blogger.googleusercontent.com/img/a/AVvXsEgb2TCO28A9LL7LEFojvfMeN3tcUadZ9ZAqpEzf4ScZbvnt_TOPUpMrS0RHWCBgsM766XdHZlooq80_lDxM5FJKD-TTYl7KooF-cGUYBuvJUFQ3aaQkinvpAw9kcGcwunFysdi26bxV44LtrRGuwQi0EZSNlTpsk1q0Xz9mtFwMWH3fLYptVZkm2zSxUA=w640-h428" width="640" /></a></div><br /><div style="text-align: center;"><br /></div><i>The Point of Sculpture</i> offers an overview of the practice of modern and contemporary sculpture from an asynchronous, heterogeneous perspective that also includes older pieces and anonymous objects. The exhibition, arising from the ambition of twentieth-century sculpture to move beyond representing and generating images, also aims to show the major transformation of this discipline in the twenty-first century with the implementation of new techniques and the emergence of new imaginaries and sensibilities.<br /><br />The exhibition illustrates how sculpture has held a tense dialogue with reality over the course of its history, capturing objects, bodies and narratives, and how it continues to have ties to the earliest expressions of the urge to sculpt. Accordingly, close to one hundred pieces selected by David Bestué are presented in seven spaces and address issues such as the copy and representation of reality, experimentation with materials, the exploration of the physical properties of sculpture, the relationship between the object and the subject, the relationship of sculpture with time, as well as the representation of the human figure and the expression of complex emotions such as sexual desire.<br /><br />The show begins with the time prior to modernity, but focuses primarily on the period spanning from the early twentieth century until today, featuring artists such as Antoni Gaudí, Julio González, Alexander Calder, Joan Miró, Apel·les Fenosa, Lygia Clark, On Kawara, Robert Smithson, Bruce Nauman, David Medalla, Eva Lootz, Susana Solano, Pipilotti Rist and Wolfgang Tillmans, among others.<br /><br />The Spanish title of the exhibition, <i>El sentido de la escultura,</i> evolved from the essays by the Peruvian poet and linguist Mario Montalbetti in which he defends the concept of 'sentido' literally, as a notion closer to the expression of a direction than to the honing down of a meaning.<div><br /></div><div>Curated by David Bestué, in collaboration with Martina Millà<br /></div><div><br /></div><div><b>The point of sculpture</b><br />15/10/2021 — 06/03/2022<br /><div><br /></div><b>Fundació Joan Miró<br /></b>Parc de Montjuïc<div>Barcelona, Catalunya</div></div><div><br /></div><div><a href="https://www.fmirobcn.org/en/exhibitions/5772/the-point-of-sculpture/actual" target="_blank">+ information</a></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-68646380302080093832021-11-15T03:15:00.006-08:002022-02-10T04:22:44.831-08:00BUNKER | Manera Dance & A. Martínez | Fundació Tàpies<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhSMc3CtrQLgjgKVcN8pCqTLFCeNqf_ZAu3JawrjLwTuCHs1D5T8KhL0a-qCIVB6gEfIAHmLxxA3lrahnY1LiJm_a0_3Nq9TNq79BTE62sPfyQBs47WECJlBIyrrPLSgCuvowF3QtxiN4wrLc5YjjAAI2Dwm7eFYnpaRRESBuoHj0BEITXagKWMq94fdQ=s1369" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1369" data-original-width="1081" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEhSMc3CtrQLgjgKVcN8pCqTLFCeNqf_ZAu3JawrjLwTuCHs1D5T8KhL0a-qCIVB6gEfIAHmLxxA3lrahnY1LiJm_a0_3Nq9TNq79BTE62sPfyQBs47WECJlBIyrrPLSgCuvowF3QtxiN4wrLc5YjjAAI2Dwm7eFYnpaRRESBuoHj0BEITXagKWMq94fdQ=w506-h640" width="506" /></a></div><div style="text-align: center;"><br /></div>This show takes as its starting point a questioning of existence and the place human beings occupy in the universe. Removed from their roots, protected by an artificial world, human beings seek security and the meaning of life, positioning themselves in a collective delirium, over and above everything that surrounds them. And yet, they are forever enslaved to their minds, something that distorts their vision and understanding of the world, while feeding false expectations and insecurities. Humans forget that survival often depends on actions that go beyond mere existence, and that they are not the beginning or the end of anything, but a small part of a cosmic dance.<br /><br />Much of Antoni Tàpies work and ideas addresses philosophical questions related to existence. Tàpies saw reality as a whole in which the individual is part of the universe and the body is never separate from space. In an attempt to fight nature’s antagonistic, hostile and conquering character, he defended the need for identity and collaboration. Influenced by Buddhism, he advocated a unifying view of the universe and all the beings that are part of it.<br /><br /><i>Bunker </i>is an artistic proposal and the first solo work by the dancer and choreographer Aleix Martínez (Barcelona, 1992) together with the ManNera Dansa company (Hamburg). Aleix Martínez made his debut as a choreographer in 2012 with Trencadís, a work created for the Deutsches SchauSpielHaus, Hamburg, for which he received the Tanz Award in the category of ‘Young Talent’. Since then, he has collaborated independently with various festivals, institutions and companies, creating Le Surrealisme, c’est moi, 2014, for the Sant Pere de Rodes Festival; Orígens, 2015, for the Gong Festival; and Horizons, 2018, a humanitarian project in support of Open Arms. In 2019 he was commissioned to represent the Hamburg Ballet in London with Seelen Spiel, a work especially produced for the reopening of the newly-refurbished Linbury Theatre. Shakespeare Sonnets, his first work for the Hamburg Ballet, was premiered in July 2019, opening the 45th edition of the Hamburger Ballett-Tage annual festival.<br /><br /><b>Artistic information<br /></b><br />Concept and choreography: ManNera Dansa and Aleix Martínez.<br />Dramaturgy: Montserrat Prats.<br />Interpreter: Aleix Martínez.<br />Sound: The Golden Record-Voyager.<br />Photography: Borja Bermúdez<br />Costumes: N.O.N.<br />Acknowledgments: PoolHaus-Blankenese Foundation in Hamburg.<div><br /></div><div><b>Fundació Antoni Tàpies</b></div><div>Carrer Aragó, 255</div><div>Barcelona, Catalonia</div><div><br /></div><div>Dates: Friday 11 February 2022, and Saturday 12 February 2022, at 20.00 h.</div><div><br /></div><div>Buy tickets: <a href="https://fundaciotapies.org/en/producte/entrada-bunker/">11 February</a> 2022 | <a href="https://fundaciotapies.org/en/producte/ticket-bunker-11-february-copia/">12 February</a> 2022<br /><br /> </div><div><b><a href="https://fundaciotapies.org/en/activitat/bunker/" target="_blank"><br /></a></b></div><div><b><a href="https://fundaciotapies.org/en/activitat/bunker/" target="_blank">+ information</a></b></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-52340038804348807332021-10-30T08:20:00.022-07:002022-02-10T04:26:23.333-08:00Sensible Grounds: Inhale | Tabatabai & Afrassiabi | Fundació Tàpies<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjGA4ZwtdqdwxzmOlv_cMnG4p8OpnNNJOsA8fFz4dXm2_Dkd9FC31OO7qpkSnXkn1Xmd_FFD0xyhQx1OVEk4mFrLYUXsTMZ2rb5jHqUOE32plvF6NiBuw7eiUJFlhH9zEbvYL4b6AZBL9sDojG5oZ_5K-q_CSzM_2G0zqNiF0ye4bys2RlCkjXNKW1N3g=s639" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="468" data-original-width="639" height="468" src="https://blogger.googleusercontent.com/img/a/AVvXsEjGA4ZwtdqdwxzmOlv_cMnG4p8OpnNNJOsA8fFz4dXm2_Dkd9FC31OO7qpkSnXkn1Xmd_FFD0xyhQx1OVEk4mFrLYUXsTMZ2rb5jHqUOE32plvF6NiBuw7eiUJFlhH9zEbvYL4b6AZBL9sDojG5oZ_5K-q_CSzM_2G0zqNiF0ye4bys2RlCkjXNKW1N3g=w640-h468" width="640" /></a></div><div style="text-align: center;"><br /></div><i>Inhale </i>(2016-2021) is an archive of fictional narratives and sounds that trace opium smoke in the junction of writing and breath. The narratives are written passages that chronicle instances of opium use in Iranian modern and contemporary novels and short stories from the 20th and 21st centuries. Each passage is a miniature scene of social interaction, with opium as the central agent. Read together, they imply a genealogy of opium smoking channelled through various characters, objects and situations, mobilised to inhale, pass on, filter and navigate the smoke. A number of sculptural objects produced for the iteration at the Fundació Antoni Tàpies extend this genealogy and the figure of ‘passage’. They hold an algorithmically produced archive of sounds that simulate the sound of breathing as it is affected by the continuous inhalation of opium smoke. Opium smoke enters the lung and the deposition of carbon dust in the airways affects the sound of breathing, increasing the probability of crackles and wheezes in the airways.<br /><br />Along the installation by Tabatabai and Afrassiabi there is the projection of <i>Night of The Hunchback</i> (1964) by Farrokh Ghaffari and <i>Thicker Than Paint Thinner </i>(2011) by Babak Afrassiabi. While in Inhale opium smoke flows from one scene to another, permeating the human narratives and setting forth its own forms of sociality, the films on display expand on notions of passage, residue, and ‘chronic’ states, in the context of embodied histories and necro-poetics.<br /><br /><i>Thicker Than Paint Thinner </i>is based on the true story of a former drug addict-turned-revolutionary who sets fire to a cinema in Iran, a few months before the culmination of the 1979 revolution, unwittingly causing the death of nearly 400 people. Ironically, the film being screened at the time of the fire was the <i>The Deer </i>(1974), featuring a drug addict who becomes involved in political activism and eventually dies in a gun battle with the police. While the character in The Deer succeeds in dying for his cause, Afrassiabi’s protagonist is forsaken by the post-revolutionary establishment, even when he wants to give himself up and pleads to be punished. Adapted from a story in <i>One Thousand and One Nights, Night of The Hunchback </i>focuses on the last night in the life of an actor in a traditional comedy theatre troupe, who after a performance in the residence of a wealthy couple, accidentally chokes to death on their food. Attempts to dispose of his body, passes it through various strands of the society, unintentionally bringing into contact remote characters and dubious activities. At the end of the film, the police officer thanks the dead hunchback for exposing the underbelly of the city.<br /><br />The artists Nasrin Tabatabai and Babak Afrassiabi have collaborated since 2004. They also publish a bilingual (Farsi and English) magazine called <i>Pages,</i> which is edited parallel to the ongoing topical lines of their projects. Issue 10 of the magazine, ‘Inhale’, was printed and published recently. In 2018, they launched an online platform<a href="http://pagesmagazine.net/"> pagesmagazine.net</a>, which expands the magazine’s editorial focus. They often extend their work from unresolved historical narratives that demand forms of approach that are materially, temporally and aesthetically undecidable. Their recent projects are concerned with making speculative junctures between history, archive, technology and the practice of art.<br /><br />The ongoing multi-chaptered program <i>Sensible Grounds</i>, curated by Azar Mahmoudian brings together moving image practices including sculptural installations, archival material, films that test fiction and other conventions, sometimes even dispensing with images entirely. It thinks through the continuity of intergenerational time and memory and the apparent repetitions of contemporary political struggles. It attempts to understand such chronic experiences neither as pathological loopholes, nor as pre-emptive absorptions of these struggles by the constancies of history. It approaches the chronic as stretched and dilated time. Borrowing the term ‘chronic’ from the drug culture, Elisabeth Freeman brilliantly rearticulates the ‘chronic’ states as a tearing apart of dominant temporalities of the linear, a condition in which multiple and varied presences and rhythms are possible. In this way, intergenerational time and memory could become holding grounds for concurrent and synchronised desires.<br /><br />Recent iterations of the programme include <i><a href="https://lux.org.uk/event/ayreen-anastas-rene-gabri">That’s How We Undo It</a>,</i> at Lux, London; and <i><a href="https://nidacolony.lt/en/exhibitions/sensible-grounds-tuning-into-the-rhythms-of-the-chronic">Tuning into the Rhythms of the Chronic</a> </i>at Nida Art Colony. It is presented as part of the European Cooperation project <a href="https://www.4cs-conflict-conviviality.eu/">4Cs: From Conflict to Conviviality through Creativity and Culture</a>, co-funded by Creative Europe.</div><div><br /></div><div><b>Sensible Grounds: Inhale</b><br /><div>Nasrin Tabatabai and Babak Afrassiabi</div><div> <br />Exhibition and film screenings curated by Azar Mahmoudian<br />Fundació Antoni Tàpies museum, Barcelona, Catalonia<br /></div></div><div><br /></div><div><a href="https://fundaciotapies.org/en/exposicio/inhale/" target="_blank">+ information</a></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-57995449058584588582021-10-11T02:58:00.002-07:002022-02-10T04:16:20.480-08:00Quayola | Pointillisme | Galerie Charlot<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgzwXLqBpm52yfc-JJiZQsLunszUSnIKeWXTz1lUPtc_3zoKqE9tuaD-fJeWfdiZZZfnWfC1tjjmIWVfqQecu5Xla1W-TKLx7PYdse4AO9GKe8WLU5QBnk4eiZSxVOYZXZ0cxKPsuq95PyTNDUCmss-btKxVCdYwo0DTyiprpzzwQ3j48GVNhvjX2ImiA=s751" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="435" data-original-width="751" height="370" src="https://blogger.googleusercontent.com/img/a/AVvXsEgzwXLqBpm52yfc-JJiZQsLunszUSnIKeWXTz1lUPtc_3zoKqE9tuaD-fJeWfdiZZZfnWfC1tjjmIWVfqQecu5Xla1W-TKLx7PYdse4AO9GKe8WLU5QBnk4eiZSxVOYZXZ0cxKPsuq95PyTNDUCmss-btKxVCdYwo0DTyiprpzzwQ3j48GVNhvjX2ImiA=w640-h370" width="640" /></a></div><div style="text-align: center;"><br /></div><i>Pointillisme</i> is a new video work which continues Quayola’s ongoing exploration of high-precision laser scanning systems and their inherited imperfections. Drawing a parallel between historical pictorial traditions and computational aesthetics, this project speculates new landscape paintings created by machines. While reproducing similar conditions to those favoured by the ‘en plein air’ painters of the late 19th century, the natural landscapes are actually observed and analysed through extensive technological apparatuses and re-purposed through new modes of visual synthesis.<br /><br /><b>Quayola. </b>Born in 1982 in Italy, he lives and works bewteen London and Rome. Quayola is a visual artist based between London and Rome. He investigates dialogues and the unpredictable collisions, tensions and equilibriums between the real and artificial, the figurative and abstract, the old and new. His work explores photography, geometry, time-based digital sculptures and immersive audiovisual installations and performances. <div><br /></div><div>Quayola’s work has been exhibited at the Venice Biennale; Victoria & Albert Museum, London; British Film Institute, London; Park Ave Armory, New York; Bozar, Brussels; Palais de Tokyo, Paris; Cité de la Musique, Paris; Palais des Beaux Arts, Lille; MNAC, Barcelona; National Art Center, Tokyo; UCCA, Beijing; Paco Das Artes, Sao Paulo; Triennale, Milan; Grand Theatre, Bordeaux; Ars Electronica, Linz; Elektra Festival, Montreal; Sonar Festival, Barcelona and Sundance Film Festival. His work is part of several private and public collections, including Oddo BHF, Audemars Piguet, Hermès Foundation, Domaine de Chaumont-sur-Loire<p></p></div><br />Exhibition Opening: November 4th - 4 - 8pm<br /><br />Opening hours from Tuesday to Saturday - 2pm - 7pm and by appointment<br /><br />Book Release and signing: 21 Octobre, 18h - 21h<br /><br />Maison Ullens Showroom, <div>346 rue Saint Honoré<br />Paris, France</div><div><br /></div><div><b>Galerie Charlot</b></div><div><div>47 rue Charlot<br />Paris, France<br /><br /><div><span style="font-size: x-small;">Image: Quayola. <i>Pointillisme</i> (stills)
4K vidéo / 4K video
2021
6 exemplaires + 2EA / Edition of 6 +2AP</span></div></div><br /><a href="https://www.galeriecharlot.com/en/expo/186/Pointillisme" target="_blank"><b>+ information</b></a><div><span style="font-size: x-small;"><br /></span></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-45644061396380801152021-10-04T03:37:00.007-07:002022-02-10T04:16:29.226-08:00Doron Langberg | Give Me Love | Victoria Miro Gallery<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig6SFM6h27aq9h2SAo6L87mP5bWH15OmCti48E0v9QufSaqkjYf2g4BZavy1l3AzvRWuqkskmMLE2niAi9BY9vpKNc0xfBJF0LahwXo6s9b6NygcR9I9khbOLc5m5D0rlmLjThogn8WFdu/s1360/Doron+Langberg+-+Give+Me+Love+-+Victoria+Miro+Gallery+-+London.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1360" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig6SFM6h27aq9h2SAo6L87mP5bWH15OmCti48E0v9QufSaqkjYf2g4BZavy1l3AzvRWuqkskmMLE2niAi9BY9vpKNc0xfBJF0LahwXo6s9b6NygcR9I9khbOLc5m5D0rlmLjThogn8WFdu/w640-h296/Doron+Langberg+-+Give+Me+Love+-+Victoria+Miro+Gallery+-+London.png" width="640" /></a></div><div><br /></div><div>Victoria Miro presents "Give Me Love<i>"</i>, the gallery’s first solo exhibition by Doron Langberg. The exhibition will feature panoramic works alongside the chromatic depictions of figures in interiors for which the New York-based painter has become widely known. An increasingly prominent voice among a new generation of figurative painters, Doron Langberg has gained a reputation for works that hinge on a sense of closeness. Langberg’s paintings, luminous in colour and often large in scale, celebrate the physicality of touch – in subject matter and process. His intimate yet expansive take on relationships, sexuality, nature, family and the self proposes how painting can both portray and create queer subjectivity. </div><div><br /></div><div>For his first solo exhibition with the gallery Langberg will show paintings depicting a range of subjects from queer love to wildflowers and sweeping landscapes, describing this body of work as ‘a broadening of subject matter and deepening of content’. The most explicit pieces in the exhibition, depicting friends having sex, are nearly abstract because of their magnified scale. These works give material form to moments of desire, evoking the fluid and slippery nature of queer friendships. Langberg also touches on the tenderness and complexity of a relationship with a lover. </div><div><br /></div><div>The brilliant palette of these pieces doesn’t only signify queerness, it also creates a parallel between the transcendent feeling of, for example, witnessing a rainbow or magenta sunset and the preciousness of moments when love is most felt. Because of the loss of his sister and being unable to go home or see family due to the epidemic, Langberg’s past year was marked by grief and longing for home. Moved by these difficult experiences, he created portraits of his siblings and encompassing landscapes of the Menashe mountains where he grew up. Their turbulent sweeps of colour or rough, textured surfaces echo Langberg’s attempt to grapple with existential themes such as the finality of death and the life force of spring.</div><div><br /></div><div>The broad scope of subjects and experiences in the exhibition is connected by Langberg’s deeply felt use of paint. The slow unfolding of colour and gesture transforms figures and objects into materiality. These gaps between paint and the things it describes lend the work its distinct emotional and psychological register. Langberg’s masterful treatment of textiles, clothing, and exterior and interior patterns creates environments that move in or out of focus, in which figures emerge from or recede into their surroundings. In works such as the large-scale painting <i>Bather,</i> flesh, water and the geometry of a tiled bathroom dissolve into a high-key luminescence. Here, a chromatic range – related to the world but not quite ‘of’ it – serves to enshrine the everyday. The flow between inner and outer worlds or emotional and perceptual realities, speaks not only to those occupied by the subject of the painting, but by the artist and viewer as well. These breathing spaces might encourage us to consider painting, in the artist’s words, ‘as a place where experience originates’. </div><div><br /></div><div>The work of Pierre Bonnard, Edvard Munch or Alice Neel exemplifies this idea – it does not only represent emotional turmoil or tender intimacy, it is emblematic of it. Inspired by the empathic work of queer artists and writers such as James Baldwin, Felix Gonzalez-Torres, Agnes Martin or Ocean Vuong, Langberg asks how he might represent a queer experience in a way that is as far reaching. For the exhibition title, the artist has co-opted the title of a pop song –<i> Show Me Love</i>, by Robyn – altering it slightly to foreground vulnerability. ‘Giving yourself over to the emotionality of pop songs is such a corner stone of gay culture,’ Langberg explains, ‘and this one pleads for love, which is ultimately the subject of all my work’. At its core, Langberg’s practice reaches towards experiences we can all share in, pointing to the ways in which painting – as declarative as a pop song – might address fundamental aspects of our lives. Building on Langberg’s commitment to creating space for queer experiences through his work, Victoria Miro and the artist will donate a portion of the proceeds from the exhibition to the Ali Forney Center in NYC, supporting queer homeless youth, and to Queercircle, an LGBTQ+ led charity working at the intersection of arts, culture and social action in London. </div><div><br /></div><div>About the artist:</div><div><br /></div><div>Born in 1985 in Yokneam Moshava, Israel, <b>Doron Langberg </b>currently lives and works in New York City. He received his MFA from Yale University School of Art, holds a BFA from the University of Pennsylvania, a Certificate from PAFA, and attended the Yale Summer School of Music and Art, Norfolk. Langberg has attended the EFA Studio Program, Sharpe Walentas Studio Program, Yaddo artist residency, and the Queer Art Mentorship Program. He is the recipient of the American Academy of Arts and Letters John Koch award for painting, the Elizabeth Greenshields Foundation Grant, and the Yale Schoelkopf Travel Prize. Works by the artist are currently on view at the Schwules Museum, Berlin (until 30 August 2021) and in Any distance between us, which explores the power and significance of intimate relationships in works of contemporary art, at RISD Museum, Providence, Rhode Island (until 13 March 2022). Langberg’s work is also included in Breakfast Under the Tree, a group exhibition curated by Russell Tovey, at Carl Freedman Gallery, Margate, Kent (until 15 August 2021). </div><div><br /></div><div>Work by the artist will feature in a major group exhibition at the Institute of Contemporary Art/Boston in 2022. Previously, his work has been shown at institutional venues including the LSU Museum, American Academy of Arts and Letters, Leslie-Lohman Museum and The PAFA Museum. His work is in the collections of The PAFA Museum and RISD Museum.</div><div><br /></div><div>Doron Langberg: </div><div><div><i><b>Give Me Love </b></i></div><div>Exhibition </div><div><br /></div><div>3 September–6 November 2021 </div><div><br /></div></div><div><div>Victoria Miro Gallery</div><div>16 Wharf Road</div><div>N1 7RW </div><div>London, England </div></div><div><br /></div><div><span style="font-size: xx-small;">Image: © Doron Langberg Courtesy the artist and Victoria Miro </span></div><div><br /></div><div><b><a href="https://online.victoria-miro.com/doron-langberg-london-2021/" target="_blank">+ information</a></b></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-84408726089609957682021-09-13T02:25:00.007-07:002022-02-10T04:26:51.494-08:00From B to E and more | Posenenske | Fondazione Antonio Dalle Nogare<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPYlpptpKs5kgpWlmRSu947rhtDs2t2u_EWdowPC00MudjLQ4GjJhpc9egqxt5lS103kmURxz5S_51pJSYguNYbFBHwOigYkSYyQggUtSpWSTcOyhmtptsT4SMy0rtHQMLJKbeX_lziYqO/s968/Charlotte+Posenenske+-+From+B+to+E+and+more.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="968" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPYlpptpKs5kgpWlmRSu947rhtDs2t2u_EWdowPC00MudjLQ4GjJhpc9egqxt5lS103kmURxz5S_51pJSYguNYbFBHwOigYkSYyQggUtSpWSTcOyhmtptsT4SMy0rtHQMLJKbeX_lziYqO/w640-h432/Charlotte+Posenenske+-+From+B+to+E+and+more.png" width="640" /></a></div><div style="text-align: center;"><br /></div> From 11th September 2021 onwards, Fondazione Antonio Dalle Nogare will be exhibiting Charlotte Posenenske’s first show in Tirol, Italy, Europe, curated by Vincenzo de Bellis.<br /><br />An internationally acclaimed artist and a figure central to the German minimalist movement, Charlotte Posenenske (1930-1985) worked mainly with sculpture, and received numerous accolades in Germany and from the international scene up until her decision, in 1968, to dedicate her life to sociology. <br /><br />FROM B TO E AND MORE is Posenenske’s first retrospective in Italy, and it traces the evolution of this artist, who died prematurely, by concentrating on a series of works that were created in the span of a decade.<div><br />In her early works on paper, present in the exhibition in a selection of 17 items, the artist already focused on the exploration of abstract space. International recognition arrived with the conception and exhibition of six new sculptural series, between the end of 1966 and the beginning of 1968: Reliefs Serie A, B and C (Reliefs Series A, B and C), Vierkantrohre Serie D and DW (Square Tubes Series D and DW) and Drehflügel Serie E (Revolving Vanes Series E). Each body of work consists of multiple, carefully designed, mass-produced elements, fabricated according to the artist’s drawings. The elements range in shape, size and complexity, but are unified by their geometric format and the fact that they can be produced industrially at a very low cost. <br /><br />“The things I make are variable, as simple as possible, reproducible,” said the artist when summarising her vision in a 1968 statement published on Art International. These modular sculptures, whose components can be combined or moved in various ways by who displays or owns them, to make different volumetric configurations, invite the viewer to enjoy an aesthetic experience that is both visual and spatial. <br /><br />FROM B TO EAND MORE presents these five sculptural series in ad hoc combinations, created specifically to suit the space in the Fondazione Antonio Dalle Nogare. <br /><br />In her brief artistic career, Posenenske exhibited widely alongside illustrious peers such as Hanne Darboven, Donald Judd, Carl Andre and Sol LeWitt, with whom she shared an interest in seriality and the formal rigour of geometrical forms. <br /><br />At the same time, her work is distinguished by its radically open-ended nature. Embracing concepts of repetition and industrial fabrication, Posenenske developed a form of minimalism that, unlike her American contemporaries, addressed the socioeconomic and political concerns of 1968 in order to redesign the status quo of the art market and reject established (high and low) cultural hierarchies. <br /><br />In a period, like the one we are currently experiencing, in these years of pandemic and social protests driven by an ever-increasing apprehension of economic polarisation, Fondazione Antonio Dalle Nogare is exhibiting Charlotte Posenenske: FROM B TO E AND MORE with the aim of confronting the dynamics that govern the world’s economic structures and especially those of the contemporary art system. It does this through the work of an artist who focused on these issues over fifty years ago, indicating that, despite the progress of our civilisation, cyclically we face the same concerns, even if they are generated by events of a profoundly different nature. </div><div><br /></div>Fondazione Antonio Dalle Nogare<br /><br />Charlotte Posenenske <br />FROM B TO E AND MORE<br /><br />Curated by Vincenzo de Bellis<br />11.9.2021 – 28.5.2022<br /><br />OPENING<br />11.9.2021 at 11 AM<br />No reservation needed<br /><br />Fondazione Antonio Dalle Nogare<br />Rafensteiner Weg 19, Bolzano, Tirol, Italy<div><br /></div><div><span style="font-size: x-small;">Image: Installation view of “Charlotte Posenenske: FROM B TO E AND MORE” at Fondazione Antonio Dalle Nogare, 2021. Courtesy of the Estate of Charlotte Posenenske and Mehdi Chouakri, Berlin. Ph: Jürgen Eheim Fotostudio</span><br /><div><br /></div><div><a href="https://fondazioneantoniodallenogare.com/posenenske/" target="_blank">+ information</a></div><div><br /></div><div>.</div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-79650508739144380782021-09-06T12:47:00.006-07:002022-02-10T04:17:20.200-08:00Nothing is lost | Art and Matter in Transformation | GAMeC<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJg8pf2LXYogYdYbVBkkRX2jvSXqF92cKRGBnkYfpvePeq6toWQnv4h_-4HdRh6HAb-9WKPwrGDxgmcIDcgGBLm6s0nDp05NZQj9gomFwHPrfhOTThii2HjqU2O9vGlf-ejbpf-IsQxJor/s1920/unnamed+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJg8pf2LXYogYdYbVBkkRX2jvSXqF92cKRGBnkYfpvePeq6toWQnv4h_-4HdRh6HAb-9WKPwrGDxgmcIDcgGBLm6s0nDp05NZQj9gomFwHPrfhOTThii2HjqU2O9vGlf-ejbpf-IsQxJor/w640-h426/unnamed+%25281%2529.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div> NOTHING IS LOST<br />Art and Matter in Transformation<br /><br />Curated by Anna Daneri & Lorenzo Giusti<br />GAMeC, Bergamo<br /><br /><br />On October 14, <i>Nothing is Lost. Art and Matter in Transformation</i> opens to the public, curated by Anna Daneri and Lorenzo Giusti. The show is the second chapter in the Trilogy of Matter, a long-term exhibition project begun in October 2018 with the exhibition <i>Black Hole. Art and Materiality from Informal to Invisible</i>, curated by Sara Fumagalli and Lorenzo Giusti.<br /><br />The project involves art historians, curators, philosophers, and scientists, and addresses a transversal debate around the theme of matter, while at the same time activating a dialogue with the history of scientific discoveries and drawing a comparison with the development of aesthetic theories. The program foresees a cycle of three exhibitions, accompanied by as many publications, featuring the presence of artists and works of various generations.<br /><br />After the first appointment in the cycle—dedicated to the essence of matter, to all its depth, in dialogue with the theories of modern physics—the second exhibition in the program turns its attention to the work of those artists who, at various times, have investigated the transformation of matter, drawing inspiration from the lives of the elements to develop a reflection on the reality of things, on change, and on time.<br /><br />“Rien ne se perd” (“nothing is lost”) is the opening to the famous maxim attributed to Lavoisier, with which the French chemist explained the general sense of his law of the conservation of mass, which stated that over the course of a chemical reaction, the sum of the mass of the reactants is equal to the sum of the masses of the substances. Matter, in other words, cannot be created and cannot be destroyed.<br /><br />This fundamental principle would set the stage for a number of founding notions of modernity, which over the centuries to come, would lead to the definition of the theory of relativity and thus to the identification of a substantial equivalence between mass and energy, and hence to the progressively more elaborate belief—as recounted by scientists, artists, and philosophers—in matter which is always alive, always present, part of a world in endless transformation.<br /><br /><i>Nothing is Lost. Art and Matter in Transformation</i> will occupy all the exhibition spaces of the GAMeC, developing an itinerary with a strong sensorial impact, given the material and synesthetic nature of the numerous works on display, on loan from international collections both public and private. The four sections of the exhibition—Fire, Earth, Water, and Air—refer to the natural elements, understood here as the states of material aggregation, and thus preempt its relationships and transformations: fire/burning state; earth/solid state; water/liquid state; and air/gaseous state.<br /><br />With a rich selection of works, the show provides an articulated framework, one capable of highlighting the strong link which has always bound artists to the chemistry of the elements and the transformation of matter. A field of study and experimentation which in our own era also constitutes a significant declination in terms of a reflection on the impact of human presence on the natural equilibria (from the availability of resources to climate change).<br /><br />The exhibition will bring together works from various eras, ranging from Dada and Surrealist works, reflecting the interest of various artists—such as Marcel Duchamp, Max Ernst, Man Ray, or Leonora Carrington—in the theme of alchemy, through to creations by some of the leading exponents of the neo-avant-gardes—from Yves Klein to Otto Piene, from Robert Smithson to Hans Haacke—including compositions by artists akin to the poetics of Arte Povera—Pier Paolo Calzolari and Paolo Icaro—sculptural works and installations by artists who emerged in the 1980s—from Rebecca Horn to Liliane Lijn—right up to the latest research of some of the most important international artists of recent generations, such as Olafur Eliasson, Wolfgang Tillmans, Cyprien Gaillard, Otobong Nkanga, Erika Verzutti, and many others.<br /><br />Along the lines of the publication that accompanied <i>Black Hole</i>, the catalogue of<i> Nothing is Lost</i> will feature texts by the two curators with analyses of the works on show, carried out by art historians and international curators. Each section will be introduced by a text of a scientific nature, looking at the theme of the exhibition from the points of view of expert researchers.<br /><br />The exhibition will be accompanied by a rich program of activities for schools, and a cycle of meetings open to the public, which will witness the participation of scientists, engineers, chemists, art historians, artists, and philosophers. The program, which also features the screening of a number of films and documentaries, will also draw on the collaboration of BergamoScienza. Oriented towards the promotion of science and awareness-raising with regard to the languages of art, it will be characterized by an interdisciplinary nature, and will deal with themes of various kinds, from new discoveries in chemistry to the application of knowledge in various fields of industry, right up to the relationship between the visual arts and the sciences.<br /><br />The exhibition will also draw on the collaboration of the Fondazione Meru/Medolago Ruggeri for biomedical research, which between 2013 and 2017—along with the Associazione BergamoScienza and the GAMeC—promoted the prestigious Meru Art*Science Award, fostering art projects linked to the development of scientific research. The new research program—Meru Art*Science Research Program—will finance the creation of a site-specific project for the GAMeC’s “Spazio Zero”. As part of <i>Nothing is Lost</i>, the Swedish-born artist Nina Canell will present a new environmental installation designed to investigate the interface between the organic and inorganic dimensions, amid living and inert material.<br /><br />A major partner of the exhibition at the GAMeC will be the Fondazione Dalmine. Founded in 1999 on the initiative of TenarisDalmine with the aim of promoting industrial culture, both in its headquarters in Dalmine—an independent municipality on the outskirts of Bergamo—and in other locations, the foundation will promote a series of workshops for schools, with meetings, courses, and other activities (coordinated by the GAMeC Education Department) linked to the subject of the transformation of matter in industry, to technology, robotics, and industrial cities, guided by a creative approach, mindful of the themes of ecology and the regeneration of materials.<br /><br />ARTISTS ON SHOW: <div><br /></div><div>Ignasi Aballí, William Anastasi, Davide Balula, Lynda Benglis, Alessandro Biggio, Karla Black, Michel Blazy, Renata Boero, Dove Bradshaw, Victor Brauner, Dora Budor, Pier Paolo Calzolari, Nina Canell, Leonora Carrington, Giulia Cenci, Tony Conrad, Tania Pérez Córdova, Lisa Dalfino & Sacha Kanah, Giorgio de Chirico, Edith Dekyndt, Marcel Duchamp, Olafur Eliasson, Leandro Erlich, Max Ernst, Joana Escoval, Cerith Wyn Evans, Lars Fredrikson, Loïe Fuller, Cyprien Gaillard, Pinot Gallizio, Hans Haacke, Roger Hiorns, Rebecca Horn, Roni Horn, Paolo Icaro, Bruno Jakob, Yves Klein, Gary Kuehn, Liliane Lijn, Gordon Matta-Clark, David Medalla, Ana Mendieta, Otobong Nkanga, Jorge Peris, Otto Piene, Man Ray, Pamela Rosenkranz, Mika Rottenberg, Namsal Siedlecki, Roman Signer, Robert Smithson, Gerda Steiner & Jörg Lenzlinger, Yves Tanguy, Wolfgang Tillmans, Erika Verzutti, Andy Warhol.<br /><br /><br />NOTHING IS LOST<br />Art and Matter in Transformation<br />October 14, 2021 – February 13, 2022<br /><br /><br />GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo<br />Via San Tomaso, 53<br />24121 Bèrghem (Bergamo), Lumbardia (Lombardia)<br /><br /></div><div><a href="http://gamec.it/">+ information</a><br /><br /> </div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-50503290553632832172021-09-01T03:10:00.001-07:002022-02-10T04:17:37.928-08:00Studio inframince | Fundació Antoni Tàpies<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi43Yymy0wpl_sJY9L1b0dWOgHJuEEkgK_GOKpke19c1ECE6TBtCy9Q86sl4NA4WtHw2zJegzqx7GFNJnLixEG_xbBymzgX_HIDdVLTRC1nx2kCJ4tdZe523w9XC0YlmYiWA3tIQgMstvZUWJY0Bb8rA0iDDz26wP1eaTox1yko0sAFe0UE_EsHvujM6g=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="584" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEi43Yymy0wpl_sJY9L1b0dWOgHJuEEkgK_GOKpke19c1ECE6TBtCy9Q86sl4NA4WtHw2zJegzqx7GFNJnLixEG_xbBymzgX_HIDdVLTRC1nx2kCJ4tdZe523w9XC0YlmYiWA3tIQgMstvZUWJY0Bb8rA0iDDz26wP1eaTox1yko0sAFe0UE_EsHvujM6g=w468-h640" width="468" /></a></div><div style="text-align: center;"><br /></div><b><i>Studio inframince. </i>Programme of activities around the exhibition "Saâdane Afif. The Fountain Archive and Beyond<i>"</i>, curated by Erich Weiss. </b><br /><br />Under this title*, inspired by a concept invented by Marcel Duchamp, curator Erich Weiss has invited several artists and specialists in various fields to take part in activities parallel to the exhibition "<a href="https://fundaciotapies.org/en/exposicio/saadane-afif-arxius-font/"><i>Saâdane Afif. The Fountain Archive and Beyond</i></a>" of the Fundació Antoni Tàpies. The cycle invites us to rediscover Marcel Duchamp’s work, as does Saâdane Afif with the exhibition. Each participant will offer their own vision of an aspect related to the Duchampian oeuvre.<br /><br />Miquel Mont will discuss how to transform the aura of an everyday object. Art critic Victòria Combalia will dedicate the session to the fascinating life of the Dadaist artist and poet, Elsa Von Freytag-Loringhoven. The artist Bernat Daviu will run a workshop for all ages around the idea of the readymade. French artist Mathieu Mercier will give an introduction to the creation of the limited edition of the Boîte-en-Valise. <div><br /></div><div>In another session, Enric Farrés Duran will analyse the possible variations on the famous signature ‘R. MUTT’, while Xavier Aballí will pay a performative visit to the exhibition. As a finishing touch, during the last weekend of the exhibition, In a double session, Jorge I. Aguadero, writer and editor-in-chief of the chess magazine Peón de Rey will talk about Duchamp as an artist and then Miguel Illescas, an international chess master and eight-times Spanish champion, will analyse Duchamp’s way of playing this board game. Barbara Held, a well-known performer and composer living in Barcelona, and lecturer on the master’s course in Sound Art at the Universitat de Barcelona, will invent a sound installation with her students.<br /><br /><span style="font-size: x-small;">* Infrathin – <i>Inframince </i>in French – is a concept coined by Marcel Duchamp. When asked about its meaning he said it was an impossible notion to define. ‘One can only give examples of it: the warmth of a seat (which has just been left) is infrathin.’</span><br /><br /> <br /><u>Calendar:</u><br /><br /><b>Miquel Mont:</b> Thursday, 16 September 2021 (only educative centers).<br /><br /><b><a href="https://fundaciotapies.org/en/activitat/la-baronessa-dada-i-lurinari-de-duchamp/">Victòria Combalia</a>:</b> Thursday, 7 October 2021. At 18.00 h. (Talk).<br /><br /><b>Bernat Daviu:</b> Saturday, 24 October 2021. From 11.00 to 19.00 h. (workshop for all audiences).<br /><br /><b>Mathieu Mercier:</b> Thursday, 28 October 2021. At 18.00 h. (Talk).<br /><br /><b>Enric Farrés Duran:</b> Thursday, 11 November 2021. At 18.00 h. (Workshop).<br /><br /><b>Xavier Aballí: </b>Thursday, 18 November 2021. At 18.00 h. (Commented visit).<br /><br /><b>J<a href="https://fundaciotapies.org/activitat/marcel-duchamp-lartista-xerrada-a-carrec-de-jorge-aguadero-i-marcel-duchamp-lescaquista-xerrada-a-carrec-de-miguel-illescas/" target="_blank">orge I. Aguadero and Miguel Illescas:</a> </b>Thursday, 13 Jannuary 2022. At 18.00 h. (Talk).<br /><br /><b>Barbara Held: </b>Saturday 29 and Sunday 30 January 2022. All day. (Sound intervention).<br /><br /><br /><u>Inscriptions: </u>activitats@ftapies.com<br /><div><br /></div><div>Fundació Antoni Tàpies</div><div>Carrer Aragó, 255</div><div>Barcelona, Catalonia</div><div><br /></div><div><a href="https://fundaciotapies.org/en/activitat/studio-inframince-programa-dactivitats-voltant-lexposicio-saadane-afif-arixus-font-mes-enlla-cura-derich-weiss/" target="_blank"><b>+ information</b></a></div></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-2971175710573029842021-07-22T03:04:00.012-07:002022-02-10T04:17:49.257-08:00La Balade du Pixel | Antoine Schmitt | Galerie Charlot<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSs_R1Nl-ZL8xHVBPF0JKV_0J30M6S1k91YLKBZMW-SM9ecK65EKKahBl48C-xwaZ8wnAKMvSQ-aJ3SmN5B79WvBSwazq394SUsChcyOqxbXc1m2JTolZSjIwbnZyLfI_KdaC5Y3AEZBBq/s1036/Art-galeriecharlot-2821.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1036" data-original-width="781" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSs_R1Nl-ZL8xHVBPF0JKV_0J30M6S1k91YLKBZMW-SM9ecK65EKKahBl48C-xwaZ8wnAKMvSQ-aJ3SmN5B79WvBSwazq394SUsChcyOqxbXc1m2JTolZSjIwbnZyLfI_KdaC5Y3AEZBBq/w482-h640/Art-galeriecharlot-2821.png" width="482" /></a></div><div style="text-align: center;"><br /></div><div>L’exposition «La Balade du Pixel» retrace 25 ans de création d’Antoine Schmitt autour des processus du mouvement. Dans ces oeuvres minimales et abstraites, les mouvements infinis des formes élémentaires, pixels, lignes, carrés confrontent les spectateurs aux énergies à l’oeuvre. Inspirées du réel, des particules de l’univers, des masses du cosmos, des foules d’humains, des noeuds psychiques, des mouvements du corps, ou encore de l’abstraction de théories psychanalytiques, philosophiques, scientifiques, ou sociologiques, les conflits de force donnent naissance à des formes en perpétuel déséquilibre. </div><div>The exhibition «La Balade du Pixel» retraces 25 years of Antoine Schmitt’s creation around the
processes of movement.
In these minimal and abstract works, the infinite movements of elementary forms, pixels, lines, and
squares confront the spectator with the energy of the work. Inspired by reality, by particles of the
universe, masses of the cosmos, crowds of humans, psychic knots, movements of the body, or the
abstraction of psychoanalytical, philosophical, scientific, or sociological theories, the conflicts of
force give birth to forms in perpetual imbalance. </div><div><br /></div><div><b>Cascades series</b></div><div><br /></div><div>La série Cascades s’inspire des peintures traditionnelles chinoises et porte sur la figure de la cascade, symbole et
incarnation du mouvement permanent. L’eau coule, toujours différente mais toujours similaire, à la fois immuable et en
flux. Par son mouvement, elle révèle les éléments statiques de l’univers, qui ne changent jamais mais changent lentement.
Dans la peinture chinoise, les éléments immuables sont les montagnes, ici ce sont les interventions humaines :
un cube détrempé par l’eau, une source rectiligne… The oeuvres de la série Cascades sont des compositions précisément
construites qui explorent ce dialogue entre la nature changeante de la réalité et l’impression rationnelle de l’être
humain. Elle sont faites de particules de pixels mues par des algorithmes génératifs de dynamique des fluides, toujours
en mouvement, toujours différentes, toujours similaires à elle-mêmes.</div><div><br /></div><div><b>Black Square</b></div><div><br /></div><div>Black Square confronte une nuée de particules blanches soumises aux lois de la nature avec un carré invisible presque
impénétrable, et qui donc apparaît noir. Une lutte immémoriale et sans fin entre abstraction et réalité, langage et nature.</div><div><br /></div><div><b>War Series</b></div><div><br /></div><div>La guerre est la situation délicate par excellence dans laquelle baigne l’humain depuis la nuit des temps. L’humain est
la seule espèce animale (avec les fourmis) à faire la guerre. C’est dans ses gènes. Nos ancêtres sont des guerriers,
nous sommes leurs descendants. Nous sommes les produits de massacres immémoriaux. Les formes de guerres
contemporaines ne sont pas moins sanglantes et pas moins dures que les guerres ancestrales, elles prennent juste des
formes plus variées. La série War met en place des tableaux génératifs infinis de situations de guerre. Ce sont de vraies
guerres entre des armées inépuisables de pixels programmés pour se battre et se tuer les uns les autres. Ce sont des
carnages (de pixels), de grandes fresques guerrières abstraites, de grande violence, au pouvoir cathartique. </div><div><br /></div><div><b>7 billion pixels</b></div><div><br /></div><div>L’oeuvre consiste en un film dans lequel 7 milliards de pixels individuels traversent l’écran, chacun sur sa propre
trajectoire, au rythme de 1 million de pixels parseconde, résultant en un film d’une durée totale de 1h56’40”.
Chaque pixel traverse l’écran de gauche à droite en une seconde, dans une ambiance de grande vitesse et
d’urgence. La trajectoire de chaque pixel est totalement indépendante des autres, et le flux semble animé d’un
comportement chaotique sans organisation globale, tout en reflétant les intentions individuelles de chaque
pixel. Malgré l’absence d’organisation, des patterns apparaissent, des regroupements, turbulences, vagues, etc.
Le film démarre avec une image noire puis les pixels commencent à défiler, puis après presque 2 heures, le flux
stoppe. La projection peut être programmée en boucle avec une pause, ou organisée en séances de projection.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ0VwRGOjozMQP7Y7I2OAtheo14_ti2IVBQ6EG7D6govprF4q42l7c0UEPl8fD-8wqZE5Tclo51imnP1oI77OueGxR3VNfn9B5l4UPggtGb8gQiB1zpNwDvUVo_y_I3eHrK4HZPSouzh61/s640/Antoine-Schmitt-galeriecharlot-492.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ0VwRGOjozMQP7Y7I2OAtheo14_ti2IVBQ6EG7D6govprF4q42l7c0UEPl8fD-8wqZE5Tclo51imnP1oI77OueGxR3VNfn9B5l4UPggtGb8gQiB1zpNwDvUVo_y_I3eHrK4HZPSouzh61/w640-h480/Antoine-Schmitt-galeriecharlot-492.jpg" width="640" /></a></div><br /><div><b>Danser sa vie</b></div><div><br /></div><div>«La pièce “Danser sa vie” tire son nom et sa substance de l’exposition éponyme déployée au Centre Pompidou au
printemps 2012, et résonne au niveau formel avec La Danse de Matisse, les silhouettes de Jérôme Mesnager ainsi
qu’avec les anthropométries de Yves Klein, mais surtout pousse à l’extrême le concept de danse libre de Malkovsky.
Un corps synthétique, créé à l’aide des techniques de simulation physique des jeux vidéo — os, muscles, forces, gravité
artificiels — est doté d’une capacité de mouvement autonome, d’une musique intérieure et d’une énergie inépuisable.
Comme une incarnation de la Wille de Schopenhauer, cette “volonté de vivre” intérieure le fait bouger sans fin, et ce
mouvement prend la forme d’une danse infinie et infiniment libre. Elle offre une solution radicale au problème de
Nietzsche : “Je considère comme gaspillée toute journée où je n’ai pas dansé”.
Cette pièce prolonge mes recherches sur le mouvement, sa forme et sa cause, cette fois incarné dans un corps
dansant. Elle cherche dans la danse une des formes les plus fondamentales de l’expression du flux vital chez l’être
humain. C’est un hommage infini à la vie, à la danse..» </div><div><br /></div><div><b>Ballet Quantique</b></div><div><br /></div><div>Les Ballets Quantiques sont des tableaux génératifs infinis mettant chacun en scène une chorégraphie d’une foule
de pixels aux mouvements apparemment arbitraires et indépendants, mais en fait tous programmés par la même
équation de type quantique. Cette organisation globale sous-jacente transparaît de temps en temps par
des alignements et regroupements impromptus et fugaces que l’oeil a juste le temps de percevoir, avec
effroi et délectation. Cette série d’oeuvres traite des forces invisibles à l’oeuvre derrière les systèmes
complexes, comme les particules, les peuples, les sociétés. Chaque Ballet Quantique est précisément
construit autour de la relation entre un certain nombre de pixels et une équation donnée.</div><div><br /></div><div><b>Façade Life</b></div><div><br /></div><div>Façade life est une installation monumentale active sur façade.
Dans Façade Life, une forme lumineuse abstraite circule indéfiniment sur une façade, en relation avec ses éléments
architecturaux. Elle glisse sur les bords, heurte les cadres des fenêtres, rebondit sur les montants des portes, coule
dans espaces disponibles… Elle l’habite. Des algorithmes de vie artificielle et des équations physique recréent le
comportement d’un fauve abstrait en cage : corps nerveux libre mais enfermé.
Façade Life est issue d’un principe artistique dans lequel des façades existantes sont réinterprétées par des formes
dynamiques programmées, pour mettre en place une dialectique entre la réalité physique et un niveau de réalité
parallèle.
Les installation Façade Life sont des installation in situ, éphémères ou pérennes, mais toujours uniques. En extérieur,
elles sont forcément nocturnes uniquement, mais en intérieur elle peuvent être permanentes. Elles peuvent être
monumentales (taille d’un bâtiment, plusieurs façades, etc.) ou de la taille d’une pièce, ou même miniatures.</div><div><br /></div><div><b>The Pixel blanc</b></div><div><br /></div><div>«Un pixel blanc erre sans fin, en laissant des traces qui s’effacent. Ses mouvements sont lents, avec des accélérations
brusques. Il ne dessine rien, il bouge. Son mode d’être, sa manière de bouger résultent du fonctionnement, devant
nous, de l’algorithme sous-jacent, modélisé d’après une interprétation personnelle du modèle freudien Conscient/
Inconscient. La qualité de son mouvement tend à nous interroger sur la cause de son mouvement. Nous sommes en
présence d’une présence artificielle minimale, ancrée dans le temps présent. On le suit des yeux.» </div><div><br /></div><div><b>Antoine Schmitt (bio)</b></div><div><br /></div><div>Né à Strasbourg en 1961, vit et travaille à Paris, France. Artiste plasticien, Antoine Schmitt crée des oeuvres
sous forme d’objets, d’installations et de situations
pour traiter des processus du mouvement et en
questionner les problématiques intrinsèques, de
nature plastique, philosophique ou sociale. Héritier
de l’art cinétique et de l’art cybernétique, nourri de
science-fiction métaphysique, il interroge inlassablement
les interactions dynamiques entre nature humaine et
nature de la réalité.
À l’origine ingénieur programmeur en relations homme machine et en intelligence artificielle, il place maintenant
le programme, matériau artistique contemporain et
unique par sa qualité active, au coeur de ses créations
pour révéler et littéralement manipuler les forces à
l’oeuvre. Avec une esthétique précise et minimale,
il pose la question du mouvement, de ses causes et
de ses formes. Antoine Schmitt a entrepris, seul ou à
travers des collaborations, d’articuler cette approche
à des champs artistiques plus établis comme la danse,
la musique, le cinéma, l’architecture ou la littérature.
Comme théoricien, conférencier et éditeur du portail
gratin.org, il explore le champ de l’art programmé. </div><div><br /></div><div>Son travail a reçu plusieurs prix dans des festivals
internationaux : transmediale (Berlin, second
prize 2007, honorary 2001), Ars Electronica (Linz,
second prize 2009), UNESCO International Festival
of Video-Dance (Paris, first prize online 2002),
Digital Turku (Turku, FI, honorary, 2011), Vida 5.0
(Madrid, honorary 2002), CYNETart (Dresden,
honorary 2004), medi@terra (Athens, first prize 1999),
Interférences (Belfort, first prize 2000), machinista
2003 (Russia) et a été exposé entre autres au Centre
Georges Pompidou (2002, 2004, 2006, 2010, 2011),
au Musée des Arts Décoratifs (Paris, 2009), à Sonar
(Barcelone, 2002, 2004, 2005), à Ars Electronica
(Linz, 2003, 2009), au Centre d’Art Contemporain
de Sienne (2004), au Musée d’Art Contemporain de
Lyon (1997), aux Nuits Blanches (Paris 2004, 2008,
Amiens 2007, Metz 2009, Bruxelles et Madrid 2010).
Il fait partie des collections des fondations Artphilein
(CH), Fraenkel (USA), Meeschaert (FR), de l’Espace
Gantner (Bourogne, FR), du Cube (Issy-Mx, FR), du
Fond Municipal d’Art Contemporain (FMAC) de Paris,
Société Générale (Paris), Borusan Collection (USA)</div><div><br /></div><div><div>Antoine Schmitt </div><div><b>La Balade du Pixel </b></div><div><br /></div><div>9 Septembre - 31 Octobre 2021 </div><div>Vernissage 9 Septembre</div><div><br /></div><div>Galerie Charlot</div><div>Paris, France.</div><div><br /></div></div><div><a href="http://www.galeriecharlot.com/fr/expo/185/La-Balade-du-Pixel" target="_blank"><br /></a></div><div><a href="http://www.galeriecharlot.com/fr/expo/185/La-Balade-du-Pixel" target="_blank">+ information</a></div><div><br /></div><div><br /></div><div><span style="font-size: x-small;">Photo: <i>Grand oblique (Cascades series)</i>. Antoine Schmitt. Vidéo générative. Cadre bois, ordinateur, écran LCD, programme spécifique. 5 exemplaires + 1 EA. Dimensions variables. 2018. | Photo: <i>Danser sa vie.</i> Antoine Schmitt. Oeuvre générative. 3 exemplaires + 1 EA. Durée infinie. 2012.</span></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-40857646758597674762021-06-19T06:37:00.003-07:002022-02-10T04:18:05.331-08:00Saâdane Afif. The Fountain Archives and Beyond | Fundació Antoni Tàpies<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijJ9kBA_L142xow3Uh6q_oAN-WIFKhEXzerRLuL9H9CUxx5h2lyqIdT6C4G1u3O8p3syEIn_EHbsUB0YOP6_w0jS-PLzzVrGDGXOkCWXe0DX4QyBDd6kJ5Nz2w4cn6aZadi5OiIcO23O8M/s2048/Imatge+de+sala+%2527Saadane+Afif%2527+9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijJ9kBA_L142xow3Uh6q_oAN-WIFKhEXzerRLuL9H9CUxx5h2lyqIdT6C4G1u3O8p3syEIn_EHbsUB0YOP6_w0jS-PLzzVrGDGXOkCWXe0DX4QyBDd6kJ5Nz2w4cn6aZadi5OiIcO23O8M/w640-h400/Imatge+de+sala+%2527Saadane+Afif%2527+9.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div>In 1917, a work entitled <i>Fountain,</i> consisting of an upturned urinal signed R. Mutt, was submitted to the first exhibition of the Society of Independent Artists of New York. Under this pseudonym, Marcel Duchamp tested the limits of the exhibition’s admission policy, supposedly open to any proposal and inspired by the motto of the Salon des Indépendants in Paris: ‘no jury, no prizes’. By selecting an ordinary object, a found object, Duchamp sought to destroy the notion of the singularity of the object of art. Fountain was rejected, just as Nu descendant un escalier (N°2) [Nude descending a staircase (No. 2)] had been rejected by the Salon des Indépendants in Paris in 1912. <div><br /></div><div>Duchamp then decided to orchestrate the Fountain’s presentation through a publication in The Blind Man, a magazine of which he was a co-founder. The original work disappeared and was never found again. Therefore, it is from a reproduction (a photograph by Alfred Stieglitz) accompanied by an anonymous commentary (‘The Richard Mutt Case’) that Fountain enters the history of art. Since then, Duchamp’s Fountain has generated countless comments and has become one of the most influential works of art of the twentieth century.<br /><br />Saâdane Afif has turned the printed dissemination of Fountain into a monumental project. The Fountain Archives consists of three elements: the first, the ‘active’ part of the project, consists of the pages of publications, books, catalogues and magazines that reproduce a photograph of this iconic piece. The pages, taken from the collection of publications that the artist has been collecting since 2008, are torn out, framed and inventoried, creating a new readymade from one of the earliest and certainly the most iconic readymades in the history of art.<br /><br />The second, the ‘passive’ part of the project, which Afif also calls the ‘mould’, is the library with the books from which the pages were taken. The shelves create an archive around Duchamp’s readymade, from which the common initiator has been removed: an archive without its object. This presentation of the library – complete for the first time in the installation at the Fundació Antoni Tàpies – by depriving the publications of their usual function, also gives it a sculptural character.<div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirXxUAUN-3xEV26nXnVLKt46wIrsxsiLW0nfmuMw_mNNkjCsxXr_N1zaPM3E1XZ9X6cA9dGqc6jlUIM-VHk7-SNDUc37yzHsi6G1qOu4dpARlPWYrxqjWFDpGXLrwPhKJCjRrmD7_sv4Or/s2048/Imatge+de+sala+de+%2527Saadane+Afif%2527+8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirXxUAUN-3xEV26nXnVLKt46wIrsxsiLW0nfmuMw_mNNkjCsxXr_N1zaPM3E1XZ9X6cA9dGqc6jlUIM-VHk7-SNDUc37yzHsi6G1qOu4dpARlPWYrxqjWFDpGXLrwPhKJCjRrmD7_sv4Or/w640-h426/Imatge+de+sala+de+%2527Saadane+Afif%2527+8.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div>The third element, called Fountain Archives (Augmented), integrates the pages of publications with the comments generated over the years by Saâdane Afif’s work, illustrated with a reproduction of Fountain; the archive within the archive, in a kind of mise en abyme. These publications point to an evolution in the development and perception of The Fountain Archives as a work of art.<br /><br />Appropriating inventory methodologies and playing with traditional museographic codes, Afif questions the production system, the status of the work of art, its reproducibility and the infinite field of its interpretations, as well as his formidable ability to produce narratives.<br /><br />True to his way of doing things since 2004, Saâdane Afif has also commissioned several cultural producers to write lyrics based on Fountain for this project. A selection of these songs is part of the exhibition.<div><br /></div><b>Saâdane Afif. The Fountain Archives and Beyond...</b><br />18.06.2021 – 30.01.2022<br />Fundació Antoni Tàpies, Barcelona<br /><br />Curator: Yasmine d'O.<div><br /><br /><b>Related Activity</b><br /><b>Presentation of the monograph Morceaux choisis by Saâdane Afif<br /></b>17.06.2021<br /><br />On the occasion of the opening of the exhibition <i><a href="https://fundaciotapies.org/en/exposicio/saadane-afif-arxius-font/">Saâdane Afif. The Fountain Archives and Beyond</a>,</i> Núria Homs, curator, and Glòria Domènech, Librarian, together with the artist, will present the latest publication on Saâdane Afif, which contains his forty-eight exhibitions or performances held between the 2004 and 2019. The monograph shows how Afif’s work takes shape and can be read through the exhibition format.</div><div><br /></div><div><a href="https://fundaciotapies.org/en/exposicio/saadane-afif-arxius-font/" target="_blank">+ information</a></div><div><br /></div><div>.</div><div><br /></div><div><br /><div><br /></div></div></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-53146319510096372382021-06-19T06:28:00.003-07:002022-02-10T04:30:10.907-08:00Francesc Torres. Aeronautics Interior [Flight] | MNAC<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsBaDck-XJb6emyAp5pJX3zak91KP2q6N0js5dEfyfDs02S_KMutkxPGr8Y0JODhNKFyKL6CShSWQAp9Wp3cElYyS0xkIW5Tz25lzWcHSAQxTfnA5PtUY7RajwvJEt9onvr0Oi2VocFkyb/s607/Francesc+Torres.+Aeronautics+Interior+%255BFlight%255D.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="607" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsBaDck-XJb6emyAp5pJX3zak91KP2q6N0js5dEfyfDs02S_KMutkxPGr8Y0JODhNKFyKL6CShSWQAp9Wp3cElYyS0xkIW5Tz25lzWcHSAQxTfnA5PtUY7RajwvJEt9onvr0Oi2VocFkyb/w640-h498/Francesc+Torres.+Aeronautics+Interior+%255BFlight%255D.png" width="640" /></a></div><span style="font-family: robotobold; font-size: 14.6667px;"><br /></span></div><div>Among the projects that the Museu Nacional will devote in 2021 to the subject of the Civil War, art, conflict and memory, Aeronautics Interior [Flight] is an installation by the artist Francesc Torres that will bring two life-size aeroplanes to the Oval Hall, replicas of two types of plane that took part in the Spanish Civil War.</div><br />In this project, Francesc Torres takes coordinates that he has previously explored even further, such as the ambiguity between art and non-art (camouflage painting, non-artistic objects with an artistic aura, etc.) or the elimination of the dividing line between the formats “exhibition”, “work” and “installation”.<br /><br />The origin of Aeronautics Interior (Flight) was his visit to the old La Sènia airfield, built by the government of the 2nd Republic when the Spanish Civil War began. This airfield played a very outstanding part due to its strategic location and its operational capacity, first for the Republican Air Force and then for the German Condor Legion. Very near the airfield is the La Sènia Historic Aviation Centre with its two most significant aeroplanes, the Soviet Tupolev SB-2 “Katyusha” bomber, and another Soviet plane, the Polikarpov I-16 “Mosca” fighter, both of which flew in the war. Faithful life-size replicas, these planes do not fly, and in the artist’s own words, “a plane that does not fly is not a plane, it is a work of art.”<br /><br />In his installation the artist explores aspects such as the impact, within the conflict, made by the war in the sky, or the idea of sacrifice, which he relates to works of art in the museum’s historic collection. To explain the link between sacrifice in wartime and sacrifice because of religious faith, Torres plays with the iconography of the crucifixion and, especially, the Gothic painting The Crucifixion of Saint Peter, by the master Pere Serra (14th century).<br /> <div><b><br /></b></div><b>Francesc Torres. Aeronautics Interior [Flight]</b><br />18 June to 26 September 2021<br />Munseu Nacional d'Art de Catalunya (MNAC)<div><br /></div><div><br /></div><div><b>Related activity:</b></div><b>Dialogue between Francesc Torres and Juan José Lahuerta | 6th July at 6 p.m.</b><br /><br />From 6 p.m. to 8 p.m.<br />Place: Onsite (Oval Hall) and online (YouTube channel of the Museu Nacional)<br />Prices: Free of charge with prior registration.<br /><br />Conversation between Francesc Torres, curator of the installation <a href="https://www.museunacional.cat/en/aeronautics-interior-flight">Aeronautics Interior [Flight]</a>, Juan José Lahuerta, professor of history of art at the School of Architecture of Barcelona.<br /><br />Moderated by: Lluís Alabern, head of Mediation and Museography of the Museum.<div><br /></div><div><a href="https://www.museunacional.cat/en/aeronautics-interior-flight" target="_blank">+ información</a></div><div><br /></div><div>.<br /><br /> </div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-34627241041319531752021-06-08T04:35:00.001-07:002022-02-10T04:18:38.914-08:00Tàpies. Foregrounding Reality | Fundació Antoni Tàpies<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVR8VX2KHiL5kSPxcht2UIO9-EkX9FyPzdth_srnx0iU71v5xqaSkAGm4UXKrax-HHQeSD-TwZcgd4BKABYULAErz6u-0SkPSx8Pe93zy-kTwtSTm74okAF-55XEkqBuizLXHokB2EwtNJ/s510/T-1747-granblancllaunablava_web-510x300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="510" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVR8VX2KHiL5kSPxcht2UIO9-EkX9FyPzdth_srnx0iU71v5xqaSkAGm4UXKrax-HHQeSD-TwZcgd4BKABYULAErz6u-0SkPSx8Pe93zy-kTwtSTm74okAF-55XEkqBuizLXHokB2EwtNJ/w640-h376/T-1747-granblancllaunablava_web-510x300.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div>Tàpies’ production in the 1960s and 1970s is characterised both by the consolidation of the language of the ‘matter paintings’, begun around 1954–55, and by his determination to incorporate the object into his work. In common with a new generation of artists working in the late 1950s, reality came to the fore as a reaction against the predominance of Informalism and Abstract Expressionism over the preceding two decades.<br /><br />Tàpies had been interested in matter since the beginning of his career in the 1940s. He was attracted to non-traditional pictorial materials, the ordinary, ‘poor’ and humble objects he found in his everyday environment. While initially these were intended to be interpreted from a symbolist perspective that emphasised metaphor, allegory and myth, from the mid-fifties they assume a more specific reading. Although Tàpies’ mature work was labelled as Informalist and abstract, in fact it appealed directly to reality, since the materials ceased to be subject to an idea and became the idea itself, in which form and matter coincided. The canvas was no longer a window onto the world, but had become a physical wall.<br /><br />In the late 1950s and early 1960s, Tàpies like many of his contemporaries looked to the influence of Marcel Duchamp while seeking new forms of expression to extend the idea of realism. While the readymade reflected the impact of industrialisation on the work of art, blurring the traditional boundaries between painting and sculpture, Duchamp also highlighted the gap between the artist and the viewer, leaving the latter to complete the work, so opening up new possibilities and redefining the creative act. Both in Europe and in the United States, this context resulted in a wide range of new approaches that became known collectively as New Realism and which stretched from turning the painting itself into a form of object, or even replacing it with an object, to actions, happenings or performances, or the removal and manipulation of torn posters, known as<i> décollage.</i><br /><br />In the 1960s and especially after 1970, the presence of objects in Tàpies’ work grew exponentially, while his first designs for the stage linked him to the world of theatre. Tàpies was drawn to used objects – old furniture, household utensils, dirty clothes – that carried the traces of the passage of time and human manipulation. These are real, everyday objects that make reference to the world around us. They are deliberately anti-modern, and in selecting them the artist expresses a rejection of consumer society. Some critics have noted that Tàpies’ use of ‘poor’ objects and materials anticipated certain traits that would come to the fore with the heterogeneous group of artists that from 1967 came to be known as <i>arte povera,</i> or even among the post-Minimalist reaction that began around 1969 – although the term was not coined until 1971 –. However, despite certain commonalities, unlike these artists Tàpies integrated his objects into his artistic language through interventions that almost invariably revealed the artist’s hand or gesture, and which imprinted his personal stamp on the work.<br /><br /><b>Tàpies. Foregrounding Reality</b><div>18.06.2021 – 30.01.2022<br /><br /></div><div>Fundacio Antoni Tàpies museum</div><div>Carrer Aragó, 255<br />Barcelona, Catalonia<br /><br />Opening: Thursday, June 17th, 2021<br />Curator: Núria Homs</div><div><br /></div><span style="font-size: x-small;">Fotografia: Antoni Tàpies.<i> Gran blanc amb llauna blava</i>, 1972. (c) Fundació Antoni Tàpies, Barcelona.</span><div><br /></div><div><a href="https://fundaciotapies.org/en/exposicio/tapies-realitat-pla/" target="_blank">+ information</a></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-16720409886239953232021-06-08T04:34:00.005-07:002022-02-10T04:18:53.221-08:00Veronika Kellndorfer | Neue Nationalgalerie<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbH2kT8DISW7L3Od-UwXoauQM0XB7G4sA-xrI37H7nAJ0qR94gxVBlia2qLGEcXZZYGak5cpgV9I6kZm1L9kgb5Tl71aIdYM6DFuUHWSRPX-kxvnw0uMW1yDsfW1OAQjtSsgdfSAvKJCRu/s1024/Veronika+Kellndorfer+-+Neue+Nationalgalerie+Berlin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbH2kT8DISW7L3Od-UwXoauQM0XB7G4sA-xrI37H7nAJ0qR94gxVBlia2qLGEcXZZYGak5cpgV9I6kZm1L9kgb5Tl71aIdYM6DFuUHWSRPX-kxvnw0uMW1yDsfW1OAQjtSsgdfSAvKJCRu/w640-h480/Veronika+Kellndorfer+-+Neue+Nationalgalerie+Berlin.jpg" width="640" /></a></div></div><b><div><br /></div></b>Christopher Grimes Projects is pleased to share images of Veronika Kellndorfer's works now on view for the pre-opening at the Neue Nationalgalerie in Berlin. <br /><br />An icon of twentieth-century architecture The Neue Nationalgalerie in Berlin was planned and built from 1963 to 1968, the steel and glass structure is the only building designed by Ludwig Mies van der Rohe in Europe after his emigration to the United States. The refurbishment, headed by <a href="https://cgrimes.us9.list-manage.com/track/click?u=ced97ca110f15299828bbb654&id=3417922de1&e=a1aa781942">David Chipperfield Architects</a>, has successfully restored and renewed the building to its original identity of high modernist architecture.<br /><br />Kellndorfer was invited by the head of the museum Joachim Jägerto, to photograph Mies van der Rohe’s Neue Nationalgalerie after it was closed to the public for renovations in 2015 creating multiple works as a result. She picked two moments in the fall and early spring when it was completely empty and renovation had just barely started––a unique point in time in the building’s history which Veronika was fortunate to document. "The resulting images are already imbued with a historical dimension, as they show the Neue Nationalgalerie in a kind of archaeological interim that will never be seen again," states Kellndorfer.<br /><br />Invited to participate in an artistic project inspired by the Neue Nationalgalerie, Kellndorfer is presenting National Gallery, Shortly Before Renovation, 2017, and National Gallery, Shifted Corner, 2018. In her photographs of Mies van der Rohe’s Neue Nationalgalerie, Kellndorfer reveals the divergence between our idea of the building and its actuality. Kellndorfer offers us new ways to understand and reconstruct the history documented in this body of work. Her photograph of the empty gallery during the process of restoration focuses on its raw materiality; the original steel, glass, and stone coexist with the new materials staged for installation along with the dust and dirt of the construction site.<br /><br />The National Gallery series was created in 2017 for the Chicago Architecture Biennale and was shown in 2018 in the city’s Elmhurst Art Museum curated by Berry Bergdoll, before the work Shortly before Renovation, 2017 became part of the Art Institute Collection. <br /><br />Using her distinct technique of binding silk-screened photographic images onto large glass panels, Kellndorfer bridges the gap between photography, architecture, painting, and installation. Kellndorfer’s work examines the graphic quality of architecture and its relationship with the landscape, as well as the transformation of light and movement between interior and exterior space.<br /><br />Her use of scale succeeds in engaging the viewer by altering perception and spatial relationships, dramatically enlarging the underlying motif. Reflections place the viewer within the images—glare and the spatial ambiguity created by cast shadows reveal a depth and complexity to the work.<div><br /></div><div><div><div style="text-align: center;"><img height="640" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEjVt0Ma3NveS3H78yiESmKzbcQU4waI3TZsiB06_0LQaLntuGekX4zeVhGUT0IYMosMS3uPKIKF4u82xbn55V2N1JZ0_1wpQ0N3Wb3GRourI-AGpFja4A77fvr-FEkODbHvVlkK90dbhIG3-X4ajySQNVwrPnLRPMeh5PGqbGmLecSFM3iXf-BoK-fon36w1VCWEHZdjWG-01Zodkac9i3vXSwH=w480-h640" style="text-align: left;" width="480" /></div></div><div style="text-align: center;"><span style="font-size: x-small;">Installation view, Veronika Kellndorfer, Neue Nationalgalerie, Berlin. Courtesy of the artist.</span></div><div><br /><b>Veronika Kellndorfer</b> has held solo exhibitions in museums and institutions around the world, including Casa de Vidro, Instituto Lina Bo Bardi, São Paulo, Brazil (2015); Pinakothek der Moderne, Munich, Germany (2012 and 2014); Aedes Land, Berlin, Germany (2010); Berlinische Galerie, Berlin (2005); Il parco, Villa Massimo, Rome (2005); and University of Southern California, Los Angeles, CA (2003). She has been included in group exhibitions such as Original Bauhaus, Berlinische Galerie, Berlin, Germany (2019); 14th Curitiba International Biennial Of Contemporary Art, Museu Oscar Niemeyer, Curitiba, Brazil (2019); Fiction and Fabrication, Museum of Art, Architecture and Technology, Lisbon, Portugal (2019); National Museum, Oslo, Norway (2017); the Museum of Contemporary Art San Diego, San Diego, CA (2016); Cidade Matarazzo, São Paulo, Brazil (2014); Pier 24 Photography, San Francisco, CA (2013 and 2016); Orange County Museum of Art, Newport Beach, CA (2012); Villa Aurora Forum, Berlin, Germany (2010), and Martin-Gropius-Bau, Berlin (2008). Kellndorfer's work is included in the permanent collections of the J. Paul Getty Museum, Los Angeles, CA; Hammer Museum, Los Angeles, CA; Art Institute of Chicago, Chicago, IL; San Francisco Museum of Modern Art, San Francisco, CA; Pilara Foundation, Pier 24 Photography, San Francisco, CA; National Gallery, Hamburger Bahnhof, Berlin; and Museum of Contemporary Art San Diego, San Diego, CA, among others.<br /></div><br /><div><br /></div><div><b>Veronika Kellndorfer</b><br />Neue Nationalgalerie in Berlin<br /><br />Pre-opening: June 4 - June 6, 2021<br /><br /></div><div><a href="https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/home/" target="_blank">Neue Nationalgalerie</a><br />Potsdamer Str. 50<br />Berlin, Germany<br /><br /></div><div><a href="https://cgrimes.us9.list-manage.com/track/click?u=ced97ca110f15299828bbb654&id=5da81a7480&e=a1aa781942">More information about the artist.</a><br /> <br /><span style="font-size: x-small;">Photo: Installation view, Veronika Kellndorfer, Neue Nationalgalerie, Berlin. Courtesy of the artist.<br /></span><br /><div style="text-align: center;"><br /></div></div><div><table border="0" cellpadding="0" cellspacing="0" style="background-color: #f2f2f2; border-collapse: collapse; color: #222222; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif; font-size: small; width: 100%px;"><tbody><tr><td align="center" style="margin: 0px;" valign="top"></td></tr><tr></tr></tbody></table></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-21121032876660553012021-03-16T04:48:00.005-07:002022-02-10T04:19:08.244-08:00John Akomfrah. Vertigo Sea | Fundació Antoni Tàpies<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTtDzBqQH45SYoog4zWVMamoYRH_vogmqbEvu1T1v_YJCy69RwZC46Qoe993nVAwJbjZCOokA3MXKhM_-A1pD-BKLiaA2BW2YeZsPAv1PlAyV1dXlSnjUaLeWsWj7NoDFUQqYqsINlqkVo/s784/John+Akomfrah+-+Fundaci%25C3%25B3+Antoni+T%25C3%25A0pies.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="784" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTtDzBqQH45SYoog4zWVMamoYRH_vogmqbEvu1T1v_YJCy69RwZC46Qoe993nVAwJbjZCOokA3MXKhM_-A1pD-BKLiaA2BW2YeZsPAv1PlAyV1dXlSnjUaLeWsWj7NoDFUQqYqsINlqkVo/w640-h354/John+Akomfrah+-+Fundaci%25C3%25B3+Antoni+T%25C3%25A0pies.jpeg" width="640" /></a></div><br /><i><br /></i></div><i><div><i>Vertigo Sea</i> is a three-channel video installation that describes humanity’s relationship with the sea. The film is a narrative about human beings and nature, about the beauty, violence and precariousness of life. It raises the issues of migration, the history of slavery and colonization, war and conflict, and addresses current ecological concerns.</div></i><br />The work premiered at the 56th Venice Biennale in 2015, entitled All the World’s Futures and curated by Okwui Enwezor. In a distinctive and innovative style, Akomfrah explores our ability to survive in the sea from fishing to migration, slavery and the colonization of the world. Vertigo Sea combines archival material from the BBC Natural History Unit with new footage from Scotland, Norway and the Faroe Islands. It is an epic work, a poetic and moving representation of the human relationship with nature where the hypnotic beauty of ocean landscapes and marine life, or icy scenes of the Arctic, are juxtaposed with images of the slave trade, of the cruelty of the whaling industry, or the polar bear hunting, and of the crossing of the oceans of the various generations of migrants who have ventured in search of a better life.<br /><br />The sea is a recurrent motif in Akomfrah’s work; the immensity of the ocean marks the scene of colonial conquests and the transatlantic slave trade, as well as contemporary migratory flows. His works are characterized by an interest in personal and collective histories, memories and hopes, as well as in cultural identities. The film also incorporates sequences depicting Olaudah Equiano (c. 1745-1797), the African slave who bought his freedom and was a pioneer of the abolitionist cause who sailed the seas, explored the Arctic and would eventually live in England, campaigning to extend the vote to the workers and publishing an autobiography that is central to the narrative about the horrors of slavery.<br /><br /><i>Peripeteia</i> (2012)<br /><br />Vertigo Sea will be accompanied by the single-channel video installation Peripeteia (2012), which takes as its starting point two portraits painted by Albrecht Dürer, Kopf eines Negers (Head of a Black Man, 1508) and Porträt der Afrikanerin Katherina (Portrait of the African Katherina, 1520). The mysterious identity of these two characters leads to a reflection on the universal dimension of suffering, defeat and past memory that generates knowledge of the present.<br /><br />John Akomfrah (1957), born in Accra, Ghana, lives and works in London. He co-founded the Black Audio Film Collective in London in 1982 with David Lawson and Lina Gopaul, among others, with whom he continues to work at Smoking Dogs Films. His video installations are multichannel visual compositions that deploy contrasts and dialogues between image and sound, between reality and fiction, where the montage, as he says, brings to light ‘unconscious relationships between the subject and the historical forces’.<br /><br />Other recent works by Akomfrah are <i>Mnemosyne</i> (2010), on the experience of migration to <i>Britain; The Unfinished Conversatio</i>n (2012) and <i>The Stuart Hall Project</i> (2013), on the life and work of cultural theorist Stuart Hall;<i> Tropikos</i> (2015), on the British colonial past in Guinea; <i>Auto Da Fé</i> (2016), on religious persecution; <i>Precarity</i> (2017), the drama of musician Charles Joseph “Buddy” Bolden, the diaspora and the legacy of creativity and the creation of modern jazz; <i>Purple</i> (2017), which deals with the impact of humanity and industry on nature and the planet and <i>Four Nocturnes</i> (2019), presented at the Ghana Pavilion of the 58th Venice Biennale in 2019, which, together with <i>Vertigo Sea</i> and <i>Purple</i>, forms the trilogy of films that explore the complex relationship between the destruction of the natural world and our own destruction.<div><br /></div><div><span style="font-size: x-small;">Photography: © Smoking Dogs Films; Courtesy Smoking Dogs Films and Lisson Gallery.<br /><br /></span><div><i><br /></i></div><div><i>John Akomfrah. Vertigo Sea</i></div><div>05.02.2021 – 06.06.2021</div><br /><div>Fundació Antoni Tàpies</div><div>Barcelona, Catalonia<br /><br />Curators: Glòria Domènech & Núria Homs<br /><div><br /></div><div><a href="https://fundaciotapies.org/en/exposicio/john-akomfrah-vertigo-sea-2/" target="_blank">+ information</a></div><div><br /></div><div>.</div></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-60772095469001482052021-03-16T04:39:00.004-07:002022-02-10T04:19:36.379-08:00Miró-ADLAN: An Archive of Modernity (1932-1936) | Fundació Joan Miró<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuDpZdfg1jHLcUYZxLMfjmevFsR3XBtPRkNBIwSOBdpOmZi7OuYZWhVkZvhBxAT4qZd9jb5-iQgDvG296TGf6bREzGJdQ0UPM69rMJVHmv3KKyKgUtrY-pExhSUb0cVAi1-0QMalLn_SZU/s640/Mir%25C3%25B3-ADLAN+Un+arxiu+per+a+la+modernitat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuDpZdfg1jHLcUYZxLMfjmevFsR3XBtPRkNBIwSOBdpOmZi7OuYZWhVkZvhBxAT4qZd9jb5-iQgDvG296TGf6bREzGJdQ0UPM69rMJVHmv3KKyKgUtrY-pExhSUb0cVAi1-0QMalLn_SZU/w480-h640/Mir%25C3%25B3-ADLAN+Un+arxiu+per+a+la+modernitat.jpg" width="480" /></a></div><br /><div style="text-align: center;"><br /></div><b>Miró-ADLAN: An Archive of Modernity (1932-1936)</b><br />12/03/2021 — 04/07/2021<div><br /></div><div>Curated byMuriel Gómez, Jordana Mendelson and Joan M. Minguet. </div><div>Curatorial assistance from Dolors Rodríguez Roig<br /><br />Fundació Joan Miró, Barcelona, Catalunya</div><div><br /><i>Miró-ADLAN: An Archive of Modernity (1932-1936)</i> reconstructs the key role of the group of artists and intellectual known as ADLAN (Amics de l'Art Nou [Friends of New Art]) in introducing modernity to the Barcelona of the 1930s, during the years of the Spanish Republic. While in major European cities avant-garde movements had the support of critics and collectors, here modernity needed the impetus of an enthusiastic group that sought to regenerate Catalan culture and adopted Joan Miró as its leader in the promotion of new art.<br /><br />The exhibition presents documents and ephemera from the ADLAN archive, held in several public and private venues, primarily in the COAC and Fundació Joan Miró archives. ADLAN's secretary Adelita Lobo played was an essential figure in documenting and preserving the materials in this archive; invitations, notebooks, and posters became objects of memory and now allow us to recreate the group's key role in building modernity in Catalonia, organizing more than fifty events across all artistic disciplines - painting, architecture, music, dance, circus, photography, film, etc.<br /><br />The show also features a selection of pieces from the five ephemeral exhibitions that Miró held in Barcelona to offer the members of the cultural group a preview of the works that would then travel to Paris, New York, or Zurich. These exhibitions, open only to ADLAN members, provided a laboratory or a test run for the artist and reveal the experimental nature of his work and his persistent collaboration with others involved in the group.<br /><br />The preservation of the documents on display was key for being able to recreate the places, the events, and the individuals who made this renewal of the concept of modern culture possible; some of these people, belonging to the Catalan petite bourgeoisie, are Joan Prats, Josep Lluís Sert, Adelita Lobo, J. V. Foix, and Sebastià Gasch, just to name a few. ADLAN's influence spread among artists, architects, writers and musicians from Barcelona, particularly during the post-war years and during the 1970s. The close connection between ADLAN and GATCPAC (Grup d'Arquitectes i Tècnics Catalans per al Progrés de l'Arquitectura Contemporània [Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture]) forged a view of modernity associated with architectural rationalism and visual surrealism - which is precisely what led to the creation of the Fundació Joan Miró.<br /><br />The exhibition is part of the Miró Documents series, whose aim is to use the Fundació's archive to further explore certain aspects of Miró's work. With the complicity of New York University, Col·legi Oficial d'Arquitectes de Catalunya and Museu Picasso de Barcelona. The conservation of the collection and its presentation has the generous and continued support of Fundació Vila Casas.<br /></div><div><br /></div><div><a href="https://www.fmirobcn.org/en/exhibitions/5769/miro-adlan-an-archive-of-modernity-1932-1936" target="_blank">+ information</a></div><div><br /></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-69241350365122292282021-03-16T04:32:00.003-07:002022-02-10T04:19:49.005-08:00Finde de arte en el barrio | Galeria Javier López & Fer Francés<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH_r8aOr35SQCNrKwDnqHjHfS1X8qJ-kyE1AXBD81HG6nZJA-gUqvhMUR2MULjTZmvPODw-QsVpYLv3SysPTV0UjG6pFPTuP5lFieYhATDd7GZnfWzeO7mjTqVNwwkBTeCIS0UBOWq179F/s2048/finde+de+arte+en+el+barrio+-+almagro+-+2021.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1476" data-original-width="2048" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH_r8aOr35SQCNrKwDnqHjHfS1X8qJ-kyE1AXBD81HG6nZJA-gUqvhMUR2MULjTZmvPODw-QsVpYLv3SysPTV0UjG6pFPTuP5lFieYhATDd7GZnfWzeO7mjTqVNwwkBTeCIS0UBOWq179F/w640-h462/finde+de+arte+en+el+barrio+-+almagro+-+2021.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div><div><br /></div>Galeria Javier López & Fer Francés would like to invite you to visit our exhibitions taking a walk around the neighborhood. See you today during our usual opening hours. <br /><br />Saturday, March 13, 2021<div><br />- <b>Cayón</b> - <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-j/">link to</a> David Magán. <i>Hard - Line</i> / David Magán. <i>Light Object</i><br /><br /><div>- <b>Daniel Cuevas</b> - <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-t/">link to</a> Miguel Aguirre. <i>Nosotros estamos bien. Espero que vosotros también</i> (last day)<br /><br /></div><div>- <b>Freijo Gallery</b> - <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-i/">link to</a> <i>Metáforas Latinoamericanas</i> <i>[dos]</i> / <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-d/">link to</a> <i>Lo personal es político, arte hecho por mujeres latinoamericanas</i> (programa LZ46)</div><div><br />- <b>Javier López & Fer Francés</b> <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-u/">- link to</a> - <i>Lxs AngelinXs -</i> (collective exhibition) /<br /><a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-o/">link to</a> Felipe Pantone. <i>Veladura digital</i> (espacio The Playground)<br /><br /></div><div>- <b>Marlborough</b> - <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-b/">link to</a> Pablo Armesto. <i>Donde el camino se hace línea.</i></div><div><i><br /></i>- <b>NF / Nieves Fernández</b> - <a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-n/">link to</a> Ángela Cuadra & Laura F. Gibellini. <i>Nunca nada parecido</i><br /><br /><img src="https://blogger.googleusercontent.com/img/proxy/AVvXsEjuTRVn62_Qhmi3LnIJTIj0qnQzMi1lcPrYbdg4ag4sNQaXJmM2mE9TpHj-IqY0qH74QItQnovetLwGxxhI2y94qmgnfus1tfvwqLKKTgv4RRgyuPG3PmGgg6DvYv_oi3YQAqfjgzkXt4mGdciGEl94oDeZa1DlFyKn3opFOl50hDIe-b2mFwROAOZYTh7y=s0-d-e1-ft" /><br /><br /><img src="https://blogger.googleusercontent.com/img/proxy/AVvXsEjuTRVn62_Qhmi3LnIJTIj0qnQzMi1lcPrYbdg4ag4sNQaXJmM2mE9TpHj-IqY0qH74QItQnovetLwGxxhI2y94qmgnfus1tfvwqLKKTgv4RRgyuPG3PmGgg6DvYv_oi3YQAqfjgzkXt4mGdciGEl94oDeZa1DlFyKn3opFOl50hDIe-b2mFwROAOZYTh7y=s0-d-e1-ft" /><br />GALERÍA JAVIER LÓPEZ & FER FRANCÉS<br />General Arrando, 40<br />Madrid, Spain</div><div><br /></div><div><a href="https://ennouncement.exhibit-e.com/t/y-l-oxpdk-tdtyiywuk-p/">+ information</a><br /></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-9506814116852115952020-11-27T05:27:00.004-08:002022-02-10T04:31:50.422-08:00The Restless Echo of Tomorrow | Hazara | Fundació Tàpies & Hans Nefkens <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJWnVxFOH6H35AxII09WC2G2_UiYxmxFmD5h8bgT1SP0lAInWgGcM8qixVbKszDwaSEM_vKYMVTL1NXdkRejKbuGUpV_uM_qZ2MDZIQUqgdAx10lz8bEAcD4ytAJseir43UF67r5hFUk8F/s680/EnliWghWEAEOe3m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="680" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJWnVxFOH6H35AxII09WC2G2_UiYxmxFmD5h8bgT1SP0lAInWgGcM8qixVbKszDwaSEM_vKYMVTL1NXdkRejKbuGUpV_uM_qZ2MDZIQUqgdAx10lz8bEAcD4ytAJseir43UF67r5hFUk8F/w640-h428/EnliWghWEAEOe3m.jpg" width="640" /></a></div><br />The Han Nefkens Foundation, in collaboration with the Fundació Antoni Tàpies, present the first solo exhibition of Afghan artist Aziz Hazara (Wardak, 1992), that will be inaugurated on October 2, 2020, at the Fundació Antoni Tàpies.<div><div><br />This exhibition is the result of the Mentorship Grant awarded to Hazara by the Han Nefkens Foundation in 2019 that aims to support the artist in all aspects of artistic production. The Grant has also allowed Hazara to be one of the residents at the Higher Institute for Fine Arts (HISK) in Ghent, Belgium.<br /><br />The exhibition at the Fundació Antoni Tàpies will show recent video art works produced by the Han Nefkens Foundation, including Bow Echo, a five-channel video installation that has been featured for the first time at the Biennale of Sydney 2020.<br /><br />This exhibition will travel to the Centre d’Art Contemporaine Genève in 2021.<br /><br />Born in Wardak, Afghanistan, in 1992. Lives and works in Kabul, Afghanistan and Ghent, Belgium.<br /><br />Aziz Hazara is an interdisciplinary artist based in Kabul and Ghent. He works across mediums including photography, video, sound, language programming, text and multimedia installations, exploring questions of identity, memory, archive, conflict, surveillance and migration in the context of power relations, geopolitics and the panopticon.<br /><br />‘The visual exploration of my work is deeply entrenched in the geopolitics and the never-ending conflict that afflicts my native Afghanistan. The relevance of such issues, however, overcomes geographical specificities and appeals to a contemporary condition that is globally shared.’</div><div><br /></div><div><div><b>Aziz Hazara. The Restless Echo of Tomorrow</b></div>03.10.2020 – 24.01.2021<br /><br />Co-curators: Sona Stepanyan and Hilde Teerlinck<div><div><br /></div><div>Fundació Antoni Tàpies</div><div>Barcelona, Catalunya</div></div><div><br /></div><div><a href="https://fundaciotapies.org/en/exposicio/aziz-hazara/" target="_blank">+ information</a></div><div><br /></div><div>.</div></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-3418238726686285812020-10-26T02:49:00.004-07:002022-02-10T04:32:19.228-08:00The everlasting paradise. Who are we? | Pasquale | Víctor Lope Arte Contemporáneo<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdf6hSXdgl2Li4V1K2bWhaCQUxV4AdFdQlabMC_7fJHJ3J3dH1q4pqHqsbVEtppckQBZZTMCWWjPzExDgqcJnXGE4Co2ZCl8FHUo-hk4VPt1PoxsHYyjs1kuACoCR2eHfPypU5q6jWyNAe/s1048/alejandro+pasquale+-+L%2527hora+daurada+-+Victor+lope+Arte+Contemporaneo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1048" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdf6hSXdgl2Li4V1K2bWhaCQUxV4AdFdQlabMC_7fJHJ3J3dH1q4pqHqsbVEtppckQBZZTMCWWjPzExDgqcJnXGE4Co2ZCl8FHUo-hk4VPt1PoxsHYyjs1kuACoCR2eHfPypU5q6jWyNAe/w488-h640/alejandro+pasquale+-+L%2527hora+daurada+-+Victor+lope+Arte+Contemporaneo.jpg" width="488" /></a></div><div style="text-align: center;"><i style="text-align: left;"><br /></i></div><i>The everlasting paradise. Who are we?</i><div><b>Alejandro Pasquale</b></div><div><br /></div>The gallery Víctor Lope Arte Contemporáneo (Barcelona) is pleased to present its new representation:<br /> Alejandro Pasquale (Buenos Aires, Argentina, 1983). <div><span style="font-family: Roboto;"><br /></span>According to Alejandro Pasquale, we are what we dream of. This is the title of one of his works, and in it he compresses practically all his particular and pictorial world. In this painting and in this title we find all the questions that the difficult equation of his work seems to propose to us.
Magic as the central theme; the mask as a constant trap; play as the perfect script; nature as the absolute answer. All his work has revolved for years around these axes that he combines in different ways, producing in all cases a visual challenge to the spectator, who easily falls in love with the attraction of the perfect composition and the magnificent workmanship that each of his works offers. </div><div><br /></div><div> Everything is beautiful, everything is perfectly made, everything is recognisable, everything seems very simple, but nevertheless nobody really knows what is happening there. I sincerely believe that not even the author himself knows, otherwise he would have already solved his own imaginary iconographic labyrinth.
But no, he can’t. The author is trapped in the dream to which he returns repeatedly, because first and foremost he is what he dreams of. What are those continuous masks? What are those exotic and healing plants doing? And that greenish blue that invades the atmosphere in all his landscapes, that constantly takes us back to Patinir? What are they playing at? And why are there always birds?
We are what we dream, but we are what we feel, what we live, what we love, what we hate, what we suffer, what we eat, what we read, what we hear, what we sing, what we wish, what we project… We are our truths and our lies, and we are also what we paint.
And yes, Alejandro Pasquale is everything in those paintings: a child and many masks. </div><div><br /></div><div>A man-child with all the questions on his shoulders, with all the pains and the yearnings screaming through the parallel world that the brushes offer him; a child with something unsolvable that seems to like to gloat constantly over that wound of the past and of the permanent and active subconscious, that does not stop screaming at the moment when a pencil opens the door to that other dimension: representation.
Painting-dreaming. These paintings are dreams raised from the consciousness of reason. And to interpret them as I intend to, is a useless undertaking. Therefore, let’s take them to our own dream space and let them speak for themselves. Let’s look at them and close our eyes.
Shhh… Shhh, shhh! Let’s listen to their breathing, the delicate fluttering of the birds, let’s be seduced by what they call the secret life of the plants and let’s put aside the questions. </div><div><br /></div><div>And if we come across that immense melancholy that seems to preside over that sphere of the world, let us not be frightened and let that which we know we cannot decipher be expressed, but which we will understand if we do not ask it questions.
Perhaps there is that strange uneasiness that all life carries, the mystery of simple flowers and those with strange names, the impossibility of a garden imposed on us when we are pure forest and in general our bitter acceptance of having lost the paradise that, nevertheless, we feel still lives within us. </div><div><br /></div><div> Rafael Doctor Roncero, Madrid. </div><div>(Text made for the individual exhibition “Portals” in Quimera gallery, year 2018) </div><div><br /></div><span style="font-size: x-small;">Photo: Alejandro Pasquale, <i>La hora dorada</i> (2020), Óleo sobre tela, 150 x 115 cm.</span><div><span style="font-size: x-small;"><br /></span></div><div><span style="font-size: x-small;"><br /></span></div>Víctor Lope Arte Contemporáneo Gallery<br />Carrer Aribau, 75<br />Barcelona, Catalonia<div><div><br /></div><div><a href="https://www.victorlope.com/portfolio/alejandro-pasquale-2/" target="_blank">+ information</a></div><div><br /></div><div>.</div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-83346024484858381022020-10-15T03:15:00.003-07:002022-02-10T04:30:54.423-08:00E-book | Arrival Cities<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmhyMCwYMm082uTSmlSbyTOA5G-2H0Y8lkI4D0UZ2Gp_rPtudIFmaHgZqrZhXM_hlltU4oGkFA8Cn75_7MNtXHKqz-ZQWayP43XOVlaEdDNSolDOSjUWQk4do0DQGh7tPXLpwi-knBxdwK/s1160/Arrival+Cities.+Migrating+artists+and+new+metropolitan+top+graphies+in+the+20th+century+ebook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="793" data-original-width="1160" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmhyMCwYMm082uTSmlSbyTOA5G-2H0Y8lkI4D0UZ2Gp_rPtudIFmaHgZqrZhXM_hlltU4oGkFA8Cn75_7MNtXHKqz-ZQWayP43XOVlaEdDNSolDOSjUWQk4do0DQGh7tPXLpwi-knBxdwK/w640-h438/Arrival+Cities.+Migrating+artists+and+new+metropolitan+top+graphies+in+the+20th+century+ebook.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><b>Arrival Cities. Migrating Artists and New Metropolitan Topographies in the 20th Century</b><br />Burcu Dogramaci, Mareike Hetschold, Laura Karp Lugo, Rachel Lee, and Helene Roth (eds)<br /><br />Exile and migration played a critical role in the diffusion and development of modernism around the globe, yet have remained largely understudied phenomena within art historiography. Focusing on the intersections of exile, artistic practice, and urban space, this volume brings together contributions by international researchers committed to revising the historiography of modern art. It pays particular attention to metropolitan areas that were settled by migrant artists in the first half of the 20th century. These arrival cities became hubs of artistic activities and transcultural contact zones where ideas circulated, collaborations emerged, and concepts developed. Taking six major cities as a starting point — Bombay (now Mumbai), Buenos Aires, Istanbul, London, New York, and Shanghai — the authors explore how urban topographies and landscapes were modified by exiled artists re-establishing their practices in these and other metropolises across the world. Questioning the established canon of Western modernism, Arrival Cities investigates how the migration of artists to different urban spaces impacted their work and the historiography of art. In doing so, it aims to encourage the discussion between scholars from different research fields, such as exile studies, art history, architectural history, design history, urban studies, and history.<div><br /></div><div>Contributors: Brian Bockelman (Ripon College), Laura Bohnenblust (Universität Bern), Margarida Brito Alves (IHA-FCSH / Universidade Nova de Lisboa), Rafael Cardoso (Universidade do Estado do Rio de Janeiro), Katarzyna Cytlak (Centro de Estudios de los Mundos Eslavos y Chinos-Universidad Nacional de San Martín), Rachel Dickson (Ben Uri Gallery and Museum), Burcu Dogramaci (Ludwig-Maximilians-Universität), Margit Franz (Karl-Franzens-Universität Graz), Ya'ara Gil-Glazer (Tel-Hai Academic College), Mareike Hetschold (Ludwig-Maximilians-Universität), Frauke Josenhans (Yale University Art Gallery), Daniela Kern (Universidade Federal do Rio Grande do Sul), Laura Karp Lugo (Ludwig-Maximilians-Universität), Eduard Kögel (Independent scholar, Berlin), Giulia Lamoni (IHA-FCSH / Universidade Nova de Lisboa), Rachel Lee (Ludwig-Maximilians-Universität), Sarah MacDougall (Ben Uri Gallery and Museum), Kathryn Milligan (University College Dublin), Partha Mitter (University of Sussex), Helene Roth (Ludwig-Maximilians-Universität), Elana Shapira (Universität für Angewandte Kunst), Cristiana Tejo (Universidade Nova de Lisboa), Joseph L. Underwood (Kent State University), Elvan Zabunyan (Université Rennes 2)<br /><br /><a href="https://www.emeel.be/t/r-l-juydtyud-utwddduyu-s/">For more information about the authors, visit www.metromod.net</a><br /><br />Open Access ebook, ePDF 9789461663245, ePub 9789461663252<br />Paperback, € 55,00 / £49.00, ISBN 9789462702264, 15,6 x 23,4 cm, 438 p.<br /><br /><a href="https://www.emeel.be/t/r-l-juydtyud-utwddduyu-g/">Buy the paperback edition </a><br />Download the free ebook at <a href="https://www.emeel.be/t/r-l-juydtyud-utwddduyu-w/">OAPEN Library</a>, <a href="https://www.emeel.be/t/r-l-juydtyud-utwddduyu-yd/">JSTOR</a> or <a href="https://www.emeel.be/t/r-l-juydtyud-utwddduyu-yh/">Project Muse</a><div><br /></div><div><a href="https://lup.be/collections/category-art/products/132129" target="_blank">+ information</a></div><div><br /></div><div>.<br /><br /><table align="left" border="0" cellpadding="0" cellspacing="0" style="color: #222222; font-family: HelveticaNeue, sans-serif; font-size: small; width: 640px;"><tbody><tr style="border-collapse: collapse;"></tr></tbody></table></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-40593033392700524512020-10-14T07:41:00.005-07:002022-02-10T04:21:10.989-08:007th Athens Biennale ECLIPSE | Spring 2021<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpO8o9DCnGEx96y2DdWV990x927PFqz72LOQ5WRqe67v4RCk4SRff-0LJq27wdSAOSLTEqXOqIM6G42p-SC9Y_L0mMQBumXmkzx_gZop7qXl9Tec6H5LS4DpwlYvNDM858m-2CDe-8aNRN/s1800/Athens+Biennale+-+Fluid+frequencies+and+signals+of+the+future+foreshadow+AB7+-+ECLIPSE.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpO8o9DCnGEx96y2DdWV990x927PFqz72LOQ5WRqe67v4RCk4SRff-0LJq27wdSAOSLTEqXOqIM6G42p-SC9Y_L0mMQBumXmkzx_gZop7qXl9Tec6H5LS4DpwlYvNDM858m-2CDe-8aNRN/w640-h320/Athens+Biennale+-+Fluid+frequencies+and+signals+of+the+future+foreshadow+AB7+-+ECLIPSE.png" width="640" /></a></div><p></p><p>The 7th Athens Biennale ECLIPSE moves through serie sounds and fallen symbols, signaling the moment of transformation. What is to come?</p>Inspired by the constant state of uncertainty, <i>AB7: ECLIPSE</i> explores tomorrow’s potentialities through sonic and visual signs of the past, the present and the future, leading up to the exhibition’s opening in Spring 2021.<br /><br /><b>Full-moon soundscapes: A synesthetic experience<br /></b><br />A series of soundscapes, functioning as a synesthetic link among the various AB7 concepts, introduce us to the exhibition’s forthcoming experience. Every full moon, the 7th Athens Biennale invites music and sound artists to cast their vision of ECLIPSE into a single mixtape, inspired by a thematic spectrum spanning from African music to the most mystical, experimental and electronic sounds.<br /><br />In August full moon, Teranga Beat crosses 50 years of African music with <a href="https://soundcloud.com/athensbiennale/hybrid-id-by-teranga-beat?in=athensbiennale/sets/soniceclipse">Hybrid iD</a>, a mixtape that reinstates primal vibrations and rhythms. In September, K.atou sends out <a href="https://soundcloud.com/athensbiennale/moon-frequencies-by-katou?in=athensbiennale/sets/soniceclipse">Moon Frequencies</a>, taking us through hollow beats and cosmic synths in a journey to all things invisible to the human eye. For October’s double full moon, the Waiting Room project grasps the sound of time interval and the differential subjective experiences inside it: GRΞΤΑ narrates the story of a memory lapse after an <a href="https://soundcloud.com/athensbiennale/soniceclipse-3-avalanche-by-grtawaiting-room?in=athensbiennale/sets/soniceclipse">Avalanche</a>, while on the last day of the month Ayshel follows up with her own sonic perception of this quasi-void period.<br /><br /><a href="https://soundcloud.com/athensbiennale/sets/soniceclipse">soundcloud.com/athensbiennale</a><br /><br /><b>A digital platform for the omens of our daily life</b><br /><br />Fleeting stimuli we come across everyday and trigger feelings οf tomorrow’s potentialities — scenarios of unspoken expectations, imminent dystopias and hopeful perspectives. A stray black cat, a ray of light in total darkness, a broken mirror, a writing on the wall; plain coincidences or callings of the forthcoming? Spotting and capturing the signs around us that give away different future contingencies, <i>AB7: ECLIPSE</i> invites us to jointly assemble the pieces of the obscure mosaic of our era.<br /><br />As a call to be primarily unfolded through Instagram, ECLIPSEomens aspires to pivot our attention to long-ignored messages, lingering in our everyday routines, hidden in the photos we take, on our old albums, in our social media feeds.<br /><br />Share your own omens with us, mentioning @athensbiennale on your Ιnstagram stories and using the #ECLIPSEomens on your Ιnstagram posts.<br /><br /><a href="https://www.instagram.com/s/aGlnaGxpZ2h0OjE3ODUzNzk3NjQ4MjkzMzY5?igshid=eqlucnvmgat5">instagram.com/athensbiennale</a><div><br /></div><div><a href="https://athensbiennale.org/en/frequencies-signals-foreshadow-ab7-eclipse/" target="_blank">+ information</a></div><div><br /></div><div>.</div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-9155415420548995502020-10-13T07:15:00.011-07:002022-02-10T04:31:21.310-08:00Topophilia | Monsalve | Galería Fernando Pradilla<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc0fPu3_W9zbpd4XZFBsUikN7m0nshjKreLSv2yYd1F5vfMi1YSzHMzzOkU7qSFNVwSZdF95l-xGq4ZLJ82ZRRqHLeW3XzKt6T3kj66cQzEXrd5rzTH6JzCUmn18Wxp1-w28s3sp-MwtTQ/s950/Edwin+Monsalve+-+Topophilia+Topolia+-+Galeria+Fernando+Pradilla%252C+Madrid.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="950" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc0fPu3_W9zbpd4XZFBsUikN7m0nshjKreLSv2yYd1F5vfMi1YSzHMzzOkU7qSFNVwSZdF95l-xGq4ZLJ82ZRRqHLeW3XzKt6T3kj66cQzEXrd5rzTH6JzCUmn18Wxp1-w28s3sp-MwtTQ/w640-h304/Edwin+Monsalve+-+Topophilia+Topolia+-+Galeria+Fernando+Pradilla%252C+Madrid.jpeg" width="640" /></a></div><div style="text-align: center;"><br /></div>Galeria Fernando Pradilla starts its exhibition season with the show '<i>Topolia (Topophilia)'</i>, the new project of Colombian artist Edwin Monsalve (Medellín, 1994). It is his second exhibition in Spain and it opens simultaneously with APERTURA MADRID GALLERY WEEKEND, organized annually by the Arte Madrid Association.<div><br /></div><div>The<i> Topolia (Topophilia)</i> project is framed within Monsalve’s research on contemporary nature and landscape iconography that the artist has been doing since the beginning of his career with projects such as <i>Expedición/Extinción </i>(Expedition/Extinction, 2008-2011), <i>Naturaleza y articio</i> (Nature and artice, 2012-2013), <i>Prototipos para una naturaleza rehabilitada</i> (Prototypes for a rehabilitated nature, 2013-2014), <i>Sala de rehabilitación</i> (Rehabilitation room, 2014), <i>Naturaleza transmutada</i> (Transmuted nature, 2014), <i>La imposibilidad del paisaje</i> (The impossibility of landscape, 2015), <i>Narcissus</i> (2016) y <i>Geodesia</i> (Geodesy, 2017-2018), among others. In all of them, Monsalve has aimed to expose the dichotomies that underlay in the reection of concepts such as space, territory, landscape, surroundings; transforming this conceptual material into aesthetic-preceptive constants that singularize his work and that translate his concerns on ecological, economic and political matters.<br /><br />In reference to <i>Topolia (Topophilia)</i> Edwin Monsalve states: “Not only what is observed from a high standpoint is landscape. It is also the psychological spaces, of symbolic construction and that remain in the memory. Therefore, <i>Topolia (Topophilia)</i> is a sense statement, a particular way to evoke and transform the place into landscape.” This remark by the artist ts with his thesis that holds the mental construction of the landscape, a subjective product “that every observer constructs from sensations and perceptions that it apprehends during the contemplation of a place, whether its rural or urban. Thus, from a cultural standpoint, landscape is not nature, not even the physical medium that surrounds us or where we stand, but an intellectual construct that we make through certain cultural phenomena. In the same manner that landscape is not nature nor territory, the ‘urban landscape’ is not the city, norany of its signicant landmarks, but the image that exudes from it, whether its individual or collective.”<br /><br />With these presuppositions Edwin Monsalve proposes a treatment of landscape that subverts the scenographic, romantic, exotic or sublime visions that have permeated the notions of this genre in art history, introducing a cultural dimension that transcends the topical idea of a geographic representation, to become an expanded concept that includes sociological, political subjective and emotional aspects; into reective looks on the way that mankind connects with the spaces that inhabits and transforms.<br /><br />For Edwin Monsalve the categories being and to be converge in <i>Topolia (Topophilia)</i>; a term “that speaks about the affection to certain places in life, to those spaces that have been ours and have allowed us to remain. Something like the nostalgic notion that brings us the idea of landscape to our memories, and that have been the goal of my investigations.” <br /><br />The exhibition Topolia <i>(Topophilia)</i> includes various canvases of medium and large format, as well as an installation made from acrylic cubes over wood pallets. Graphite, mineral charcoal, gold and copper leaf are once more the materials that Monsalve uses to construct the abstractions of his landscapes. An innate explorer, the artist discovers a different way to look and reect each time on that house that we have “transformed into place, into landscape,<br />into art.”<br /><br /><b>Edwin Monsalve </b>lives and works in Medellin. In 2017 he was awarded with the EFG Latin American Acquisition Award in association with ArtNexus, one of the most relevant prizes in visual art support for contemporary Latin American artists. His work has been exhibited in different Colombian museums, galleries and institutions, among which we must highlight the el Museo de Arte del Banco de la República (Bank of the Republic Museum) in Bogota, el Museo de Antioquia (Antioquia Museum) in Medellín, the Gilberto Alzate Avendaño Foundation in Bogota, where he presented his site specic project Narcissus, which won the 4th edition of the Plastic and Visual Arts Biennial Award. In 2020 he was invited by the curator Juan Canela to make a solo Project at the ZONA MACO SUR 2020 Art Fair, presenting the project <i>Estructuras de poder </i>(Power structures, 2019 – 2020). Currently he is a professor at the Antioquia University and the Fundación Universitaria Bellas Artes.<br /><br /></div><div>EDWIN MONSALVE. </div><div><b>Topolia <i>(Topophilia)</i></b><br />10/09/2020 - 17/10/2020<div><span face="Vectora, "Open Sans", sans-serif" style="background-color: white; color: #4d4d4d; font-size: 14.4px; text-align: justify;"><br /></span></div>Galería Fernando Pradilla<br />Calle Claudio Coello, 20 </div><div>Madrid, Spain, Europe<div><br /></div><a href="http://www.galeriafernandopradilla.com/en/exhibitions/current/works/3004" target="_blank">+ information</a><br /><div><span face="Vectora, "Open Sans", sans-serif" style="background-color: white; color: #4d4d4d; font-size: 14.4px; text-align: justify;">.</span></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-79650297280538133002020-10-12T11:22:00.012-07:002022-02-10T04:24:23.745-08:00As above so below | R. Bautista & A. Mayol | Tangent Projects<div class="separator" style="text-align: center;"><a href="https://www.blogger.com/#" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0gjXfK1RdWMGLfC2scHUoGi6poAvFuJEj5nXg9i1qWO5IRXgLqHXF7TRos7TETQ23Ot_X4ovB2UWT1r-xjzyLYZINQjKR01LHUucy6Da7AlShQPzX_865LbZ5nFX-Vib18t-RqZ2Bn9Mp/w640-h400/As+above+so+below+-+raquel+bautista+useroa+and+alba+mayol+curci.png" /></a></div><div><div><br /></div><div style="text-align: justify;">The second hermetic law of alchemy, as above so below, seeks to evidence a dialectical, choral and polyphonic exchange between various potential states that any entity can have. There are material, esoteric, and mesoteric semblances, echoes and mirrorings that resonate just as metaphors resonate with their subject of interest. Thousands of mutants and cyborgs reside between the upper and lower strata of existence and perception; products of fiction and fusion. This in-between is constituted by a simulacrum that seems like but is not, that disobeys any fixed anchorage in veracity. Either but neither. This seemingly paradoxical phenomenon is what generates a very peculiar dizziness: an existential horror towards the ambiguous, indeterminate, inverted, what it reminds us of but is not.</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">We are thus faced with what is called Postmodern Vertigo, a panic, a dislocation of the senses and of the very structure that sustains our reality. It is not a rejection of reality or its existence, nor a denial of our existence as subjects. It is, rather, a questioning of the substratum we understand as truth and of the adjacent simulacrum that develops in the mind while perceiving and grasping what surrounds us. In this attack of vertigo, of Sartrean nausea, everything seems a fabrication to fill a perceptual and structural void in a reality too perfect to be true. In this way we propose an unfolding, a transfer of strata, perception and vision; a vertigo that turns things upside down, generating an altered, mutated and strange familiarity.</div><div style="text-align: justify;"><br /></div><b><div style="text-align: justify;"><b>Raquel Bautista Useros</b></div></b><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Raquel has lived in Barcelona since she began her studies in Arts and Design at the Escola Massana, which was later complemented by those in Art History (Universitat de Barcelona). In these years she has developed an investigation practice that could be described as an epistemological drift: What is set in motion in the hand, the eye and the word when we are faced with the unknown? Her practice becomes a kind of reclamation for images and stories as the sole way to condense, for a second, the uncertainties that arise from any certainty about this world.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Her projects, intertwining the visual, the performative and the installation, have so far been shown in group exhibitions in Barcelona (Centrifugacions III, Escola Massana), Cergy (Por Au Feu 3, ENSAPC) and Moscow (Innovative Costumes of XXI Century, Bakhrushin Theater Museum). She has been invited to participate in the recently created Proyecto Pardito residence in the Alcudia Valley.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Meanwhile, she is developing editorial research projects under the collective Luftmeer, which was born as a space for the reflection of visual and graphic manifestations as "visible thought".</div><div style="text-align: justify;"><br /></div><b><div style="text-align: justify;"><b>Alba Mayol Curci</b></div></b><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Graduated in English Studies from the University of Barcelona and MA in Aesthetics and Theory of Contemporary Art from the Autonomous University of Barcelona - Fundació Joan Miró, she obtains a postgraduate degree in Visual Culture from the University of Barcelona, and studies photography at Central Saint Martins College and translation at the AUB. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">She participates in workshops and seminars with Dora García, Gayatri Spivak and others, on psychoanalysis, feminism and deconstruction. She begins to work with text, drawing and photography out of an interest in marginal practices and techniques, and against the grain of received academic discourses on literature and visuality. From this point she moves towards a link with political contexts, to explore the possibilities of approaching the concept of militancy or activism from the areas of subjectivity. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">She exhibits and develops projects at Württembergischer Kunstverein Stuttgart, Bòlit Center d’Art Contemporani, Can Felipa Arts Visuals, Eastern Bloc Montreal, Arts Santa Mònica, Museu Abelló, Sala d’Art Jove, Fabra i Coats, among others. She has simultaneously worked in the Cooperativa General Humana project, on the possibilities of dissecting theatre as a bourgeois genre, interrelating installation, action and performance with video-art. Projects have been presented at, among others, Hamaca-Museo Reina Sofía, Haus der Kulturen der Welt, Madrid Escena Contemporánea, Fokus Videoart Festival Copenhagen and Loop Videoart Festival. She has published writings in a number of specialized media such as A*Desk, Unlikely Journal for Creative Arts, Graf and L’Espill Universitat de València.</div><div style="text-align: justify;"><br /></div><b><div style="text-align: justify;"><b>Margot Cuevas & Gabriel Virgilio Luciani</b></div></b><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Using as a conceptual framework the affective-corporal relationships between humanity and technology, Gabriel and Margot’s practices revolve around and through the emotional structures of semiotics and its somatic articulations - such as shedding light on the invisible structures of biopolitics that govern us, making them visible through theory and poetry. Their approach is emphasized by atmospheres and affective climates, using these as an expository approach to reflect our generational, emotional and relational inquiries.</div></div><div style="text-align: justify;"><br /></div><div>Exhibition</div><div><b>As above so below</b><br /><div>Raquel Baustista Useros & Alba Mayol Curci <br /><br /></div><div>October 16th - November 13th 2020<div>Curated by Margot Cuevas & Gabriel Virgilio Luciani<div><br />Tangent Projects gallery</div><div>L'Hospitalet de Llobregat, Catalonia, Europe</div><div><br />Opening reception Friday, October 16th from 18:00.</div></div></div><br /><a href="https://www.tangent-projects.com/studios" target="_blank">+ information</a><br /><br />.<br /><br /></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.comtag:blogger.com,1999:blog-6828746799137663065.post-5258721030670054582020-10-10T10:59:00.008-07:002022-02-10T04:23:58.923-08:00Tàpies at 30 | Fundació Antoni Tàpies<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdCsDRVpzXS6-YLRcnTQai4eg2084p5bwQEpe5kUVYkXXmUew9y7EzoTCk3GfdbWhaX9r4dh7YCqmjw8AoBV5h3cjvEbz3axw2zP3sYcQW60n1fJ71C7_mtEDEJKbE5ZxubEWFctaapwR5/s2048/Antoni+T%25C3%25A0pies+-+El+crit.+Groc+i+violeta+-+1953.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1520" data-original-width="2048" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdCsDRVpzXS6-YLRcnTQai4eg2084p5bwQEpe5kUVYkXXmUew9y7EzoTCk3GfdbWhaX9r4dh7YCqmjw8AoBV5h3cjvEbz3axw2zP3sYcQW60n1fJ71C7_mtEDEJKbE5ZxubEWFctaapwR5/w640-h476/Antoni+T%25C3%25A0pies+-+El+crit.+Groc+i+violeta+-+1953.jpg" width="640" /></a></div><div style="text-align: center;"><br /></div><div><div>This exhibition is part of the celebration of the 30th anniversary of the Fundació Antoni Tàpies. It focuses on the period 1953–63, when Tàpies was in his thirties. These were decisive years in the evolution of the artist’s work and its reception for three reasons. Firstly, from 1954 he discovered his own language through which he would achieve artistic maturity. Secondly, it was from this time that he achieved international resonance and recognition in the form of awards and participation in competitions and exhibitions, both in Europe and the United States. Thirdly, he refused to be exploited by the Franco regime, which at this time sought to use modern art to present a more liberal image of itself before the international community. </div><div><br /></div><div>In 1953, Tàpies left behind the influences of Surrealism and the social line his work had previously taken: he experimented with pure colours and contrasts between tones, with elementary shapes and lines. He also began experimenting with texture, which was to prove especially relevant to the subsequent evolution of his work. Tàpies used tarlatan, fabrics and cardboard on the surface of his paintings; he made stains with solvents or materials that don’t mix, such as oil with gouache or acrylic; he scraped the varnish, overlaid transparent forms, and covered the support with thick layers of matter, including the use of earth for the first time. Influenced by the evocative powers of music, Tàpies also tried to make his painting suggest emotions and moods.</div><div><br />In 1954, this research led him to accentuate the material quality of the paintings. Tàpies used all sorts of elements – such as sand, coloured earth, whitewash, marble dust, hair, thread, rags, paper – and the textures became more evident. His colours favoured the earthy and grey range, while his paintings took on the characteristic wall-like appearance of his mature work.<br /><br />This interest in materials was part of a widespread focus on matter, which, after the Second World War, was shared by artists on both sides of the Atlantic. Experimentation with materials allowed him to evoke reality, not through the kind of a naturalism that relies on the artist’s ability to represent, but utilising the suggestive force of matter itself, either through textures, or the use of outlines or other shapes in the painting. The images that emerged in his work became more iconographic from 1965 onwards, when he began to title some paintings with the formula ‘matter in the form of’, e.g.,<i> Matèria en forma de peu</i>, <i>Matèria en forma d’aixella.</i> </div><div><br /></div><div>1953 was an important year, marking the entry of Tàpies’ career onto the post-Second World War international circuit. That same year he received an award at the II Bienal de São Paulo and, above all, had his first two exhibitions in the United States: at Marshall Field & Company, Chicago, and the Martha Jackson Gallery, New York (Martha Jackson also offered to represent him in the United States). The paintings he showed were from 1948 to 1951, and therefore did not reflect the change that was taking place in his most recent work. Despite the poor response to the exhibitions, his trip to New York allowed him to encounter American Abstract Expressionism in situ and to see works by artists such as Tobey, Pollock, Kline, De Kooning and Motherwell.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK76u_uNRQbZALK8FnrSLIC8gVN0e-iIuku4QtgTzqy1LytYrI_M4RChj2uL7XWS4uj0HWjCT5yf6Klu0z2FXxj0TiObusDr4kngZvUoQFLliaQm5mBdLa1bGJwBgSByynEcgdsl2DjPDe/s1481/Fundaci%25C3%25B3+Antoni+T%25C3%25A0pies.+T%25C3%25A0pies+als+30+copia.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="928" data-original-width="1481" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK76u_uNRQbZALK8FnrSLIC8gVN0e-iIuku4QtgTzqy1LytYrI_M4RChj2uL7XWS4uj0HWjCT5yf6Klu0z2FXxj0TiObusDr4kngZvUoQFLliaQm5mBdLa1bGJwBgSByynEcgdsl2DjPDe/w640-h402/Fundaci%25C3%25B3+Antoni+T%25C3%25A0pies.+T%25C3%25A0pies+als+30+copia.jpg" width="640" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Fundació Antoni Tàpies exhibition 'Tàpies at 30', Barcelona, Catalonia.</span></div><div style="text-align: center;"><br /></div>Two years later he exhibited his matter paintings for the first time, to great critical acclaim. First in Paris, as part of the collective exhibition Phases de l’art contemporain, organised by the poet and art critic Édouard Jaguer at the Galerie Raymond Creuze. And later in Barcelona, at the III Bienal Hispanoamericana de Arte, where he was awarded a prize by the Republic of Colombia. In Paris, he met the French art critic Michel Tapié, a theoretical exponent of Informalism and a very influential figure in contemporary Parisian artistic circles. Interested in his work, Tapié invited him to join the Galerie Stadler, which was about to open in Paris.<br /><br />It was in this gallery in 1956 that Tàpies had his first solo exhibition in the French capital. Featuring exclusively his matter paintings, the show proved a great success with both public and critics. For a little while longer, Paris remained the capital of the avant-garde. Tàpies signed a contract with Rodolphe Stadler that offered him continuity and a certain degree of economic stability. Martha Jackson, on the other hand, was reluctant to show Tàpies’ recent work, and although she exhibited it in 1957, it was not until 1959 that she fully accepted the artist’s new language. </div><div><br /></div><div>This change of heart was due to the successes Tàpies achieved in 1958. On the one hand, he received the first prize from the Carnegie Institute of Pittsburgh with an all-star jury: Marcel Duchamp, Lionello Venturi, Raoul Ubac and the Americans James Johnson Sweeney, Mary Callery and the famous B-movie actor and important contemporary art collector, Vincent Price. In the same year, he presented fifteen works in the Spanish Pavilion of the XXIX Biennale di Venezia, where he won the UNESCO Prize and the David Bright Foundation Award.<br /><br />From then on, his works travelled increasingly around Europe and the United States: he participated in the II Documenta in Kassel (which in 1959 was devoted to abstract art) and in the inaugural exhibition of the Guggenheim Museum in New York; and had solo exhibitions in, among other places, Paris, Milan, Stockholm, Eindhoven, Essen, Munich, Washington DC and Buenos Aires… In 1962, the first retrospective exhibitions of his work took place in Germany, the United States and Switzerland: at the Kestner-Gesellschaft, Hanover, curated by Werner Schmalenbach, an exhibition that toured to the Kunsthaus, Zurich; and at the Guggenheim Museum in New York, curated by Thomas Messer. By 1963, when Tàpies reached 40, his work was consolidated and he had established an international reputation. On moving into his new studio-house designed by J.A. Coderch, he finally fulfilled his dream of a ‘true’ studio where he could work more comfortably on the large format paintings that he had begun making in recent years.<br /><br />In the context of the Cold War, Franco’s Spain was an interesting proposition for the anti-communist bloc. In 1953, Spain and the United States reached a military and economic agreement in exchange for military bases, which, together with the concordat signed with the Vatican that same year, signalled the beginning of Spain’s emergence from diplomatic isolation. The inclusion of Barcelona in the tour of the influential exhibition of modern American art from the MoMA collection, incorporated into the III Bienal Hispanoamericana de Arte in 1955, was made possible thanks to the bilateral relations between the two countries. In its official position, the Spanish regime began to accept modern art, though only in an attempt to appear more liberal to Western democracies.<br /><br />In the context of the Cold War, Franco’s Spain was an interesting proposition for the anti-communist bloc. In 1953, Spain and the United States reached a military and economic agreement in exchange for military bases, which, together with the concordat signed with the Vatican that same year, signalled the beginning of Spain’s emergence from diplomatic isolation. The inclusion of Barcelona in the tour of the influential exhibition of modern American art from the MoMA collection, incorporated into the III Bienal Hispanoamericana de Arte in 1955, was made possible thanks to the bilateral relations between the two countries. In its official position, the Spanish regime began to accept modern art, though only in an attempt to appear more liberal to Western democracies.<br /><br />Persevering in the strategic attempt to offer an image of modernity that suggested things were changing in Spain, in 1958 Luis González Robles, an experienced professional in both artistic and political circles, was commissioned to curate the Spanish Pavilion of the XXIX Biennale di Venezia. González Robles had the good sense to choose artists that best suited current international trends, and offered each an individual space. The success of the Pavilion was unquestionable. However, Spain remained a dictatorship, as some critics in the international press made clear. The situation troubled many artists, including Manolo Millares, Antonio Saura and Tàpies himself, who, feeling used, decided to play no further part in exhibitions organised by the regime.<br /><br />For this reason, in 1959 Tàpies refused to participate in the exhibition 13 peintres espagnols actuels organised by the Spanish government at the Musée des arts décoratifs, Paris, and in 1960 in the exhibition New Spanish Painting and Sculpture to be held at MoMA, New York. However, Tàpies did finally participate in the latter exhibition because, in a strategy designed to overcome the reluctance of certain artists to collaborate in exhibitions organised by the Spanish government, the coordination of the exhibition and the selection of works was put in the hands of the museum staff. In 1962, the Tate Gallery, London, co-organised the exhibition Modern Spanish Painting with the Spanish government. Against the will of the artist, who refused to participate, a collector from Barcelona lent three paintings to the exhibition. Tàpies opposed this by evoking the intellectual property law giving artists rights over the public exhibition of their work, and won the case in court in 1963. On this occasion, he also took the opportunity to make some anti-Franco and pro-Catalan statements in the English weekly newspaper The Observer.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35OA-T_nhnVtqv49nVhw_X1SFaf3IEk8XVGO0AQiGmTqjNy9YDpkMERURUVo2XAo3lI5WtGPMtI6Ixfd1NPvyHjEkKm6MOI5OZ15OU8gN22SO033av6iz6vQy1ChyphenhyphenN1VbwnhL3bEKu-UT/s393/Imatge+de+T%25C3%25A0pies.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="285" data-original-width="393" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35OA-T_nhnVtqv49nVhw_X1SFaf3IEk8XVGO0AQiGmTqjNy9YDpkMERURUVo2XAo3lI5WtGPMtI6Ixfd1NPvyHjEkKm6MOI5OZ15OU8gN22SO033av6iz6vQy1ChyphenhyphenN1VbwnhL3bEKu-UT/w400-h290/Imatge+de+T%25C3%25A0pies.png" width="400" /></a></div><div style="text-align: left;"></div><div style="text-align: center;"><span style="font-size: x-small;">Antoni Tàpies with Martha Jackson (right side)</span></div><div style="text-align: center;"><span style="font-size: x-small;"><br /></span></div><b><div style="text-align: justify;"><b>Biography</b></div></b><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Antoni Tàpies’ first artistic attempts began during a long convalescence following a serious illness, after which his increasing dedication to painting and drawing led him to abandon his university education. By the 1940s, he was already exhibiting work that distinguished him among the artistic scene of the moment. Co-founder of the magazine Dau al Set in 1948, and influenced by Miró and Klee, he became increasingly interested in iconographic and magical subjects. He gradually began to incorporate geometrical elements and colour studies leading to an interest in matter through the use of heavily textured canvases of great expressive and communicative possibilities.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">With these works, Tàpies achieved international recognition by the mid-1950s. In the 1960s, he began incorporating new iconographic elements (writing, signs, anthropomorphic elements, footprints and references to the Catalan situation), and new technical methods (new surfaces, use of everyday objects and varnish). Tàpies’ pictorial language has continued to develop ever since, resulting in a creative and productive body of work that is admired throughout the world.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">He has exhibited at the Museum of Modern Art and the Solomon R. Guggenheim Museum, New York; the Museum of Contemporary Art, Los Angeles; the Institute of Contemporary Art and the Serpentine and Hayward Galleries, London; the Neue Nationalgalerie, Berlin; the Kunstahaus, Zurich: the Musée d’Art moderne de la Ville de Paris, the Jeu de Paume and the Centre Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofía, Madrid; the Institut Valencià d’Art Modern, Valencia; and the Museu d’Art Contemporani de Barcelona, among many other prestigious institutions.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In parallel to his artistic production, Tàpies is also the author of numerous publications: <i>La pràctica de l’art</i> (1970), <i>L’art contra l’estètica</i> (1974), <i>Memòria personal</i> (1977), <i>La realitat com a art </i>(1982), <i>Per un art modern i progressista </i>(1985), <i>Valor de l’art </i>(1993) and <i>L’art i els seus llocs</i> (1999).</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Antoni Tàpies created the Fundació Antoni Tàpies in 1984 with the aim of promoting the study and knowledge of contemporary art, paying special attention to art’s role in forming the conscience of modern man.</div></div><div><br /></div><div><div><br /></div><div><b>Tàpies at 30</b><br />From October 3, 2020 to June 6, 2021<br /><br /><div>Fundació Antoni Tàpies<div>Barcelona, Catalonia<div><br />Curator: Núria Homs<br /><br />Opening: October 2, 2020, from 6pm. </div><div>Registration is required on the fundaciotapies.org website.</div></div></div></div></div><div><br /></div><div><span style="font-size: small;">Photography: </span><span style="font-size: small; text-align: center;">Antoni Tàpies. </span><i style="font-size: small; text-align: center;">El crit. Groc i violeta</i><span style="font-size: small; text-align: center;"> (1953). Fundació Antoni Tàpies.</span></div><div><br /></div><div><a href="https://fundaciotapies.org/en/exposicio/tapies-als-30/" target="_blank">+ information</a></div><div><br /></div><div>.</div></div></div>.http://www.blogger.com/profile/02252925834469951397noreply@blogger.com