joacaba-2010

Instituto Tomie Ohtake

Exhibition 25.04 – 26.05.2019

 

At the outset of the exhibition-cum-essay curated by Luise Malmaceda and Paulo Miyada to be held at Instituto Tomie Ohtake is the oeuvre of Miguel Bakun (1909-1963), an artist from Paraná, a state in southern Brazil. As the curators have noted, the event is meant to reflect on representation of landscapes in Brazil’s subtropical region that have “so often been sidelined by the eminently warm-climate, coastal beach imaginary of a country whose picture-postcard sites are mostly found north of the Tropic of Capricorn.”

 

Sponsored by Banco Barigüi, Grupo Barigüi, Tradener and Moageira Irati, the exhibition has been designed to feature, in unprecedented format in São Paulo, a large cutout from Bakun’s production contextualized in the history of Brazilian art. The exhibition comprises three large groups engaged in dialogue with the artist: one specifically covering landscapes from southern Brazil, in particular the state of Paraná, consisting of pieces by Alfredo Andersen (1869 – 1935), Bruno Lechowski (1887– 1941), Caio Reisewitz (1967 –) and Marcelo Moscheta (1976 –); another situating Bakun within Brazilian modernism together with Alberto da Veiga Guignard (1896 – 1962), Alfredo Volpi (1896 – 1988), Iberê Camargo (1914 – 1994) and José Pancetti (1902 – 1998); and a third group made up of contemporary artists who, like Bakun, found in landscape an inexhaustible source of investigation, as for example Marina Camargo (1980 –), Lucas Arruda (1983 –) and Fernando Lindote (1960 –).

 

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Fernando Prats

Centre d’Art Contemporani de Barcelona – Fabra i Coats

12.04 – 30.06.2019

 

10 anys – Creadors EN RESIDÈNCIA als instituts de Barcelona

 

EXPOSICIÓ
12.04 – 30.06.19

Des del 2009, Creadors EN RESiDÈNCiA als instituts de Barcelona proposa un espai de treball compartit entre artistes, alumnes i docents de centres públics d’educació secundària. Al llarg de tot un curs, i dins l’horari lectiu, creadors i creadores de disciplines i generacions molt diverses desenvolupen un projecte artístic juntament amb un grup de joves, des de la ideació fins a la presentació. Comparteixen la creació.

La creació és cerca, recerca, experimentació, assaig, tempteig; obertura a perspectives inusitades; possibilitat d’interrogar-se sobre el que creiem evident; constant diàleg; moviment que impulsa a aprendre, proposar, assajar, arriscar, comprometre’s.

 

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Antoni Muntadas

Macba, Barcelona

Exposición permanente

 

On Subjectivity, obra de Antoni Muntadas, presente en la exposición Un siglo breve: colección Macba.

Esta nueva muestra presenta un recorrido cronológico a través de la Colección MACBA desde 1929 hasta el presente. En 1929 Barcelona acogió la Exposición Universal, para la que Mies van der Rohe diseñó el Pabellón Alemán o Pabellón Barcelona junto con Lilly Reich. Por iniciativa de Josep Lluís Sert y Josep Torres i Clavé, se fundó el GATCPAC (Grupo de Arquitectos y Técnicos Catalanes para el Progreso de la Arquitectura Contemporánea). André Breton escribió el Segundo manifiesto surrealista y, en París, un grupo de artistas abstractos, liderados por Joaquín Torres-García y Michel Seuphor, fundó Cercle et Carré. Aquel mismo año se inauguró el Museo de Arte Moderno de Nueva York (MoMA) y Virginia Woolf publicó su ensayo feminista Una habitación propia

 

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fuzzy dark spot hamburg

Sammlung Falckenberg

Deichtorhallen Hamburg

13.04 – 03.11.2019

 

Exhibition with :

Vito Acconci, Gabor Altorjay, John Bock, Claus Böhmler, Öyvind Fahlström, Harun Farocki, Jeanne Faust, Lee Friedlander, Gintersdorfer/Klaßen, Rosanna Graf, Britta Gröne/Peter Piller, Romeo Grünfelder, Christian Jankowski, Volko Kamensky, Naho Kawabe, Mike Kelley, Jon Kessler, Nina Könnemann, Till Krause, Vlado Kristl, Lene Markusen, Paul McCarthy, Aurelia Mihai, Ernst Mitzka, Vanessa Nica Mueller, Karina Nimmerfall, Wolfgang Oelze, Tony Oursler, Nam June Paik, Stefan Panhans Rotraut Pape/Raskin, reproducts, Rainer Korsen/Gerd Roscher, Oliver Ross, Gerhard Rühm, Swen Erik Scheuerling, Corinna Schnitt, Paul Spengemann, Hans Stützer, Mike Mandel/Larry Sultan, Inga Svala Thorsdottir, Helena Wittmann, Steffen Zillig

 

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I will make up a song (desert entrance-1), 2018

 

Opening March 14th, 7 pm | Exhibition March – May 2019

 

Next Thursday, March 14th we will open the sixth exhibition by Hannah Collins at Galeria Joan Prats, where we will present her most recent work I will make up a song, 2018; along with The Fertile Forest, 2013-5 project and the photograph Family, 1988.

 

The title for this exhibition is a part of the title for Hannah Collins’s new film, I will make up a song and sing it in a theatre with the night air above my head, created with musician Duncan Bellamy, which will be shown at Fundació Tàpies next June.

 

I will make up a song talks about the work of the Egyptian Modernist architect Hassan Fathy (1900-1989), who drew on traditional sustainable mud constructions to create new towns New Gurna and New Baris. Fathy tried to find a new way forward through sustainable practice, using natural earth materials, and to create a new context where a theatre would be a normal part of rural life in a country with ancient roots. His ideas have urgency today, as we look for a sustainable future. Through these images, Hannah Collins explores the relationship between human body, scale and history, and shows the modest but meaningful materials she encountered while making the work in the Egyptian desert.

 

Finding new ways forward is one of the central themes of Hannah Collins’s exhibition created at a time of global focus on the choices and forces at place in contemporary Western existence.

 

The Fertile Forest is a work that also deals with tradition and the need to establish new relationships with our environment. It is an ongoing project to document the way a tribal group understand the surrounding forest, which is in fact more like a garden as they use over a thousand plants for their everyday wellbeing. Hannah Collins spent a month with the Cofán tribe in the remote Colombian Amazon basin, photographing the plants according to their teachings. The texts accompanying the photographs are the result of Hannah Collins’s conversations with the leader of the tribe under the influence of yagé (ayahuasca). The mirrored vitrines contain gold mirror that reflects us back at ourselves through the plants.

 

The earliest Family is a black-and-white image of a group of silent speakers that were commonly used for street music, especially reggae, created by West Indian in London, but which were photographed in Hannah Collins’s studio.

 

The exhibition gives an anxious but simultaneously optimistic view of our times and our need to preserve knowledge and created bridges at a global scale. All the works focus on the act of communication and the desire for poetry and beauty. The work of Hannah Collins makes visible the need for the preservation of meaning and nature, both threatened by their invisibility.

 

 

Hannah Collins (London, 1956). From 1989 to 2010, she lived and worked in Barcelona, exhibiting at Galeria Joan Prats since 1992, and today lives between London and Almeria, Spain. In addition to having obtained the Fulbright scholarship and having been nominated for the 1993 Turner Prize, she has recently received the SPECTRUM 2015 International Photography Prize, awarded by the Foundation of the Lower Saxony, which included an exhibition at the Sprengel Museum, travelling to the Camden Art Centre in London and the Baltic Centre in Newcastle. Among other museums and art centres, she has exhibited at Centre Pompidou Paris; FRAC Bretagne; Fotomuseum Winterthur; Museo UNAL, Bogotá; Kunsthalle Exnergasse, Vienna; MUDAM Luxembourg; Tate Modern, London; Seoul Museum of Art; VOX image contemporaine, Montreal; Walker Art Center, Minneapolis; Fundació La Caixa, Madrid and Barcelona; La Laboral, Gijón; Artium, Vitoria; CAC, Málaga.

 

For more information and images, please contact galeria@galeriajoanprats.com