Pedro Cabrita Reis

Opening 19.11, 22h
20.11.2019 – 22.03.2020


Specifically conceived for the Museum’s spaces, a single, large-scale work with a very clear autobiographic quality will reflect the ever-present relationship between Cabrita Reis’s artistic practice and his reflection on the role of museums. Far from any chronological concern, A ROVING GAZE includes photographs of a large selection of Cabrita Reis’s works from 1999 to the present, displayed on structures created by the artist, along with a series of objects, drawings, documents and other works, the whole generating a total installation environment in which the artist’s life and work intersect. 


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Soñé que revelabas (Madeira), 2019

Opening: 10.10.2019,  7pm


Friday October 11, 6.30pm, talk between Juan Uslé and curator Javier Sánchez Martínez


The title of the new exhibition by Juan Uslé in Galeria Joan Prats, ‘Unsettled’ alludes metaphorically to painting, the central subject of his entire work.

“Unsettled” means unstable, but also variable, restless, something that includes opposites, or a paradox. In Uslé’s paintings, the stripes of color fluctuate, they do not have a definite beginning and end, and refer to the passage of time, the hours, the seasons, the changing landscapes, such as Bernia, a mountain range located in the southeast of the Iberian Peninsula, a place of inspiration for Uslé, among many others.


Juan Uslé’s work reflects on the possibilities of painting. In his words: “Speaking of painting, I would also talk about his tremor, his ‘no fixation’, his journey or, even better, what we understand as displacement.”


Formed by repeated strokes, although never identical, his work is characterized by movement and rhythm, and invoke the surrounding environment, and, at the same time, the energy of the body’s drives. Uslé creates a pictorial language where formal or metalinguistic aspects are mixed with his life experience, in addition to allusions to time and the creation process itself. According to Juan Uslé: “Time is what we have left. I conceive it as a horizontal surface where past and future moments are deposited and transfigured. Many of my small works seem to go on, spread in space. They suggest a “landscape” –let’s call it this way- or space of multiple juxtaposed horizons.”


In the exhibition, Uslé presents small formats, which create a close and intimate relationship together with large-scale works, the largest dimension he has worked with and which he started in 2017. Small works are organized into families, and speak of repetition, but also individually contain their own identity.


The exhibition is completed with two large format photographs. They make allusions to the painting and invoke the recollection and emotion of the discovery.

Like his paintings, they question our ability to see, think, perceive and feel.

Annika Kahrs

Opening: 14.11.2019 from 18 to 21h

Exhibition: 20 and 21.11.2019 from 11 a 20h and till 30.11.2019 by appointment (t. 932160290 o galeria@galeriajoanprats.com)

Venue: Joan Prats Warehouse. Passatge Saladrigas, 5 Barcelona. Metro Poblenou



With motive of the Loop Festival, we present in our venue Joan Prats Warehouse a selection of recent videos and a sound installation by our artists Alicia Kopf, Annika Kahrs and Teresa Solar which link stories or personal reflections with the space exploration, technology and science.


The exhibition title, 26 thousand light years, refers to the distance that separates us from Sagittarius A* (Sgr A*), a supermassive black hole located in the center of the Milky Way, the observation of which seems to confirm that black holes grow by absorbing minor ones and stars. The scientific speculation towards the outer space often approaches science fiction, as it appears in the works we present.


Alicia Kopf’s video Speculative Intimacy: An Understanding Of Control, 2019, suggests an emotional science fiction perspective in order to originate new stories about the interaction between bodies, human and non-human. The movie takes place in a near future where the borders between public and private have disappeared, the lives pass in continuous exposition. Michelle, its main character, investigates a concept in crisis: ¿What is intimacy? and talks about this topic with his non-human partner.


Annika Kahrs presents two works. The video solid surface, with hills, valleys, craters and other topographic features, primarily made of ice, 2014, shows a planetary where a starry sky is projected, at the center of which appears a circular light which would appear to be the moon, but it turns out to be a focus. In this work from 2014, the artist uses picture and narrative to make a portrait of Pluto, the vision of which was about to change, since New Horizons, an unmanned mission from NASA, was headed to its orbit. Finally it overflied it on July 14th, 2015, and could, for the first time, photograph it closely. Until then, the scientific illustrations about the planet were based on speculation.


The other work by Annika Kahrs is the sound installation think about two black holes colliding, then brush your teeth and go to bed, 2019. This work in two parts is a sound installation exploring gravitational waves and their detection. In 2015, the first direct observation of gravitational waves was announced by LIGO. This moment was a record of the collision of two black holes. In the first part of her installation, using a toothbrush as an instrument Kahrs has recreated the sound of their detection alongside audio data courtesy LIGO. For the second part, Kahrs has recorded interviews between Dr. Keith Thorne of LIGO and contributors from different fields.


In Teresa Solar’s video Ground Control, 2017, the artist transforms herself into the clay ball that turns on the potter’s wheel. The image of the turning body is accompanied with fragmented stories that connect the accident of the space shuttle Columbia, exploding into pieces due to a failure in its protective shield, with the personal injuries suffered by the artist herself. The title Ground Control has a double meaning: it is a direct reference to the material, ground or clay, and the pressure exerted on it when working on the potter’s wheel and it also refers to the operations center from which the development of a spaceship is monitored. Through the title, this minimal communication experience and conflictual balance between subject and subject matter increases in scale, linking with space travel.



Alicia Kopf (Girona, 1982) lives and works in Barcelona. Her work reflects on apparently individual issues that have become generational concerns. The expressive dimension of her work is related to her studies in Fine Arts Literature Theory and Comparative Literature. She has exhibited in museums and art centers such as Accademia Di Spagna, Rome (2019), MAC La Coruña in the 15th Naturgy art exhibition (2018); Sala Mendoza, Caracas, Mazcul, Maracaibo (2017); CCCB, Barcelona, Museum of Antioquia, Medellín, Colombia (2015); Goethe Institute, La Capella and MACBA, Barcelona (2014); Fundació Tàpies, Barcelona (2013); Bòlit La Rambla, Gerona (2011) or CaixaForum, Barcelona (2009). Recently, she has exhibited in Azkuna Centroa, Bilbao, drawings of the series ‘Conquest drawings’, within the exhibition ‘Nunca real/Siempre verdadero’ curated by Iván de la Nuez. As a novelist, her most important work is ‘Brother in ice’, published in 2015, with which she won the Documenta Prize 2015, the 2016 Llibreter Prize, the 2016 Ojo Crítico Award and the Cálamo Otra Mirada 2017.



Annika Kahrs (Achim, Germany, 1984) lives and works in Hamburg. She has been awarded a number of prizes and scholarships including the Max-Pechstein-Förderpreis–Stipendium, of Zwickau, in 2019 and the George-Maciunas-Förderpreis in 2012, donated by René Block. In 2011 she won first prize at the 20th Bundeskunstwettbewerb of the German Federal Ministry of Education and Research. Kahrs has exhibited internationally, including Kunstverein of Kassel (2018), Kunsthalle Lingen (2017), Cité International des Arts (2016), Hamburger Bahnhof – Museum für Gegenwart, Berlin (2015), Kunsthalle Bremerhaven (2015), On the Road exhibition in Santiago de Compostela (2014), the Bienal Internacional de Curitiba, Brazil (2013), Hamburger Kunsthalle (2013), KW Institute for Contemporary Art, Berlin (2012), Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (2011), Goldsmiths University, London (2011), and the Velada de Santa Lucia festival in Maracaibo, Venezuela (2010).


Teresa Solar (Madrid, 1985) lives and works in Madrid.  She has been a resident and visiting professor in the Staatliche Akademie der Bildenden Künste from Stuttgart (2016), finalist in the Award Cervezas Alhambra de Arte Emergente (ARCOmadrid 2017) and of the program for mentors Fundación Rolex (2016), she received the production scholarship of Fundación Botín (2014), of CAM (2011) and the award Generaciones (2012). Currently she presents in Index, Stockholm Ride Ride Ride, an individual exhibition that had been in Matadero (Madrid) with the title Cabalga, Cabalga, Cabalga. She has recently shown Flotation Line at Der Tank, Basel (June 2018) and in the program Compositions of the Barcelona Gallery Weekend (September, 2018) and has been part of the 2018 expedition “The Current” organized by TBA21-Academy. She has exhibited individually at La Panera Lleida (2016), Matadero Madrid (2014) and CA2M Móstoles (2012) and has participated in collective exhibitions at Haus der Kunst, Munich (March, 2018), at Kunstverein Braunschweig (June, 2018) , in the section “El futuro no es lo que va a pasar, sinóo lo que vamos a hacer” to ARCOmadrid (February 2018), at Kunstverein München, Munich (2017), the Fundación Marcelino Botín Foundation, Santander (2016) and Macro, Roma (2015), among others.

TEA Tenerife Espacio de las Artes, Santa Cruz de Tenerife

7.11.2019 – 15.3.2020


La Bienal Internacional de Fotografía Fotonoviembre, que organiza el Cabildo a través del Centro de Fotografía Isla de Tenerife adscrito a TEA Tenerife Espacio de las Artes, celebra su decimoquinta edición. Esta nueva entrega se inaugura el 7 de noviembre a las 20:00 horas y que se celebrará hasta marzo de 2020. Fotonoviembre, bienal cuya misión principal es la de posibilitar y difundir una amplia reflexión en torno a la imagen como medio de expresión, comunicación y participación cultural, se desarrollará en espacios de toda la Isla y se estructura en base a cuatro secciones: Sección Oficial, Artistas en Selección, Atlántica Colectivas y Focus.


En la sala C del TEA Lola Lasurt presenta Duelo por la España negra, 2018, una instalación con proyeccion doble de película súper-8 telecinada, que toma como punto de partida la recreación del viaje que el pintor asturiano Darío de Regoyos hizo junto al poeta belga Emile Verhaeren en 1888, primero por distintos enclaves guipuzcoanos, para discurrir luego por la entonces llamada «España seca». El libro La España negra recoge las notes redactadas por el poeta a modo de crónica de viaje ilustradas por el pintor con una serie de grabados. La España negra surgió en sus orígenes del cruce de dos miradas, la española y la belga, en momento de duelo compartido. Este proyecto Duelo por la España negra toma como punto de partida la documentación,  del propio recorrido de la artista por los mismos lugares de dicho viaje un siglo más tarde.


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Centre Cultural-Llibreria Blanquerna, Madrid

Inauguración 14.11.2019 – 19.30h

14.11.2019 – 15.2.2020


Joan Brossa (Barcelona, 1919-1998) y Guillem Viladot (Agramunt, 1922-Barcelona, 1999) son dos de los máximos exponentes de la literatura y de la poesía experimental catalana de la segunda mitad del siglo XX. Heterodoxos y transgresores, son autores de una obra amplia y diversa que abre la poesía a otras disciplinas y que une y amplía la relación de la poesía con las artes visuales.


Expusieron juntos, por primera vez, en la célebre muestra Poesía concreta. Joan Brossa, Guillem Viladot, Josep Iglésias del Marquet, en la Petite Galerie de Lleida, en 1971. Viladot, autor de Poema de l’home (1973), junto con Iglésias del Marquet, creó en Agramunt el proyecto editorial singular e insólito de Lo Pardal de libros de poesía visual, donde Brossa también publicó su libro Maneres (1976). Pioneros de la poesía visual y objetual en Cataluña y España, su obra es un referente ineludible de la poesía experimental europea más radical.


A partir de la mirada crítica, lírica y lúdica de Brossa y Viladot con el lenguaje, la imagen, los objetos y los signos del alfabeto, esta exposición –retomando el título de un libro de Brossa, Alfabet desbaratat (1998)– presenta una selección de algunos de los poemas visuales, objetos y libros más destacados de los dos creadores.


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Cabrita Reis - CGAC

15.11.2019 – 02.02.2020

CGAC, Santiago de Compostela


Comisario/a: Susana González/Santiago Olmo


El proyecto expositivo WORK (always) IN PROGRESS plantea un discurso secuencial que permite abordar los principales aspectos del trabajo de Pedro Cabrita Reis (Lisboa, 1956) a través de series representativas como Compounds, Favorite Places, True Gardens o Foresta en un arco temporal que recorre tres décadas. La muestra se articula por medio de una treintena de obras que ocupan el vestíbulo y las plantas baja y primera del CGAC, junto con intervenciones site specific en el exterior del edificio. Las obras reunidas dan cuenta de su extensaproducción artística, que evidencia el potencial dialéctico de su trabajo, entre referencias a principios constructivistas y procesuales, cuestiones formales minimalistas y el uso prominente del objeto preexistente.


El sentido de la obra de Cabrita Reis, implícito en el título de la muestra, es el resultado de su particular mirada, en una permanente reflexión plástica y filosófica. Cabrita practica un modo de pensamiento que se encuentra entre las premisas ontológicas y los planteamientos empíricos, relacionado con aquello que no resulta tan evidente y que alude a la existencia, a lo sustancial de la naturaleza del ser. La base de su trabajo se sitúa en la reflexión antropológica sobre el comportamiento social a través del espacio y del tiempo. Pero, lejos de la perspectiva científica del análisis sociológico, el método de Cabrita se basa en la capacidad de concebir el mundo de manera simbólica. Para ello utiliza un engranaje conceptual ligado a las ideas filosóficas de transitoriedad, existencia y memoria, reflexionando sobre lo esencial desde la evidencia de la finitud de la vida.



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