San Telmo Museoa, Donostia-San Sebastián

04/03 – 04/06/2023

 

Los nuevos 90, un ensayo expositivo de Nekane Aramburu, es una aproximación a los diversos colectivos artísticos que trabajaron en los años 90 (y unos años antes y después) y busca contribuir a la preservación y transmisión de aquel ecosistema cultural, recogiendo el espíritu de iniciativas y espacios.

 

La exposición Los nuevos 90 se podrá visitar en la sala de exposiciones temporales del museo, del 4 de marzo al 4 de junio de 2023.

 

Obras artísticas, video arte y vídeo documental, audios de diferentes entrevistas, documentos gráficos, ediciones alternativas, libros y revistas, fotografías de autor, fotografías-copias de exhibición, proyecciones y mobiliario componen el universo de este proyecto. En él se integran en torno a 140 creadores y colectivos. Se trata de una época crucial con el paso de lo analógico a lo digital, y la exposición recupera producciones que salen a la luz por primera vez, todas ellas desde la perspectiva de su sentido dentro de un engranaje coral donde lo participativo trasciende las individualidades.

 

La muestra, cuyo recorrido es cronológico, integra este devenir y apunta a los acontecimientos sociales paralelos. Comienza abordando la relevancia de la utilización de las entonces llamadas “Nuevas tecnologías”, que fundamentalmente se desarrollaron a partir de la investigación de las posibilidades del video-arte.

 

Se trata de la primera gran muestra sobre los años 90 en Europa que perfila algunas de las cuestiones esenciales a partir del contexto vasco, y abre nuevas historiografías futuras.

 

 

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Programación Speakers’ Corner, de ArtsLibris, en el marco de Feria Arco.

 

Miércoles 22 de febrero, 16.00h, EINA EDIT

 

Presenta: Ediciones recientes de Lola Lasurt, Regina Jiménez, Andreu Balius, Asier Mendizábal.

 

Con: Lola Lasurt, Regina Jiménez, Jo Milne, Javier Fernández, Manuel Cirauqui.

 

Esta presentación abordará, por un lado, la motivación del proyecto EINA Edit, recientemente lanzado en un marco de pedagogía experimental y de comunidad creatival. Por otro, el evento servirá para desgranar, en compañía de algunas artistas colaboradoras, los conceptos que subyacen a sus producciones en el marco de las prácticas gráficas contemporáneas. 

 

 

 

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Ulsan Art Museum, Ulsan, Republic of Korea

16.02 – 21.05.2023

 

Ulsan Museum of Art is concurrently holding three exhibitions under the theme of What is The Collection Now?, which examines the past, present and future of the collection itself. The screening exhibition of International Moving Image Collection: Art Fluidity is one of them.

 

As can be seen from the subtitle ‘Art Fluidity’, the exhibition presents a comprehensive overview of how the meaning of the collection has changed through the transition of the form and medium of the artwork, focusing on the fluidity of today’s immaterial digital works. Moreover, the exhibition shows the current state of contemporary (visual) art that vigorously engaged with other art genres or academic fields. This phenomenon informs us that today, the boundaries of ‘art’ are ambiguous and fluid.

 

Since Einstein, quantum physicists have come up with the theory that the ultimate factor defining existence is not the material but the immaterial. It is an overturning of the existing physics theory that the source of what we call reality is matter. In other words, objective figures and quantities do not define existence, but the relative spirituality beyond matter becomes the force that supports matter. Now, mankind is living in an era in which the smallest unit constituting the universe has been converted from atoms to bits, the so-called “digital transformation era.” The same is true for artistic creation. It has been a long time since the way of existence of the work has been converted from material to non-material form. Even in the distribution system of works, immaterial works floating online can be viewed transcending time and space.

This immaterial worldview and the way works exist also affect the meaning and institutions of the collection. Today, the collection goes beyond the meaning of private collectors and public museums purchasing works in material form and sharing them with the public in a finite space. In other words, the meaning of the collection is changing from ‘possessing’ to ‘sharing’, and from sharing to ‘disseminating’.

 

Hence, Ulsan Art Museum uses the video archives shared from the leading institutions’ collection (VDB, HAMACA, CASA ASIA and ZKM). On view are the selected works from moving image practices, from the late 1960s to the present: experimental videos with media, such as performances, electro-intermediate installations, and so on, as well as documentary videos on socio-political issues, and narrative videos. The exhibition will serve as an opportunity to understand the fluidity of art, presenting works from analog moving images of 1960s to digital moving images today.

 

 

Curator: Jeong Seon Huh

 

Artists: Sónia Vaz Borges/ Filipa César, Nam June Paik, Bill Viola, Bruce Nauman, Gary Hill, Hermine Freed, Videofreex, Max Almy, Han Breder, Vali Export & Peter weibel, Albert Merino, Marisa González, Iván Marino, Carles Congost, Cabello/Carceller, Aimar Gómez Gil, Ryo Hirano, Yuan Keru, etc.

 

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Opening 29 March, 7 pm, with the presence of the artist

 

 

We are pleased to present the first solo exhibition of Tadáskía (Rio de Janeiro, 1993) at Galeria Joan Prats.

 

rara ocellet (Rare bird) brings together a selection of Tadáskía’s latest works developed during her residency at the Salzburger Kunstverein (Austria) and Barcelona between the end of 2022 and the beginning of 2023. The exhibition rara ocellet presents drawings, canvases, sculptures, photographs and a video installation and is accompanied by a text by Ingrid Blanco Díaz (Havana, 1972), independent curator and researcher based in Barcelona.

 

This exhibition is the door to the almost mystical imaginary of the artist, where she not only represents her work, but also her relationship with the world. The works that we will show transport us to a lively and colorful universe to offer us the dreams of her childhood or the intimacy of her family. In the exhibition, the figure of the bird stands out. “Ocellets is an affectionate way of calling birds in Catalan. It is also the name of the square next to where I was in Barcelona for the first time. Which made me think of the people and the food in the same way I think of the birds that migrate from one place to another, soon changing language and coexistence” (Tadáskía).

 

In the words of Ingrid Blanco: “rara ocellet brings together several of the narrative processes through which the artist unveils the tools she deploys to imagine and to take hold of herself. Her work is a constant research on her place in the world and how she relates to it.  Through her performances, in her relationship with objects, materials, shapes, textures and colors, she expresses her identity and reveals the decisions she makes to build and exist. The community, the family, the body, emotional ties, forms of interconnection, life experiences, the magical and the ancestral are some of the axes that channel her work.”

 

Tadáskía’s production can be grouped into what curator Clarissa Diniz (Recife, Brazil, 1985) called “families,” sets of works with similar characteristics that create a relationship between them. The artist is interested in presenting the spirit of things, in a procedure located between figuration and abstraction; where the simple becomes mystical. In her drawings of volatile and sensitive qualities, often made with simple materials such as recycled paper, colored pencils or nail polish, singular assemblages coexist, sometimes complementary, sometimes dissident. “Depending on where we are, there can be transformations in form, color, line.” (Tadáskía)

 

Tadáskía is a visual artist, writer, trans and black. Her imaginary is backed by visible and invisible things. Whether in drawings, photographs, installations, textile works or “apparitions,” Tadáskía establishes a relationship with matter that can emerge from the encounter, creating around her Afrodiasporic imaginaries and a syncretic spirituality.  In her works, the artist suggests other notions of time and space as opposed to binarisms, also raising questions in the fields of form, line and color.

 

Tadáskía (Rio de Janeiro, Brazil, 1993) lives and works between Rio de Janeiro and São Paulo. She holds a degree in Visual Arts from UERJ (2012-2016) and a Master’s degree in Education from UFRJ (2019-2021). In 2022 she had her first solo exhibition noite e dia in, São Paulo, and also in Europe, during her residency at Homesession, Barcelona. She has participated in recent group exhibitions at MAM, São Paulo, 2022; ISLAA, New York; Triangle Asterides, Marseille; Framer Framed, Amsterdam; Madragoa, Lisbon; Casa de Cultura do Parque, São Paulo; Casa Zalszupin, São Paulo (2022); Pivô, São Paulo; Fortes D’Aloia & Gabriel, São Paulo; Galeria Luisa Strina, São Paulo; Casa da Cultura da Comporta; EAV Parque Lage (2021); Museu de Arte do Rio de Janeiro (2020-21); Paço Imperial, Rio de Janeiro; EAV Parque Lage, Rio de Janeiro (2019-2020). In 2023 she has been in residence at Salzburger Kunstverein, Salzburg.

 

Thanks to Loop, Homesession