Després de la boira, primeres flors

Exposició col·lectiva amb obra de Muntadas

Del 26.04.2023 al 07.01.2024 a Casa Vicens.

Comissariada per Menene Gras



Casa Àsia i Casa Vicens presenten el projecte expositiu Després de la boira, primeres flors. Orient i els orientalismes, del modernisme a la modernitat. Aquesta exposició reuneix obra de 24 artistes espanyols, llatinoamericans i asiàtics contemporanis que aporten la creació personal en la interpretació de la representació floral.


L’exposició es podrà visitar des del 26 d’abril fins al 7 de gener del 2024 a la Casa Vicens, la primera casa d’Antoni Gaudí, on des de la seva concepció estableix un diàleg constant amb el jardí que l’envolta, i on destaca el programa ornamental de temàtica natural a tots els seus espais.


Es tracta d’una exposició única que congrega per primera vegada a Barcelona 24 artistes contemporanis que comparteixen un nexe comú, la temàtica floral, encara que cadascun elabora el seu propi discurs creatiu utilitzant diferents formats i suports, com són el dibuix, la pintura , la fotografia, el vídeo i la instal·lació. Aquest projecte expositiu posa en relació l’orientalisme del modernisme i la mundialització de l’art a dia d’avui.



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Pablo del Pozo

June 15, 7pm : visit with the artist

July 20, 7pm : visit with the artist in conversation with Gisela Chillida



Before today my body was useless.

Now it’s tearing at its square corners.

Anne Sexton, “The Kiss“, Love Poems


We are pleased to present the first solo exhibition of Pablo del Pozo at Galeria Joan Prats, entitled Mi boca florece como un corte [My mouth blooms like a cut], which includes tapestries and recent sculptures in different fabrics and sizes.


After his exhibition Cuando iba, iba con ella, y cuando volvía, me encontré con ella (2018) at the gallery with Aïda Andrés Rodrigálvarez – in which Pablo del Pozo used materials such as clay, plaster, pigments and recovered objects, to talk about the scarcity of the life as an everyday reality-, now the artist opts for a new line of research in which he adopts unprecedented themes and materials in his work.


The title of the exhibition belongs to the first verse from the poem “The Kiss” by the American writer Anne Sexton (1928-1974). The fortuitous find of this example of poetry, whose core revolves around the idea that wounds can also cause beauty, has become a catalyst to take Poetry -in capital letters- as a form of understanding, passion and creation, especially poetry written by women authors, among which the poets Anne Sexton, Emily Dickinson or Anne Carson stand out.


Pablo del Pozo presents in this exhibition a multidisciplinary project focused on the germination of life and the celebration of desire in a new nature, in a new habitat. It is a formal investigation, mainly sculptural, for which he used textile materials, from twine and jute fabric to lycra and wool, made with some traditional techniques, mainly crochet, and also others more moderns like hand tufting. The artist has created the works by hand, in a laborious process that has required a long time to produce them and which, at the same time, has allowed him to revalue what are considered “feminine labors”.


The works of Mi boca florece como un corte are characterized by their organic forms, which refer to organisms such as flowers, hanging plants, but also to viscera or moist bodies, and whose conception has drawn on branches such as botany and zoology. For the wool, fabric and rope sculptures, together with the tapestries, Pablo del Pozo has based himself on the microscopic wefts of plant and human cells, which he has tried to replicate through sewing patterns. In the case of the lycra pieces, the petals are transfigured into a texture reminiscent of shiny skin in a state of perspiration, a sheen that refers to costume fabric and party clothes, to the enjoyment of life. The structure of the flowers – the reproductive organs of plants that attract fauna to expand and colonize the territory – leads us to the idea of desire as one of the central points of the exhibition.


Based on these images, Pablo del Pozo creates a natural environment where he can offer a haven that brings death and life closer. And it is that, as the writer and editor Patricia Castro affirms, about the display, “The multiplicity of the alive attacks the certainties of a world paved where the flowers have to grow in the hard shoulder. Are prevented from sprouting. Plant, animal, men or women now don’t mean the same. The end is near, do you feel it? Embrace it. And don’t be scared of the unknown. Welcome back to the life.”


Pablo del Pozo (Badajoz, 1994) lives and works in Barcelona. He graduated in Fine Arts from the University of Barcelona (2017). He has been selected at the Valls Biennial, Guasch-Coranty Award (2017), or which he has been part of the exhibition at the Centre Tecla Sala in l’Hospitalet de Llobregat (2018). He has been part of the circuit of the Jeune Création Européenne Biennial (2017-9) with exhibitions in museums in various European cities: Montrouge, France (2017); Hjorring, Denmark; Cēsis, Latvia; Cluj, Romania (2018); Como, Italy; Figueres, Spain, and Amarante, Portugal (2019). He has also received the creation award from the Sala d’art Jove de la Generalitat de Catalunya (2017), and he exhibited in the group show in this space in June 2018. He has recently been nominated for the Miquel Casablancas Award (2019), his work has been exhibited at Fabra i Coats, and, in the solo show Al muerto, tiempo encima, curated by Jordi Garrido, at the Fundació Arranz Bravo in l’Hospitalet de Llobregat.


Video of the exhibition


Art Brussels 2023

Art Brussels 2023 | Galeria Joan Prats,



Rediscovery programme, a presentation of works by




Art Brussels preview:  ENG    FR


Our booth on Artsy



Joan Prats and Nogueras Blanchard’s proposal for Art Brussels 2023 introduces a dialogue between the work of Joan Brossa (Barcelona, 1919 – 1998) and Perejaume (Sant Pol de Mar, 1957). In 1975, Perejaume was fascinated by the first monographic study of Brossa’s poetical work. The interest was mutual, since Brossa was astonished by the combination of surrealism and romanticism depicted in Perejaume’s early work. Being artists of different generations, Brossa and Perejaume crossed paths in their unique approach to poetry through objects, gestures and visual representations.


For Art Brussels we present a selection of historical works – from 1980 to 1990 – a key moment for both Brossa and Perejaume. During this period, Brossa mainly produced “object-poems”; artworks that combine everyday life objects that he decontextualizes from their original function to expand their critical nature. Likewise, Perejaume moved from “painting-painting” to “depainting”. Like Brossa, Perejaume used to manipulate his materials and symbols in a way that does not always indicate a specific point of view but rather approaches the state of the image through inversions of meaning.


These works by Brossa and Perejaume want to enhance the affinity between their ways of seeing poetry and influence. For Perejaume, painting is an exercise of occultation, of veiling with a succession of layers. Metamorfosador attends to this logic by pointing out the origin. By covering the stretcher with a canvas, Perejaume reveals the pictorial gesture of the background. The potential transformation of objects and their concealment are also reflected in Brossa’s object-poems. Eclipsi or Puzzle cease to be objects to become poetic artifacts that are born as an ironic game that generates estrangement in the viewer. Likewise, Projeccions, by Perejaume, and Sense paisatge, by Brossa, hide, show and superimpose points of view, images and objects to rebel against rigid meanings. 



Patio Herreriano Museo de Arte Contemporáneo Español, Valladolid


22.04 – 17.09.2023


Inauguración 22 de abril a las 12h



“El tiempo es circular en el silencio” es una exposición de gran escala dedicada a la obra de Victoria Civera (Puerto de Sagunto, Valencia, 1955), una de las artistas españolas más relevantes de las últimas décadas. 


Bien conocida por su pintura de carácter figurativo, la artista valenciana, afincada entre Cantabria y Nueva York, ha venido no obstante desplegando una obra abierta y heterogénea que trasciende cualquier clasificación, pues en su obra conviven la pintura, la escultura, la fotografía, el vídeo y la instalación. 


El título de la muestra, tomado de una expresión de la propia Civera, apela a la circularidad como opuesto de la linealidad, de la que siempre ha huido y de la que ha hecho su principal seña de identidad. La exposición ocupará las salas 3, 4, 5 y 8 de la segunda planta del museo y en ella se verán obras de todas las épocas procedentes de colecciones institucionales y privadas de toda España que harán especial hincapié en los años noventa, fundamentales para conocer el trabajo de la creadora valenciana y su inscripción en las prácticas artísticas en nuestro país.


La muestra contará además con un importante conjunto de obras sobre papel, menos conocidas, y muy relevantes en el proceso creativo de la artista.


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Playing to the Birds

Maison Diez Company, San Miguel Chapultepec, Ciudad de México

18/04 – 13/05/2023


Brooms, mattresses, sheets and birds, una exposición colectiva con obras de Emilio Gómez Ruíz, Arturo Hernández Alcázar, Annika Kahrs, Chantal Peñalosa y Martin Soto Climent.


Organizado por Andrea Bustillos y Polina Stroganova como parte del programa satélite del Festival TONO (CDMX 2023). Con el apoyo de Maison Diez Company.


Pensemos en lo poético del polvo; un colchón que se ha vuelto instrumento; los sonidos intentando ser imágenes; pájaros escuchando música y una danza en medio de la tormenta. Imaginemos una exposición íntima que se enfoca en el potencial de lo efímero y conjuga a cinco artistas cuyo trabajo se conecta a través de la sensibilidad de lo performativo: la complejidad de una simple acción, lo escultural del movimiento, la evocación de lo imaginario.


— Andrea Bustillos y Polina Stroganova


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Sesc Sorocaba, Brazil

20.04 – 17.09.2023


Sob as cinzas, brasa (Under the Ashes, Embers)—the choice of title for the 37º Panorama da Arte Brasileira (37th Panorama of Brazilian Art) involves multiple layers. There is a heat that burns and endures even though something has been consumed by the fire and turned to ashes; the embers bear the possibility—or the hope—of revived fire.


The Panorama of Brazilian Art was conceived in 1969 by the Museum of Modern Art of São Paulo (MAM) and went on to become one of the most relevant shows in Brazil’s art circuit. In its 37th edition, held between July 2022 and January 2023, the show’s embers were ablaze at a peculiar moment in Brazilian history—during an electoral cycle disputed by widely different political projects, while the country was still reeling from the impacts of the Covid-19 pandemic. Other layers of that period include the country’s reconception based on memories brought to light by the bicentennial of the proclamation of its independence (1822) and by the centennial of the Modern Art Week (1922).


In 2023, the exhibition is being rekindled through a partnership between Sesc São Paulo and MAM. Traveling to São Paulo state’s countryside, the Panorama is gaining a new run between April and September at Sesc Sorocaba. The curatorship is shared by the art researchers, historians and critics Cauê Alves, Claudinei Roberto da Silva, Cristiana Tejo and Vanessa Davidson, who have brought together 26 artists and groups from different generations.


Brazilian art is presented at this Panorama based not only on regional cross-sections—relevant in a country of continental dimensions—but also in view of diversities in ethnic-racial profile, gender and background, with academically trained or self-taught artists, along with urban productions, made in the streets.


While Brazil’s colonial past and its reverberations in the also violent present time serve as fuel for the show, another common thread is the proposal of artistic solutions. The Panorama investigates how artists from Brazilian roots poetically manifest the confrontation of historical and current problems: racism, social inequality, urban violence, the competition between different narratives at play in the never-ending construction of the nation’s collective memories. In the show, art asks and responds to an essential question: what incites the embers that burn under the ashes?


List of artists
Ana Mazzei (São Paulo, 1980—lives in São Paulo)
André Ricardo (São Paulo, 1985—lives in São Paulo)
Bel Falleiros (São Paulo, 1983—lives in New York)
Camila Sposati (São Paulo, 1972—lives in Vienna)
Celeida Tostes (Rio de Janeiro, 1929—1995)
Davi de Jesus do Nascimento (Pirapora, Minas Gerais, 1997—lives in Pirapora)
Éder Oliveira (Timboteua, Pará, 1983—lives in Belém)
Eneida Sanches (Salvador, Bahia, 1962—lives in São Paulo, SP) and Tracy Collins (New Yor, 1963—lives in New York) (LAZYGOATWORKS)
Erica Ferrari (São Paulo, 1981—lives in São Paulo)
Giselle Beiguelman (São Paulo, 1962—lives in São Paulo)
Glauco Rodrigues (Bagé, Rio Grande do Sul, 1929—Rio de Janeiro, 2004)
Gustavo Torrezan (Piracicaba, 1984—lives between Piracicaba and São Paulo)
Jaime Lauriano (São Paulo, 1985—lives between São Paulo and Porto, Portugal)
Lais Myrrha (Belo Horizonte, Minas Gerais, 1974—lives in São Paulo)
Laryssa Machada (Porto Alegre, Rio Grande do Sul, 1983—lives in Salvador, Bahia)
Lidia Lisbôa (Guaíra, Paraná, 1970—lives in São Paulo)
Luiz 83 (São Paulo, 1983—lives in São Paulo)
Marcelo D’Salete (São Paulo, 1979—lives in São Paulo)
Maria Laet (Rio de Janeiro, 1982—lives in Rio de Janeiro)
Marina Camargo (Maceió, Alagoas, 1980—lives in Berlin)
Nô Martins (São Paulo, 1987—lives in São Paulo)
RODRIGUEZREMOR (Denis Rodriguez [São Paulo, 1977—lives in Igatu, Bahia] and Leonardo Remor [Estação, Rio Grande do Sul, 1987—lives in Igatu, Bahia])
Sérgio Lucena (João Pessoa, Paraíba, 1963—lives in São Paulo)
Sidney Amaral (São Paulo, 1973—2017)
Tadáskía (Rio de Janeiro, 1993—lives between Rio de Janeiro and São Paulo)
Xadalu Tupã Jekupé (Alegrete, Rio Grande do Sul, 1985—lives in Porto Alegre, Rio Grande)


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Federation Hall, The University of Melbourne

18.04.2023, 6-7pm


We are thrilled to invite you to a lecture by internationally renowned artist Antoni Muntadas on recent works on translation.
An artist with an incredible legacy of postconceptual works that offer provocative and poetic engagement at the interstices of social, political and communication frameworks, it would be hard to find someone that Muntadas’ thinking is not relevant to.


Working across mediums and in diverse spaces, Muntadas has exhibited extensively, including the Museum of Modern Art in New York, the Berkeley Art Museum in California, the Musée Contemporain de Montreal, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museo de Arte Moderno in Buenos Aires, the Museu de Arte Moderna in Rio de Janeiro, the Musée Jeu de Paume in Paris and the Museu d’Art Contemporani de Barcelona, among others. In addition, his works have been presented in different international events: VI and X editions of Documenta Kassel (1977, 1997), the Whitney Biennal of American Art (1991), the 51st Venice Biennial (1976, 2005) and those in São Paulo, Lyon, Taipei, Gwangju, Istanbul and La Havana. 



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Museo Casa Natal de Cervantes, la Casa Museo Lope de Vega, Comunidad de Madrid

14/04- 16/07/2023


Los museos de la Comunidad de Madrid abordan “Las tácticas barrocas”, XXX edición del programa “Mutaciones”, comisariado en esta ocasión por Sergio Rubira.


El programa es una reinterpretación en clave contemporánea de estos lugares históricos y sus colecciones con el fin de facilitar el acercamiento del público a nuevas formas creativas.


Los artistas seleccionados para intervenir en la Casa Museo Lope de Vega son Elena Alonso, Cabello/Carceller, Paula García-Masedo, Alicia Martín, Asunción Molinos Gordo, Víctor Santamarina, Adrian Schindler/Aisha Trinidad y weecolors.


Todos ellos tienen en común el haber reflexionado sobre lo barroco o el haber asumido en su producción estrategias (el artificio, la sustitución, la proliferación, la condensación, la parodia, la intertextualidad, el palíndromo, la intratextualidad, la tautología), que pueden asociarse al concepto de barroco.


Parte, por tanto, este proyecto de exposición de la idea de unir el barroco como época y la idea de lo barroco.


Las intervenciones que componen “Mutaciones” están concebidas expresamente para cada uno de los espacios participantes: el Museo Casa Natal de Cervantes, la Casa Museo Lope de Vega, el Museo Picasso–Colección Eugenio Arias y el Centro de Interpretación de Nuevo Baztán.



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Antoni Muntadas

UNSW Art & Design, Sydney

A101 (Upstairs A Block – The Old Library)

Thursday, 13 April, 2023, 1-2pm


Antoni Muntadas is an artist and professor at the Istituto Universitario di Architettura di Venezia, until 2016 he was also professor at the School of Architecture, Massachusetts Institute of Technology (MIT). Through his work he addresses social, political and communication issues such as the relationship between public and private space, and investigates media and the way they may be used to censor or promulgate ideas. His work has been exhibited in numerous museums, including MoMA (New York), Berkeley Art Museum, Musée Contemporain de Montreal and Museo Nacional Reina Sofía (Madrid). He has also presented works in international events like the Documenta Kassel, the Whitney Biennial of American Art and the Venice Biennial.

Emoção de lidar

Group show at Quadra Galeria (São Paulo, Brasil)

Curated by Clarissa Diniz

With works by Tadáskía

March 4 – April 29, 2023


Read the text by Clarisse Diniz


List of artists:

Ana Cláudia Almeida, Ana Matheus Abbade, Anna Maria Maiolino, Arorá, Carla Santana, Celeida Tostes, Cyshimi, Diambe, Flora Rebollo, Iagor Peres, Josi, Nise da Silveira and Leon Hirszman, Pablo Lobato, Pedro Victor Brandão, Tadáskía