About Academia

Antoni Muntadas: About Academia I-II, an Online Interpretation, 2011-2017 (2021)

website access: https://aboutacademia.iea.usp.br/

30.4 – 31.10.2021

 

Based on his experience in American higher education, the artist Antoni Muntadas inaugurates in Brazil an online interpretation of About Academia. The project discusses the role and function of universities today, the place of art in this context, the relationship between public and private, tradition and contemporaneity, the future of universities and interdisciplinarity, based on interviews with professors and students.

About Academia, a project originally presented at the Carpenter Center for the Visual Arts, invited by Harvard University, during Antoni Muntadas’ last teaching period in the program in Art, Culture and Technology at the Massachusetts Institute of Technology (ACT MIT), in 2011, followed in different versions to cities like Boston, Vancouver, Amsterdam, Seville, among others.

The Brazilian version of the videoinstallation About Academia, which at first would occupy the Biblioteca Brasiliana at the University of São Paulo’s (USP) Butantã Campus in São Paulo, translates as another work of the multimedia artist and professor, by creating a digital interpretation of the original installation, developed as a website, which can be accessed from April 30 https://aboutacademia.iea.usp.br/. For the first time it is being shown in Latin America, with all its materials translated into Portuguese, in a bilingual version (Spanish), through a partnership between the Fórum Permanente, the Instituto de Estudos Avançados at USP, and the Biblioteca Brasiliana José and Guita Mindlin, with the support of the Government of the State of São Paulo, through the Secretariat of Culture and Creative Economy, and the Cultural Action Program (PROAC).

The project is composed of two sets of screenings and publications. While About Academia I (2011) addresses these issues from the perspective of professors and academics, About Academia II (2017) delves into its themes exclusively from the students’ point of view. Due to the pandemic of COVID-19, the first exhibition of this project in the Southern Hemisphere takes place through a virtual room, on a website where it is also possible to access the three roundtables that take place on April 30 and May 10, and where two bilingual publications are available with the complete transcripts of the speeches of the interviewees, among them Noam Chomsky, David Harvey, Carol Becker, Ute Meta Bauer, and the students.

The creation of the immersive, online, interactive videoinstallation gives prominence to the two sets: About Academia I (2011) and About Academia II (2017). It thus respects the duration of the times of the videos originally developed by the artist for their existence in a real physical space.  Thus, despite the interactivity of navigation, it is not possible for the visitor to control the projected videos. The aesthetic experience in virtuality therefore has correspondence with the real time of the analog exhibition space.

 

Publications

The publications in Spanish and Portuguese versions are partially available on the exhibition site. In order to have full access, it is necessary to buy them for a symbolic price. The link for this purchase is through the exhibition site.

Round tables

The round tables will be broadcasted in the exhibition site and will be available later on this site and in the sites of the partners (IEA-USP, Biblioteca Brasiliana and Fórum Permanente).

 

Which university do we want?

Friday April 30th from 2 pm to 5 pm

  • Néstor Garcia Canclini (Mexico) – anthropologist, philosopher, Chair at IEA-USP
  • Eliana Sousa Silva – educator, socio-cultural activist, Chair at IEA-USP
  • Macaé Evaristo educator, former State Secretary of Minas Gerais
  • Ailton Krenak – philosopher, environmentalist, indigenous leadership
  • Antoni Muntadas (artist)
  • Martin Grossmann (moderation)

 

Intercontinental Academy

Monday, May 10 from 9 am to 12 pm – (Brasilia)

  • Nikki Moore (USA) Art Historian – Wake Forest University (ICA-UBIAS)
  • Érica Peçanha (Brazil) anthropologist, post-doctorate IEA-USP
  • David Gange (England), historian Birmingham University (ICA-UBIAS)
  • Julia Buenaventura (Colombia) – art historian – Universidad de los Andes
  • Mariko Murata (Japan) – media and museum theorist – Kansai University
  • Martin Grossmann (moderation)

 

University and context

Monday May 10 from 1:30 pm to 4 pm (Brasilia)

  • Naomar de Almeida Filho – epidemiologist, former dean of UFBA, professor of IEA-USP
  • Helena Nader – biomedical sciences, vice-president of ABC, Chair at IEA-USP
  • Guilherme Wisnik – architect, curator, professor at FAU-USP
  • Renato Janine Ribeiro (moderation), philosopher, former Minister of Education (FFLCH-USP)

 

 

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Cardiograma. 

Lola Lasurt

IVAM (Galeria 6), València.

 

Inauguració: 29 d’abril 2021

Exposició fins el 19 de setembre 2021

Dijous 29 d’abril 2021, 19h: Conversa entre Lola Lasurt i la comissària de l’exposició, Núria Enguita

 

 

Cardiograma és el nou projecte específic que l’artista Lola Lasurt proposa per a la Galeria 6 de l’IVAM. Aquest treball suposarà la creació de dos grans gràfics formalitzats a la manera de fris històric que s’instal·laran al llarg de les dues plantes que componen la sala.

 

El projecte té com a punt de partida la visita de l’artista al Museu del Gremi Artesà de Fallers de València i la trobada amb un ninot indultat de nom “Democràcia”, obra de l’artista faller José Azpeitia. El projecte proposa el trasllat d’aquest misterios ninot a la planta baixa de la galeria 6 per a embolicar–lo espacialment mitjançant els dos gràfics esmentats.

 

El gràfic de la planta inferior estarà realitzat mitjançant pel·lícula analògica en blanc i negre digitalitzada, on es projectaran filmacions de diferents tipus de disparades realitzades durant les falles celebrades des dels anys 30 fins a finals dels anys 70. Els diferents estrats temporals de pel·lícula s’editaran a manera de partitura atonal, amb un ritme marcat per les fogueres i els trets.

 

El projecte proposa establir una analogia entre el potencial estètic dels trets en seqüència i els fonaments de la pintura abstracta, basats en les partitures dodecafòniques. L’aspecte de cardiograma remet a la idea de diagnòstic de l’estat del sistema, personificat en el ninot atemporal de la “Democràcia”. Al seu torn, podem entendre les mateixes festes de les Falles com un exercici de diagnòstic col·lectiu que anualment respon a l’actualitat socio–política més immediata, enguany doblement en suspensió a causa de la pandèmia.

 

 

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silence is the sound of a missed opportunity – Annika Kahrs
 

YELLOW SOLO

April 17 – May 16, 2021

 

The project is the first part of the series entitled MUSIC WITHOUT MUSIC, which will be presented by Yellow Solo in 2021 and 2022 with the participation of the following artists: Annika Kahrs, Dani Gal, Arnold Dreyblatt, Anri Sala, Hassan Khan, Song-Ming Ang and Ari Benjamin Meyers. 

 

 

 

“silence is the sound of a missed opportunity” is a new work by Annika Kahrs, and it is also a claim made by marketing companies advertising for on hold music to fill seemingly empty waiting time on the phone.

 

In Annika Kahrs’ work four musicians, on hold themselves, are not only waiting but simultaneously creating and recording their own on-hold music. The score is written by composer Louis d’Heudieres and is loosely based on the classic lightweight structure of on-hold music. The musicians are waiting for roughly an hour for an unknown connection that may never get resolved. The waiting experience is a friendly one, it is tailored to human needs, and adresses the existential questions that may creep up on you while in the limbo of a waiting line. With no need for a space filler or a time killer, the passive sphere of waiting turns into an active commitment. The musicians are playing for themselves while waiting, without knowing the overall listening experience that is only later accessible for the spectator.

 

 

ANNIKA KAHRS – silence is the sound of a missed opportunity.

Multichannel sound installation, 49 min

Open: April 17 – May 16, Fridays, Saturdays and Sundays, 12:00 – 18:00

Listening to the piece requires a prior email registration for a one-hour time slot and a same-day certified negative test result. Only one person can be in the installation space at a time, we provide hygienic conditions as well as adequate ventilation.

Registration: contact@yellowsolo.de

 

 

ANNIKA KAHRS – Please Hold

Live performance via phone call 

May 2, Sunday, 12:00 – 18:00

Performed by Laura Schuller and Phuong-Dan

The number to call will be provided soon.

 

 

Works streamed online by ANNIKA KAHRS

April 12 – May 16, 2021

the lord loves changes, it’s one of his greatest delusions

2018, 15:48 min

Infra Voice

2018, 10:35 min

Strings

2010, 8:20 min

NO LONGER NOT YET

2019, 17:23 min

 

 

 

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Alè, exposició de Jordi Alcaraz, a la Fundació Espai Guinovart d’Agramunt / Petit Espai.

 

Inauguració: diumenge 25 d’abril, a les 12.30h

 

Exposició fins el 24 d’octubre de 2021

 

Comissari: Bernat Puigdollers

 

 

L’obra de Jordi Alcaraz té vida pròpia: neix, creix i respira per si mateixa. Totes les seves obres són fruit d’una força ignota que les empeny a ser com són. El misteri se’ns revela davant nostre de la mateixa manera que es fa present en el brot tendre d’un arbre, en un gir de vent o una gebrada. La tinta —contenidora de totes les coses imaginables— brolla incessantment i davalla com un magma obscur damunt el blanc. Les ombres s’eixamplen i es dilaten. Les línies dels dibuixos sobrevolen les estepes albes del paper.

 

Alcaraz ens endinsa al món de l’intangible. Fa visibles les presències que ja no hi són però encara romanen, les ombres que fugen per por de ser vistes, les coses que podrien ben ser i no seran mai. Les seves obres són fets, presències que viuen, i ningú sap per què. Tota la seva obra és sostinguda per un estrany equilibri, per una fragilitat misteriosa que ho omple tot.

 

 

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ARCO E-xhibitions 2. FERNANDO PRATS. Todesfuge

 

 

Para la segunda e-xhibitions, recordamos la exposición de Fernando Prats titulada Todesfuge de 2014, donde presentábamos obras en diversos formatos (vídeo, instalación, fotografía, papeles). Su punto de partida era el conocido poema de Paul Celan del mismo título. Con motivo de la celebración del 100 aniversario del nacimiento del poeta rememoramos esta exposición que fue también una de las últimas realizadas en el emblemático espacio de la Galeria Joan Prats en Rambla de Catalunya, espacio diseñado por Josep Lluís Sert, al que queremos rendir homenaje igualmente con esta presentación.

 

Paul Celan escribió el poema Todesfuge (Fuga de la Muerte) en 1945, poco después del retorno de un campo de trabajos forzados. Publicado unos años más tarde, tuvo una gran repercusión en Alemania, donde se consideró como “un lamento moral del Arte contra la Historia”. En la instalación, el poeta entona este himno fúnebre como si se tratara verdaderamente de una fuga musical.

 

Para Paul Celan, la tarea del arte consistía en no dejar de dialogar nunca con las fuentes oscuras. Es este mismo espíritu dialéctico, entre lenguaje y oscuridad, el que intenta prevalecer y dar sentido al trabajo de Fernando Prats presentado en esta exposición. Sus obras, cargadas de un trasfondo histórico, nacen de una energía puesta al límite, representada por el humo como materialidad inequívoca. Son obras que ponen en relación conceptos contrapuestos, como aniquilación y armonía, subrayando, de este modo, un contrasentido que expresa un desconsuelo extremo.

 

Fernando Prats construye este relato a partir de los cielos de Auschwitz, lo acontecido en la Noche de los cristales rotos, la lluvia, el humo y la leche, como símbolo del alimento materno que aparece en la imagen de la “negra leche del alba” (Schwarze Milch der Frühe), con la que empieza el poema, y que sitúa la paradoja en la matriz de la creación.

 

 

 

Descubre nuestro stand en 2D y en 3D 

Cronografías

IVAM CADA ALCOI

C/ Rigoberto Albors, 8. 03801 Alcoy

Fundación Mediterráneo

 
 
 

 

Fundación Mediterráneo presenta en el CADA de Alcoy Cronografías, una exposición que reúne las obras de veinticinco artistas que recibieron entre 2003 y 2010 las Becas de Artes Plásticas de la Fundación, y que hoy representan el presente y el futuro de arte español, entre ellos Teresa Solar.

 
 
 

Con la exposición «Cronografías» la Fundación Mediterráneo da por concluido un destacado capítulo de su trayectoria como entidad promotora de la producción artística y cultural española. Se trata de una exposición largamente esperada, en la que tras un largo trabajo de contacto, gestión, producción y traslado se reúnen las obras de 25 artistas beneficiarios de las Becas de Artes Plásticas de la Fundación.

 

Estas Becas, financiadas por Fundación Mediterráneo, se extendieron entre los años 2003 y 2010, a través de ocho convocatorias dedicadas a invertir en la formación de artistas jóvenes españoles o residentes en España, atendiendo sus necesidades y haciendo viables sus proyectos de investigación artística. Como resultado de este programa se realizaron las exposiciones «Poéticas» y «Travesías», en un ciclo que ahora concluye con «Cronografías».

 

Esta exposición está compuesta por piezas pictóricas, escultóricas, fotográficas, audiovisuales, digitales e instalaciones. Reúne los trabajos de artistas procedentes de diferentes puntos de nuestro país, muchos de los cuales han forjado una sólida trayectoria nacional e internacional, llegando incluso a representar el arte contemporáneo español más allá de nuestras fronteras. 

 

 

 

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Museu Can Tinturé, Esplugues de Llobregat

21.4 – 21.9.2021

Comissariat Àlex Mitrani

 

Un pòsit és allò que el temps acumula per decantació i que deixa el fonament natural, com un humus, per a una nova fertilitat. En aquest sentit, la mirada cap al passat no és només una actitud històrica sinó que basteix una escala amb graons que ens porta al present, a una atalaia que ofereix panorames per reflexionar.

L’exposició presenta una tria d’obres premiades a les diferents biennals, cosa que ens permet observar una evolució constant. Aquestes obres s’acompanyen d’una tria compacta de diferents obres de territoris creatius diversos (pintura, còmic, cinema, literatura) que ens ajuden a situar la ceràmica en un context artístic i, sobretot, a definir de manera més rica i matisada una època, un univers cultural. Creuem memòries i pensem -acompanyats pels creadors/res- qui som, qui volem ser. Us convidem a seure, observar, mirar-nos als ulls i dialogar.

L’exposició està dividida en tres àmbits que corresponen a períodes històrics i cultural, més enllà de les dates escollides, destaca el títol de cada d’un d’aquests àmbits que van referència a les vivències, a la societat i els llenguatges artístics de cada moment.

Temps des sensualitat 1986-1992

Temps de meditació 1994 -2002

Temps de incertesa 2004-2020

 

Conferència

Pòsit, retrospectiva i perspectiva

Dimart, 18 de maig a les 19 h.

Xerrada a càrrec d’Àlex Mitrani, comissari de l’exposició.

 

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ENTORNOS Y REFLEXIONES

ATLAS

Calle Cenicero, 11, 28014 Madrid

Hasta el 8 de mayo

 

 

Nace ATLAS, un espacio itinerante para la reflexión, el debate y el encuentro en torno a la pintura en España. Una plataforma plural y abierta que aspira a fomentar el diálogo entre pintores, crítica y público.

 

ATLAS se propone cartografiar las distintas miradas o sensibilidades que se manifiestan en el panorama nacional. Un recorrido expositivo transversal que se desarrollará a través de varios capítulos con una base fundacional: contextualizar la producción pictórica actual, generar un punto de encuentro intergeneracional y valorar la labor de nuestros artistas.

ATLAS es el fruto de largas conversaciones entre comisarios y pintores que ahora queremos trasladar al espacio físico. Se reivindica así la materialidad de la propia obra y la sugestiva presencia de la expresión pictórica para crear un ambiente de apreciación y análisis. 

 

“Entornos y Reflexiones” marca el punto de partida de ATLAS, reuniendo los trabajos de Pepa Prieto (Granada, 1973), Guillermo Pfaff (Barcelona, 1976), Secundino Hernández (Madrid, 1975), Juan Uslé (Santander,1954), Felicidad Moreno (Toledo, 1959), Vicky Uslé (Santander, 1981) y Adrián Navarro (Boston, 1973). Esta selección de obras absorbe el espacio para proyectar un paisaje físico y conceptual cuya tarea, citando a Paul Klee, “no es reproducir lo visible, sino hacer visible”. Con resultados incuestionablemente personales, estos pintores comparten matices que les llevan a crear un imaginario abstracto heterodoxo cuya práctica representa un perfecto ejemplo del nuevo horizonte de la pintura española.

 

 

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Colossus Complex (On the edges of fiction. Exhibition Season)

Centro Internacional das Artes José de Guimarães

16.4 – 5.9.2021

 

Ángel Calvo Ulloa, Guest curator

Carla Filipe, Alisa Heil, NEG (Nova Escultura Galega), Jorge Barbi, Lola Lasurt, Taxio Ardanaz, Jeremy Deller, Gareth Kennedy, Jorge Satorre, Pedro G. Romero, Andreia Santana, Joaquim Salgado Almeida, André Sousa and José de Guimarães

 

The beginning of the artistic programme “On the edges of fiction” is marked by eight new exhibitions and by dialogues with the collections.

Colossus complex is about a colossus inside the museum, with twelve artists, from various countries.

The first news about the existence of the Colossus of Pedralva dates from May 23, 1876, when Francisco Martins Sarmento recorded, in one of his notebooks, the information he received from a certain Father António. He reported the existence, in the Monte dos Picos, in the parish of Pedralva, of a stone man, who supposedly corresponded to a “preliminary model for the giant Goliath”, intended for the Sanctuary of Bom Jesus do Monte, in Braga.

But after his first visit to Pedralva, the archaeologist began to fantasise about the possibility that the indefinite bulge on the figure’s left thigh was related to a phallic cult and the superstition of procreative virtue attributed to other stones that Sarmento considered belonged to proto-history.

Over the following years, the contradictory theories transmitted by the different individuals who talked to Martins Sarmento and his own doubts about the origin of the sculpture defined new interests for the researcher. In 1892, he finally decided to buy a small plot of land, a few metres from the discovery site, where the three parts of the Colossus were assembled.

After Martins Sarmento’s death, in 1899, interest in the case waned in archaeological debates and the sculpture was only transferred to the garden of the Sociedade Martins Sarmento (SMS) in 1929, where it remained until 1996, when Guimarães City Council and SMS decided to transfer it to the city’s main western thoroughfare, the Alameda Mariano Felgueiras, in a roundabout between Hospital Senhora da Oliveira and Guimarães Shopping, where it remains today.

Throughout the 20th century, the Colossus timidly aroused the interest of several scholars in the field of archaeology, with a special impact in Galicia, Spain. In the second half of the century, the Colossus became part, among the intelligentsia of the neighbouring region, not only of extensive specialised studies, but also of a symbolic repertoire which talked about the supposed importance of this find.

They say that stories are formed partly from truth and partly from speculation. Through the end of the 19th century and throughout the 20th century the complexity of the case led to constant resignification, wherein it was the subject of speculations and imprecise archaeological studies that, somehow, transcend it, as an anachronistic artifact that doesn’t just pertain to the field of archaeology, but also to the collective imagination of the surrounding Minho region.

In addition to verdicts on the importance of origin and dating, the Colossus Complex project intends to delve into the various layers of meaning of this account, in an undisciplined manner. The multiplicity of identities that determine the everything and nothingness of the Colossus are the fundamental basis for calling into question the “blame” to which it has been condemned.

Transferring analysis of the Colossus to the field of art also makes it possible to rethink the account, using all these layers – those that have fuelled and questioned this epic – which forms that which the Colossus represents today. Colossus Complex also points to a complexity that extends beyond the debate about the origin of this stone figure, ending in political and social aspects that reveal an entire series of historical problems, of which the Colossus is just the tip.

 

 

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23rd Biennale of Sydney (2022)

 

The 23rd Biennale of Sydney will be open to the public from 12 March to 13 June 2022. 

 

 

Rivers, wetlands and other salt and freshwater ecosystems feature in the 23rd Biennale of Sydney (2022), titled rīvus, as dynamic living systems with varying degrees of political agency. Indigenous knowledges have long understood non-human entities as living ancestral beings with a right to life that must be protected. But only recently have animals, plants, mountains and bodies of water been granted legal personhood. If we can recognise them as individual beings, what might they say?

 

 

 

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13th Shanghai Biennale

Bodies of Water

April 17 – June 25, 2021

 

 

The Power Station of Art (PSA) announces the culmination of the 13th Shanghai Biennale, Bodies of Water. Its main exhibition PHASE 03: AN EXHIBITION opens on April 17, 2021, with 64 participating artists presenting projects, including 33 new commissions, at the PSA and other venues across Shanghai.

 

These participating artists include Antoni Muntadas.

Muntadas will be exhibiting RED (2017). Color photography, Mural of 64 photos, 40 × 60 cm each.

 

RED is a site-specific work consist of a big panel of 64 photographs showing the results of Antoni Muntadas’ flow through the Shanghai streets and squares on a given day. That day was October 1st, 2017, coinciding with the China National Day that celebrates the sixty-eighth anniversary of the formation of the People’s Republic of China. Carried away by the course of the celebrations, Muntadas captured through his camera the drift of Shanghai’s citizens and the pulse of the city, always around the red color ubiquitous in the city.

 

 

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Tinta Invisible edicions

c/ Lleó, 6 baixos, 08001 Barcelona

Dates exposició: 8-26.4.2021

Horari: 9 -14h i 15 – 18 h

Dates homenatge:  8.4.2021 a les 18h i 14.4.2021 les 18h

 

Tinta Invisible i en Manuel Guerrero ens conviden a l’exposició d’homenatge a Alfons Borrell i Josep Mª Mestres Quadreny per recordar a dos grans artistes a través de les edicions que vam realitzar conjuntament.

 

L’aforament és limitat a 10 persones i només amb cita prèvia a través del correu electrònic ti@gravat.com o per telèfon al 93 301 29 42.

 

PROGRAMACIÓ HOMENATGE

 

Dijous, 8.4.2021

Obertura de l’exposició

18h Manuel Guerrero, Anna Borrell i Albert Mestres

19h Anna Bofill i Marc Egea (intervenció musical)

 

Dimecres, 14.4.2021

Homenatge a Alfons Borrell i Josep M. Mestres Quadreny

18 h Vicenç Altaió i Perejaume

19 h Rosa Maria Malet i Andrés Lewin-Richter

 

 

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