Category Archives: Exhibitions

Muntadas

Muntadas is the artist with whom we will open the new space of Prats Nogueras Blanchard, starting on April 5, 2024. The exhibition is titled “PARATOPIAS” and presents works carried out at various times and contexts. The pieces are gathered around paratopia, a term defined by the linguist Dominique Maingueneau.

 

 

C/ Méndez Núñez, 14, 08003 BARCELONA

With Mar Arza, Anna Irina Russell and Pere Llobera. Curated by Rosa Pera

 

We are pleased to present a new exhibition, De la rialla Del crit. Elegia del retorn* by Ràfols Casamada at the Galeria Joan Prats, curated by Rosa Pera, in the year in which is celebrated the centenary of the artist’s birth. The exhibition will also feature the participation of the artists Mar Arza, Anna Irina Russell and Pere Llobera.

 

In this exhibition will be shown a selection of works by Ràfols Casamada (1923-2009), an emblematic artist of our gallery, who had a long career in painting and poetry, and also in artistic education. Rosa Pera presents a profuse exhibition proposing a current reading of Ràfols Casamada’s work. Her approach to the artist’s creations attempts to escape the standards that we had become used to perceiving his work.

 

*The title is a fragment from a poem by Ráfols Casamada, which is hard to translate but would be literally Of the laugh Of the cry
Elegy of the return

 

 

Albert Ràfols Casamada (Barcelona, 1923-2009). Among his latest retrospective exhibitions, the following stands out: Ràfols Casamada i Maria Girona. L’equilibri possible, at the Museu de Montserrat, Montserrat; Albert Ràfols Casamada Écho. Peintures et Dessins, at the Centre d’Arts Plastiques, Espace d’art contemporain des Voûtes du Port, Royan (2018); Albert Ràfols Casamada. Pintura, at the Fundació Vila Casas, Barcelona; El camino del color, Ràfols Casamada y Esteban Vicente, at the Museo Esteban Vicente, Segovia; Signe d’air. Albert Ràfols-Casamada et Paris, at the Cervantes Institute, Paris (2016); Ràfols Casamada. Pintura 1950-2005, itinerant between 2003 and 2009 in centers in Prague, Bratislava, Tirana, Lisbon, Rome, Guadalajara, Mexico and New York; Ràfols Casamada: Espacios de luz, at the Fundación Real Casa de la Moneda, Madrid (2007); Albert Ràfols Casamada, in the Abadia de Santo Domingo de Silos, Burgos; Els espais de color. Pintura 1980-2003, at the Centre Tecla Sala, L’Hospitalet de Llobregat (2003); Ràfols Casamada, at the MACBA, Barcelona and at the IVAM, Valencia (2001).

 

He received the Creu de Sant Jordi from the Generalitat de Catalunya (1982), the Premi Nacional de Arts Plàstiques (1980), the appointment of Officier de l’Ordre des Arts et Lettres (1991) and the National Prize of Visual Arts (2003). His work is present in numerous collections such as MACBA in Barcelona, MNAC in Barcelona, MNCARS in Madrid, Museo de Bellas Artes in Bilbao, IVAM in Valencia, Museo de Arte Abstracto in Cuenca, Musée d’Art Moderne in Paris, Museo Rufino Tamayo in Mexico, Joan Miró Foundation in Barcelona, Juan March Foundation in Madrid, National Heritage of Madrid and Georges Pompidou Center, Paris.

 

In 2023, the anthological exhibition Ràfols Casamada: obres de la Col·lecció Bassat was presented at the Nau Gaudí in Mataró, and the exhibition Ensenyar és aprendre (Teaching is learning), with art works and archival material, was presented in Eina, Barcelona. In November will also open the exhibition Ràfols Casamada. El passeig del poeta, at the Fundació Palau de Caldes d’Estrac, within the celebrations of the centenary of the artist.

 

 

Rosa Pera (Barcelona, 1966) is a curator, researcher and art critic, specialized in contemporary art, who has explored its connections with design, architecture, collective learning and public space, through exhibitions and diverse projects. As such, she has experimented in specific formats inside and outside the museum, such as Insideout: jardí del cambalache, Fundació Tàpies (2001), On Translation: la imatge, MACBA (2003), Ambulantes. Cultura Portátil, CCAC (2003), Quórum, La Capella (2004), On Translation: Die Stadt, CaixaForum (2005), Fuera de Lugar, Museu del Disseny (2015), or the Global Youth Culture Forum in Jeju, South Korea (2018-2019). She has dived into the work of figures such as Muntadas, Bill Viola, Ai Weiwei, Miralda or Buckminster Fuller, through exhibitions and projects in different museums and contexts. She was the founding director of Bòlit. Centre d’Art Contemporani. Girona (2008-2012), where she curated more than 20 exhibitions and projects in different spaces from the city and she was a member of the I Executive Committee of Culture of the ICUB-Institut de Cultura de Barcelona (2008-2012).

 

Mar Arza (Castelló, 1976) uses poetry as the main language in her work. She studied Fine Arts in Valencia and later in Pittsburg (Pensilvania, US) and Winchester (UK). In her creations, words and text predominates, as well as textures and paper.

 

Anna Irina Russell (Barcelona, 1993) through installations, sculptures and actions, investigates forms and structures of communication. The game is a fundamental part of her artistic practice, and she often invites the public to relate to her work. She has shown her creations in centers such as MACBA, CCCB, Blueproject Foundation, La Casa Encendida and Bombon Projects.

 

Pere Llobera (Barcelona, 1970) carries out his artistic practice through the mixture of different disciplines: painting, sculpture, installation. His work has a poetic tone and is mainly inspired by popular culture and music. In addition to his career as an artist, he has also been the curator of several exhibitions. He was an artist residence at the Rijksakademie, Amsterdam, between 2006 and 2007.

 

 

Text by Rosa Pera

 

 

 

 

 

Cabello/Carceller

 

We are pleased to participate to LOOP FAIR 2023, which takes place in Hotel Almanac Barcelona, from 21th till 23th of November, 2023. We are presenting a recent work by Cabello/Carceller Una película sin ninguna intención, 2022 (A Film With No Intention), a 3-channel video installation that will takes on a particular resonance in the hotel room.

 

“Una película sin ninguna intención is inspired by a brief fragment — only a few seconds — of the film Les rendez-vous d’Anna by Chantal Akerman. The action places the protagonist alone in a nondescript hotel room. Anna has just entered. She goes to the windows and, before opening one of them, draws back a sheer curtain in order to observe an industrial city outside. The scene does not reproduce the original script of the film. If it had been faithful to what was written, the world that the protagonist contemplates from the window would have been visually shared with the public; but ultimately, in the images we can only see the protagonist from behind, looking outward.

 

 What interested us most about this seemingly insignificant scene was its ability to evoke the life experience of those of us who, due to different circumstances, do not fit into the hegemonic model of coexistence. Isolation, incomprehension, distance, body. Anna leaves that room and pretends to interact with the others. In Una película sin ninguna intención, A. (a polysemic abbreviation in reference to Franz Kafka’s character K., to whom Akerman also may have referred) occupies an indefinite space in front of three windows, a sheer curtain, and an opaque curtain. Unlike Anna, A. never leaves that physical space.”

 

Cabello/Carceller

 

Juan Uslé

[The Rivers of the World]

 

Exhibition from 16th to 25th of November
Opening and presentation, Thursday, 16th of November from 6 p.m. With the presence of the artist and the editor.

 

“El libro parece uno de los objetos más bellos por ser un objeto paradójico:
a base de multiplicar y multiplicar los planos multiplica lo profundo.”
[The book seems to be one of the most beautiful objects because it is a paradoxical object:
by multiplying and multiplying the planes it multiplies the Depth] (Oliván, 2023)

 

We are pleased to present at Galeria Joan Prats Juan Uslé’s next publishing project with By Publications, in which the artist has made 200 new paintings as covers, along with a selection of his works.

 

This is a unique editorial project, a unique journey through art and expression that immerses us in the world of Juan Uslé, accompanied by the poetry of Lorenzo Oliván. In this edition, the covers come to life in an unusual way, transforming into canvases where the magic of painting merges with the depth of photography and the written word.

 

Each book is a work of art in itself, reflecting the personal vision and sensitivity of Juan Uslé. These 200 copies are created individually, like the pieces of a puzzle, like drops of water that come together to form a river.

 

ARTIST BOOK DETAIL

 

By Publications is an independent publishing house based in Barcelona, specialized in the edition, production and international distribution of art, photography and design books.

 

Juan Uslé (Santander, 1954) lives and works between New York and Saro. He is one of the artists with the greatest international projection in our country, whose career has been linked to the city of New York since the eighties. He has received recognitions such as the Daniel & Florence Guerlain Contemporary Art Foundation drawing prize (2020) and the Premio Nacional de Artes Plásticas de España (2002). He has presented his work at the 51st Venice Biennale (2005), at Documenta 9 in Kassel (1992) and the São Paulo Biennale (1985). His latest individual exhibitions include De luz y sangre, Sala Verónicas, Murcia (2023), Eye and landscape, BombasGens Center d’Art, Valencia (2021), Notes on SQR, MACE, Museu d’Art Contemporani d’Eivissa, Ibiza (2019), and Juan Uslé. Dunkles licht, Kunstmuseum Bonn, Germany, which traveled to the CGAC in Santiago de Compostela under the title Juan Uslé: Luz Escura (2014). His pictorial and photographic work has also been exhibited in Es Baluard, Palma de Mallorca, Marta Herford, Germany (2010); Kunsthalle Emden, Germany (2009); MUDAM, Luxembourg, ARTIUM, Vitoria (2008); CAC, Málaga, Domus Artium, Salamanca, Fundació La Caixa, Barcelona (2007); Salvador Dalí Museum, St Petersburg Florida, Albuquerque Museum, New Mexico (2006); Marcelino Botín Foundation, Santander, IMMA, Dublin (2004); MNCARS, Madrid (2003); Museum Morsbroich, Leverkusen, Germany (2002); Serralves Museum, Porto (2001).

Lola Lasurt

14/09, 18.00h-20.30h Opening

18.30h: visit by Lola Lasurt with Esther Guillén and Neus Miró

25/10, 19.30h: visit by Lola Lasurt

10/11, 19.00h: finissage and visit by Lola Lasurt

 

Lola Lasurt’s project for the upcoming Barcelona Gallery Weekend wants to vindicate abstract artistic practices that interest the artist through her painting, she tries to paint abstraction figuratively.

 

The project has two parts with which Lasurt approaches pictorially, first, the Escuela de Vallecas (1920-39) and, later, the ceramics of Esther Guillén (Lleida, 1943). This artist has produced relevant and little-known work since the 1960s, characterized by an abstraction based on organic forms that, according to Lasurt, seems to be influenced by the artistic avant-garde prior to the Spanish Civil War and also by ceramic artistic practices that took place during the last years of the dictatorship and the first years of the democracy. Many of these practices were influenced by the lessons that Angelina Alòs taught from the thirties to the eighties at the Escola del Treball in Barcelona.

 

A selection of ceramics by Esther Guillén will be presented in the exhibition, together with the works by Lola Lasurt. Lasurt thus composes an exhibition device that generates a genealogy of practices through formally connected works and elements.

 

Text by Neus Miró (cultural manager and independent curator)

 

Map and artworks list

L’Antiga Farinera

Ctra. C66, 304, 17121 Corçà, La Bisbal d’Empordà, Girona

Google maps

 

Hours:

July from Thursday to Sunday, 5:00-9:00 p.m.

August from Tuesday to Sunday, 5:00-9:00 p.m.

 

Activities:

Saturday July 8, 7:30 p.m. Muntadas, ‘Que vienen las suecas’ screening with artist discussion

Saturday July 29, 7:30 p.m. Oliver Frank Chanarin, ‘A Perfect Sentence’ presentation of artist’s latest book in collaboration with Terranova

Saturday August 12, 7:30 p.m. Concert by cellist Oriol Prats (Capellades, 1989). Programme: L. Berio, J-S Bach, Z. Kodály. A collaboration with Schubertíada.

 

For the third consecutive year, we are delighted to present the collaborative project of Bombon Projects, Galeria Joan Prats, and NoguerasBlanchard.

 

Once again, the three galleries join forces, from June to August, to give rise to a proposal away from the cities and their galleries of origin. This year, the project travels to a new, larger space: l’Antiga Farinera, a former flour factory from 1822 built around a tower dated from the 12th and 13th centuries.

 

Located in Corçà, a small medieval village in the region of Baix Empordà (Girona), l’Antiga Farinera’s 500 square metres will hold an exhibition from the programs of the three galleries, coupled with a selection of guest artists from different generations. The proposal will revolve around the concept of movement, and will be accompanied by parallel activities with artists and other cultural agents throughout the summer period.

 

Text by Ángela Segovia

 

 

 

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,

Booth 5A 26 with NOGUERASBLANCHARD

 

Rediscovery programme, a presentation of works by

JOAN BROSSA

PEREJAUME

 

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. 

 

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

 

 

 

 

 

 

ARCOmadrid 2023

Galeria Joan Prats

Booth 9C06

 

 

For our booth at ARCOmadrid 2023, we present a selection of pieces by our artists, Erick Beltrán, Alfons Borrell, Cabello/Carceller, Victoria Civera, Luis Gordillo, Alicia Kopf, Lola Lasurt, Perejaume, Pablo del Pozo, Fernando Prats, Caio Reisewitz, José María Sicilia, Juan Uslé.

 

 

For the first time, we will present a canvas and drawings by Brazilian artist Tadáskía.

 

 

Preview here

 

 

Alfons Borrell

We are pleased to present the new exhibition by Alfons Borrell at Galeria Joan Prats, entitled Entrar al mar i sortir-ne blau [Enter the sea and come out blue], which we will inaugurate next Saturday, January 28, from 11 am to 2 pm, and where we will show paintings on canvas and on paper made since 1959 until 2017.

On the occasion of the exhibition, Valentín Roma has written: 

In one of his most celebrated essays, entitled On Nothing, the American poet Mark Strand wonders why this inclination to substantiate emptiness is due, to fill it with words, gestures, images.

Strand points out at least three tasks for language when it is challenged from the nakedness: one is a certain degree of obstinacy; another, lightness as a foundation against the definitive; the last one, a kind of opening towards that which, while not being a mystery, is not easily nameable either, something similar to a meticulousness pending precision.

The previous triad could well serve to bring us closer to the work of Alfons Borrell, to his persistence –so little exemplary and so resounding– regarding some of his own arguments through which to develop the practice of painting; to his interventions for the sake of that never fatuous or purely stylistic lightness, a kind of material ethics; to his intense way of erecting the details to make them essential.

Keep reading

Anatomies of stone, of wood. Iconicity among the columns of the forest. Afforestation, reforestation of images as living animals. Trees that work on wood. Visionary trees, icons: carvings of an imaginary raised by the same botany that fattens it. Forests with the smile of archaic sculpture. Crumbling stones on the stones. Men who become earth and trees who become man. Reverted figures of unending majesty. And three works, these: Pedra [Stone], Quatre columnes [Four Columns] and Un capitell [A Capital], ready to ambush. Only three works because the works are no longer indifferent to quantity, not anymore.

Hannah Collins

Galeria Joan Prats is pleased to present at Paris Photo 2022 fair, on Booth F05, the works by:

 

Cabello/Carceller (Paris 1963/Madrid 1964). Their work is set in a territory where they question, reflect or fracture the roles and stereotypes associated to gender. In their works, masculine or feminine roles are revised. We will show an iconic work from this artistic duo: Archive: Drag Models (2007-ongoing) long-term project that highlights film scenes where male characters question the collective imaginary.

 

Hannah Collins (UK, 1956) is known for her work in expanding the fields of photography and film. Her works are embedded in historical and social frameworks. Already shown in our Paris Photo booth in 2017 and 2018, we will present this time a b/w vintage print from the late eighties, as well as two photographs related to the Egyptian architect Hassan Fathy.

 

Carles Congost (Spain, 1970) has always incorporated to his work, theatrical stagings that question the mechanisms and stereotypes of Subculture, Pop icons, music and the art world itself. We will show Mambo belonging to the artist’s latest project, a series of four large-format photographs entitled Boys on Memphis (2022). They present us with a trio of models carrying out simple stagings inside a set whose aesthetics recall both the Memphis Group and Art Deco and Pop Art of the sixties.

 

 

SEE PDF PREVIEW

 

 

the magic carpet

Documentary film: ‘The magic carpet. Voices to remember Joan de Muga’

 

The exhibition ‘The Magic Carpet. For Joan de Muga’ is a tribute to Joan de Muga, founder and director of Joan Prats Gallery since 1976, when it opened, until 2020. The exhibition will bring together the work of artists who have been part of the gallery since the beginning to the present, together with photographs, letters, videos and documentation, to explain the history of the gallery and also Ediciones Polígrafa and other projects by Joan de Muga such as Fundació Espai Poblenou.

 

We will show works by Juan Araujo, Francis Bacon, Alfons Borrell, Joan Brossa, Cabrita, Alexander Calder, Anthony Caro, Chillida, Christo & Jeanne-Claude, Victoria Civera, Hannah Collins, Helen Frankenthaler, Luis Gordillo, Guinovart, Hernández Pijuan, Wifredo Lam, Louise Lawler, Miralda, Joan Miró, Henry Moore, Muntadas, Pablo Palazuelo, Perejaume, Joan Ponç, Fernando Prats, Ràfols Casamada, Caio Reisewitz, Julião Sarmento, George Segal, José María Sicilia, Antoni Tàpies, Juan Uslé, Eulàlia Valldosera, Sue Williams

 

The title of the exhibition is inspired by a drawing by Joan Ponç dedicated to Joan de Muga, in which he portrayed him on a flying carpet. This sketch refers to his enterprising and visionary character, his passion for traveling and for imagining new projects.

 

We are organizing the exhibition with the complicity of Carles Guerra, who will write the text of the publication that we will publish later.

Revelations on a Shapeless Sphere

Revelations on a Shapeless Sphere

Fonteta, June 17 – August 28, 2022

 

Pere Noguera, Luis Gordillo, Ludovica Carbotta, Muntadas, Francesco Arena, Victoria Civera, Perejaume, Pere Llobera, Ignacio Uriarte, Anna Dot, The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen, Ángela de la Cruz, Lola Lasurt, Mercedes Azpilicueta, Fernando Prats

 

 

We are delighted to present again a collaborative project of galleries Bombon, Joan Prats and NoguerasBlanchard. The proposal for this season once again brings together artists from the three galleries and from different generations in an exhibition format that will be based on the exquisite corpse principle, with a text by Eduard Escoffet written for the occasion.

 

Focusing on this act of collective exchange, during the summer of 2022, the artists invited to participate, the first of them Pere Noguera (La Bisbal, Girona; 1941), will be in charge of selecting the first group of artists, and so on, until the end of a series of exhibition proposals made up of works spanning different generations and imaginaries.

 

 

Text Eduard Escoffet

 

 

Chapter 1: opening Saturday June 25
Pere Noguera, Luis Gordillo, Ludovica Carbotta (Room 1)
Pere Noguera, Anna Dot, The Late Estate Broomberg & Chanarin (Room 2)

 

Chapter 2: opening Saturday July 16
Ludovica Carbotta, Muntadas, Francesco Arena (Room 1)
The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen (Room 2)

 

Chapter 3: opening Saturday August 6
Francesco Arena, Victoria Civera, Perejaume (Room 1)
Rasmus Nilausen, Angela de la Cruz, Lola Lasurt (Room 2)

 

Chapter 4: opening Thursday 18
Perejaume, Pere Llobera, Ignacio Uriarte (Room 1)
Lola Lasurt, Mercedes Azpilicueta, Fernando Prats (Room 2)

 

 

c/ Empordà, 10, Fonteta, Girona
June: Friday to Sunday, 5 – 9 pm
July and Aug: Monday to Sunday, 5 – 9 pm

 

 

 

Daniel de la Barra

Opening Thursday, 30th June, 5-9pm

Conversation with the artist Daniel de la Barra and the curator Alicia Chillida, Thursday, 30th June, 7pm. Please, confirm assistance at galeria@galeriajoanprats.com

 

Thursday, 28 July, 19h: commented visit by Olivier Collet. Please, confirm assistance at galeria@galeriajoanprats.com

 

As part of Artnou, we present at Galeria Joan Prats the exhibition of Daniel de la Barra Destierro, curated by Alicia Chillida.

 

 

The inhabitants from the Terres de l’Ebre coexist in a threatened territory. Daniel de la Barra first visits the heart of the Ebro Delta, in 2021, as a guest of Centre Lo Pati to accomplish an artistic residence in Balada, next to anthropologist María Faciolince. The project reflects on the reconstruction of the landscape’s narrative, one that keeps on sustaining and perpetuating the industry’s extraction practices. It compounds a register based on images about socio-environmental violence of a political and historical nature with reminiscences to the botanic expeditions that consolidated the ways of seeing the natural as a potential land of conquest. As references, the artist uses the botanic expedition illustrated books, the paintings of traveling artists in Latin America and the Romantic Landscape paintings from XVIII and XIX centuries.

 

The exhibition in Joan Prats Gallery is the result of translating these researches to an art installation that combines diverse medium: painting, sculpture, poetry, music, video, documents… A new ecosystem recreated through the artistic field. The representation arises from a need to give an answer to a complex landscape dominated by political, economic and social forces, that contribute to its (de) structuring. This territory subjugated him then and hasn’t ceased to deepen in his skin, in his most profound places. He has explored his lands and, immersed in them, emerges the fundamental encounter with its people. Prove of this is the tight collaboration with Josep Pinyol, Luís Martinez’s composition and musical interpretation in the Santa Bárbara’s church organ, and the poems recited by Miquel Curto, in Tivenys.

 

Read more

 

In collaboration with Real Academia de España en Roma, Fundació Sorigué, Lo Pati Centre d’Art Terres de l’Ebre and Sala d’Art Jove in Generalitat de Catalunya.

 

 

Daniel de la Barra. Lima, Perú (1992). Lives and Works in Rome.

 

Daniel de la Barra moves between painting, installation and public intervention, focusing his work on the re-construction of narratives in societies within the homogenization of the public landscape and the hierarchical imposition of powers of domination within the framework of colonial capitalism. He began his studies in 2012 at the Escuela de Arte Contemporáneo Corriente Alterna (Lima, Peru) until 2014, when he moved to Madrid to continue his painting studies.

 

He has carried out artistic residencies at La Escocesa Fabrica de creació, Piramidon Centre d’art Contemporani, Homesession, in Barcelona where he lived 7 years, and The Nerdrum School (Sweden). He has developed several exhibition projects and interventions such as “Pròxima Obertura” at Montjuic Castle, Barcelona, “Esc-Out” at Fabra i Coats Centre d’Art Contemporani, Barcelona, “Ruta de los Indianos – Consideraciones de la Ciudad Moderna,” at Lo Pati within the Bienal de Amposta, “Paisajes Deseados” at Arts Santa Mónica, Barcelona, “SUBVERSIÓ! Manifestacions perifèriques per a una història reversible” at El Born CCM, Barcelona or “Invation 30230” at Museo Central de Lima. In 2018 and 2019 he has received the Research and Experimentation Grant from La Escocesa, the Young Art Prize of Catalonia 2019 (Sala d’Art Jove) and in 2021 to develop his project “Real Expedición Botánica” in collaboration with La Panera de Lleida and Lo Pati, Amposta.

Camila Cañeque

On May 26, we will open Hole In The Ground, a collective exhibition that brings together works by Cabrita, Camila Cañeque, Hannah Collins, Pablo del Pozo, Mercedes Pimiento and Fernando Prats.

 

The title of the exhibition, inspired by a David Bowie song, refers to the main theme around the displayed pieces, the concept of territory and its materiality. Some of the works deal with the ways of representing the ground, understood as horizontality, both in nature and in the urban environment. In this way, human activity is put in the spotlight, evidencing aspects such as belonging to a territory, the memory of a place or exploitation of the soil and its impact.

 

While some of the presented works speak of very specific places, others refer to the material that we step on when walking. Cabrita, in his work Fingerprints, raises a horizontal plane to the wall, thus turning a simple board, a humble material that was surely used as a work surface in his studio, into a testimony of his artistic activity. The artist offers us a new look at an everyday object and also a review of the place of creation.

 

Camila Cañeque’s work ground on ground on ground shows accumulations of historical layers through grounds. The artist’s work addresses passivity and, in this installation, she uses the notion of the in-between, creating a space that is neither above nor below, before nor after.

 

Hannah Collins’ work Nomad places emphasis on the surface, on skin, on the outside, signaling the artist’s interest in boundaries – most specifically of the body.  With this portrait of a character whose face remain hidden, the artist allows us to participate through the free interpretation of the image. The artist deals with the historical, the social and the political through images of everyday scene, such as Floor of dreams. This work, made in La Mina, is part of an extensive project by the artist focused on this neighbourhood inhabited mainly by the gypsy community in Barcelona.

 

In the work of Pablo del Pozo, interest in the territory is a recurring theme. In Tierra rojiza, the artist uses the pig as a symbol of his region of origin, to create a materiality that refers to the stereotyped vision of Extremadura as an arid and dry landscape.

 

Mercedes Pimiento’s work is characterized by making visible all the material culture that nourishes our society but which we try to hide, turning into sculptures the structures that are hidden in architecture, such as pipes, cables and canals, using organic or artificial materials.

 

Fernando Prats is interested in the territory of Chile and South America and its representation through historical or reinterpreted maps. In Territorio silenciado #2, he proposes a critical view of a continent condemned to be endlessly exploited. In Affatus, on the other hand, the canvas becomes the territory of creation where, subverting the traditional gesture of the painter, the worms have left their own mark. We also present an unreleased video, Zonificación, accompanied by a work on paper, composed from the projection of the recorded action, and which establishes a dialogue with the spiral staircase of the Macba, in a centrifugal movement that is access, exit, ascend and descend, the body and the architecture in connection and amplification with the Richard Meier building.

 

 

Cabrita (Lisbon, 1956) lives and works in Lisbon. His work has received international recognition and has been crucial to the understanding of sculpture since the mid-eighties. In recent years he has had solo exhibitions at CAC Malaga, Mudam Luxembourg, CGAC Santiago de Compostela, Museo Serralves Porto, Palazzo Molina de Cartagena, Mexico, Palazzo Fortuny, Venice, Galeria Arte Moderna e Contemporânea, Lisbon, MAXXI Rome, The Arts Club of Chicago and Hôtel des Arts, Toulon, France. He has participated in important international exhibitions, such as Documenta IX in Kassel (1992), the 21st and 24th São Paulo Biennial (1994 and 1998), the Venice Biennial (in 1997, in 2003 representing Portugal and in 2013) and the 10th Lyon Biennial (2009). He is currently showing the sculptural installation Les Trois Grâces, at Jardin des Tuileries, Paris, and an installation entitled Field at the 59th Venice Biennale.

Camila Cañeque (Barcelona, 1984) explores in different ways the theme of resistance to progress through performance, sound, objects, installations and writing. She has exhibited in several art centres in Barcelona such as La Virreina Centre de la Imatge, Blue Project Foundation, Fabra i Coats, Caixaforum, Museo Lázaro Galdiano, in Madrid and at the Queens Museum of Art, New York. She was a finalist for the Miquel Casablancas Prize and participated in residencies at Mana Contemporary, New Jersey, Fabra i Coats, Barcelona, Nida Art Colony, Lithuania, ZKU, Berlin, Largo das Artes, Rio de Janeiro, among others.

Hannah Collins (London, 1956). Currently lives between London and Almeria. Between 1989 and 2010, she lived in Barcelona, exhibiting at Galeria Joan Prats since 1992. She was awarded a Fulbright Fellowship, was nominated for the 1993 Turner Prize, and received the 2015 SPECTRUM International Photography Prize, including exhibitions at Sprengel Museum in Hannover, Camden Art Centre in London and Baltic Centre in Newcastle. Among other museums and art centres, she has exhibited at SFMOMA, San Francisco; 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; Fundación La Caixa, Madrid and Barcelona; La Laboral, Gijón; Artium, Vitoria; CAC, Málaga.

Pablo del Pozo (Badajoz, 1994) lives and works in Barcelona. Graduated in Fine Arts at the Universitat de Barcelona, he was selected in the Biennial of Valls and has won the Guasch-Coranty Award, participating in the exhibition at the Centre Tecla Sala, in l’Hospitalet de Llobregat. He also participated in the Biennial Jeune Création Européenne with exhibitions in museums in various European cities. He has received the creation award of the Sala d’Art Jove de la Generalitat de Catalunya, exhibiting there in 2018. He was nominated for the Miquel Casablancas Prize, and in 2019 he exhibited individually at the Arranz Bravo Foundation in l’Hospitalet de Llobregat.

Mercedes Pimiento (Seville, 1990) lives and works in Barcelona, where she is pursuing a doctorate in Fine Arts. With a degree in Fine Arts from the Universidad de Sevilla and a Master’s Degree in Artistic Production and Research from the Universitat de Barcelona, she has been selected for programs and grants such as INJUVE, the Madrid Community Training Program – Open Studio, the Kiosko Project of the José Guerrero Centre, the Guasch Coranty Foundation Grant for artistic creation, the Sant Andreu Contemporani residency program, or the Iniciarte Program. She has exhibited in museums and art centres such as Centre Tecla Sala in L’Hospitalet de Llobregat, CAAC Seville, Fabra i Coats in Barcelona, Museo de Arte Contemporáneo Fundación Naturgy in A Coruña, Centro José Guerrero in Granada, among others.

Fernando Prats (Santiago de Chile, 1967) has lived and worked in Barcelona since 1990. His work is known for the actions undertaken mostly in Chile, among them Gran Sur, Isla Elefante, Antarctica, Acción Lota, Géiser del Tatio, Salar de Atacama, Mina a Rajo Abierto o Congelación, Collins Glacier and Chilean Antarctica. He has participated in exhibitions such as the Venice Biennale; Mediations Biennale, Poznan; Biennial of the Canary Islands, Chile Triennial, Espace Culturel Louis Vuitton, Paris, Fundació Joan Miró, Barcelona and Museo Nacional de Bellas Artes, Santiago de Chile. He has significant works in the public space of Chile and a work commissioned by Barcelona. He is currently presenting the solo exhibition Aun tendría que haber luciérnagas, at Fragmentos, Espacio de Arte y Memoria, Museo Nacional de Bogotá.

Luis Gordillo

Opening Thursday 10th of March, at 5 pm

Meeting with the artist on Wednesday 20th of April, at 7 pm.
Please RSVP at galeria@galeriajoanprats.com

We are glad to present Luis Gordillo’s sixth exhibition at Galeria Joan Prats, entitled ‘Re/Encuentro’, where we will show recent works by the artist, such as paintings, drawings and large polyptychs of digital prints.

For this exhibition, Ignasi Aballí has written a text titled ‘Subinsconciente’, in an effort to pay tribute to the work of Luis Gordillo.

ARCOmadrid 2022

Galeria Joan Prats

Booth 9C06 & booth 7B19 (ARCO 40+1)

 

For our booth at ARCOmadrid 2022, we present a selection of pieces by our artists, with a leading role for painting -Luis Gordillo, Lola Lasurt, Alfons Borrell and Juan Uslé- and others located at the limit of pictorial language -José María Sicilia , Fernando Prats-, or that reflect on the genre, such as Perejaume. Dialoguing with these works, a piece by Muntadas with a more conceptual vision of painting will occupy a special place.

 

We also present for the first time works by Alicia Framis, beginning our collaboration with the artist.

 

The Joan Prats Gallery has been selected for the special program 40+1, a section curated by María Inés Rodríguez, Francesco Stocchi and Sergio Rubira that celebrates the fair’s 40th anniversary. In this section we will present emblematic works by three artists who have been very important in the history of our gallery, such as Hernández Pijuan, Ràfols Casamada and Perejaume.

 

SEE PREVIEW

 

 

Victoria Civera

Opening Thursday, December 2, 5-9pm, with the artist

 

Guided visit Thursday, March 3, at 7:00 p.m. Please confirm attendance: galeria@galeriajoanprats.com

 

Guided visit with Victoria Civera at the Balcón Foyer del Liceu, Friday, December 3, at 11am. Prior reservation at galeria@galeriajoanprats.com

 

 

 

In the studio, when I prepare an exhibition I start from scratch, from the need to write a small sentence, a minimal text as a poem. I like to proceed in this way, feeling freedom, swimming in an open sea.

Feeling is thinking. Thinking is feeling, with my hand and mind united. I feel, I analyse, I determine by drawing, also painting, building a piece, I discover myself, I decipher my feelings, in the density that I perceive them.

 

In 1997 I used an image of butterflies as the cover of a catalogue, with the title ‘Mother Moon’… I feel that butterflies give us luck.

When we were little, my father used to give my sisters, brother and me a shoebox with silk cocoons in the embryonic stage. He taught us how to feed them and, for this, we collected mulberry leaves so that they could complete their cycle. It was a great lesson. Thus, with fragility, we begin to respect life and understand it as evolution and transformation. Also, what it means to make a commitment, day by day.’      Victoria Civera

 

 

On December 2 we inaugurate Victoria Civera’s second solo exhibition at the Galeria Joan Prats, titled ‘Ocelo’, with the artist presence.

 

The exhibition gathers her most recent works, and shows the variety of her production: installation-object, photography, video, drawing and painting, executed last year between Saro, Cantabria, and New York.

 

We find in the pieces displayed the themes that Victoria Civera has worked on throughout her career, such as the body, the female universe, the personal, the individual environment and the domestic. In constant dialogue between the figurative world and the abstract world, her work is a conceptual search of personal imaginaries.

 

Ocelo refers to the eye, the pupil, the macro inner world of the human eye. The image of the circle, recurrent in her work, also alludes to time as a circular movement. In the video titled Ocelo, a short series of photograms shows the fluttering of a butterfly hooked by its wings on the windshield wiper of a car moving on the highway. She tells us about beauty in transformation and about impotence, of the ungraspable and permanent fragility.

 

Civera’s work starts from emotional places, of parcels of her present environment and memories of her childhood. They mix in turn, at the present time, common feelings are mixed due to isolation, uncertainty, change, strangeness, fear, as she expresses in her large installations titled Horizontal versátil and Torre, N.Y. black and white, confinamiento.

 

 

 

 

 

In one of the exhibition rooms we find two long tables with aluminium works painted in different colours, titled Entropía (Saro). On them, various natural and artificial fibres from dust accumulation have been formed and collected as residue from washing and drying the clothes used in Saro. In their casual accumulation, when collected, they acquire irreversible irregular shapes similar to the wings of butterflies, with a rough and velvety texture. The pieces start from the absolute zero of which Victoria talks about, towards evolution and transformation, between the eye and the form, giving validity to the infinite fragmentary diversity.

 

Other fragments of landscapes are shown in the Tablets series, small-format paintings on metal and wood, that also incorporate natural fabrics and other materials. These are small cartographies of perceptions or intuitions, where the expressiveness of the chromatic becomes important.

 

The poetic dimension of Victoria Civera’s work opens up to us when interpreting her pieces. Her creative process implies a permanent state of receptivity to the environment and invites the viewer to relate to her work at a leisurely pace, while prompting us to pay attention to the smallest details that compose it.

 

 

Victoria Civera (Port de Sagunt, Valencia, 1955) lives and works between New York and Saro, Cantabria. Her career began in the seventies, working mainly on photomontage and introducing painting in the following decade. In the mid-eighties, Victoria Civera moved to New York and included installation-object in her artistic practice. Her work, with a dreamlike content and based on the feminine universe, has moved between large-scale pieces and pieces of a restrained and suggestive poetics, often incorporating objects from domestic life.

 

Her solo exhibitions include Inasible, Real Casa de la Moneda, Madrid (2019), Every Day. Ni la palabra ni el silencio, Centro de Arte Alcobendas (2017), Sueños inclinados, IVAM, Valencia (2011), Atando el cielo, CAC, Málaga (2010), Túnel eterno, Palacio de los Condes de Gabia, Granada (2006), and Bajo la piel, Espacio 1, MNCARS, Madrid (2005).

 

She has also participated in exhibitions in art centres such as CGAC in Santiago de Compostela, MAS in Santander, Bombas Gens in Valencia, Museum Boijmans Van Beuningen, Rotterdam, Caixaforum in Barcelona, Mumok- Museum Moderner Kunst Stiftung Ludwig in Vienna, MACBA in Barcelona, The Rose Art Museum, Massachusetts, Musée d’art moderne et contemporain de Saint-Étienne Métropole, The New Museum of Modern Art, New York. Her work is part of the collections of institutions and museums such as MACBA, MNCARS, IVAM, CAC Málaga, Es Baluard de Palma, Artium de Vitoria-Gasteiz, Colección Banco de España, Colección “la Caixa”, Patio Herreriano de Valladolid or Collection European Bank.

 

Until December 20, she exhibits a series of 40 drawings in the Balcón Foyer of the Liceu of Barcelona for the Season of the Opera of the Liceu. In 2022 she will present a retrospective exhibition at the Museo Patio Herreriano in Valladolid. 

Alicia Kopf Story of my eyes

Historia de mis ojos, 2021

15′. 16 mm movie transferred to digital

 

November 24, 25, 26:

Screening in loop 11-14h / 16-20h

November 27

Screening in loop 11-14h

 

November 24 & 26, at 7pm:

Screening + presentation by Alicia Kopf
RSVP: galeria@galeriajoanprats.com

 

Storyline:

A visit to the eye doctor is the starting point of this journey towards the origin of life, beyond our planet and inside a woman’s consciousness. An approach to the intimate blind spot that originates an individual life.

Teresa Solar

3D Virtual Tour

October 27 at 7:00 p.m. Guided visit by Olivier COLLET

Limited capacity. RSVP at galeria@galeriajoanprats.com

 

 

During the Barcelona Gallery Weekend, we present Teresa Solar’s second solo exhibition at Galeria Joan Prats, in which we will show recent sculptures and drawings.

 

 

Teresa Solar. Time of worms, or the infinite powers of the subsoil

 

Close your eyes. Imagine how these, like two marbles, turn inwards, and fall. They fall down inside your body like two rubber balls, bouncing off the walls of your entrails, your organs, your orifices. Sometimes they slide fast, others are slowed down by the viscosity or some cavity they find; But they are falling, falling, falling. Submerged in that inner darkness, your eyes begin to update their perceptual form, expanding their visual sensorium, that is, seeing-touching, seeing-feeling, seeing-falling.

 

They fall even beyond your body, crossing the ground you step on, entering the thousand layers of earth, stones, remains, of constructions, structures, and times that crowd the subsoil. They move agile through these strata, at times stopping in gaps here and there, seeing without seeing in the blackness that reigns. The deeper they go, and the more they get muddy in that telluric density, the operative divisions of the objective world dissolve to give way to an undifferentiated materiality, full of powers. A sort of dry sea, where they rest in a stagnant, almost rotten time, the fossils of many possible futures.

 

How is this haptic image perceived by your eyes? How is this chronic time that they reveal? Perhaps the pieces that Teresa Solar presents in this exhibition, El tiempo de las lombrices (Time of Worms), seek precisely this: to show us an experiential image of what is unknown and hidden that we step on, that we walk through, and that inhabits us. It is not a pristine and objective image, like the cut of an engineer or surgeon, but rather a dense and nocturnal object, which tries to embrace all the dimensions that compose her and that escape our capacity for representation. For this, the artist displays a practice similar to a dowser’s practice, activating an imagination that runs through tunnels, passageways, galleries and cavernous systems buried in the bowels of both the earth and the body. The daily use of the Madrid metro, as a transit place “that allows us an exogenous relationship with the earth’s mantle”; the analysis of its own vocal cords; or the speculation about the underground life of worms in the title, are all important references for Solar in this project.

 

A group of wall drawings welcomes the exhibition: Formas de Fuga (Forms of Escape) (2021), in which tongues, glottis, pharynx, genitals, jaws or other soft organs languidly open before our gaze in a salmon tonality. It is followed by Eco Chamber (2021) is composed of two diptychs made with a black marker, which show a clean cut of the fold, an indefinite flesh from a lens that allows us to appreciate its different layers and sections. In the next room rests the group of pieces Hermafrodita (Hermaphrodite) (2021): cavities of some body —geological or animal— that the claw of a bulldozer, or perhaps creature, has violently torn apart, like their tattered edges show. Its shapes are reminiscent of immemorial marine animals, or the shells of nameless specimens, while the saturated and strident colors that cover its interior walls are a reference to the colors that the operators of the subway and other underground infrastructures normally wear. Dazzling colors, whose brightness does not respond so much to the light that they are capable of reflecting, but to the conservation through the act of shining of that darkness in which they move; definitely, “the color of darkness itself” according to the artist. Finally, the series Nacimiento (Birth) (2021) shows a system of orange communicating vessels, in which various cellular patterns intersect and evolve symbiotically until culminating in the eruption of a tooth.

 

Solar reminds me of a quote from Slaughterhouse-Five by Kurt Vonnegut in which an alien from the planet Tralfamadore describes the poverty of time tunnel vision in Earthlings, only to conclude: “All time is time. It does not change. It does not lend itself to warnings or explanations. It simply is. Take moments for what they are, moments, and soon you will realize that we are all insects trapped in amber. ” The movements through tunnels in this exhibition are also a metaphor for a linear experience of time that, far from any promise of peaceful progress, is a vector of anxiety in the artist in front of the prospect of an irremediably univocal future. The use of ceramic, being a material with a great insulating capacity, underlines this closure, evoking qualities of the watertight, even the hermetic. But pulling the thread of that unearthed imagination, these isolated and insulating clay sculptures also enclose within themselves a deep subsoil time in the very matter from which they are made and the speculation from which they emerge. By tearing and opening these cavities-pieces, the artist seeks to spread in front of us this stagnant time that flees from linearity towards other material ontologies, towards other ostensible imperceptibilities, and perhaps, also, towards another more egalitarian and less violent temporal distribution. In them beats a congregation of temporary powers, without definition or direction because as their name Hermafroditas (Hermaphrodites) (2021) suggests, they are creatures in a state of undifferentiation, of pure (sexual) potency without actualizing or fixing on any denominator; and that, therefore, they contain within themselves all future forms and possibilities.

 

At the heart of this set of sculptures and drawings there is Tuneladora (2021): a sculpture in which a pair of resin fins grow powerful and slender from a muddy outgrowth. The fins (which could also be blades, or oars) are painted from their edge in a gradient from navy blue to white, reminiscent of baroque chromaticism in the way that it underlines the shadows and lights of the piece while emphasizing its speed and movement. They refer to the dolphin and its symbolism that Solar reads in the key of Minoan mythology, where these animals are attributed the ability to guide to a safe harbor; and at the same time, they are covered with the patina of a fair booth that we find in previous projects of the artist. Their polished and dynamic finish contrasts with the heavy and immobile presence of the mud from which they arise; a kind of stump of a missing joint, perhaps belonging to some deep-seated dweller. In fact, the piece invites us to imagine that when it is operated, it has unearthed the cavernous sculptures that surround it: while the group of Hermafroditas shows the emptying, Tuneladora (TBM) presents the positive body that excavates the tunnel gallery. This amalgamation of the geological and shapeless materiality of the mud with the plastic hyper-definition of the fin combines in an unprecedented way two registers present in the artist’s work, the one of the raw and abstract power of the material with the updating vector of fiction, which crystallizes in a language — both symbolic and aesthetic— sharp and precise. As if the speculative grammar of fiction, loaded with all its signs and forms, emerged from the torrent generated by these two helices in the wild and unknown substrate

 

 

Julia Morandeira Arrizabalaga

Curator, researcher and educator. She lives and works in Utrecht, where she is curator of the Post-Academic Program at BAK, basis voor actuele kunst

 

 

Teresa Solar (Madrid, 1985) studied Fine Arts at Universidad Complutense of Madrid.

 

Some of her most prominent solo shows include “Ride, ride,ride” in Matadero Madrid (2018) and Index Foundation in Stockholm (2019) and “Flotation Line” at DER TANK, Institut Kunst Basel, Switzerland (2018). She has also created solo exhibits in galleries such as “Time of worms” at Galeria Joan Prats, Barcelona (2021), “Forms of Fleeing” Travesía Cuatro Gallery, Madrid (2020), “Pumping Station” in Travesía Cuatro CDMX Gallery in Mexico City (2019) and “Ground Control” at Galeria Joan Prats, Barcelona (2017).

 

Solar’s work has been recently shown at the Liverpool Biennial 2021 curated by Manuela Moscoso, at the VII international Biennial of Young Art of Moscow (2020) and at the Köln Skulptur Park  #9 curated by Chus Martinez  (2017-2020) . Solar’s projects have been present at groups shows in Haus der Kunst, Munich; Kunstverein Munich, Kunstverein Braunschweig, Maxxi Roma, CA2M Madrid, Patio Herreriano Museum Valladolid and Marcelino Botín Foundation Santander, among others. She is currently a finalist of the Future Generation Prize 2021-2022 at Pinchuk Foundation in Kiev.

Estar a la lluna

FONTETA – Bombon · Joan Prats · NoguerasBlanchard

Capítol II: Estar a la lluna (Head in the clouds)

 

Opening: 7th of August, 12am-9pm

Exhibition until 26th of September

c/ Empordà, 10, Fonteta, Girona

 

August: Monday to Sunday, 5-9pm

September: Friday to Sunday, 5-9pm

or by appointment: (+34) 644 524 969

 

 

We’re delighted to present the second chapter of the joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard in Fonteta, a small village in the Emporda region.

 

The exhibition, conceived in two chapters (the first opening June 19th and the second August 7th) brings together artists from three different generations. The proposal begins with a concept from the Emporda Parar la fresca (to take in fresh air) described by Josep Pla in the book “Las Horas”.

 

 

Text by Gabriel Ventura

 

 

“Perhaps because for so many centuries it has been out of reach, it has awakened the most fantastical dreams, those which are most passionate and hidden. Its charm will always be on behalf of the nighttime, of the occult and intuition, of secrecy and excess. The moon -which dilates and dwarfs cat’s eyes, makes tides rise and fall, and inflates and deflates frogs continues to fascinate us with the same fervour of ancient times, even though we have already stepped upon it gingerly, and now some enlightened entrepreneurs plan to build hotels with galactic views. But let’s not fool ourselves: the colonising eagerness of Jeff Bezos and company will not be able to bring closer or make more comprehensible the mysteries of the White Hare or the Spider Woman.

 

Eternally distant, the moon has been worshiped by witches and vampires, by poets and fortune-tellers. As much as science tries to conquer it, the lunar mercurial light projects us towards remote and inscrutable futures, and invites us to reflect on the shadows and myths of the human condition. Throughout history we have linked it to fertility and the unconscious, to death and resurrection, to the repetition of life’s cycles. The first inscribed annotations on artefacts and tools from the Palaeolithic era consist of lunar records. In fact, is very likely that before the advent of agriculture, societies were organised according to a lunar temporal cycle, as demonstrated by Alexander Marshack’s research in The Roots of Civilization.

 

Unlike the sun, the omnipotent and constant star, the moon goes through phases; it waxes and wanes, dwindles, bends, and transforms. For this reason, there has been a historical tendency to represent what is immutable with the sun (God), and that which is changing and material with the moon (for example, Plato’s sublunar and mortal kingdom, the land of doubt and shadows). Inevitably, for millennia, human species has found its counterpart in the drama of the moon: being born, growing up, reproducing (the belly of the full moon), and dying. If the solar syntax divides and ranks –W.B. Yeats accused the sun of offering “complex and contrived” truths– the lunar syntax mixes and confuses the forms by being evasive, emotional, fluid. Symbolically, the moon evokes the imaginative, contingent, and ambiguous world of existence, which contrasts against absolute solar truths shaping an ideal world of being. It is impossible to look directly at the sun, it is impossible to enter into a dialogue with its dazzling presence. The moon, on the other hand, illuminates paths from the brinks of the sky and, in the words of Lorca, shamelessly shows its “one hundred identical faces”. Illusion, delirium, chimera, madness, chaos, dispersion (estar a la lluna 1): the attributes of the queen of the night suggest the transgression of daytime norms.

 

Lilacs and electric blues, striking yellows and raging reds, fluorescent greens that shoot up from the dark, like a scream piercing the conscience. The colours of the night sharpen the nerves as well as the eye; they make us untrusting, and we sense the intermittent heartbeat of danger.

 

A tremor runs down our backs: is it real, what we have seen? Can we believe in the images and words that appear under Selene’s cold light? Perhaps, deep down, being on the moon is one of the most fruitful and perplexing ways to be on Earth -not taking anything for granted, continuing to be suspicious, and looking up at the unfathomable secrets of the universe.

 

Gabriel Ventura

 

 

Capítol I: Parar la fresca (To take in fresh air)

Julia Varela

Visit with the artist on September 2, 18h30. By appointment at galeria@galeriajoanprats.com 

 

As part of artnou, Galeria Joan Prats presents the exhibiion Duress by Julia Varela (Madrid, 1986).

 

In the digital contemporary landscape mediated by technological devices, the perception of images is promoted through their visible condition. This visibility is what gives an image its performative status, the possibility of being and its social and legal recognition. The series of works presented in the exhibition and their historical context will address several issues surrounding this and other topics.

 

Julia Varela is an artist who works on the medium and materiality of images in the age of digital technology. Her research focuses on the states adopted by the irrepressible who resist representation.

The physical form of her work analyses the globalization of industries, technological matter and the concept of visuality. Her work intensifies our physical interaction with devices and their mechanisms, providing an alternative understanding of notions such as context and desire.

Julia has been part of the Critical Images research program in Kungl Konsthögskolan Royal Institute of Art, Stockholm. She holds a bachelor’s degree in Fine Arts and a master’s degree in Art Sculpture from the Royal College of Art London. Her latest exhibitions have taken place at: Centro de Cultura Contemporánea CondeDuque, Madrid; Fundació Suñol, Barcelona; Somerset House, London; Belgrade Cultural Centre BCC, Belgrade; Listost Gallery, Prague; Decad, Berlin; Yamakiwa Gallery, Japan; KIASMA Museum of Contemporary Art, Helsinki; Galleri Mejan, Stockholm; Resartis, Melbourne; La Casa Encendida, Madrid; Kunstverein am Rosa-Luxemburg-Platz, Berlin; CUL DE SAC Gallery, London.

She is currently a resident artist at HANGAR, Centre de producció i recerca d’arts visuals, Barcelona.

 

Fonteta Teresa Solar

FONTETA – Bombon · Joan Prats · NoguerasBlanchard

Capítol I: Parar la fresca (To take in fresh air)

 

Opening: 18th-19th of June. Exhibition until 3rd of August

c/ Empordà, 10, Fonteta, Girona

 

June and September: Friday to Sunday, 5-9pm

July and August: Monday to Sunday, 5-9pm

or by appointment: (+34) 644 524 969

 

Text by Gabriel Ventura.

 

We’re delighted to present a joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard, from June to September, in Fonteta, a small village in the Emporda region.

 

The exhibition, conceived in two chapters (the first opening June 19th and the second August 7th) brings together artists from three different generations. The proposal begins with a concept from the Emporda Parar la fresca (to take in fresh air) described by Josep Pla in the book “Las Horas”.

 

Parar la fresca, as Pla states, is the summer habit of taking a chair out into the street, or up onto a rooftop as the sun begins to fall and simply letting time pass. Parar la fresca has modest intentions, to ignore the heavens, to be blissfully unaware of what the sky offers us whilst sounds flow from the sunset and the summer heat. As Pla argues, there is nothing more pleasurable or kind than falling asleep in the fresh twilight. But what if one does not fall sleep easily?

 

Taking this question as a point of departure, works have been selected by artists addressing topics such as nature, landscape, time, contemplation, and the universe. They have been divided into two moments: Parar la fresca and Estar a la lluna. Two chapters of the same exhibition with artists such as Antoni Tàpies, Ana Mendieta, Joan Brossa, Hernández Pijuan, Rosa Tharrats, Perejaume, Teresa Solar, Jordi Mitjà, Aldo Urbano, Chema Madoz, Mari Eastman, Enric Farrés Duran, Wilfredo Prieto o Juan Uslé… amongst others. In addition, specific actions will be carried out by some of the artists linked to the Emporda.

 

In Pla’s words, “The vast sky dome, they say, invites us to think. That is true. But think about what?” The renowned Emporda author concludes that “people who have a sense of ridicule think, before the heavens, that they know nothing at all.”

 

 

* Capítol II: Estar a la lluna (Head in the clouds)

Lola Lasurt, Javier Peñafiel

Opening 15/5/2021 from 11am to 2pm

 

17/06, 18h30: Visit with the artists. + info

 

From the 15 of May, we shall exhibit the first collaborative exhibition by the artists Lola Lasurt and Javier Peñafiel, titled Desde hace tiempo que nuestras comunicaciones no vienen de un lugar reconocible [It has been a long time since our communications have not come from a recognizable place].

 

 

‘One in one, a transmission line.

 

For a long time, Lola and Javier have been working, imagining, drawing, describing, and reporting choreographies.

 

The fear of being contagious produced a reduction in contact, this fear both reduces and paralyzes at the same time.

 

To imagine co-immunities is a cry for help.

 

This is the point of the exhibition, the moment before the transmission. When the gaps in memory seem less passive, memory shakes them up. The memory of any place does not need the quantum to unfold.

 

We present a phrase/frieze, constructed from various completed works that is not a synthesis but an unfolding.

 

We are not simply one whole.

 

For a period of time Lola choreographed performances under water. Synchronized Swimming. The water has always been a place of choreography for both artists. Javier, personally affected by bone problems, is a disciplined swimmer of aquatic Chi Kung.

 

The conversation between Lola and Javier focuses on repeated figurers, unique ideas, personal dances, theater signs and the insubordination of the contexts.

 

Javier uses a phrase from a long time ago, for the things that are happening in the world, the removal of patrimony, changes, movements, the future. He refers to this step as Desactivo Domicilios (deactivated domiciles), the moment before the explosion, the prevention of the catastrophe, the unwritten chapter.

 

A phrase/ frieze of serial works by Lola and Javier extends over the gallery in form of a choreographed line.

 

Various works and videos accumulate in the main hall, ready for departure, unsure of when and at what speed, nor their exit strategy or shipping protocols.

 

Objects are most enigmatic when they are circulating.

 

‘I still remember when a change of residence meant the transfer of a (telephone) line, and it has been a long time since our communications have not come from a recognizable place.’

 

Ultimately, all transitive.’

 

Lola Lasurt and Javier Peñafiel

 

 

 

 

Lola Lasurt (Barcelona, 1983) lives and works in Barcelona. The gallery has collaborated with her since her individual exhibition Exercici de Ritme which took place in 2014.

 

Graduating in 2005 from Universitat de Barcelona, she completed two Masters in Artistic Productions and Investigation (2009-2010). Lola also trained between 2016 and 2019 at Royal College of Art (RCA). She showed her work at the Biennal d’Art de Valls (2009); Note Book KKKB, Barcelona (2010); Bienal de intervenciones site-specific. Alcontar, Almeria (2011); Auberge Espagnole, Anneessens Palace, Brussels (2013); Red Dawn, HISK, Ghent (2014); Young Belgian Art Prize, Brussels (2015); Foot Foraine, La Villete, Paris (2016); Daybreak, Royal College of Art, London (2017) or Generación 2018, La Casa Encendida, Madrid.

 

Amongst her latest exhibitions stands out Doble Autorització, Espai13, Fundació Miró, Barcelona (2014); Flag Dancing Moves, ornothing, Brussels (2015); Donació, Biblioteca Pública Arús, Barcelona (2016); Emissió Periòdica Definitiva, santcorneliarts(2), Cardedeu (2017) and Joc d’infants, La Capella, Barcelona. Currently her project Cardiograma is being shown at IVAM in Valencia.

 

Lola received an Exchange grant of Hangar and Greatmore Art Studios (2012); a grant of investigation of Sala d’Art jove of the Generalitat de Catalunya with the group Leland Palmer (2012); the Premi Miquel Casablancas, finalist edition mode (2013) and project mode (2015); a research and artistic scholarship of Generalitat de Catalunya (2014); the price Generación 2018, Fundación Montemadrid, La Casa Encendida, Madrid and the third price of the 15th Muestra de Arte Naturgy, MAC, A Coruña (2018).

 

 

 

 

Javier Peñafiel (Zaragoza, 1964). He was living in Barcelona from 1993 until 2020. He has collaborated with the gallery since 2004 presenting his first exhibition with a video called Confianza quería pentrar. In 2008 we showed his work in the exhibition No verbal. Todo escrito and in 2013 the exhibition Latido Antecedente.

 

After studying philosophy, Javier Peñafiel concentrated his work during the 1980s into ambits of system criticism. He formed himself outside of academic structures. In 1994, Manel Clot, curator of La Capella de l’Antic Hospital de la Santa Creu de Barcelona, offered him the opportunity to show his work for the first time at an individual show.

 

Since then, Peñafiel showed is work both at home in Spain and abroad: Conferencia performativa, MUSAC, León (2013); Languages and Aesthetics of Spanish Videos Art: Ten Years of Critical Practices, Videotape, Hong Kong (2015); VÍDEO-RÉGIMEN. Coleccionistas en la era ausdiovisual, Museo Lázaro Galdiano, Madrid (2015); Cómo hacer arte con palabras, MUSAC, León (2016); Discursos Premeditats, Centre del Carme, Valencia; Bibliotecas insólitas, La Casa Encendidada, Madrid (2017); Walkabout #01, Fondazione La Fabbrica del Cioccolato, Torre-Dangio in Valle di Blenio, Switzerland (2018).

 

Furthermore, Javier Peñafiel has shown his work in individual exhibitions, Puente, continúa, Pabellón Puente, Zaragoza (2013); Egolactante, Sala Anilla, MAC Museo de Arte Contemporáneo. Universidad de Chile, Santiago (2014); Pánico Esnob, etHALL, Barcelona (2015); Agència en avenir – No tots visibles res transparent, Arts Santa Mònica, Barcelona (2017); ¡Más que pañabras, obras!, Instituto Cervantes, Bordeaux (2019) or Alrededores exentos de adultocentrismo, Casa Solleric, Palma (2020).

Caio Reisewitz

Text by Verónica Stigger (Porto Alegre, 1973), writer, art critic, curator and professor. 

 

3D tour

 

Conversations with Caio Reisewitz & curators. (see below)

 

      

 

From the 11 of March, we shall exhibit Recado da Mata, the fourth exhibition by Caio Reisewitz at Galeria Joan Prats. We present 11 photographs, a video, and an audio piece.

 

Caio Reisewitz has gathered many of the photographs in this exhibition together in response to reading books written by two great thinkers and indigenous leaders working in Brazil today: A queda do céu [The fall of heaven] by Davi Kopenawa with co-authorship from Bruce Albert, and Ideias para adiar o fim do mundo [Ideas to postpone the end of the world] by Ailton Krenak. The title of the exhibition furthermore lends itself from the preface written by anthropologist Eduardo Viveiros de Castro for Kopenawa and Bruce Albert’s book who in turn alludes to the tale O recado do morro [The Message of the Hill], by Joao Guimarées Rosa. In the story, a homeless man and a hermit warn the people of the region about a message they claim to have received from Morro da Garça (Hill of Garça) itself. In a group of 7 men, one of them will be killed through treason. In the preface Viveiros de Castro begins with the idea of imminent death proclaimed by nature, now it is not from the voice of the hill but through the voice of the jungle. The jungle warns us that it is being exterminated by man; this is the message that Caio Reisewitz attempts to convey in his photographs.

 

One of the most recent works presented in the exhibition by Caio Reisewitz is Ambé, whose title much like the other works displayed (excluding Penedo), refers to a place name of Tupí origin. Ambé is the name of a rural community 80km from the center of Macapá in Amapá. However, in the Amazon region it also means that which is rugged, frizzy and rough. Much like the vast majority of Reisewitz’s works, in this photograph we are unable to distinguish human presence. We see only a thick tangle of branches, trunks and leaves characteristic of the Amazon rainforest. Nevertheless, the inability to distinguish human presence in the jungle does not mean it is uninhabited. The indigenous placename reminds us that for Amerindians the jungle is continuously full of a multiplicity of beings that remain invisible to us (…). By pasting fragments of different photographs, overlaying them, and re-photographing them with colour manipulation, provides the scene with a bluish tint. In Ambé, Reisewitz creates an unreal almost spectral environment; he shows an image of a dream or a vision of a shaman. Despite our inability to see the invisible beings of the jungle we are still able to sense their presence (…).

 

Always concerned about man’s rampant exploitation of nature and its dire consequences, Caio Reisewitz, in photographs such as Tipioca and Upurupã, finds a way to make this message even more eloquent, more visible. He overlaps an image of the jungle with part of the Palácio Del Planalto (the seat of Brazil’s federal executive power) which we glimpse at like a ghost or apparition floating menacingly. We must not ignore that this exhibition takes place at a time when the government is currently under the rule of President Jair Bolsonaro. Jair Bolsonaro is an admitted accomplice to the greatest devastation ever imposed on the Amazon and Pantanal in recent history. Deforestation reached its highest level since 2008. Additionally, there have been repeated attacks against the indigenous population, their territories and their given rights which were stipulated in the 1988 Constitution. In the last two years, several Brazilian cities including those in Southeast and South have been covered by smoke for days dye to forest fires. It is no longer just a message, but a loud cry of help from the jungle.

 

 

 

Caio Reisewitz (São Paulo, 1967) lives and works in São Paulo. He is one of the most important photographers from Brazil; he has focused his work on the difficult relationship between nature and people. Recent individual exhibitions include: Biblioteca, Museo de Antioquia, Colombia (2018); Altamira, Pinacoteca do Estado de São Paulo (2017); Ingenios de hoy, Photoespaña, Museo de Albacete (2016); Disorder, Maison Europeénne de la Photographie, Paris and Florestas, favelas e falcatruas, Huis Marseille Museum voor Fotografie, Amsterdam (2015); Caio Reisewitz, ICP – International Center of Photography, New York (2014). He has participated in Biennale de l’Image Tangible, Paris (2018); The Guangzhou Image Triennial (2017); Bienal de Curitiba, Brazil (2015 and 2013); Biennial Daegu Photo, South Korea (2014), Project LARA Latin American Roaming Artist, Colombia (2013), Nanjing Biennale (2010), Bienal del Fin del Mundo of Ushuaia, Argentina (2009 and 2007), Venice Biennale (2005) representing Brazil, and in São Paulo Art Biennial (2004). His work has been shown in international arts centers, such as Beijing Minsheng Art Museum; Phoenix Art Museum, Arizona; Gropius Bau, Berlin; Cisneros Fontanals Art Foundation, Miami; MARCO, Vigo; CAAC, Seville; MUSAC, León; Museu de Arte Contemporanea de Goiás, Goiania; Museu de Arte Moderna da Bahia, Bahia; Casa da Imagem, OCA, São Paulo; CCBB, Rio de Janeiro and Grand Palais, Paris; amongst others.

 

Friday, April 30th, 6 pm – Online (in Spanish and Portuguese) via this Link

‘Caio Reisewitz y la crisis ambiental y forestal en el contexto del arte contemporáneo’

Conversation with Paula Alzugaray (editor and independent curator specialised in video art), Orlando Maneschy (professor at UFPA-Federal University of Pará, Amazônia) and Caio Reisewitz (artist)

Approximate duration: 50 minutes

 

Friday, May 7th, 7 pm – Galeria Joan Prats (confirm attendance via galeria@galeriajoanprats.com) and online (in Spanish) via this Link

‘Fotografía contemporánea en el contexto actual y coleccionismo’

Conversation with Caio Reisewitz (artist), Moritz Neumüller (curator and critic specialised in the mediums of photography and digital art) and Alejandro Castellote (curator of photography)

Approximate duration: 50 minutes

 

 

Cabello/Carceller

 

Text on the exhibition by Pablo Martínez’s (Valladolid, 1979. Head of Programs at MACBA, Barcelona)

 

3D tour

 

Podcast Radio web Macba

 

We are pleased to present the third exhibition of Cabello/Carceller at Galeria Joan Prats, entitled I am A Stranger, and I am Moving, in which we show recent works: drawings, installation, video and photographs.

 

The exhibition appears as a chapter of an essay, whose central theme revolves around the video, Movimientos para una manifestación en solitario (Movements for a Solo Demonstration). Alike in structure, the exhibition also addresses various topics in its Notas al pie (footnotes), through drawings and photographs. The exhibition delves into fundamental issues such as the solitude experienced by those who choose to dissent from the lifestyle of the majority, the pressure felt to maintain a belligerent stance that defends freedom of choice and the need to produce entirely the limited vehemence that we often grant ourselves.

 

The title of the exhibition is a quote from David Wojnarowicz’s last conference before he died of AIDS in 1992. It refers to the stranglehold that accompanies the sick body, a despised body that society would prefer to expel. David Wojnarowicz is one of the artists that appears in the drawings and collages of Notas al pie, found in the first room, along with Tórtola Valencia, Pedro Lemebel, Agustina González López and Hélio Oiticica. Cabello/Carceller communicate through the past and present, speaking of those who have questioned the heteronomy of their bodies, who from their dissent, were able to transform disease, rejection and hatred into poetry.

 

This hatred saw Agustina González López shot in Granada, and later forgotten, during the same period as Federico García Lorca. She was defined by ‘social madness’ and suffered persecution and ridicule for her differences. Tórtola Valencia lived her sexuality as openly as time provided her, liberating her body and with it other bodies in search for new forms of physical expression. Pedro Lemebel dared to confront the Chilean dictatorship in the streets, but also the stale sectors of the Marxist left, wary of the revolutionary force of the transvestite, of her questioning of the patriarchal order and its obligatory gender conformity. Also, Hélio Oiticica, an anarcho-artist and a pioneer of relational practices that he chose to load with revolutionary content. He paired the aesthetics of the Russian avant-garde with dancing bodies in the favelas through a festival of colour and free expression, the ‘Parangolés’.

 

The video Movimientos para una manifestación en solitario features a body that becomes a manifestation in itself, a rebellious body that questions identity norms through movements, attitudes, and a way of being that vindicates itself politically. The body is alone but empowered in the awareness that its presence is itself a transformative presence, whose femininity gives it strength while being the cause of its social marginalization. The performer holds a banner that is present in the exhibition and quotes a fragment of a well-known phrase by Baruch Spinoza, ‘Lo que puede un cuerpo’, that opens the door to the philosophical sustenance of affect theory.

 

Fernando Prats

Introductory video to the exhibition

3D Virtual Tour

 

We are pleased to present the seventh exhibition of Fernando Prats at Galeria Joan Prats, titled Primera Línea (Front line), which shows his most recent work, carried out in the context of the protests that took place in Chile during the months of October and November 2019.

 

Fernando Prats work is determined by the relationship with the energy of nature and the territory, rooted in the ties that he establishes fundamentally with his origin country, Chile. The Andes mountain range, the Atacama desert, the Pacific Ocean and Antarctica, as well as memory, are inescapable and constitutive links of his work, turning the Chilean landscape into his poetic and pictorial language from a contemporary practice. Based on the constant observation of the context, nature, the human being and his intervention in critical situations, the work of Fernando Prats is understood from the concept of “pictorial geolicity”, that is to say, painting as a mobilizing agent, an active surface that works through layers that open up to new displacements. It is perceived in this way as a process that transforms the language of the work itself from a perspective far from the rational, seeking a space of creation free of judgment that considers chance as a revealing force. The use of smoke as a primary element in his work, a materiality of ancestral use, allows, through an original technical process, to capture the traces and pulsations that become in the painting.

 

On October 18, 2019, Chile was shocked by a true social earthquake that would begin to declare itself as “the awakening of Chile”, becoming the most eloquent call, after the dictatorship, for a profound change in the country’s neoliberal and cultural economic model. In this context, and as Fernando Prats’ method of work has always been, the artist introduced himself in the center of the demonstrations in Santiago, living in first person an experience that allowed him to record the movement and confrontation of the Front Line. The materiality, the social landscape, the superposition of the bodies in resistance, the visual languages and the word build a cartography of resonances, signs and drives of a country’s memory.

 

“To this alludes “Chile woke up”, the slogan that, starting on October 18th 2019, began to run through the streets and squares of the country like a trail, unexpectedly upholstered by a crowd that emerged from the most diverse corners to dust off a forgotten language – the language of dignity – and staging the creative moment of a destitute power. (…)

 

This is what the work of the artist Fernando Prats seems to exhibit, that work has consisted since its inception in capturing that particular moment in which certain materials in rebellion (physical, geographical, domestic) knot each other releasing the mnemic energy of the country. We perceive it in a palpable way in this new show, Primera Línea, a kind of small visual atlas in motion in which fragments of texts, images, slogans, emblems and bodies shape the hectic days of a community that shows the artistic moment that precedes both the script of the story, and that which is characteristic of aesthetic work.

 

The visual daily example that Prats traces -pictoric itself and articulated by means of records and video- gives the impression of fulfilling two crucial objectives in this way: undressing on one hand the raw visuality that during Chile’s revolt forges intervened monuments, the fire of the barricades, the cobblestones torn from the sidewalks, the rewritten flag and the fighting bodies as part of a performance practice that is anticipated when making the artist’s singular, and showing on the other hand that the extreme energy that his own work liberates is not part of the muse that visits the creator in silence, but the underground power of some images of the confines of a creative multitude. This shows Prats as a determined friend of those who fight for their rights, and not of those who defend their privileges.”

 

Fragments of the text “AHORA. Acerca de Primera Línea, de Fernando Prats” by Federico Galende (Rosario, Argentina, 1965)

 

 

Fernando Prats (Santiago de Chile, 1967) lives and works in Barcelona. His work is known for the actions or expeditions undertaken mostly in Chile, including among others Gran Sur, Elephant Island, Antarctica (2011), Acción Lota, acción Géiser del Tatio, acción Salar de Atacama, acción Mina a Rajo Abierto (2006) or Congelación, on the Collins glacier, Chilean Antarctica (2002).

 

He has received distinctions as the John Simon Guggenheim Foundation Grant (2007); artist-in-residence at the Kunst-Station Sankt Peter Köln, Cologne (2003); ‘Presidente de la República del Gobierno de Chile’ Honor Grant (1997-2000); ‘Pilar Juncosa y Sotheby’s’ special award (1994) or ‘Ciutat de Palma Antoni Gelabert d’Arts Visuals’ award (2010).

 

He has participated in international exhibitions as the Venice Biennale, representing Chile (2011); Mediations Biennale, Poznan (2012); Canarias Biennial, Chile Triennial (2009), ‘Exposición Universal del Agua’, Zaragoza (2008), Espace Culturel Louis Vuitton, Paris, Fundació Joan Miró, Barcelona (2011); or Museo Nacional de Bellas Artes, Santiago de Chile (2004), among others.

 

He has significant public space works as Pou de Llum, Manresa, Spain (2008); Acción Medular, in hommage to General Carlos Prats González (2017) installed as a permanent work at Museo de la Memoria y los Derechos Humanos de Chile (2007) or Su vertical nos retiene, monumental work built at Parque Cerrillos, Santiago de Chile, thanks to a public competition held by the Chilean Ministry of Public Works for the COP25 (Summit on climate change), which was to be held in Santiago de Chile in December 2019. Currently the Barcelona’s Town Hall has commissioned the artist to carry out a monumental project in Plaza Pablo Neruda in hommage to the task of the republican exiles welcome undertaken by the poet.

 

Fernando Prats has just been the winner of the third edition of the call to carry out artistic interventions in ‘Fragmentos, Espacio de Arte y Memoria, Museo Nacional de Colombia’, with the project ‘Aún tendría que haber luciérnagas’.

 

 

* To provide you with more information and images, please contact galeria@galeriajoanprats.com

 

 

exposure:the fact of experiencing something or being affected by it because of being in a particular situation or place (Cambridge Dictionary)

 

Exposures is a series of online exhibitions that aims to reflect on topics related to the current context, and around the general idea of ‘The body and the other’.

 

Exposures #03The hands

 

The third proposal revolves around the hand, the part of the human body most linked to the artistic creation along with the eyes and which at the same time helps us to communicate and relate, just like the word.

 

It brings together works by Erick Beltrán, Cabello/Carceller, Victoria Civera, Hannah Collins, Enzo Cucchi, Chema Madoz, Enrique Martínez Celaya, Muntadas, Perejaume, Marcel Rubio Juliana and Julião Sarmento.

 

Our hands are taking an unusual role in the last months due to their role in the transmission of viruses. Touching things, touching our faces, touching other hands has become dangerous, hands are now forced to cover themselves with gloves, to wash constantly, not to touch, not even to say hello.

 

But we have seen how its presence has been a constant in many artistic works, from prehistoric art to the present day, due to its formal and symbolic variety.

 

The non-verbal language of gestures reveals the relationship between hand and mind. In the works we show, the hand gestures express different moods, feelings, attitudes or emotions from fear or sorrow to sensuality or complicity. Sometimes, as happens for example in Julião Sarmento’s works, its representation alludes to the totality of the human body.

 

Hand gestures also refer to social conventions, thus becoming a representation of the human condition in close relationship with culture and expression. As evidenced in some of Muntadas‘ works, this rhetorical figure can define ambition, agreement, imposition, authority or power.

 

This exhibition will be on view until September 30th.

 

Access the exhibition

think about the size

JORDI ALCARAZ, PAULINE BASTARD, ERICK BELTRÁN, ALFONS BORRELL, CABELLO/CARCELLER, CABRITA, VICTORIA CIVERA, HANNAH COLLINS, CARLES CONGOST, LUIS GORDILLO, ANNIKA KAHRS, LOLA LASURT, FABIAN MARCACCIO, ENRIQUE MARTÍNEZ CELAYA, MUNTADAS, JAVIER PEÑAFIEL, PEREJAUME, PABLO DEL POZO, FERNANDO PRATS, CAIO REISEWITZ, MARCEL RUBIO JULIANA, JULIÃO SARMENTO, JOSÉ MARÍA SICILIA, TERESA SOLAR, JUAN USLÉ 

 

 

“Escric amb rius i turons / sobre el paper de les planes”    Perejaume*

 

Spring has been marked by a radical transformation of our ways of moving, relating and exchanging. Suddenly everything has changed. Our perception of everyday things and also of the most relevant things has been questioned. What seemed essential to us becomes not essential. We have realized the precariousness of life, we have known the importance of solidarity, of family, of our loved ones, of our environment. Nature and the environment have also taken a leading role that they did not have before.

 

Facing this, we have dared to ask the artists of the gallery to participate in this exhibition that we now present, with works which they have carried out during this time of social isolation. They are diverse answers to the same question, they have in common the use of paper as a medium, common for some –like Victoria Civera or Perejaume– and unprecedented for others –like Hannah Collins or Annika Kahrs–.

 

The making of these works has been able to become an escape route, a tool to continue working despite the difficulties and, at the same time, they allow the spectator to enter the intimacy of the studios and the heads of their creators. They are, in most cases, works made at home, with house’s tools, testimonies of a unique and, we hope, unrepeatable moment.

 

‘Think about the size of the universe, then brush your teeth and go to bed’ takes the title of a work by the artist Annika Kahrs. Starting with humor, it invites us to reflect on the balance between micro and macro levels and on the search for meaning and identity within the unfathomable universe of which we are a part, reflections that become fundamental in the current context.

 

The result of this exhibition has been a series of diverse works. In some cases, we see that the themes that worried the artists, before the pandemic, have maintained their leading role or, even in others, they show fragments of their work process and are linked to future projects.

 

In other cases, we find proposals that speak directly of the current moment: reflections on personal relationships, the political situation, messages from the media or vulnerable groups such as children and the elderly.

 

Finally, we would also find a third group of works that focus on observing the closest environment and nature.

 

 

To provide you with more information and images, please contact galeria@galeriajoanprats.com

 

 

* “I write with rivers and hills / on the paper of the plains” Perejaume

Opening 16.01, 19h

Exhibition 17.01 – 30.05.2020

 

 

On Thursday January 16, we will open the seventh exhibition of Chema Madoz at the Galeria Joan Prats. We will present recent works made between 2012 and 2018.

 

The black and white photographs by Chema Madoz are characterized by their sharpness and fineness. Simple objects of everyday life appear in his pictures. The photographer has manipulated them, often combining two objects, looking for associations or paradoxes. These sculptures created by the artist are born only to be photographed, always with natural light. The change of scale and the absence of color allow us to establish a distance and at the same time distort reality, questioning ideas such as the true and the possible.

 

In the images of Chema Madoz, therefore, two points of view converge, the one from the photographer himself and the one from the viewer, who faces photography from the same place from where he faced the object. In the words of Chema Madoz, he is interested in “the idea of finding, discovering and perceiving the mystery in everyday life.” At the same time, the artist conceives reality as an exercise of reading, and with a cold look, he documents the destruction of its rules through photography.

 

All the photographs are printed on baryta paper and sulfide toned.

A Storm in a Teacup & Sideshow of a sideshow, 2012

exposure:the fact of experiencing something or being affected by it because of being in a particular situation or place (Cambridge Dictionary)

 

Exposures is a series of online exhibitions that aims to reflect on topics related to the current context, and around the general idea of ‘The body and the other’.

 

Exposures #02. The word 

The second proposal brings together conceptual practices around the word and the language, basic tools in our relationship with the world and with others.

The works of Erick Beltrán, Joan Brossa, Pauline Bastard, Muntadas, Javier Peñafiel, Perejaume, Teresa Solar and Anna Dot (guest artist) propose texts, phrases, messages, statements, which become resources for the analysis of reality, characterized by their critical and transforming character of the art system and society.

The works presented reflect the relationship between word and image and use various linguistic strategies. In the case of Teresa Solar‘s work, she plays with the aesthetics of phonetics and language learning posters. In other cases, language is used from a sound dimension -as in the work of Perejaume-, a sign –Javier Peñafiel– or poetic –Joan Brossa.

In the 2018 Muntadas work, the mechanisms of communication, language and the problematic relationship between the production of knowledge and economic power are analyzed. Also in the case of Erick Beltrán, through language, he dissects the world to classify it, categorize it, differentiate each of its elements in order to try to understand it.

In a more narrative line, Pauline Bastard‘s work starts from objects found casually that allow her to entrust strangers with the writing of creative fictions.

Lastly, we wanted to introduce an action carried out by Anna Dot at the Fundació Brossa in 2019, evidently for her connection with Joan Brossa, but also for her poetic reflection on the construction of words. 

This exhibition will be on view until 10 of June.

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Exposures#01

exposure: the fact of experiencing something or being affected by it because of being in a particular situation or place (Cambridge Dictionary)


Exposures
 is a series of online exhibitions that aims to reflect on topics related to the current context, and around the general idea of ‘The body and the other’.

Exposures #01. The first proposal is an adaptation of the project that we presented a few months ago for Loop’19, entitled 26 thousand light years. To the works by ANNIKA KAHRSALICIA KOPF and TERESA SOLAR, this time a work by PEDRO TORRES is added. This exhibition can be seen for 15 days.


26 thousand light years
 gathers a selection of videos that 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.

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45. I tu ni te'n vas adonar, 2019

Opening Thursday, June 25, 5-8pm
Exhibition 25/06 – 17/10/2020

 

Visit by appointment only using Form.
(T. 93 216 02 84 – galeria@galeriajoanprats.com)

Joan Prats Warehouse. Passatge Saladrigas, 5 Barcelona.

 

 

As part of Artnou, Galeria Joan Prats presents the exhibition ‘El retorn a Ripollet’ by Marcel Rubio Juliana (Barcelona, 1991), that brings together a wide range of works, made between 2018 and 2019.

 

Marcel Rubio Juliana expresses himself mainly through drawing and painting, although his approach to creation has to do with the literary essay. Large charcoal canvases and oil miniatures confer the rhythm of a fragmented story that develops an apparently linear story, with unity of time and place. We could see certain analogies with the “nouveau roman”, where different points of view are adopted away from the narrator’s unique vision and where the writing itself acquires autonomy regardless of what is written. The Dogma film script could be another reference: both use real locations, flee from superfluous effects and seek a crude realism, creating a series of rules to follow and, sometimes, to transgress.

 

Alluding to his own experiences and desires, the artist evokes a summer day in which an stranger unknowingly becomes the main character of a singular story. Located in a coastal city near Barcelona, different sequences invite us on a journey in which, following a phenomenological method, contemplation, drift and falling in love offer a precise description of the environment.

 

The narration follows in the footsteps of a young man, from the train station to the city center, passing by the beach, the Yacht Club and various shopping streets, creating a cinematographic record of the places evoked. It also shows us bodies enjoying the water, the view of the sun over the sea, a kiosk, the facade of a theater, stains of humidity on the wall, a flower, a group of friends on a bar´s terrace… everything is there, present in the memory, although everything could be imagined.

 

 

Marcel Rubio Juliana (Barcelona, 1991) studied at Pau Gargallo School of Art and Design (Badalona), where he graduated in 2007. He later studied the Fine Arts degree at the University of Barcelona, which he completed in 2013.

 

Since then, he has shown his work in the following exhibitions: Surfeit, Fundación Arranz-Bravo, l’Hospitalet de Llobregat, Barcelona (2018); Swab Art Fair, Barcelona, represented by Passatge Studio gallery (2016); The muscles of Zarathustra (with the writer Victor Balcells Matas), Passatge Studio, Barcelona (2016); Pasajes, La Puntual de Mercantic, Sant Cugat, Barcelona (2016); Carles Boïges, cycle of exhibitions, with the collaboration of Tom Carr and his team, TCTeamWork, Badalona (2014); University of Fine Arts, Barcelona (2014); Drawing the night (group exhibition), Anquin Gallery, Reus, Tarragona (2014).

 

He has been nominated for different awards: Bienal Torres Garcia, Mataró, with the work Spectro, 2016; Ynglada-Guillot Foundation, with the drawing Geschlagen, 2015, exhibited at Espai Volart, Barcelona; Drawing Prize of the Güell Foundation, exhibited in Palau Güell, Barcelona, 2015-16; Art Biennial : Tapiró Painting Prize with the drawing What time is it?, 2013.

 

In 2021 he will present an exhibition at Espai 13 of the Miró Foundation, in a cycle curated by Pere Llobera.

ARCO Madrid

 

26/02/2020 – 01/03/2020

 

Booth 9C09

 

LUIS GORDILLO . CHEMA MADOZ . MUNTADAS . FERNANDO PRATS . JULIAO SARMENTO . JOSÉ MARÍA SICILIA . PEREJAUME . ALICIA KOPF . TERESA SOLAR . JUAN USLÉ . PABLO DEL POZO . VICTORIA CIVERA . HERNÁNDEZ PIJUAN

 

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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.