Category Archives: 2023

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.

 

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