Tag Archives: Alicia Kopf

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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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Access to the exhibition

 

 

 

Galeria Joan Prats

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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el-mon-sera-tlon-nomes-imatge

El món serà Tlön. Bòlit. Centre d’art contemporani de Girona.

 

Una exposició col·lectiva amb Alicia Kopf / Serafín Álvarez / Lúa Coderch / Ana Garcia-Pineda / Rosell Meseguer / Claudia Pagès / Aleix Plademunt / Ricardo Trigo

 

Comissariada per: Jordi Antas

 

Inauguració, divendres 21 de febrer a les 19h.

 

Del 21 de febrer al 26 d’abril de 2020.

 

 

“El món serà Tlön”, com a aforisme del conte de Borges i com a títol d’una exposició d’art contemporani, més enllà de la seva trama argumental té a veure amb les relacions emocionals que s’estableixen entre entitats humanes i no humanes i els seus entorns tractats des d’àmbits tan diversos com l’alquímia, la psicologia, la mística, la literatura o les realitats paral·leles.

 

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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.

Alicia Kopf

Opening, June 13th, 7pm

Exhibition: 14/06 – 31/07/2019

Thursday 25.07.2019, 7 pm : Sound and performative action with Nil Ciuró + Núria Guiu + Alicia Kopf

 

 

 

Speculative Intimacy proposes an emotional science fiction perspective to originate new stories about the interactions between bodies, human and non-human.

 

Resignify the sci-fi to a speculation on desire – that gravitational attraction – in a bet for a de-hierarchization of points of view among actants recognizing the obsolescence of some of the representation tools that have been given to us. A transposition of scales, points of view and genres.

 

Philip Roth exposed the question of intimacy in spatial terms: “the great joke that biology is spending on you is that you get to intimacy before you know anything. In the initial moment you understand everything. At first, each one is attracted to the surface of the other, but also intuits the total dimension. And the attraction does not have to be equivalent: one is attracted by one thing, and the other, by another. It’s surface, it’s curiosity, but then, zas, the dimension. “

 

Zas. The dimension.

 

Their new entry portals, such as online dating apps and the ever-increasing approach of technological devices to the body, attract us to an event horizon unattained until now. Speculating in the trail of Agustín Fernández Mallo, “it may not be the Internet of things but the love of things that saves us from cosmic solitude …”

 

Alicia Kopf

 

(Full correspondence between Alicia Kopf and scientists Augustín Fernández Mallo and Carlos Pobes)

 

 

Speculative Intimacy is the second exhibition by Alicia Kopf at Galeria Joan Prats. It’s her most recent work, which brings together drawings, photographs, writing and a video made with the collaboration of the choreographer and dancer Núria Guiu.

 

From the exercise of drawing and writing, Alicia Kopf (Gerona, 1982) 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). Until September 22nd, she exhibits 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.

 

 

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

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Azkuna Zentroa, Bilbao

14.3 – 22.9.2019

Inauguración 14.3.2019 – 19.30h

Comisario: Iván de la Nuez

Artistas: Kurt CAVIEZEL, Cristina DE MIDDEL, Gonzalo ELVIRA, Oier ETXEBERRIA, Kiko FAXAS, Joan FONTCUBERTA, Verónica GERBER BICECCI, Alicia KOPF, Glenda LEÓN, Valérie MRÉJEN, Guillem NADAL, Mabi REVUELTA, Xabier SALABERRIA.

 

«Nunca real y siempre verdadero» es una frase de Artaud que funciona como estandarte de esta exposición sobre la simbiosis entre el arte y la literatura. Un lema que conecta a los trece artistas participantes, que se mueven entre ambos mundos y cuyos trabajos tratan con naturalidad al arte como un género literario y a la literatura como un proyecto expositivo. Aquí queda marcada una crítica al statu quo de los sistemas que gobiernan tanto el arte como la literatura, y a su tratamiento como cotos cerrados. De ahí la apuesta por el traspaso de sus respectivas fronteras y la intención de disolverlas.

 

Digamos que no es sólo un ‘arte’ para mirar, sino también para leer. Del mismo modo que se ha producido una implosión del arte en la literatura, ha tenido lugar una energía centrífuga que, en dirección opuesta, ha colocado a la narrativa en el mundo del arte, ofreciéndole un campo en el que progresar y renovarse. Así, en Nunca real / Siempre verdadero se entiende que, ante la cascada visual que nos agobia, el arte ha de ser capaz de acoger las palabras que expliquen esta Era de la Imagen.

 

Nunca real / Siempre verdadero es, al mismo tiempo, una exposición, una reflexión sobre la posibilidad narrativa del arte y, finalmente, la construcción de un espacio común para alojar esa aventura. Es un libro de libros, un relato a la vista y en tiempo real. Una experiencia que busca transparentar ese proceso en que el texto se convierte en textura, la palabra en imagen, el libro en display, la exposición literaria en exposición visual.

 

Iván de la Nuez. Comisario de la exposición.

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Inauguración 15.2.2019: Fondazione Baruchello 18 h / Accademia di Spagna 19.30 h

 

Footnote to a Footnote* es una exposición que tendrá lugar en dos sedes romanas adyacentes: la Real Academia de España en San Pietro in Montorio y la Fondazione Baruchello en Via del Vascello, 35. El proyecto es el resultado de un año de residencia del comisario Javier Hontoria en la Academia de España, donde ha desarrollado una investigación sobre Gianfranco Baruchello.

 

El título de la exposición, Footnote to a Footnote*, se refiere a la falta de centro que envuelve la obra de Baruchello. En su trabajo, una nota a pie de página nunca se referiría a una narrativa primaria. Al contrario, se dirigiría a otras notas a pie de página y después a otras notas en una secuencia que podría extenderse ad infinitum. Dado que el proyecto se realiza en dos exposiciones, estas se convierten en notas a pie de página la una de la otra, puesto que muchos de los trabajos están sujetos a una deslocalización, un decalage con el que entender se vuelve un suelo resbaladizo. El discurso en una sede se convierte en imagen en la otra, el texto se convierte en acción, el presente en historia, la realidad en mito.

 

*Un proyecto de Javier Hontoria, con Lara Almarcegui, Patricia Esquivias, Dora García, Núria Güell, Alicia Kopf, Fina Miralles, Itziar Okariz, Julia Spínola y Gianfranco Baruchello de fondo.

 

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MAC Museo de Arte Contemporáneo, A Coruña

25.10- 30.12.2018

 

La Mostra es una bienal de arte celebrada desde 1989 que refleja cómo los artistas visuales actuales exploran sus inquietudes e ideas a través de las técnicas más diversas, abundando en esta edición excelentes reflexiones sobre el territorio. La exposición se construye a partir de una convocatoria que ha retado al jurado a seleccionar 55 artistas y cuatro premios de entre las más de 400 obras presentadas al certamen. Finalmente, se han decantado por la bellísima cartografía de José Ramón Amondarain (Primer Premio), la odisea fílmica de Bárbara Sánchez Barroso (Segundo Premio), el testimonio de un enfrentamiento por Lola Lasurt (Tercer Premio) y la instalación de Sara Coleman (Premio Julián Trincado, otorgado por el Ayuntamiento de A Coruña).

 

Artistas seleccionados: Juan Adrio, Aggtelek, Irma Álvarez-Laviada, José Ramón Amondarain, Elena Bajo, Juan Baraja, Pablo Barreiro, Misha Bies Golas, Jacobo Bugarín, Antón Cabaleiro, María Castellanos & Alberto Valverde, Rosendo Cid, Sara Coleman, Arturo Comas, Manuel Diego Sánchez, Ana Esteve Reig, Almudena Fdez. Ortega, Tamara Feijoo, Antonio Fernández Alvira, Cristina Ferrández, Fuentesal & Arenillas, Lúa Gándara, Christian García Bello, Sara García, Ana Garcia-Pineda, Alejandro Ginés, Blanca Gracia, Amaya Hernández, Julia Huete, Abel Jaramillo, Alicia Kopf, Lola Lasurt, Marco Moreira, Paul Orsen, Javier Palacios, Antonio Payá, Fran Pérez Rus, Mercedes Pimiento, Mar Ramón, Ana Riaño, Javier Rodríguez Lozano, Rodríguez-Méndez, Shirin Salehi, Bárbara Sánchez Barroso, Patricia Sandonis, Mario Santamaría, Borja Santomé, Paula Santomé, Sra. Polaroiska, Jorge Varela, Olimpia Velasco, Denica Veselinova, Keke Vilabelda, Jorge Yeregui, Juan Zurita.

 

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Godafoss (God's waterfall), 2016

Alicia Kopf | Cabello/Carceller

Lola Lasurt | Perejaume

Teresa Solar Abboud | Fernando Prats

 

Exhibition: 6-22 September, Tue-Fri 11-14h & 16-20h

 

On the occasion of the sixth edition of Artnou, Galeria Joan Prats presents Confluències, an exhibition that brings together works by the artists Alicia Kopf, Lola Lasurt and Teresa Solar Abboud, who establish a dialogue with works of other artists of the gallery, chosen by them: Cabello/Carceller, Perejaume and Fernando Prats. Thus emerge dynamics based on the exchange of views between artists of different generations, which lead to connections and new readings, sometimes direct, sometimes unexpected.

 

 

Alicia Kopf presents the photographic series Waterfall Chasers (2015), which symbolically alludes to the thaw as a moment of uncontrolled emotions, from representations of waterfalls. The idea of water fluidity links these works to a series of drawings by Cabello / Carceller, titled Autorretrato como fuente (Self-portrait as source) and Fuente (Source) (2005).

 

The work by Lola Lasurt Preparation for Wit Boven Zwar (2016), composed of oils on canvas and costumes, proposes a reconstitution of the Carnival of Aalst of 1946 from a 16mm film of that time. With a similar approach, Perejaume, in the series of drawings Ball de muntanyes (2007), associates the folkloric dances to the mountains, using, as is common in its practice, references to the Catalan culture that refer to universal preoccupations.

 

Teresa Solar Abboud, with Doble Mordido (Double Bite, 2013), investigates the tools and photographic processes that intervened in the experiments of Harold Edgerton, questioning concepts such as protection, concealment or overexposure. In the same way, Fernando Prats, in Sismograma Chuquicamata (2008), uses para-photographic techniques, such as smoked paper, in order to fix moments or traces of an action in a landscape.

ice blink

MACZUL – Museo de Arte Contemporáneo del Zulia, Maracaibo.

Del 22/04 al 02/07/2017.

 

Curadoría: Patricia Hambrona.

 

El Museo de Arte Contemporáneo del Zulia presenta con el apoyo de la Embajada de España en Venezuela el programa expositivo correspondencias de Ultramar, se inicia con la muestra “Ice Blink” de Alicia Kopf el sábado 22 de abril de 2017 a las 4:00 de la tarde en la sala 4.

“Ice Blink”

La artista acompaña las expediciones de la llamada edad de oro de la exploración polar, las que tuvieron lugar en los albores del siglo XX, y libreta en mano, recolecta reflexiones y bocetos, como hicieran antes tantos otros artistas que acompañaron a las expediciones científicas que desde finales del siglo XVIII tuvieron lugar. Sin embargo, este ‘cuaderno de bitácora’ guarda algunas particularidades: a diferencia de lo esperado, la naturaleza de sus dibujos no es documental, ni tampoco rica en detalles. Contrariamente, se caracteriza por un voluntario esquematismo que la propia artista califica de naif. Asimilada la iconografía de las exploraciones y conquistas polares después de lecturas varias, su interés reside en depurar sus dibujos y su afán, en la elaboración de un contenido de síntesis.

 

Conquest Drawings, 2014

Girona, 1982

Lives and works in Barcelona

 

 

From the exercise of drawing and writing, Alicia Kopf reflects on apparently individual issues that have become generational concerns.

 

The expressive dimension of her work is related to her studies in Fine Arts and Comparative Literature, studies that allow her to get closer to subjects as diverse as poor housing or the epic of polar exploration from a position that combines both awe and ironic distance.

 

Alicia Kopf’s work arises from a metaphor, which allows her to perform an analytic exercise that will finally lead to different associations. Thus, in her project Articantàrtic, from the appropriation and the reshaping of graphical and narrative documents, Alicia Kopf turns a historical account into a first person narrative concerning resistance, obsession and the idea of conquest.