Tag Archives: arte contemporaneo

Estamos felices de anunciar que Galeria Joan Prats y NoguerasBlanchard nos unimos para ser más fuertes, más relevantes y abrir nuevos horizontes. En 2024 empezaremos a operar como una misma galería: Prats Nogueras Blanchard.


Programaremos en dos espacios de exposición, uno en Barcelona y otro en Madrid.


Nuestra primera presentación como galería Prats Nogueras Blanchard tendrá lugar en ARCOmadrid. Y nuestra primera exposición, inaugurando la sede en Barcelona, será en abril con una muestra individual de Muntadas.


La nueva galería Prats Nogueras Blanchard es una alianza que encarna un compromiso colectivo para avanzar en el discurso del arte contemporáneo, abrazando nuestro pasado y afrontando los desafíos del futuro.




Ens fa molta il·lusió anunciar que la Galeria Joan Prats i NoguerasBlanchard ens unim per a ser més fortes, més rellevants i arribar a nous horitzons. El 2024 començarem a operar com una mateixa galeria: Prats Nogueras Blanchard.


Programarem en dos espais d’exposició, un a Barcelona i altre a Madrid.


La nostra primera presentació com a galeria Prats Nogueras Blanchard tindrà lloc a ARCOmadrid. I la nostra primera exposició, inaugurant la seu a Barcelona, serà a l’abril amb una mostra individual de Muntadas.


La nova galeria Prats Nogueras Blanchard és una aliança que encarna un compromís col·lectiu per avançar en el discurs de l’art contemporani, abraçant el nostre passat i afrontant els desafiaments del futur.




We are thrilled to announce that Galeria Joan Prats and NoguerasBlanchard are joining forces in a spirit of collaboration to become stronger and open new horizons. In 2024 we will start operating as one gallery: Prats Nogueras Blanchard.


We will programme in two exhibition spaces, one in Barcelona and another in Madrid.


Prats Nogueras Blanchard will see the light for the first time at ARCOmadrid. Our first exhibition, inaugurating the Barcelona headquarters, will be in April with a solo show of Muntadas.


Prats Nogueras Blanchard is a joint venture that embodies a collective commitment to advance the discourse of contemporary art, by embracing our past and facing future challenges.


📸 Gregori Civera



Patio Herreriano Museo de Arte Contemporáneo Español, Valladolid


22.04 – 17.09.2023


Inauguración 22 de abril a las 12h



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


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


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


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


+ info

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).