Tag Archives: dibujo

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.

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).

Mais nada se move

Mais nada se move em cima do papel.

O desenho como pensamento

 

14 NOV. 2020 – 18 ABRIL 2021 

CAA – Centro de Artes de Águeda, Portugal

 

Comisaria: Sara Antónia Matos

 

Exposición colectiva, con obras de Julião Sarmento.

 

 

Enmarcada en el ciclo O desenho como pensamento (El dibujo como pensamiento), de CAA – Centro de Arte Águeda, la exposición “Mais nada se move em cima do papel (Nada más se mueve sobre el papel)” adopta como título el primer verso de un poema de Al Berto y recoge obras de artistas que a lo largo de los años, en sus propios caminos y lenguajes, han venido trabajando el dibujo como un registro indisciplinado, en algunos casos transversal a sus prácticas.

 

Las obras expuestas muestran que el dibujo refleja una condición previa, poco tangible, comparable al pensamiento, como si el gesto o la intuición que precede a la inscripción de la línea se desplazara o flotara sobre el papel, y luego se formara sobre soportes bidimensionales y tridimensional, ganan cuerpo y adquieren formulaciones escultóricas, sonoras, atmosféricas y espaciales.

 

+ info

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.

Fundació Arranz-Bravo

Inauguració 9.05.2019

10.05 – 29.09.2019

 

Pablo del Pozo (Badajoz, 1994) presenta Al muerto, tiempo encima, el seu darrer projecte expositiu per la Fundació Arranz-Bravo. Comissariada pel crític i historiador de l’art Jordi Garrido, l’exposició proposa un trajecte doble a través del procés creatiu de l’artista i del procés de coneixement humà. Mitjançant tres elements diferents, la matèria, l’essència i l’espai, del Pozo reflexiona sobre la relació amb l’entorn mitjançant el cos i sobre el seu propi trajecte en la creació artística.

 

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