Tag Archives: escultura

Madrid, 1986. Live and works in Barcelona.

 

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.

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.

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. 

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.

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.

 

Victoria Civera

Victoria Civera es artista invitada de la edición especial de la feria de arte Estampa, que se celebrará del 8 al 11 de abril en el Pabellón 6 de Ifema Madrid.

 

Con una amplia trayectoria internacional, el trabajo de Civera se centra en la construcción de objetos e instalaciones, convirtiéndose en una de las primeras artistas españolas que se aleja de la noción de estilo.

 

Para esta ocasión, la artista instalará en un espacio de la feria la obra ‘Aviador Sibila’, una escultura de gran formato.

 

 

 

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bajo la superficie

Bajo la superficie (Miedos, Monstruos, Sombras)

Centro de Cultura Contemporánea Condeduque. Sala Bóvedas

11.12.2020 – 11.04.2021

 

Exposición colectiva, comisariada por Javier Martín-Jiménez, con obras de Teresa Solar entre otros.

 

 

La crisis sanitaria mundial ha derivado en una crisis existencial generalizada que obliga a reflexionar y a dudar sobre nuestra propia posición en el mundo y particularmente en la sociedad en la que vivimos. Cualquier pensamiento crítico genera dudas y preguntas necesarias para avanzar como individuos en la búsqueda de respuestas. Pero ese cuestionamiento puede derivar en conflictos internos. Mirar la realidad de frente no siempre es plato de gusto, es más cómodo mirarla por el rabillo del ojo para desviar la mirada rápidamente si algo nos perturba. Enfrentarse a ella es lo complicado porque hace aflorar a su vez muchas emociones normalmente escondidas.

 

Miedos, monstruos y sombras que se esconden bajo la superficie, que curiosamente no desaparecen nunca aunque se miren de soslayo. Por mucho que se tapen siempre están ahí, y se pueden convertir en una carga pesada.

 

La culpa, el miedo a nosotros mismos, el miedo a tener miedo.

 

Igual es momento de plantar cara al presente escenario y tratar de visibilizar esos sentimientos ocultos, invisibles o falsamente olvidados, mucho más comunes de lo que sospechamos.

 

 

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Cabrita Reis - CGAC

15.11.2019 – 02.02.2020

CGAC, Santiago de Compostela

 

Comisario/a: Susana González/Santiago Olmo

 

El proyecto expositivo WORK (always) IN PROGRESS plantea un discurso secuencial que permite abordar los principales aspectos del trabajo de Pedro Cabrita Reis (Lisboa, 1956) a través de series representativas como Compounds, Favorite Places, True Gardens o Foresta en un arco temporal que recorre tres décadas. La muestra se articula por medio de una treintena de obras que ocupan el vestíbulo y las plantas baja y primera del CGAC, junto con intervenciones site specific en el exterior del edificio. Las obras reunidas dan cuenta de su extensaproducción artística, que evidencia el potencial dialéctico de su trabajo, entre referencias a principios constructivistas y procesuales, cuestiones formales minimalistas y el uso prominente del objeto preexistente.

 

El sentido de la obra de Cabrita Reis, implícito en el título de la muestra, es el resultado de su particular mirada, en una permanente reflexión plástica y filosófica. Cabrita practica un modo de pensamiento que se encuentra entre las premisas ontológicas y los planteamientos empíricos, relacionado con aquello que no resulta tan evidente y que alude a la existencia, a lo sustancial de la naturaleza del ser. La base de su trabajo se sitúa en la reflexión antropológica sobre el comportamiento social a través del espacio y del tiempo. Pero, lejos de la perspectiva científica del análisis sociológico, el método de Cabrita se basa en la capacidad de concebir el mundo de manera simbólica. Para ello utiliza un engranaje conceptual ligado a las ideas filosóficas de transitoriedad, existencia y memoria, reflexionando sobre lo esencial desde la evidencia de la finitud de la vida.

(…)

 

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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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