Tag Archives: galeria Joan Prats

Diàlegs intrusos

Diàlegs intrusos. Tot és present.

13.11.2020 – 7.11.2021.

Museu Nacional d’Art de Catalunya.

Comissariat: Sergi Aguilar i Àlex Mitrani.

 

La irrupció l’art de la segona avantguarda sorgit amb posterioritat a la Guerra Civil espanyola i a la Segona Guerra Mundial, representa no només una ampliació lògica de la cronologia del museu sinó que també l’aparició d’una sèrie d’obres que, pel seu esperit de modernitat i la seva transgressió de categories culturals i formats tècnics tradicionals, posa en qüestió les maneres de mirar i la mateixa concepció d’obra d’art.

 

Artistes: José María Sicilia, Joan Hernández Pijuan, Joan Brossa, Eduardo Chillida, Juli González, Lucio Fontana, entre d’altres.

 

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Ara mateix

Ara mateix: tot està per fer i tot és possible.

Arts Santa Monica. Nivell 2

Exposició: 10.11.2020 – 17.01.2021

 

Comissariat: Rosa Lleó i Chus Martínez

 

“Tot està per fer i tot és possible”

Aquestes paraules no són meves, sinó del poeta Miquel Martí i Pol. Sintetitzen els meus sentiments i l’exigència de no cessar en l’exercici d’acompanyar els artistes, de tenir cura de l’art. En les obres resideix un sentiment de llibertat fonamental per a una societat justa; en els fets hi habita una mena d’amor crucial per poder abraçar el món amb tota la seva duresa. Aquesta exposició és una petitíssima part d’un tresor —la comunitat artística que ens envolta— i espero que serveixi per alimentar el desig d’estar junts, de sentir, d’escoltar, de veure el món amb ells.

Chus Martínez i Rosa Lleó

 

 

Artistes: Javier PeñafielPedro TorresFito ConesaNúria Güell, Irene Solà, Tere Recarens, Gema Polanco, Anna Malagarida, Mercedes Azpilicueta, Blanca Casas Brullet, Patricia Dauder, Eulàlia Rovira i Adrian Schindler, Bernat Daviu i Regina Giménez

 

 

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Political Advertisement X: 1952-2020

Political Advertisement X: 1952-2020. Un projecte de Muntadas i Marshall Reese.

 

Projecció Zumzeig Online: Coincidint amb les eleccions nord-americanes, la pel·lícula estarà disponible online durant 24 hores, el 3 de novembre.

 

La projecció també inclou una presentació d’Albert Alcoz i un epíleg de Marcelo Expósito.

 

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Des de 1984, els artistes Muntadas i Marshall Reese han creat una antologia d’anuncis televisius de campanyes presidencials que s’actualitza cada 4 anys per a incloure anuncis de cada elecció presidencial, des de la campanya Eisenhower-Stevenson de 1952 fins a l’actual convocatòria electoral Trump-Biden.

 

La seva última versió, Political Advertisement X: 1952-2020, és una visió personal de com es presenten la política i els polítics a través de la imatge en moviment.

 

 

 

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sesin melodim, seslerin yankım benim (tu voz es mi sonido es tu ruido es mi eco)

 

MIND the GAP, Hamburgo

21.10 – 13.12.2020

 

Instalación sonora de Annika Kahrs en colaboración con el músico Derya Yildirim.

 

 

 

La base de la instalación de sonido de 7 canales son las entrevistas que Kahrs y Yıldırım realizaron con los miembros de la familia de Yıldırım, sus padres, hermanos y primos, en Hamburgo. En las respectivas conversaciones se intercambiaron historias personales, específicamente preguntado sobre recuerdos sonoros y personalidad acústica. Estos se tradujeron luego en una compleja instalación de sonido en el estudio de sonido. La música se entiende aquí como una puesta en escena portadora de la memoria y un vínculo intergeneracional: qué canciones juegan un papel importante dentro de la familia, se transmiten a las siguientes generaciones y se reinterpretan, qué sonidos recuerdan los padres de su infancia en Sivas (Turquía), o los hermanos en Hamburgo.

 

sesin melodim, seslerin yankım benim (tu voz es mi sonido es tu ruido es mi eco) invita a los visitantes a acercarse a estos pensamientos y a escuchar el retrato de la familia de una manera temporalmente lineal y espacialmente vertical: cada piso representa a un miembro de la familia.

 

 

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madoz_sin-titulo-manos-exposures

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 #03The hands

 

The third proposal revolves around the hand, the part of the human body most linked to the artistic creation along with the eyes and which at the same time helps us to communicate and relate, just like the word.

 

It brings together works by Erick Beltrán, Cabello/Carceller, Victoria Civera, Hannah Collins, Enzo Cucchi, Chema Madoz, Enrique Martínez Celaya, Muntadas, Perejaume, Marcel Rubio Juliana and Julião Sarmento.

 

Our hands are taking an unusual role in the last months due to their role in the transmission of viruses. Touching things, touching our faces, touching other hands has become dangerous, hands are now forced to cover themselves with gloves, to wash constantly, not to touch, not even to say hello.

 

But we have seen how its presence has been a constant in many artistic works, from prehistoric art to the present day, due to its formal and symbolic variety.

 

The non-verbal language of gestures reveals the relationship between hand and mind. In the works we show, the hand gestures express different moods, feelings, attitudes or emotions from fear or sorrow to sensuality or complicity. Sometimes, as happens for example in Julião Sarmento’s works, its representation alludes to the totality of the human body.

 

Hand gestures also refer to social conventions, thus becoming a representation of the human condition in close relationship with culture and expression. As evidenced in some of Muntadas‘ works, this rhetorical figure can define ambition, agreement, imposition, authority or power.

 

This exhibition will be on view until September 30th.

 

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Fernando Prats, ganador de la tercera edición de la convocatoria para realizar intervenciones artísticas en ‘Fragmentos, Espacio de Arte y Memoria, Museo Nacional de Colombia’ en la categoría de artistas con larga trayectoria, con el proyecto ‘Aún tendría que haber luciérnagas’.

 

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Teresa Solar, among the 20 nominees to The Future Generation Art Prize, by The Victor Pinchuk Foundation (Ukraine).⁣

 

The Future Generation Art Prize is a biannual global contemporary art prize to discover, recognize and give long-term support to a future generation of artists, all under 35 years old. ⁣

 

An outstanding selection committee, appointed by a distinguished international jury, has chosen these artists who will display their works at the Pinchuk Art Centre in Kyiv. Subsequently, all of them will present their works in the Future Generation Art Prize exhibition at the Venice Biennale.⁣

 

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superdestacat-accio

Si la dècada de 1980 va representar a Europa un retorn a l’ordre, a la reivindicació d’una certa formalitat en l’art, als formats convencionals de la pintura i l’escultura àmpliament acceptats pel mercat, la de 1990 va reprendre bona part de les experiències conceptuals de dècades anteriors. D’aquesta manera, es van recuperar pràctiques relacionades amb el cos humà que conjuntament anomenem art d’acció. A l’Estat espanyol, aquestes pràctiques encara van tenir més rellevància, amb iniciatives múltiples que han exercit un immens impacte en l’art fins avui dia. Sovint aquest art d’acció s’expressava en forma de performances ‒que acostumaven a circular en àmbits molt restringits, en festivals o trobades‒ i la seva expressió més heterogènia, el que anomenem performativitat.

 

A través de diversos nodes, Acció recorrerà aquesta època i en rastrejarà algunes de les obres fonamentals. A més, inclourà documentació i material audiovisual majoritàriament inèdit que recupera aquelles experiències. El resultat és una exposició densa, amb múltiples extensions històriques i contemporànies, que ajudarà a interpretar d’una manera molt més precisa l’art del nostre temps.

 

Exposició comissariada per Ferran Barenblit, amb obres de Cabello/Carceller, entre d’altres.

 

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sarmento-serralves

No brilho da pele, exhibition by Julião Sarmento at Museu de Aveiro / Santa Joana, Portugal.

 

July 15 – September 27, 2020

 

Exhibition organized by the Museums of Aveiro in partnership with the Serralves Foundation – Museum of Contemporary Art and curated by Joana Valsassina.

 

 

Selection of works by Julião Sarmento (Lisbon, 1948) that illustrate different approaches to themes such as desire, voyeurism and violence, central to the artist’s practice.

 

The exhibition includes works from the 1970s to the present, covering different supports worked by the artist throughout his career, such as painting, sculpture, drawing, photography and installation. Exploring ambiguous territories associated with gestures of seduction and transgression, Julião Sarmento’s work create a network of references to cinema, literature, popular culture, everyday episodes and his own work.

 

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Alrededores exentos de adultocentrismo. Javier Peñafiel.

Casal Solleric, Palma. 26 de juny – 25 de setembre de 2020

 

 

“Alrededores exentos de adultocentrismo” és un projecte de Javier Peñafiel que planteja un tema estructural dins la nostra societat, encara que fins ara massa ocultat, massa menystingut per tot tipus de poders que ens gestionen. L’adultcentrisme és un estat de les coses que naturalitza, de manera intencionada i egoista, que els adults decidim per les persones joves, deixant-les fora de les decisions sobre el seu propi context present i, allò més greu, el seu futur.

 

Adultcentrisme és entendre que les persones joves estan en construcció i no són aptes per a l’esfera pública. Els adults es reserven el dret de prendre totes les decisions que afecten el conjunt de la població. Es tracta d’una deriva del mateix concepte de patriarcat. Per extensió, també afecta les persones majors, que sofreixen la marginació de l’espai públic i de la presa de decisió.

 

Javier Peñafiel realitza una particular crítica de l’adultcentrisme en l’actual societat i proposa un subjecte que no obeeix, obsessionat amb polítiques de mobilitat radicals. Vol posar en valor la capacitat d’acció i decisió dels menors de 18 anys, sempre subordinats i considerats fora de la societat adulta.

 

Totes les obres de l’exposició són de nova creació, i es formalitzen en diversos dispositius:
1. Llibre d’artista
2. Animacions. Un conjunt de 20 videoanimacions de personatges (10) i escenes (10)
3. 20 OPIs desplegats per la ciutat de Palma, espais publicitaris que ha envaït i que durant 3 mesos funcionaran com hàbitats de vint personatges diferents
4. Taller. Un taller per a joves
5. Adulto Zen. Confedrama, autoentrevista dramatitzada

 

“Alrededores exentos de adultocentrismo” és una exposició híbrida: una part analògica i una part en línia. La part analògica la formen el llibre d’artista, el taller amb joves i els 20 personatges dels OPIs. La part digital està composta per les animacions i la confedrama, i s’allotja en diverses plataformes d’Internet.

 

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A Storm in a Teacup & Sideshow of a sideshow, 2012

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 #02. The word 

The second proposal brings together conceptual practices around the word and the language, basic tools in our relationship with the world and with others.

The works of Erick Beltrán, Joan Brossa, Pauline Bastard, Muntadas, Javier Peñafiel, Perejaume, Teresa Solar and Anna Dot (guest artist) propose texts, phrases, messages, statements, which become resources for the analysis of reality, characterized by their critical and transforming character of the art system and society.

The works presented reflect the relationship between word and image and use various linguistic strategies. In the case of Teresa Solar‘s work, she plays with the aesthetics of phonetics and language learning posters. In other cases, language is used from a sound dimension -as in the work of Perejaume-, a sign –Javier Peñafiel– or poetic –Joan Brossa.

In the 2018 Muntadas work, the mechanisms of communication, language and the problematic relationship between the production of knowledge and economic power are analyzed. Also in the case of Erick Beltrán, through language, he dissects the world to classify it, categorize it, differentiate each of its elements in order to try to understand it.

In a more narrative line, Pauline Bastard‘s work starts from objects found casually that allow her to entrust strangers with the writing of creative fictions.

Lastly, we wanted to introduce an action carried out by Anna Dot at the Fundació Brossa in 2019, evidently for her connection with Joan Brossa, but also for her poetic reflection on the construction of words. 

This exhibition will be on view until 10 of June.

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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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Cabello / Carceller solo exhibition at Regelbau 411. Kunsthal for international samtidskunst. Thyholm, Denmark.

 

Opening Dec. 14 at 2pm.

Exhibition: December 14 2019 – February 16 2020.

 

 

Helena Cabello and Ana Carceller have been working together for three decades to exploring how particular body ideals and particular notions dominate our visual culture, how these notions create special kinds of representation, and how to offer alternatives to these notions.

 

The two bunkers in Regelbau 411 each present a video work that has been transformed into two site-specific video and text installations. The artists visited the art centre on Thyholm this summer and have since developed this special exhibition design.

 

 

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Soñé que revelabas (Madeira), 2019

Opening: 10.10.2019,  7pm

 

Friday October 11, 6.30pm, talk between Juan Uslé and curator Javier Sánchez Martínez

 

The title of the new exhibition by Juan Uslé in Galeria Joan Prats, ‘Unsettled’ alludes metaphorically to painting, the central subject of his entire work.

“Unsettled” means unstable, but also variable, restless, something that includes opposites, or a paradox. In Uslé’s paintings, the stripes of color fluctuate, they do not have a definite beginning and end, and refer to the passage of time, the hours, the seasons, the changing landscapes, such as Bernia, a mountain range located in the southeast of the Iberian Peninsula, a place of inspiration for Uslé, among many others.

 

Juan Uslé’s work reflects on the possibilities of painting. In his words: “Speaking of painting, I would also talk about his tremor, his ‘no fixation’, his journey or, even better, what we understand as displacement.”

 

Formed by repeated strokes, although never identical, his work is characterized by movement and rhythm, and invoke the surrounding environment, and, at the same time, the energy of the body’s drives. Uslé creates a pictorial language where formal or metalinguistic aspects are mixed with his life experience, in addition to allusions to time and the creation process itself. According to Juan Uslé: “Time is what we have left. I conceive it as a horizontal surface where past and future moments are deposited and transfigured. Many of my small works seem to go on, spread in space. They suggest a “landscape” –let’s call it this way- or space of multiple juxtaposed horizons.”

 

In the exhibition, Uslé presents small formats, which create a close and intimate relationship together with large-scale works, the largest dimension he has worked with and which he started in 2017. Small works are organized into families, and speak of repetition, but also individually contain their own identity.

 

The exhibition is completed with two large format photographs. They make allusions to the painting and invoke the recollection and emotion of the discovery.

Like his paintings, they question our ability to see, think, perceive and feel.

Perejaume, surar. FIAC

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En el marc de FIAC, Cinéphémère es presenta un vídeo de Perejaume, programa comissariat per Carolina Ciuti.

 

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En el marco de FIAC, Cinéphémère se presenta un video de Perejaume, programa comisariado por Carolina

 

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In the framework of FIAC, Cinéphémère presents a video of Perejaume, a program curated by Carolina Ciuti.

 

 

Perejaume

Surar, 2009, 9 min 50

 

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Compositions. Flotation line

27.09.18 – 30.09.18

Industrial Akroll

27.9 / 28.9 / 29.9, 11 am-8 pm + 30.9, 11 am-3 pm

 

The former “Industrial Akroll” factory in L’Hospitalet de Llobregat started out as a house-workshop. In the 60’s of the 20th century it grew up to a 2.000 m2 surface dedicated to the production of small metallic pieces for footwear, such as buckles and other ornaments. The machines made such a noise that there was a system of codes with coloured lights to communicate inside the whole factory. Calera Studio is currently promoting a new project to transform the building to artistic and cultural uses and to dynamise the surroundings of Can Trinxet in Santa Eulalia and the Cultural District of L’Hospitalet de Llobregat.

 

With Flotation Line, Teresa Solar Abboud presents a sculptural set that evokes a marine landscape intervened by humanity. Through different elements inspired by marine flora and fauna, as well as objects and instruments that suggest man’s relationship with the sea, the artist offers us a “sculptural ecosystem” – as she defines it – with the desire to fictionally transform the exhibition space into an aquatic environment. In the installation we distinguish elements such as the ladder of a boat, the hand of a diver or a hoisted whale, as well as other objects and figures that are related to stories from classical mythology related to the marine environment. The work starts from a formal and conceptual investigation around the waterline understood as an unstable horizon that becomes a border, an axis that separates two realms and generates a distinction between everything that remains below and above the surface of the water. This floating line is represented in the space by a long arched blue tube that articulates the space horizontally and in relation to which the rest of the elements are arranged at different heights. Other smaller pieces, such as glazed ceramics, bronze eyes or an arched shape rubber bone, also form part of the set. Flotation Line is a Solar Abboud production that results from the curatorial commission Chus Martínez gave to the artist for her monographic exhibition at Der Tank (the exhibition space of the Hochschule für Gestaltung und Kunst FHNW, in Basel), which was inaugurated at the beginning of last summer. For her participation in BGW’s programme Compositions, the artist has adapted this sculptural set to the characteristics of this old factory space.

ARCO 2017 Galeria Joan Prats

La galería Joan Prats participa en ARCO 2017 con los artistas Erick Beltrán, Fernando Bryce, Victoria Civera, Hernández Pijuan, Perejaume, Juan Uslé, Julião Sarmento, José Maria Sicilia, Teresa Solar Abboud.

 

 

STAND 9C09 – ARCO 2017

 

Fechas:
del 22 al 26 de febrero de 2017

Visita profesional:
miércoles 22 | de 12.00 a 20.00 horas

Jueves 23:  de 12.00 a 20.00 horas
Inauguración oficial: de 10.00 a 12.00h.

Abierto al público:
viernes  24, sábado 25 y domingo 26 : de 12.00 a 20.00 horas

Lugar:
pabellones 7 y 9 de Feria de Madrid

 

Carles Congost, A Sense of Wonder. Bòlit Girona.

 

A sense of wonder

Comisario: David Santaeulària

Del 27 de enero al 30 de abril de 2017

Bòlit La Rambla, Sala Fidel Aguilar y Bòlit St Nicolau

 

A sense of wonder (un sentido de la maravilla o la capacidad de maravillarse) es una propuesta expositiva que reúne los trabajos más recientes del artista Carles Congost. Se trata de una coproducción entre el Bòlit, Centro de Arte Contemporáneo. Girona y el Centro de Arte La Panera, Lleida, donde se podrá ver del 18 de mayo al 15 de octubre de 2017. Se presentan cuatro trabajos en vídeo que se pueden interpretar individualmente pero que mantienen muchas conexiones temáticas habituales en la su práctica artística (la música, el mundo del arte, la cultura pop…) o en el modo de formalizarlo (la cuidada puesta en escena y el sentido del humor). En relación con su trayectoria, se constata una sensible evolución en la articulación de los elementos que utiliza y una mayor atención al propio lenguaje cinematográfico. Pervive, por encima de todo, la capacidad de utilizar aspectos cercanos, cotidianos y a menudo asociados a subgéneros, para hacerlos servir de punto de partida y abordar -sin grandilocuencia ni subrayados- aspectos más centrales y genéricos de la condición humana. El autor utiliza una serie de referentes que nos pertenecen para trascenderlos y ver hasta qué punto nos representan o nos explican mejor de lo que imaginábamos. Nos propone, en definitiva, una capacidad de maravillarnos.

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José María Sicilia / La locura del ver

Museo Casa de la Moneda

Del 20 de Enero al 16 de Abril de 2017

 

La locura del ver

“Ver, ver más, ver siempre más. Ver es no ser. Lo importante del ver no es la suma de conocimientos que derivan del ver, sino la fisura, el sinsentido en el interior del ver, el accidente extraño.” José María Sicilia

 

En el marco del premio Tomás Francisco Prieto, el Museo Casa de la Moneda presenta la obra del artista español José María Sicilia (nacido en 1954) que reúne un conjunto de creaciones importantes, representativas de los tres últimos años e inspiradas en sus frecuentes viajes, sobre todo a Oriente Próximo y Japón.

José María Sicilia ha dedicado gran parte de su indagación pictórica a interrogar el espacio inmaterial que existe entre el arte y la vida, Eros y Tánatos. Más allá de su belleza inmediata, las obras de José María Sicilia nos llevan a territorios fronterizos, donde la memoria se pone en abismo.

Entre sus últimas exposiciones se incluyen las realizadas en el Musée Delacroix, París; Palacete del Embarcadero, Santander; Centre Pompidou Metz; Matadero Madrid; Fukushima Prefectural Museum of Art, Fukushima; Santa Caridad de Sevilla, Sevilla; Amos Anderson Art Museum, Helsinki; Prefectural Art Museum, Nagasaki; Musée du Louvre, París; Albright-Knox Art Gallery, Búfalo.

Las obras de José María Sicilia están presentes en importantes colecciones tanto públicas como privadas en Europa y Estados Unidos y Asia, incluyendo: Museum of Modern Art, Nueva York; Solomon R. Guggenheim Museum, Nueva York; M+ Museum, Hong Kong; Musée National d’Art Moderne / Centre Pompidou, París; CAPC Musée d’Art Contemporain, Burdeos; Fundació Museu d’Art Contemporani, Barcelona; Colección Arte Contemporáneo, Fundación La Caixa, Barcelona; CAAM, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria; Museo Nacional Centro de Arte Reina Sofía, Madrid; Colección Banco de España, Madrid; Colección Comunidad de Madrid, Madrid, entre otras.

 

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Biblioteca Arus, 2016. Lola Lasurt

Barcelona, 1983

Lives and works in Barcelona

 

Lola Lasurt’s artistic activity focuses on painting and video and many times also on collaborative processes that confer a universal projection, to her works of a more personal character.

 

The project about the ‘des-time’ can be understood as the analysis and the questioning of a time period, previous to hers. This is one of the main axis of her work, that frequently uses as a starting point elements from the material and aesthetic culture, that reveal behavioral patterns and ideological parameters of a determined era.  

 

Her pieces revolve around the themes of the memory and the oblivion, the nostalgia and the amnesiac need. Lola Lasurt is interested in the historical individual time and its relationship with the guidelines of the hegemonic culture and the construction of collective symbols.

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.

études cliniques ou artistiques, 2007

Achim, Germany, 1984

Lives and works in Hamburg

 

 

Annika Kahrs is a Hamburg-based artist who primarily works with film, performance and photography.

 

In her work Annika Kahrs examines representation and interpretation; she is interested in both social and scientific constructs, as well as evolved organic relations such as those between humans and animals. Her films oscillate between obvious staging and documentary-like observation; a distinctive implication in Kahrs’ videos is that she never hides herself in the film, even if her presence is only unveiled in a short glance from an actor to the director, it reveals a singular approach to her environment almost guided by a mathematical process.

 

Kahrs’ videos are like composed choreographies. Music often plays a role in her films, not only presented pictorially or on the audio track, but converted into image; through her selection and the ensuing adjustments during the process of editing partitur turns to film, and, subsequently, this film as partitur can turn into another film in the viewer’s mind.

Lliris blancs, 1988

Barcelona, 1931-2005

 

 

Joan Hernández Pijuan started painting during the sixties with a style related to expressionism. Nevertheless, during the seventies the empty space started gaining prominence in his paintings such as the geometrical figures. As he mentioned himself, `the space´ became the objective of his work; `I’d say that a constant preoccupation is, and has been finding a space as total protagonist of the canvass. (…) A space as a living element and not as a surface upon which one draws or places himself.´

 

The landscape of his childhood in the town of Folquer have become a pictorial motive in his adult age: Hernández Pijuan resorts to a memory exercise to recreate it synthetically in his painting.

 

The objective of this painter was never to achieve a descriptive or narrative painting, but to emphasize through the monochrome the pictorial technique itself.

Vegetal animal, 2018-2020

Seville, 1934

Lives and works in Madrid

 

 

Luis Gordillo started his career during the fifties when he travelled to Paris and got acquainted with the European art of the time, in particular with artists such as Wols, Dubuffet, Michaux and Fautrier. In his first works the influence of surrealism and Tàpies can be appreciated to which an early seventies Pop art associated iconography would be incorporated in later years.

 

Gordillo becomes one of the permanently renovating painters of the pictorial language and one of the artists that during the early seventies reincorporate figuration. It’s likewise in that moment, when he starts to work with photographic images, that this, in some way or another, is introduced in the process of creation in his paintings.

 

Both ideas, that of the process and the continuous construction as resource of accumulation, are elements that are permanently present in his work.

Wonders, 2016

Olot, 1970

Lives and works in Barcelona

 

 

Carles Congost’s work revolves around the construction of personality and the behaviour codes and it is noted by the redevelopment of cinematographic, photographic and musical stereotypes. His work is developed in a harmonic way along with different disciplines –photographs, videos, sound and drawing- incorporating at the same time a classical and ironical treatment to the image.

 

The art world constitutes one of the themes that Congost has incorporated to his recent work, from the theatrical stagings that question the mechanisms, to the dynamics and stereotypes of the art world itself.

Ensimismamiento

Port de Sagunt, Valencia, 1955

Lives and works between New York and Saro (Cantabria)

 

 

Victoria Civera’s career began in the seventies, working mainly photomontage. Over the next decade she focused on painting, abstract at first, but then introduced figurativism. In the middle of this decade Victoria Civera moves to New York and integrates photography and sculpture to her practice. Her creations undergo a transformation, making them more introspective.

 

Because of the iconography of her work, focused on the feminine universe, and because of her oneiric content, Victoria Civera has achieved a personal language, full of nuances. She moves in between large-scale pieces, in which she uses industrial materials, and suggested and poetic understatement pieces, often incorporating ordinary household objects.

01-cabello-carceller-el-estado-de-la-cuestion

Helena Cabello (Paris, 1963) and Ana Carceller (Madrid, 1964)

Live and work in Madrid

 

 

Cabello/Carceller’s work is set in a territory from which they question, reflect and/or fracture the roles or stereotypes associated to gender. They understand identity as something built in conflict or in consonance with a social, cultural, political and economic environment. They point at an `I´ that is always found according to the `others´, this idea vertebrates their production.

 

In their works the patterns, which are linked in a static way to either masculine or feminine roles, are revised. In this way, images are subverted in their works along with behavioral codes and attitudes, associated to that which is commonly considered as masculine or feminine.

 

The rereading that Cabello/Carceller’s work forms in the mentioned models, position the spectator facing multiple prejudice, assumed values and contradictions that manage to effectively destabilize a univocal vision of reality.

Alfons Borrell

Barcelona, 1931 – Sabadell, 2020

 

 

Alfons Borrell is one of the most prominent representatives of lyrical abstraction in Catalonia.

 

After attending the studio of Anglada Camarasa and the School of Fine Arts of Sant Jordi in Barcelona, Alfons Borrell began his artistic career in the fifties, within figuration at first. His work evolved into abstract expressionism and, already in the sixties, to the gestural painting.

 

In the mid-seventies he developed the style of its own, detached of any label, characterized by a sober chromatism that  is consciously disassociated from the material informality. In his painting, the color is imposed on the form, from a language that waives any reference, craving and seeking restraint and rigor.

alcaraz

Calella, Barcelona, 1963

Lives and works in Calella, Barcelona

 

Jordi Alcaraz’s work is a reflection on volume, artistic language and time through a lyrical handling of materials. An abstraction that is the result of the battle against limitations of format and conventions.

 

His work is based on the classical tradition of painting and sculpture and alters the meaning of the foundations of a real and recognizable object, to new genesis of meaning and continent.

 

Jordi Alcaraz transgresses surfaces and materials, gives unlikely uses to his pieces and redefines the logic of frames and methacrylate, of stones and plasters, of mirrors and woods, of shadows and metals; changing perceptions and conventional treatments.

 

He has done different bibliophile editions such as “El Viatge a Tokushima”, with text by Joaquim Sala-Sanahuja, or “Diorames”, together with Joan Brossa, Alfons Borrell, Perejaume and Jordi Rosés.

Barcelona, 1952

Lives and works in Barcelona

 

 

Frederic Amat’s artistic career dates all the way back to the early 1970’s. Just after completing his studies in architecture and set design, he went to live in Mexico and later he moved to New York, where he explored hand-made paper as an artistic material. His travels to Brazil, Egypt, Haiti, Morocco and so on has fecundated an oeuvre characterized by constant research. Throughout Amat’s career, he has been diversifying his plastic repertoire, his development going from irregular lines and vibrant colors in his early drawings to the expressionism in his later works.

 

The work of Amat defies a single way of categorization. His open conception of painting led him to integrate a multitude of languages into his artistic practice, including painting, drawing, sculpture, installation art, performance, book illustration, videos, theatre set design and interventions in architectural spaces.

B/W photograph on baryta paper, sulfide toned, ed. of 7

Madrid, 1958
Lives and works in Madrid

 

Chema Madoz’s work, close to visual poetry, shows a constant inclination towards symbolism, using images that are characterized by a subtle play of paradoxes and metaphors.

 

With regards to the ‘Still Life’ conventions, his photographs show objects that contain “life” and discover a new dimension of meaning through contextualization, relocation or juxtaposition of common and everyday appearances. In this manner, Chema Madoz shapes an imaginary that challenges our credulity in the picture, and in the existence of an intangible reality.

Palma Mallorca, 1962

Lives and works in New York

 

 

Macias has his roots in the so-called post-pop movement in Spain, depicting vividly colorful, abstract geometry. His early work can be read as a reformulation or assimilation of existing language from the culture of mass media. His works absorbs the formal pieces of an identifiable visual system, to bring its essential typologies together in a generic expression. They can be read as a semi-abstract reduction of the forms of everyday life. Several of Macias’ works apply the technique of interlocking figure and background, leading to the creation of double images, often not visible at first.

 

In recent years, Macias has been portraying imaginative characters in renderings that are still very colorful, but on the contrary carry grotesque and haunting features. They seem like they are dissolving, falling apart, but at the same time they convey their revulsion with an almost humoristic outrageousness; simple and iconographic, but also comic and personal.

 

Macias is interested in the artists role in fixing the forms of contemporary culture in the works; drawing attention to the painting, in his 2D- like figuration in his early days and pointing the mirror back towards the public in his confronting portraits.

Game / Rite (on G.A.), 2009

Mexico City, 1974

Lives and works in Barcelona

 

 

Erick Beltrán analyzes and reflects on the edition concept and the discourse constructions. He investigates the power that the different graphic means exert in their distribution of information, as well as explicit treatment on different conducts and values.

 

He works with diverse formats as the multiple or the book; he experiments and investigates the link between public art and the diverse graphic languages.

 

The archive, the museum and the library are tools and natural means in their investigation process. A process in which the edition concept focuses all the work, understanding it as the mechanism with which communication through images that create political, economical and cultural discourses in contemporary societies are defined, evaluated, classified and reproduced.

El motiu, 1994

Sant Pol de Mar, 1957

Lives and works in Sant Pol de Mar

 

 

Perejaume started to exhibit his work during the late seventies and since then he has been developing it in parallel, either in visual disciplines or in literary extension.

 

The landscape is a recurring subject analyzed and explored in his work, retaking and reevaluating the presence it has had most of all, in its literary and visual production. Through this approach, his relationship with the landscape is examined from diverse points of view none of which are exempt of irony. Points of view that are shaped through painting, sculpture, photography, installations, video or the intervention on the natural environment itself.

 

For Perejaume, man is part of the landscape, he isn’t an outsider to it and he is yet another agent in its conformation and evolution, as if the geologic time would have been accelerated.

locucionmerkelbachelet

Zaragoza, 1964

Lives and works in Barcelona

 

 

Javier Peñafiel’s work, drawings, videos, texts and sculptures make up a linguistic system parallel to a reality to which he is unconnected.

 

All through his career, Javier Peñafiel has built up a universe inhabited by characters; by sentences that work autonomously, such as phrases that have the duty to bother the quiet and routine based use of the language by the spectator; or videos where diverse elements are combined in the shape of tableaux, sharing a space but keeping at the same time their identity separate.

 

The works of Javier Peñafiel show the necessity and the difficulty in direct communication. His works investigate the double identity – as obstacle and as a bridge- that the language represents in such communication.

Gran Sur, 2011. Fernando Prats

Santiago de Chile, 1967

Lives and works in Barcelona

 

 

In his work Fernando Prats “paints” or, we’d rather say, recreates nature; he deals with registering tracks, making the invisible visible, giving voice and image to what was present but kept unnoticed.

 

Using seismographs, traces, photographs, videos… he registers the beat of different realities on smoked supports, from the flight of birds to the wild jet of a geyser, the deep coal of mines or the powerful waves that break against the cliff. Thus, Fernando Prats holds an unorthodox relationship with painting, both for the choice of his instruments and for the intervention of chance.

 

His work is formalized in actions which himself registers, that show the creative processes intrinsic to his work. Fernando Prats paintings are time-objects, as they condense in their finished form a story, the one of its creation, whose times often have nothing to do with the ones of the artist, but with the natural rhythms.

Rio São Francisco II, 2015

São Paulo, 1967

Lives and works in São Paulo

 

 

The register of a high-speed changing nature is one of the subjects that articulates Caio Reisewitz’s photographic work and, in this sense, his images are placed in a tradition in which photographic means are witnesses and capture ephemeral realities. The activity of man on the planet, and in certain areas in particular, radically modifies the appearance of the landscape.

 

His photographs, that are mostly large format, are characterized by their frontality and by a spectacular clarity that shows an exuberant nature and a unreal utopian beauty. On one occasion he himself commented: ‘sometimes these images don’t seem real, utopian they are, but they are true, it is the pure reality’.

Laguna veneziana, 1987

Barcelona, 1922-2009

 

 

Besides his long pictorial career which has boosted him internationally, Albert Ràfols Casamada has another creative side as a literary poet. It is of no surprise that his multidisciplinary character attracts him to teaching and pedagogy in the world of fine Art.

 

In his painting, modernity’s fragile equilibrium has been developed and maintained: his work, of classical origin, incorporates at the same time the legacy of the avant-gardes.

 

During the early seventies he abandoned figuration to work in the field of abstract painting that would take him, during the eighties and nineties, to develop a more lyrical abstraction. This process would lead to what is his most recognized stage in his artistic career.

 

On the other hand, Ràfols Casamada has had a fundamental role in the renewal of the arts teaching in Spain being the founding member of the Eina School in Barcelona in 1967.