Tag Archives: joan prats

Teresa Solar, Ride ride ride

26.10.2019 – 26.01.2020

Index (Stockholm)


Teresa Solar works with objects and the space in between them, with narratives and broken information. Solar experiments with textures and physicality understanding art as a situation to discover, feel and think. Her exhibited objects can be sculpture and also set material, can be produced or found but is in the conjunction that the whole group becomes a para-linguistic structure with internal dialogues in several timelines.


In her exhibition, Teresa Solar is mixing classic Egyptian mythology, details of contemporary history and linguistic theory: A sculpture of Nut – the goddess of the night in pharaonic Egypt – becomes the axis of the space at Index Foundation and a partner in a dialogue with plenty of references. Curro, the mascot of the universal exhibition in Sevilla 1992, with its bright colors and cartoonish design, is divided in fragments of memory and disappearance. A killer whale becoming a children’s game and a stretched tiger show the porosity and elasticity of objects, nodding the capacity of art to define other ways of relating to them and modifying its signification. A canoe with a new layer of paint is now an eye, a body, an openness. And still a canoe. Gestures become objects and games, objects become unwritten words and sensual connections, lapses of time offering the next experience to be discovered.


André Malraux had with his imaginary museum a collection of images to construct meaning: many possible museum narratives where waiting to be built from the selected photographs collected at Malraux’s archive. What happens when instead of possible images what we have is real objects? Can objects become the museum and not just the idea of the museum? Is the museum a physical experience? Can objects disappear while becoming a museum experience? Can objects become a trigger for memory? To visit an exhibition is a confrontation with hidden languages and bits of information and, still, a visual and performative contact with colors and surfaces.


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Bryce, colección Hochschild

Sala Alcalá 31.

Del 21 de febrero al 16 de abril de 2017.

La exposición presenta una amplia selección de la colección Hochschild, una de las principales de Perú y la única que, hasta el momento, se ha dedicado casi en exclusiva a la producción artística moderna y contemporánea del país andino.

“Próxima parada: artistas peruanos en la colección Hochschild” reúne obra de un conjunto de alrededor de cuarenta artistas y ofrece una visión representativa de los fondos de esta colección privada, así como de las creaciones de los artistas peruanos contemporáneos.

Esta muestra sobre la colección Hochschild representa una oportunidad inmejorable para comprender el arte de las últimas décadas de Perú, un país cuya cultura incaica o barroca es bien conocida internacionalmente, pero no así su arte más contemporáneo.

La exposición está compuesta por obras realizadas sobre distintos soportes, desde pinturas, esculturas, dibujos y fotografías hasta videoproyecciones, instalaciones y proyectos multidisciplinarios de diferentes corrientes artísticas; desde el surrealismo hasta la abstracción geométrica, pasando por el arte popular o el informalismo. Entre los artistas que conforman la muestra se encuentran algunas figuras reconocidas internacionalmente como Milagros de la Torre, Martín Chambi, Fernando Bryce, Sandra Gamarra o Mario Testino junto a nombres más desconocidos para el público español como José Carlos Martinat, Maya Watanabe, Eduardo Moll o Giancarlo Scaglia.

Sin duda, la colección Hochschild representa un empeño personal por ser parte del esfuerzo de conservadores de museos, curadores, galerías, críticos, académicos y artistas peruanos que están contribuyendo a hacer del arte del Perú nuestra “próxima parada”.


Comisario: Octavio Zaya
Organiza: Oficina de Cultura y Turismo de la Comunidad de Madrid


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Bucharest, Romania, 1955

Lives and works in New York



Lydia Dona’s paintings hold many references to the city and the urban environment. So through tubes, screws and other objects that she superimposes to the colour stain, an enormous mechanism without human presence is revealed.


The surface of her paintings may recall the American abstract legacy of Pollock or Clyfford – Though the colours drift apart by their luminosity- that is juxtaposed to the mechanic images of the vanguards.


Lydia Dona maintains in her work the permanent conflict between urban abstractions with its noisy rhythm and the micro cosmos that makes it possible.

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.