Tag Archives: Julião Sarmento

Fonteta Exhibition

FONTETA – Bombon · Joan Prats · NoguerasBlanchard

Capítol II: Estar a la lluna (Head in the clouds)

 

Opening: 7th of August, 12am-9pm

Exhibition until 26th of September

c/ Empordà, 10, Fonteta, Girona

 

June and September: Friday to Sunday, 5-9pm
July and August: Monday to Sunday, 5-9pm
or by appointment: (+34) 644 524 969

 

Text by Gabriel Ventura

 

We’re delighted to present a joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard, from June to September, in Fonteta, a small village in the Emporda region.

 

The exhibition, conceived in two chapters (the first opening June 19th and the second August 7th) brings together artists from three different generations. The proposal begins with a concept from the Emporda Parar la fresca (to take in fresh air) described by Josep Pla in the book “Las Horas”.

 

Parar la fresca, as Pla states, is the summer habit of taking a chair out into the street, or up onto a rooftop as the sun begins to fall and simply letting time pass. Parar la fresca has modest intentions, to ignore the heavens, to be blissfully unaware of what the sky offers us whilst sounds flow from the sunset and the summer heat. As Pla argues, there is nothing more pleasurable or kind than falling asleep in the fresh twilight. But what if one does not fall sleep easily?

 

Taking this question as a point of departure, works have been selected by artists addressing topics such as nature, landscape, time, contemplation, and the universe. They have been divided into two moments: Parar la fresca and Estar a la lluna. Two chapters of the same exhibition with artists such as Antoni Tàpies, Ana Mendieta, Joan Brossa, Hernández Pijuan, Rosa Tharrats, Perejaume, Teresa Solar, Jordi Mitjà, Aldo Urbano, Chema Madoz, Mari Eastman, Enric Farrés Duran, Wilfredo Prieto o Juan Uslé… amongst others. In addition, specific actions will be carried out by some of the artists linked to the Emporda.

 

In Pla’s words, “The vast sky dome, they say, invites us to think. That is true. But think about what?” The renowned Emporda author concludes that “people who have a sense of ridicule think, before the heavens, that they know nothing at all.”

 

 

Capítol I: Parar la fresca (To take in fresh air)

ARCO E-xhibitions

ARCO E-xhibitions. 

 

 

THE YEAR SLIPS ON THE CALENDAR

 

 

ERICK BELTRÁN, CABELLO/CARCELLER, VICTORIA CIVERA, CARLES CONGOST, LUIS GORDILLO, ENRIQUE MARTÍNEZ CELAYA, MUNTADAS, JAVIER PEÑAFIEL, PEREJAUME, JULIÃO SARMENTO, TERESA SOLAR, JUAN USLÉ

 

Tras un año 2020 en el que creímos posible una transformación radical de nuestras vidas, debido a un evento mundial e imprevisible como fue la pandemia, este 2021 sentimos que todo vuelve a empezar y, pese a todo lo que aprendimos, en el fondo, deseamos volver a lo anterior.

 

En la primavera del año pasado, nos atrevimos a pedirles a los y las artistas de la galería que participasen en una exposición que pudimos presentar en verano, con trabajos realizados durante el confinamiento. La realización de estas obras supuso, en algunos casos, una vía de escape, en otros, una herramienta para continuar trabajando pese a las dificultades y, a la vez, permitieron al público introducirse en la intimidad de los estudios y de las cabezas de sus creadores.

 

El resultado de la petición fue una serie de obras muy diversas, algunas de las cuales ahora volvemos a presentar para poder contemplarlas con una nueva mirada, que nos permite entender el pasado y proyectarnos hacia el futuro.

 

 

Descubre nuestro stand en 2D y en 3D

ConversasComSerralves

ConversasComSerralves.

PALAVRA DE ARTISTA – JULIÃO SARMENTO

 

On January 29th, at 6:00 pm (7:00 pm Spain), watch the WORD OF ARTIST – JULIÃO SARMENTO conversation, online.

 

 

In this conversation between the artist Julião Sarmento and Joana Valsassina, curator of the Serralves Museum’s national itinerary program, the core of works by the artist, belonging to the Serralves Collection, will be the starting point for touching on themes that cover his work, revisiting individual exhibitions organized by the Museum and revealing some peculiarities of an important recent acquisition.

 

In dialogue with one of the most outstanding personalities in the contemporary artistic panorama, we will approach the different aspects of his career, seeking to know how he sees the future of art in the face of today’s challenges. 

 

Join the talk, through free prior registration to the email d.cruz@serralves.pt, until 12:00 on January 29th. 

 

 

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arte arquitectura

Julião Sarmento participa en la exposición ‘Arte y arquitectura: un diálogo’ en el Centro Botín, Santander.

 

‘Arte y arquitectura: un diálogo’ explora la influencia de la arquitectura en el arte y ofrece reflexiones sobre cómo la arquitectura conforma nuestras propias vidas y articula la interacción social.

 

Esta exposición reúne una selección de obras de artistas que en su día dirigieron un taller de artes plásticas de la Fundación Botín y expusieron sus trabajos en Santander, junto con piezas creadas por antiguos beneficiarios de la beca de artes plásticas que concede la fundación.

 

Comisario: Benjamin Weil

 

Hasta el 14 de marzo de 2021

 

 

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Sexuality and representation

The artist Julião Sarmento participates in the group exhibition ‘RED LIGHT: Sexuality and representation in the Norlinda and José Lima Collection’ at Centro de Arte Oliva, João da Madeira, Portugal, until March 14, 2021.

 

RED LIGHT presents a selection of works from the Norlinda and José Lima art collection, having in common the approach to sexuality, declined in multiple themes, both presented in a complement of counterpoint and in a discordant confrontation: the representation of the body, male and female nudity, eroticism, fantasy, desire and pain, object and subject, pleasure and domination, places of female representation, male gaze, voyeurism, exhibitionism and self-representation in art.

 

Cuarated by Sandra Vieira Jürgens.

 

 

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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.

 

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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.

 

Access the exhibition

think about the size

JORDI ALCARAZ, PAULINE BASTARD, ERICK BELTRÁN, ALFONS BORRELL, CABELLO/CARCELLER, CABRITA, VICTORIA CIVERA, HANNAH COLLINS, CARLES CONGOST, LUIS GORDILLO, ANNIKA KAHRS, LOLA LASURT, FABIAN MARCACCIO, ENRIQUE MARTÍNEZ CELAYA, MUNTADAS, JAVIER PEÑAFIEL, PEREJAUME, PABLO DEL POZO, FERNANDO PRATS, CAIO REISEWITZ, MARCEL RUBIO JULIANA, JULIÃO SARMENTO, JOSÉ MARÍA SICILIA, TERESA SOLAR, JUAN USLÉ 

 

 

“Escric amb rius i turons / sobre el paper de les planes”    Perejaume*

 

Spring has been marked by a radical transformation of our ways of moving, relating and exchanging. Suddenly everything has changed. Our perception of everyday things and also of the most relevant things has been questioned. What seemed essential to us becomes not essential. We have realized the precariousness of life, we have known the importance of solidarity, of family, of our loved ones, of our environment. Nature and the environment have also taken a leading role that they did not have before.

 

Facing this, we have dared to ask the artists of the gallery to participate in this exhibition that we now present, with works which they have carried out during this time of social isolation. They are diverse answers to the same question, they have in common the use of paper as a medium, common for some –like Victoria Civera or Perejaume– and unprecedented for others –like Hannah Collins or Annika Kahrs–.

 

The making of these works has been able to become an escape route, a tool to continue working despite the difficulties and, at the same time, they allow the spectator to enter the intimacy of the studios and the heads of their creators. They are, in most cases, works made at home, with house’s tools, testimonies of a unique and, we hope, unrepeatable moment.

 

‘Think about the size of the universe, then brush your teeth and go to bed’ takes the title of a work by the artist Annika Kahrs. Starting with humor, it invites us to reflect on the balance between micro and macro levels and on the search for meaning and identity within the unfathomable universe of which we are a part, reflections that become fundamental in the current context.

 

The result of this exhibition has been a series of diverse works. In some cases, we see that the themes that worried the artists, before the pandemic, have maintained their leading role or, even in others, they show fragments of their work process and are linked to future projects.

 

In other cases, we find proposals that speak directly of the current moment: reflections on personal relationships, the political situation, messages from the media or vulnerable groups such as children and the elderly.

 

Finally, we would also find a third group of works that focus on observing the closest environment and nature.

 

 

To provide you with more information and images, please contact galeria@galeriajoanprats.com

 

 

* “I write with rivers and hills / on the paper of the plains” Perejaume

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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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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Screening of Sarmento’s work and a talk by the director

Bush House Lecture Theatre 1,

King’s College London

6.12.2019, 18-20h

 

A special screening of some of Julião Sarmento’s work that openly opposed the Salazarist state repression and the profound cultural conservatism of the era. The screening will be followed by a very special talk with the director himself chaired by Bruno Marques and Érica Faleiro Rodrigues.

 

Programme of films:

 

Legs (15*). Fixed frame shooting of a sequence centered on the bare pubis of a female body. A slow and sensual alternation of forward and backward leg movement repeats indefinitely.

Portugal 1975 Dir. Julião Sarmento 3´45´´

 

Copies (15*)

Two naked women face each other replicating self-directed gestures and caresses. Near the end, the director steps out of his voyeuristic shadow, to turn his hand to playing the exhibitionist.

Portugal 1976 Dir. Julião Sarmento 14´23´´

 

Faces (15*)

Close up of an endless kiss between two women, centered on their mouths and the movement of their tongues.

Portugal 1976 Dir. Julião Sarmento 44´22´´

 

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Juliao Sarmento, Film works

02.07 – 11.10.2019

Escola das Artes, UCP, Porto (PT)

 

Curadoria de Nuno Crespo

 

A Exposição Julião Sarmento. Film Works irá fazer a abertura oficial do programa público da Porto Summer School on Art & Cinema, no dia 2 de julho, às 19h30 e ocupará a Sala de Exposições da Escola das Artes, Universidade Católica Portuguesa. Esta exposição individual concentrará parte importante do trabalho que o artista fez com a imagem em movimento.

 

Serão mostradas dez obras de diferentes épocas – desde 1, 2, 3 (1975) até O Fim do Mundo (2015) -, expostos em diferentes formatos, formando um puzzle de referências teóricas, literárias, cinematográficas e reflexões sobre atos e gestos quotidianos.

 

A concentração destes trabalho nesta exposição individual, permite olhar a obra de Julião Sarmento a partir de uma série de obsessões, como a repetição enquanto modo de desconstruir a normalização das imagens e a reflexão sobre o lugar da linguagem e das suas convenções.

 

 

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Fondazione Giorgio Cini

9.05 – 24.11.2019

 

Carsten Höller, Julião Sarmento and Marina Abramović join First Stone with Expanded, the next exhibition of the programme. Inaugurating on the 9th of May, during the 58th International Art Exhibition of the Venice Biennale, Expanded will be located within the Fondazione Giorgio Cini and remain open until the 24th of November 2019.

 

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Arco 2019

ARCOmadrid 

27/02/2019 – 03/03/2019

Booth 9C09

 

AÏDA ANDRÉS RODRIGÁLVAREZ, PEDRO CABRITA REIS, VICTORIA CIVERA, HANNAH COLLINS, HERNÁNDEZ PIJUAN, FABIAN MARCACCIO, MUNTADAS, PEREJAUME, PABLO DEL POZO, CAIO REISEWITZ, JULIÃO SARMENTO, JOSÉ MARÍA SICILIA, TERESA SOLAR, JUAN USLÉ

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CAIO REISEWITZ Meeting with the artist and book signing, Altamira

Thursday, February 28, in our booth at ARCOmadrid 2019

CGAC Centro Galego de Arte Contemporánea, Santiago de Compostela

9.11.2018 – 3.2.2019

Comisarios: Santiago Olmo, David Barro

 

La exposición de Julião Sarmento en el CGAC es una visión panorámica que recoge trabajos en torno a este sentir que se cruza transversalmente por toda su trayectoria: lo cinematográfico. No se trata tanto de subrayar una relación literal —que se puede advertir en muchos casos— sino de proyectar cómo Sarmento siempre se ha movido en ese espacio intermedio, entre la suspensión y el deseo, en un espacio intersticial que provoca que, como espectadores, nos veamos inmersos en un terreno inquietante, como el del extranjero, como el del espectador.

 

La muestra recoge ejemplos de su particular manera de deconstruir la imagen, de obras donde el vacío se concibe como fondo activo y de una serie de esculturas donde se convoca la idea de escena. También de sus enigmáticos trabajos recientes, pinturas de dimensión fractal que hacen referencia al mundo de las constelaciones. Porque en su trabajo la realidad se amplía y el espectador nunca conoce la realidad de la imagen, como en el cine. Todo ello demanda una posición activa en el espectador, que se ve obligado a descifrar la intención de cada motivo y de cada ausencia, atendiendo a títulos que ofrecen pistas al tiempo que refuerzan el misterio y la suspensión.

 

El título, Without, hace referencia a la polaridad que domina toda la obra de Julião Sarmento. La polaridad es como una puerta que en un lado tiene escrita la palabra entrada y en el otro salida, pero siempre es la misma puerta y, según el lado por el que nos acerquemos a ella, vemos uno u otro de sus aspectos. Como en las obras de Julião Sarmento, el título no nos dice una verdad exacta ni absoluta ni tampoco nos informa de todo lo que se ve.

 

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Centro Internacional das Artes José de Guimarães (CIAJG), Guimarães, Portugal

29.6 -7.10.2018

 

Leopard in a Cage (leopardo numa jaula) propõe, do ponto de vista curatorial, o desafio de recuperar um conjunto de projetos que nunca antes haviam sido mostrados ou mesmo realizados, que são apresentados em diálogo com trabalhos novos, especificamente concebidos e produzidos para esta exposição.

O título da exposição cita um projeto de 1975, “Um Leopardo na SNBA”, que visto a esta distância temporal, condensa muitos dos traços distintivos da obra do artista. O projeto, que nunca viria a realizar-se, e que é agora apresentado enquanto tal, estabelece, simultaneamente, o tema animal, referencial nestes e nos anos seguintes do trabalho de Julião Sarmento, o tema do desejo, uma estética do rigor e da contenção, um trabalho com as coordenadas invisíveis do tempo e do espaço, o campo de interpretação deixada ao espetador.

Talvez aquilo que sobressaia da imensa diversidade de projetos e de meios nesta exposição seja a forma como o artista parece reclamar para o processo criativo uma liberdade radical e inalienável, uma insaciável curiosidade por tudo aquilo que o rodeia, apropriando-se de objetos de uso comum (um simples, efémero e pequeno bilhete de elétrico que é transposto, em aumento de escala, para tapeçaria), citando obras de outros artistas (Carl Andre) ou criando dois conjuntos de pinturas aparentemente monocromáticas, respetivamente com todos os tons de brancos e pretos encontrados no atelier.

A exposição é assim um desconcertante palimpsesto em que tudo parece ser dito duas vezes, em modo de repetição, mas em que nada é exatamente o mesmo, em que nada é igual. Neste regime de alteridade, cabe ao espetador a aliciante tarefa de nomear (distinguir) aquilo que vê ou de imaginar (construir) aquilo que ouve, ampliando, através da experiência estética, a perceção ou o conhecimento do real.

 

 

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ARCO Madrid. 21/02/2018 – 25/02/2018

 

CABELLO/CARCELLER
HERNÁNDEZ PIJUAN
LOLA LASURT
PEREJAUME
JAVIER PEÑAFIEL
FERNANDO PRATS
CAIO REISEWITZ
JULIÃO SARMENTO
JOSÉ MARÍA SICILIA
TERESA SOLAR ABBOUD

 

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Objects on the New Landscape Demanding of the Eye (part 3)

We are pleased to present Julião Sarmento’s fourth exhibition at Galeria Joan Prats, titled Objects on the New Landscape Demanding of the Eye (part 3), in which we will show his recent work, with installation, sculpture and painting.

 

The title of the exhibition recalls that of the first exhibition held at Ferus Gallery in Los Angeles in 1957, which included paintings by various artists and in which the installation and assemblage pioneer, Edward Kienholz, participated.

 

In the exhibition, the installation Crash Dummy, 2016, and the sculpture Broken Alice, 2014, coexist with a series of paintings that show triangular shapes, delicately drawn, based on the fundamental principles of fractal geometry, and other works inspired by the Little Dancer Aged Fourteen of Degas. This diversity of supports and techniques present in the exhibition is characteristic of the artistic practice of Julião Sarmento and, on this occasion, stands out for the combination of materials that could be defined as poor with materials subject to advanced technological processes.

 

Julião Sarmento produces a work that adopts multiple forms with drawings, paintings, sculptures, performances and videos that speak of the artifices of seduction and the mechanisms of desire. From its beginnings, in the middle of the seventies, the work of Julião Sarmento has been characterized by its archival character. Thus, in his works, they can appear feminine silhouettes, architectural plans, literary fragments and objects.

 

Often, these coded iconographies explicitly present us with the signs needed to identify to the source of his imagery and its meanings. This constant oscillation between appearance and reality, fiction and documentation, invention and fact with which Sarmento confronts us is not at all a gratuitous game. The assemblages fashioned by the artist play on this dialectic of superficial interpretation, where many elements are perfectly identifiable, even banal or anodyne, and deeper interpretation that drives us to seek correspondences, links and relations without realizing that the very fact of carrying out this search is itself the meaning we are supposed to discover.

Usle

24.06.2017 – 01.01.2018

La Fundación Botín presenta una selección de obra perteneciente a su colección. La muestra tendrá lugar en la primera planta del Centro Botín. Adquiridas en el curso de las últimas décadas, las piezas expuestas ofrecen perspectivas de los artistas a los que la Fundación ha decidido apoyar y con los que ha colaborado a lo largo de ese periodo.

 

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Galleria nazionale

Galleria Nazionale d’Arte Moderna e Contemporanea, Rome

18/05 – 17/09/2017

Opening | Inauguración: 18/05 -19h

Curator | CuradoraNimfa Bisbe

 

Con Conversation Piece, la Galleria Nazionale ospita la collezione “la Caixa” di Arte Contemporanea e propone una conversazione tra un selezionato gruppo di opere nella cornice dell’architettura classica del Salone Centrale.

La mostra, a cura di Nimfa Bisbe, prende il titolo dall’opera di Juan Muñoz (Conversation Piece, 1995) e mette in relazione un gruppo di opere di artisti dalle differenti voci poetiche. Così come suggeriscono i gesti espressivi dei tre personaggi di Muñoz, la mostra possiede la forza del dialogo ma anche quella della dialettica, animata dalla seduzione e dalla ricerca di un significato rivelatore. L’interazione tra le opere segue una cifra che fa riferimento da una parte ai canoni dell’estetica minimalista e dall’altro alla triplice relazione tra architettura, scultura e figura umana.

In Conversation Piece, l’interpretazione formalistica della geometria dell’arte minimalista svanisce grazie alla forza del vissuto, dei simbolismi e della finzione delle opere. La forma viene interpretata dagli artisti per sostenere poetiche personali o rimandi alla realtà del nostro mondo. I giochi di contrasto e le assonanze tra le diverse proposte artistiche presenti, consentono di attivare molteplici letture che possono, a loro volta, generare storie diverse da quelle messe in scena.

Fernanda Fragateiro, Donald Judd, Agnes Martin, Juan Muñoz, Joan Hernández Pijuan, Doris Salcedo, Julião Sarmento, Thomas Schütte, Richard Serra, Jana Sterbak, Antoni Tàpies, Ignacio Uriarte, Rachel Whiteread.

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Broken Alice, 2014

Lisbon, 1948-2021

 

 

From the early seventies, Julião Sarmento has explored the possibilities of painting, photography, sculpture, installation and video. There is a process of suggestive hiding in his works that situates the spectator not only as an observer but also as a participant of his narrative.

 

The woman is a recurring motive in his works and from it he elaborates concepts linked to sexuality, desire or seduction. The relationships he evokes, on latent tension, violence, obsession or mystery, are obtained from a meticulous dynamic between the participating agents in the physical space, in the case of installations, or in the edition, in case of films and videos. The resulting works unleash all the detached intrigue of the images in constant suspense and tension.