Tag Archives: pablo del pozo

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.

Estar a la lluna

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

 

August: Monday to Sunday, 5-9pm

September: Friday to Sunday, 5-9pm

or by appointment: (+34) 644 524 969

 

 

We’re delighted to present the second chapter of the joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard 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”.

 

 

Text by Gabriel Ventura

 

 

“Perhaps because for so many centuries it has been out of reach, it has awakened the most fantastical dreams, those which are most passionate and hidden. Its charm will always be on behalf of the nighttime, of the occult and intuition, of secrecy and excess. The moon -which dilates and dwarfs cat’s eyes, makes tides rise and fall, and inflates and deflates frogs continues to fascinate us with the same fervour of ancient times, even though we have already stepped upon it gingerly, and now some enlightened entrepreneurs plan to build hotels with galactic views. But let’s not fool ourselves: the colonising eagerness of Jeff Bezos and company will not be able to bring closer or make more comprehensible the mysteries of the White Hare or the Spider Woman.

 

Eternally distant, the moon has been worshiped by witches and vampires, by poets and fortune-tellers. As much as science tries to conquer it, the lunar mercurial light projects us towards remote and inscrutable futures, and invites us to reflect on the shadows and myths of the human condition. Throughout history we have linked it to fertility and the unconscious, to death and resurrection, to the repetition of life’s cycles. The first inscribed annotations on artefacts and tools from the Palaeolithic era consist of lunar records. In fact, is very likely that before the advent of agriculture, societies were organised according to a lunar temporal cycle, as demonstrated by Alexander Marshack’s research in The Roots of Civilization.

 

Unlike the sun, the omnipotent and constant star, the moon goes through phases; it waxes and wanes, dwindles, bends, and transforms. For this reason, there has been a historical tendency to represent what is immutable with the sun (God), and that which is changing and material with the moon (for example, Plato’s sublunar and mortal kingdom, the land of doubt and shadows). Inevitably, for millennia, human species has found its counterpart in the drama of the moon: being born, growing up, reproducing (the belly of the full moon), and dying. If the solar syntax divides and ranks –W.B. Yeats accused the sun of offering “complex and contrived” truths– the lunar syntax mixes and confuses the forms by being evasive, emotional, fluid. Symbolically, the moon evokes the imaginative, contingent, and ambiguous world of existence, which contrasts against absolute solar truths shaping an ideal world of being. It is impossible to look directly at the sun, it is impossible to enter into a dialogue with its dazzling presence. The moon, on the other hand, illuminates paths from the brinks of the sky and, in the words of Lorca, shamelessly shows its “one hundred identical faces”. Illusion, delirium, chimera, madness, chaos, dispersion (estar a la lluna 1): the attributes of the queen of the night suggest the transgression of daytime norms.

 

Lilacs and electric blues, striking yellows and raging reds, fluorescent greens that shoot up from the dark, like a scream piercing the conscience. The colours of the night sharpen the nerves as well as the eye; they make us untrusting, and we sense the intermittent heartbeat of danger.

 

A tremor runs down our backs: is it real, what we have seen? Can we believe in the images and words that appear under Selene’s cold light? Perhaps, deep down, being on the moon is one of the most fruitful and perplexing ways to be on Earth -not taking anything for granted, continuing to be suspicious, and looking up at the unfathomable secrets of the universe.

 

Gabriel Ventura

 

 

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

Our garden

Our garden needs its flowers.

Centre d’Art Tecla Sala.

27/02 – 18/07/2021

 

Exposició comissariada per David Armengol i Albert Mercadé.

 

Des del 2015 més de 500 artistes visuals, músics, arquitectes, dissenyadors i agents culturals han escollit la ciutat de L’Hospitalet com a destí creatiu i conviuen avui en espais rehabilitats de l’antiga zona industrial de la ciutat, que s’ha posicionat com un dels principals eixos culturals de l’àrea metropolitana de Barcelona.

A partir d’un recorregut orgànic Our garden needs its flowers proposa una lectura de l’actual context artístic del Districte Cultural posant especial atenció a les arts visuals, la música i el disseny.

 

Amb obres de Muntadas, i Pablo del Pozo, entre d’altres.

 

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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

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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Dijous 19.09.19, a les 19h, al Centre Cultural Terrassa.

 

Closing de les exposicions de la Col·lecció Josep Maria Civit.

 

Civit ens convida a entendre diferents formes de pensar i de dialogar amb el present. El compromís cultural, l’experimentació amb la imatge i la pràctica d’una aventura mental són els trets distintius de la col·lecció. Tot això en l’intent de compartir una mirada més enllà de la retiniana.

 

Obres de Jordi Alcaraz, Joan Brossa, Hannah Collins, Muntadas, Pablo del Pozo, Fernando Prats, Teresa Solar, entre d’altres.

 

 

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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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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

Aïda Andrés Rodrigálvarez & Pablo del Pozo

JOAN PRATS warehouse, Passatge Saladrigas 5, Barcelona

By appointment at 932 160 284

Exhibition: 05/09/2018 – 26/10/2018

 

As part of artnou, Galeria Joan Prats presents the work of two young artists, Aïda Andrés Rodrigálvarez (Barcelona, 1985) and Pablo del Pozo (Badajoz, 1994).

 

Their works deal with the relationship that is established between the individual and the space surrounding, from an everyday point of view. The territory and nostalgia, the search for a refuge, the passage of time are important topics in their work, together with the environment. We will show installations of the two artists, that have been made from found objects and materials exposed to the elements.

 

Aïda Andrés Rodrigálvarez is interested in the impression that light, the environment and the passage of time is producing on paper. The techniques of lithography and pinhole photography allow her to work with a dilated temporality, as well as to investigate the color. In her artistic practice, paper and fabrics are left at the mercy of the elements, thus becoming photosensitive materials.

 

On the other hand, the works by Pablo del Pozo have a strong autobiographical character, linked to the experiences of the artist. The feeling of belonging to a place, displacement and nostalgia are subjects that concern him. From the characteristics of the materials used (clay, plaster, pigments and also found objects), he seeks to talk about the precariousness of life, thus generating a reflection on the daily reality.

 

 

 

Aïda Andrés Rodrigálvarez (Barcelona, 1985) lives and works in Barcelona. She owns a Master’s Degree in Artistic Productions and Research (2015-16) and a a Degree in Fine Arts (2014) from the University of Barcelona. She have also an Architecture Degree from the ETSAB, Barcelona (2010). She has individually exhibited at Fundació Arranz-Bravo at L’Hospitalet de Llobregat (2017), in the Acadèmia de Belles Arts de Sabadell (2016) and at Tinta Invisible, Barcelona, (2014). She has been granted by Institut Ramon Llull for the Jeune Création Européenne Biennale, has received the production grant Felicia Fuster (2018), Guasch-Coranty  (2016) and the prize Arranz-Bravo (2017).

 

Pablo del Pozo (Badajoz, 1994) lives and works in Barcelona. He owns a Degree in Fine Arts (2014) from the University of Barcelona (2017). He has individually exhibited at Centre Tecla Sala de L’Hospitalet de Llobregat), at Le Beffroi de Montrouge, París (2017) and at the Acadèmia de Belles Arts de Sabadell (2016). He has been selected to the Biennal de Valls, the Guasch-Coranty prize (2017) and to the Jeune Création Européenne Biennale (2017-8) with exhibitions in several European cities like Montrouge, France (2017); Hjørring, Denmark; Cēsis, Latvia; Cluj, Romania (2018); Como, Italy; Figueres and Amarante, Portugal (2019). He also has been granted by a production scholarship by the Sala d’art Jove de la Generalitat (2017), where he will show during June 2018.