Tag Archives: pere llobera

Lola Lasurt

Premi de Pintura 2022, Fundació Vilacasas

Can Framis, Barcelona

05/07/2022 – 18/09/2022

 

 

Un any més, la Fundació Vila Casas ha convocat l’edició dels premis dedicats, de manera rotativa, a les disciplines de pintura, escultura i fotografia. Enguany és el torn del Premi de Pintura 2022 i el jurat –format per Gisela Chillida, Natàlia Chocarro, Marc Domènech, Conxita Oliver, Antonio Sagnier, Àlex Susanna i Antoni Vila Casas– ha seleccionat 30 obres finalistes que es podran veure en una exposició a Can Framis de Barcelona entre el 5 de juliol i el 18 de setembre.

 

Els 30 artistes finalistes són: Eladio Aguilera, Alejandra Atarés, Rafel G. Bianchi, Sara Bonache, Jose Bonell, Bernat Daviu, Gonzalo Elvira, Miquel Garcia, Elena Kervinen, Gala Knörr, Lola Lasurt, Pere Llobera, Francesca Llopis, Justine Lotus, Ariadna Mangrané, Irma Marco, Maria Mercader, Muma, Narotzky, José Luis Pascual, Jorge R. Pombo, Ignasi Prat Altimira, Francesc Ruiz Abad, Bea Sarrias, Manolo Sierra, Joan Soler, Ramon Surinyac, Guim Tió Zarraluki, Jordi Torrent i Clara Vidal.

 

Inauguració: dilluns 4 de juliol, a les 19 h

 

 

+ info

Revelations on a Shapeless Sphere

Revelations on a Shapeless Sphere

Fonteta, June 17 – August 28, 2022

 

Pere Noguera, Luis Gordillo, Ludovica Carbotta, Muntadas, Francesco Arena, Victoria Civera, Perejaume, Pere Llobera, Ignacio Uriarte, Anna Dot, The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen, Ángela de la Cruz, Lola Lasurt, Mercedes Azpilicueta, Fernando Prats

 

 

We are delighted to present again a collaborative project of galleries Bombon, Joan Prats and NoguerasBlanchard. The proposal for this season once again brings together artists from the three galleries and from different generations in an exhibition format that will be based on the exquisite corpse principle, with a text by Eduard Escoffet written for the occasion.

 

Focusing on this act of collective exchange, during the summer of 2022, the artists invited to participate, the first of them Pere Noguera (La Bisbal, Girona; 1941), will be in charge of selecting the first group of artists, and so on, until the end of a series of exhibition proposals made up of works spanning different generations and imaginaries.

 

 

Text Eduard Escoffet

 

 

Chapter 1: opening Saturday June 25
Pere Noguera, Luis Gordillo, Ludovica Carbotta (Room 1)
Pere Noguera, Anna Dot, The Late Estate Broomberg & Chanarin (Room 2)

 

Chapter 2: opening Saturday July 16
Ludovica Carbotta, Muntadas, Francesco Arena (Room 1)
The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen (Room 2)

 

Chapter 3: opening Saturday August 6
Francesco Arena, Victoria Civera, Perejaume (Room 1)
Rasmus Nilausen, Angela de la Cruz, Lola Lasurt (Room 2)

 

Chapter 4: opening Thursday 18
Perejaume, Pere Llobera, Ignacio Uriarte (Room 1)
Lola Lasurt, Mercedes Azpilicueta, Fernando Prats (Room 2)

 

 

c/ Empordà, 10, Fonteta, Girona
June: Friday to Sunday, 5 – 9 pm
July and Aug: Monday to Sunday, 5 – 9 pm

Revelations on a Shapeless Sphere

Revelacions sobre una esfera informe.

Fonteta, 17 Juny – 28 Agost, 2022

 

Estem contents de tornar a presentar el projecte col·laboratiu de Bombon, Joan Prats i NoguerasBlanchard a Fonteta (Empordà). La proposta per a aquesta temporada reuneix de nou artistes de les tres galeries i de diferents generacions en un format expositiu que s’articula talment es tractés d’un cadàver exquisit. El poeta Eduard Escoffet ha escrit un text de presentació d’aquest projecte.

 

Partint d’aquest mateix acte d’intercanvi col·lectiu, durant l’estiu de 2022, els artistes convidats en l’espai, el primer dels quals és el Bisbalenc Pere Noguera, seran els encarregats de seleccionar als següents, i així consecutivament, fins a tancar un cicle de propostes expositives formades per obres que abasten diferents generacions i imaginaris.

 

 

Text Eduard Escoffet

 

 

Capítol 1: inauguració dissabte 25 de juny
Pere Noguera, Luis Gordillo, Ludovica Carbotta (Sala 1)
Pere Noguera, Anna Dot, The Late Estate Broomberg & Chanarin (Sala 2)

 

Capítol 2: inauguració dissabte 16 de juliol
Ludovica Carbotta, Muntadas, Francesco Arena (Sala 1)
The Late Estate Broomberg & Chanarin, Jordi Mitjà, Rasmus Nilausen (Sala 2)

 

Capítol 3: inauguració dissabte 6 d’agost
Francesco Arena, Victoria Civera, Perejaume (Sala 1)
Rasmus Nilausen, Angela de la Cruz, Lola Lasurt (Sala 2)

 

Capítol 4: inauguració dissabte 18 d’agost
Perejaume, Pere Llobera, Ignacio Uriarte (Sala 1)
Lola Lasurt, Mercedes Azpilicueta, Fernando Prats (Sala 2)

 

 

c/ Empordà, 10, Fonteta, Girona
Juny: Divendres a diumenge de 17 – 21h
Jul i Ago: Dilluns a diumenge 17 – 21h

 

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)

Caminar sobre el gel

Del 30 de setembre de 2017 al 7 de gener de 2018

 

L’hivern de 1974, un jove Werner Herzog decideix anar caminant de Munich a París per visitar a la seva amiga i crítica de cinema Lotte Eisner, que es troba molt malalta a l’hospital. En lloc de viatjar ràpidament a la capital francesa per reunir-se amb Eisner, Herzog inicia un viatge solitari a peu que, segons ell, mantindrà la seva amiga amb vida mentre camina. La seva aventura va durar del 23 de novembre al 14 de desembre de 1974. Quatre anys després, aquesta gesta va donar peu a la publicació d’un petit assaig: Del caminar sobre hielo.

Caminar sobre el gel és una exposició col·lectiva que situa el seu punt de partida en aquest relat. El cineasta alemany descriu de manera minuciosa els paisatges, situacions i pensaments que l’acompanyen durant el viatge. Una traducció a l’àmbit de les arts visuals en què l’absència de practicitat del seu viatge obre dues possibles interpretacions: d’una banda, l’activació del paisatge a través de la performance i l’experiència directa; de l’altra, una anàlisi sobre la disfuncionalitat de l’art, un context capaç de destinar un gran esforç i energia a empreses alienes a les convencions que configuren el nostre entorn social.

 

+ info