Tag Archives: videoart



We are pleased to participate to LOOP FAIR 2023, which takes place in Hotel Almanac Barcelona, from 21th till 23th of November, 2023. We are presenting a recent work by Cabello/Carceller Una película sin ninguna intención, 2022 (A Film With No Intention), a 3-channel video installation that will takes on a particular resonance in the hotel room.


“Una película sin ninguna intención is inspired by a brief fragment — only a few seconds — of the film Les rendez-vous d’Anna by Chantal Akerman. The action places the protagonist alone in a nondescript hotel room. Anna has just entered. She goes to the windows and, before opening one of them, draws back a sheer curtain in order to observe an industrial city outside. The scene does not reproduce the original script of the film. If it had been faithful to what was written, the world that the protagonist contemplates from the window would have been visually shared with the public; but ultimately, in the images we can only see the protagonist from behind, looking outward.


 What interested us most about this seemingly insignificant scene was its ability to evoke the life experience of those of us who, due to different circumstances, do not fit into the hegemonic model of coexistence. Isolation, incomprehension, distance, body. Anna leaves that room and pretends to interact with the others. In Una película sin ninguna intención, A. (a polysemic abbreviation in reference to Franz Kafka’s character K., to whom Akerman also may have referred) occupies an indefinite space in front of three windows, a sheer curtain, and an opaque curtain. Unlike Anna, A. never leaves that physical space.”




Alicia Kopf Story of my eyes

Historia de mis ojos, 2021

15′. 16 mm movie transferred to digital


November 24, 25, 26:

Screening in loop 11-14h / 16-20h

November 27

Screening in loop 11-14h


November 24 & 26, at 7pm:

Screening + presentation by Alicia Kopf
RSVP: galeria@galeriajoanprats.com



A visit to the eye doctor is the starting point of this journey towards the origin of life, beyond our planet and inside a woman’s consciousness. An approach to the intimate blind spot that originates an individual life.

Lola Lasurt, Javier Peñafiel

Opening 15/5/2021 from 11am to 2pm


17/06, 18h30: Visit with the artists. + info


From the 15 of May, we shall exhibit the first collaborative exhibition by the artists Lola Lasurt and Javier Peñafiel, titled Desde hace tiempo que nuestras comunicaciones no vienen de un lugar reconocible [It has been a long time since our communications have not come from a recognizable place].



‘One in one, a transmission line.


For a long time, Lola and Javier have been working, imagining, drawing, describing, and reporting choreographies.


The fear of being contagious produced a reduction in contact, this fear both reduces and paralyzes at the same time.


To imagine co-immunities is a cry for help.


This is the point of the exhibition, the moment before the transmission. When the gaps in memory seem less passive, memory shakes them up. The memory of any place does not need the quantum to unfold.


We present a phrase/frieze, constructed from various completed works that is not a synthesis but an unfolding.


We are not simply one whole.


For a period of time Lola choreographed performances under water. Synchronized Swimming. The water has always been a place of choreography for both artists. Javier, personally affected by bone problems, is a disciplined swimmer of aquatic Chi Kung.


The conversation between Lola and Javier focuses on repeated figurers, unique ideas, personal dances, theater signs and the insubordination of the contexts.


Javier uses a phrase from a long time ago, for the things that are happening in the world, the removal of patrimony, changes, movements, the future. He refers to this step as Desactivo Domicilios (deactivated domiciles), the moment before the explosion, the prevention of the catastrophe, the unwritten chapter.


A phrase/ frieze of serial works by Lola and Javier extends over the gallery in form of a choreographed line.


Various works and videos accumulate in the main hall, ready for departure, unsure of when and at what speed, nor their exit strategy or shipping protocols.


Objects are most enigmatic when they are circulating.


‘I still remember when a change of residence meant the transfer of a (telephone) line, and it has been a long time since our communications have not come from a recognizable place.’


Ultimately, all transitive.’


Lola Lasurt and Javier Peñafiel





Lola Lasurt (Barcelona, 1983) lives and works in Barcelona. The gallery has collaborated with her since her individual exhibition Exercici de Ritme which took place in 2014.


Graduating in 2005 from Universitat de Barcelona, she completed two Masters in Artistic Productions and Investigation (2009-2010). Lola also trained between 2016 and 2019 at Royal College of Art (RCA). She showed her work at the Biennal d’Art de Valls (2009); Note Book KKKB, Barcelona (2010); Bienal de intervenciones site-specific. Alcontar, Almeria (2011); Auberge Espagnole, Anneessens Palace, Brussels (2013); Red Dawn, HISK, Ghent (2014); Young Belgian Art Prize, Brussels (2015); Foot Foraine, La Villete, Paris (2016); Daybreak, Royal College of Art, London (2017) or Generación 2018, La Casa Encendida, Madrid.


Amongst her latest exhibitions stands out Doble Autorització, Espai13, Fundació Miró, Barcelona (2014); Flag Dancing Moves, ornothing, Brussels (2015); Donació, Biblioteca Pública Arús, Barcelona (2016); Emissió Periòdica Definitiva, santcorneliarts(2), Cardedeu (2017) and Joc d’infants, La Capella, Barcelona. Currently her project Cardiograma is being shown at IVAM in Valencia.


Lola received an Exchange grant of Hangar and Greatmore Art Studios (2012); a grant of investigation of Sala d’Art jove of the Generalitat de Catalunya with the group Leland Palmer (2012); the Premi Miquel Casablancas, finalist edition mode (2013) and project mode (2015); a research and artistic scholarship of Generalitat de Catalunya (2014); the price Generación 2018, Fundación Montemadrid, La Casa Encendida, Madrid and the third price of the 15th Muestra de Arte Naturgy, MAC, A Coruña (2018).





Javier Peñafiel (Zaragoza, 1964). He was living in Barcelona from 1993 until 2020. He has collaborated with the gallery since 2004 presenting his first exhibition with a video called Confianza quería pentrar. In 2008 we showed his work in the exhibition No verbal. Todo escrito and in 2013 the exhibition Latido Antecedente.


After studying philosophy, Javier Peñafiel concentrated his work during the 1980s into ambits of system criticism. He formed himself outside of academic structures. In 1994, Manel Clot, curator of La Capella de l’Antic Hospital de la Santa Creu de Barcelona, offered him the opportunity to show his work for the first time at an individual show.


Since then, Peñafiel showed is work both at home in Spain and abroad: Conferencia performativa, MUSAC, León (2013); Languages and Aesthetics of Spanish Videos Art: Ten Years of Critical Practices, Videotape, Hong Kong (2015); VÍDEO-RÉGIMEN. Coleccionistas en la era ausdiovisual, Museo Lázaro Galdiano, Madrid (2015); Cómo hacer arte con palabras, MUSAC, León (2016); Discursos Premeditats, Centre del Carme, Valencia; Bibliotecas insólitas, La Casa Encendidada, Madrid (2017); Walkabout #01, Fondazione La Fabbrica del Cioccolato, Torre-Dangio in Valle di Blenio, Switzerland (2018).


Furthermore, Javier Peñafiel has shown his work in individual exhibitions, Puente, continúa, Pabellón Puente, Zaragoza (2013); Egolactante, Sala Anilla, MAC Museo de Arte Contemporáneo. Universidad de Chile, Santiago (2014); Pánico Esnob, etHALL, Barcelona (2015); Agència en avenir – No tots visibles res transparent, Arts Santa Mònica, Barcelona (2017); ¡Más que pañabras, obras!, Instituto Cervantes, Bordeaux (2019) or Alrededores exentos de adultocentrismo, Casa Solleric, Palma (2020).

MoMa PS1

MoMA PS1 now screening “Political Advertisement X: 1952–2020 (2020)” at the MOMA Magazine.


From 19.01 til 31.01.2021, you can watch the film “Political Advertisement X: 1952–2020 (2020)” by Muntadas and Marshall Reese online, along with Artur Żmijewski’s “Democracies” (2009) and Bani Abidi’s “RESERVED” (2006).


Drawn primarily from MoMA’s collection, and looking ahead to the forthcoming exhibition “Signals: The Politics of Video”, the selection of works takes on the newly omnipresent impact of video on politics, on the cusp of world change.


Artists have created some of the most prescient and perceptive takes on this media transformation. Here, in this limited screening series, we present an international selection of artists’ experiments that feel uncannily relevant to our relationship with video today.



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Perejaume, surar. FIAC


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



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



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




Surar, 2009, 9 min 50


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fuzzy dark spot hamburg

Sammlung Falckenberg

Deichtorhallen Hamburg

13.04 – 03.11.2019


Exhibition with :

Vito Acconci, Gabor Altorjay, John Bock, Claus Böhmler, Öyvind Fahlström, Harun Farocki, Jeanne Faust, Lee Friedlander, Gintersdorfer/Klaßen, Rosanna Graf, Britta Gröne/Peter Piller, Romeo Grünfelder, Christian Jankowski, Volko Kamensky, Naho Kawabe, Mike Kelley, Jon Kessler, Nina Könnemann, Till Krause, Vlado Kristl, Lene Markusen, Paul McCarthy, Aurelia Mihai, Ernst Mitzka, Vanessa Nica Mueller, Karina Nimmerfall, Wolfgang Oelze, Tony Oursler, Nam June Paik, Stefan Panhans Rotraut Pape/Raskin, reproducts, Rainer Korsen/Gerd Roscher, Oliver Ross, Gerhard Rühm, Swen Erik Scheuerling, Corinna Schnitt, Paul Spengemann, Hans Stützer, Mike Mandel/Larry Sultan, Inga Svala Thorsdottir, Helena Wittmann, Steffen Zillig


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OCAT, Shanghai

8.10 – 3.12.2017


OCAT Shanghai is proud to present Muntadas Video Works, a survey of Antoni Muntadas’ works in medium of video which aims to show in China the contribution of this multidisciplinary artist, considered at international level as one of the most relevant figures in conceptual art and research art practices.


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ACVic Centre d’Arts Contemporànies, Vic

14.09 – 18.10.2017


A WONDERS Carles Congost construeix un híbrid entre el biopic musical, el documental, la ficció poètica i la reflexió assagística. Ho fa a partir del grup Musical Youth, un grup de reggae format per cinc nens, que va tenir un gran i únic èxit amb la seva cançó Pass the dutchie (1982). Tenint com a rerefons el concepte one-hit wonder, la serena i fascinadora presència de dos dels membres del grup, Dennis Seaton i Michael Grant, intercalen anècdotes personals amb lectures i interpretacions de textos d’Eloy Fernàndez Porta. En cap moment s’apel·la a l’enyorança amarga de l’èxit efímer, ja que la pantalla s’omple amb nous conceptes i relats traçats des la reflexió madura. En aquest projecte s’hi canalitza una combinació entre habituals interessos temàtics, com són la música, la cultura pop o els subgèneres, presents en la seva trajectòria, i tractats amb sensibilitat vers la quotidianitat i els elements comuns de la condició humana.


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Fundación BBVA, Sala Multiverso, Madrid

08.09 – 08.10.2017

Inauguración 7 de septiembre 20:00 h previa invitación


‘The Wolf Motives’, de Carles Congost, propone una reflexión sobre la falsa libertad inducida por las dinámicas consumistas en un formato que combina el género documental sobre temas de naturaleza con el lenguaje publicitario más incisivo.


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Museu Can Framis, Fundació Vila Casas, Barcelona

18.05 – 01.06.2017


Antoni Muntadas (Barcelona, 1942) presenta el projecte “Pamplona-Grazalema” al Museu Can Framis dins la programació de LOOP Barcelona.

Es tracta d’una proposta en forma de llibre i instal·lació videogràfica, realitzada en col·laboració amb l’antropòleg Ginés Serrán Pagán, que confronta dues festes taurines espanyoles: els Sanfermines a Pamplona i la Fiesta del Toro de la Virgen del Carmen a Grazalema (Cadis) posant de manifest el canvi gradual d’aquestes festes de tradició popular a espectacle de turisme de masses.

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Muntadas Loop

Friday 26 May 2017, 11:15 —12.:30

Loop, Barcelona


In the words of Niels van Tomme

What have we learned from Muntadas? After having had the honour to experience a body of work that has grown expansively throughout a more than four decades long career devoted to detecting and decoding the mechanisms of control and power through which hegemonic ways of perception are constructed, what is it that makes us return time and time again to the politically apt works of Muntadas?

There is an old-age idiom that goes “seeing is believing”, but if there is one thing to be absorbed from Muntadas’ insightful practice, it is the fact that seeing can never be straightforwardly aligned with believing. For Muntadas the media-saturated ways in which we experience the world are always already ideologically, politically and socially coded. In order to see properly we need a proper “translation”, a moment that allows the passive stance of seeing to transform into the more active act of knowing, which is the becoming aware of the very mechanisms of mediation itself. These are the tools Muntadas’ multidimensional media practice provides. “Warning: Perception Requires Involvement” goes the artist’s well-known 1999 slogan, thereby highlighting the multifaceted relationships between seeing, transcribing, perceiving and knowing, which are key to understanding his work. We cannot think the world without acting within, and becoming actively part of that world. And so Muntadas’ practice, besides offering a constructive way in which to perceive the media fabric around us, primarily makes us involved and active participants within the reality that surrounds us.

Muntadas’ early video works shift impressively from merely documentation of ‘actions’ towards a more complex investigation of the medium’s intrinsic political and ideological framings. Even though the work often looks scientifically detached, the emphasis lies not in following the protocols of documentary media production, but on forging new ways of seeing. It is a seeing that makes us aware of the intricate ways in which media filter and reshape the events we watch, or, conversely, how we are shaped by the manifold mediations that persistently take place right before our eyes. Once you see this, there is no way to unsee it.


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Wonders Carles Congost

Espai Born, Casal Solleric, Palma de Mallorca

04.05 – 20.08.2017


Carles Congost (Girona, 1970) reflexiona sobre las repercusiones personales y emocionales y, especialmente, sobre qué es el éxito y qué hay detrás de él en Wonders. Una instalación que se inaugura hoy en el espacio Born Casal Solleric y que podrá visitarse hasta el próximo 20 de agosto.

“Vivimos una cultura del éxito donde el fracaso no tiene cabida, donde detrás de esta historia hay un capitalismo voraz que coincide con las implantaciones de las teorías neo-liberales de Margaret Thatcher”, señaló ayer Carles Congost en Cort.

Wonders es una propuesta videográfica que utiliza recursos cercanos al biopic musical y la performance para analizar la figura del one-hit wonder. La instalación, apuntó su creador, “habla sobre este fenómeno, sobre aquellos artistas que han tenido éxito por un solo hit o un solo álbum y que, en ocasiones, de forma voluntaria o no, pasan al olvido”.

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Arts Santa Mònica, Barcelona



Formular una lectura contemporània de l’obra videogràfica i audiovisual preliminar d’Eugènia Balcells, Antoni Muntadas i Carles Pujol és el motiu d’aquesta exposició. Projeccions, videoinstal·lacions i vídeos monocanal –fets a partir dels anys setanta– articulen un recorregut al voltant del treball de tres pioners en l’ús del vídeo com a eina artística. L’itinerari s’inicia amb l’exhibició de més de setanta documents –seleccionats per Antoni Mercader– englobats sota el títol 35 ítems per a documentar la irrupció del videoart a Espanya, 1974-1990.

Eugènia Balcells analitza les estratègies de seducció del cinema i la televisió, assenyalant la necessitat de postures feministes en el camp de la representació, mitjançant la pràctica del desmuntatge i l’apropiació. Antoni Muntadas estudia els mecanismes ideològics dels mitjans de comunicació de masses, proposant experiències televisives de caire alternatiu o suggerint desplaçaments cognitius que impliquen críticament l’espectador. Carles Pujol reflexiona sobre els codis de percepció visual de l’espai, investigant les possibilitats estètiques del vídeo analògic a partir de la documentació del fet de dibuixar i la incorporació participativa del circuit tancat.

Si el concepte “(re)visionats” fa referència al fet d’observar els vídeos amb una mirada actual, la noció “(re)visitats” posa èmfasi en l’acte de recórrer les instal·lacions, escoltant les seves dinàmiques auditives. La “relectura” correspon a la iniciativa del LOOP, que enguany ha iniciat la recuperació, digitalització i presentació online de desenes de documents impresos. Revisionar, revisitar i rellegir els treballs de Balcells, Muntadas i Pujol permet entreveure, des d’una perspectiva recent, el valor d’unes obres que ja formen part del patrimoni cultural videoartístic d’aquest país.


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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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Teresa Solar

Madrid, 1985

Lives and works in Madrid



Teresa Solar’s work focus on heterogeneous practices that materialize in audiovisual and sculptural works, in which the languages ​​of the two disciplines connect and interact. However, in recent years, her artistic practice has opted more for drawing and sculpture, with materials such as ceramics or clay, which have been used, since the beginning of humanity and until today, for their insulation properties, resistance and hardness.


Based on these elements, Teresa Solar’s work delves into the autobiography, alluding to the daily trips through the subsoil in the Madrid metro or injuries to her own body, to the concern for speech and the organs of phonation, and, at the same time, she reflects on wide-ranging themes, for example related to zoology, geology or space exploration.


Along with her interest in the materiality of clay and earth, another figurative language appears in Teresa Solar’s work that moves between the detail of scientific illustrations and the pedagogical representations of Natural History museums, and the brilliant coloring of the fairground attractions, which have resulted in works such as Cabalga, Cabalga, Cabalga or Flotation Line. These are large sculpture installations, which form families with pieces of different sizes, some of them monumental. At the same time, Teresa Solar is an avid sketcher who works with this technique to express her emotions more directly.


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.


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.


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.

Javier Peñafiel

Zaragoza, 1964

Lives and works in Mallorca



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.

Julião Sarmento

Lisbon, 1948- Estoril, 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.