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espacio #1 - galería
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ANA AMORIM
31052019 - 5,160 - 215 - 62 / 13092019 - 2,640 - 110 - 63
31 / 05 / 2019 - 13 / 09 / 2019
Publicación
Publication
ANA AMORIM
31052019 - 5,160 - 215 - 62 / 13092019 - 2,640 - 110 - 63
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espacio #2 / #3 - escaparate
space #2 / #3 - showcase
Bérénice Lefebvre
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Nil Yalter: Exile Is a Hard Job
07/06/2019
22/06/2019 – 13/10/2019 Hessel Museum of Art 22/06/2019 – 13/10/2019 Hessel Museum of Art www.ccs.bard.edu Curadora/ Curator: Lauren Cornell  ...
  Exile Is a Hard Job will be the first solo U.S. museum exhibition of work b  Exile Is a Hard Job will be the first solo U.S. museum exhibition of work by Nil Yalter (b. 1938, Cairo), who has been a pioneer of socially engaged art since the 1970s. Born in Cairo, the artist grew up in Istanbul and has been living in Paris since 1965. Exile Is a Hard Job presents the diversity of her work, from previously little-known paintings to her groundbreaking early videos and multimedia installations in which she combines photography, video, drawings, and sculpture into collages. Exile Is a Hard Job originates at the Museum Ludwig in Cologne as Yalter’s first major retrospective, opening March 8, 2019. At the Hessel Museum of Art, the exhibition will focus on her prolific period from the late ’60s to the early ’80s, and will include over twenty of her most significant projects from this time. Nil Yalter’s work emerges from current political situations such as daily life in a women’s prison and the living conditions of immigrant workers. Using a quasi-anthropological methodology, she reflects the lives of these individuals and makes marginalized groups visible. Exile Is a Hard Job charts a path from her early abstract paintings through her pivotal socially engaged works and experiments with video and performance. The show will feature her first video piece, a performance for the camera titled Headless Woman or The Belly Dance (1974), as well as the video and photographic project Le Chevalier d’Eon (1978)—described in Artforum as the “first work on transgender identity from a Middle Eastern context”—and the eleven-channel video installation Pyramis ou le Voyage d’Eudore(1987), which represents her expanded media projects from the 1980s. The exhibition will also include multiple large-scale collages and installations, such as Temporary Dwellings (1974–77), a representation of immigrants living in Parisian suburbs that is told through assemblage and video testimony, and La Roquette, Prison for Women (1974), a video and photographic portrait of an inmate at a women’s prison in Paris that focuses on the physical and spiritual isolation of female prisoners. Many of the issues at the heart of Yalter’s projects—displacement, discrimination, exploitation—define our present. Her pioneering work began to focus on these topics at an earlier moment and stands today as an example of art that creates connection across experiential and subjective difference. The exhibition will be accompanied by a catalogue edited by Rita Kersting, with a preface by Yilmaz Dziewior and Tom Eccles, and including essays by Lauren Cornell, Fabienne Dumont, and Övül Durmusoglu, as well as an interview with Nil Yalter by Kersting. In German and English, Verlag der Buchhandlung Walther König, Cologne. The exhibition is organized by the Museum Ludwig in cooperation with the Center for Curatorial Studies, Hessel Museum, Bard College, Annandale-on-Hudson, New York. The exhibition is curated at the Museum Ludwig by Rita Kersting and at the Hessel Museum of Art by Lauren Cornell, Chief Curator and Director of the Graduate Program. Exhibitions at CCS Bard are made possible with support from the Marieluise Hessel Foundation, the Audrey and Sydney Irmas Foundation, the Robert Mapplethorpe Foundation, the Board of Governors of the Center for Curatorial Studies, the CCS Bard Arts Council, and the Center’s Patrons, Supporters, and Friends. Major support for Nil Yalter: Exile is a Hard Job provided by Lonti Ebers....
HUMBERTO RIVAS 1937-2009
14/05/2019
23/05/2019 - 15/09/2019 Centro Cultural La Nau Sala Academia y Sala Estudio General Orga23/05/2019 - 15/09/2019 Centro Cultural La Nau Sala Academia y Sala Estudio General Organiza: Vicerectorat de Cultura i Esport de la Universitat de València Centre Cultural La Nau de la Universitat de València Fundación Mapfre Comisariado:Pep Benlloch La exposición de Humberto Rivas aborda el trabajo del artista a lo largo de toda su trayectoria, que comprende desde los años sesenta del siglo XX al año 2005. Rivas es un autor fundamental para el desarrollo de la fotografía en España a partir de la primera mitad de los años setenta, cuando llega a Barcelona procedente de Argentina, pues con él se produce una renovación de la fotografía, que entra en el campo de las prácticas artísticas. Se presenta cronológicamente una parte de su producción procedente del Archivo Humberto Rivas (Barcelona) así como de las principales colecciones y museos del Estado Español que albergan obras en sus fondos: MNAC (Museu Nacional d’Art de Catalunya), IVAM (Instituto Valenciano de Arte Moderno), MNCARS (Museo Nacional Centro de Arte Reina Sofía), Fundación Foto Colectania, etc. Rivas tuvo siempre tuvo una visión de futuro para su obra: cada vez que seleccionaba una de las fotografías hecha con su cámara tenía la costumbre de positivar inmediatamente varias imágenes. Esto nos permite contar para la exposición con copias originales de época hechas por el artista. La producción fotográfica de Humberto Rivas se enmarcaría en diferentes géneros fotográficos, según la historiografía de la época, aunque él nunca se sometió a esta clasificación, y es de esta concepción de donde arranca su aportación a la renovación de la fotografía española. Sus personajes que, de igual modo que los paisajes de la ciudad, según le gustaba decir, “me eligen para ser registrados por mi cámara”, atienden a una particular contradicción. Paisajes sin personas y personas sin paisaje; o lo uno o lo otro: nunca juntos en una misma imagen. Somos nosotros, al mostrar su obra, los que insertamos unos en los otros porque parece ineludible esta unidad que él trata siempre de separar. Por ello la exposición muestra un resumen de sus planteamientos conceptuales sobre el sujeto y sobre la ciudad en un continuo que se parece más a lo que captamos en nuestro deambular por la vida. Sus fotografías ofrecen un trabajo extremadamente descriptivo, pero a la vez extremadamente analítico y sin embargo, muy misterioso. En su trabajo no hay lugar para la anécdota o el incidente. Para Rivas la poesía era el arte más cercano a la fotografía; así, su obra se alía con el sentimiento de soledad produciendo un desconcierto que seduce al espectador. En sus imágenes sobre la ciudad nos muestra ésta más como estructura que como teatro de la escena humana. Se detiene en los espacios habitados por las sombras: son sus preferidos, porque constituyen ausencias muy presentes en su particular disección de la ciudad. A su vez, lleva hasta el límite el arte del retrato. La obsesión por determinados personajes, algunos totalmente desconocidos, que se le aparecían como modelos de su obra, le llevaba a acercarse a ellos de manera casi compulsiva hasta conseguir su retrato, su fotografía, de la forma en que él ya la había imaginado interiormente. Como consecuencia, en sus retratos encontramos también un tiempo acumulado: no hay instante decisivo. La exposición incluye en torno a doscientas fotografías. Los formatos van desde el que era su formato más tradicional, 26 cm x 26 cm, hasta los polípticos compuestos de 9 fotografías de 38,3 cm x 38,3 cm cada una....
The Humberto Rivas exhibition tackles the work of the artist along his trajectory, from the 196The Humberto Rivas exhibition tackles the work of the artist along his trajectory, from the 1960s until 2005. Rivas was a fundamental author in the growth of photography in Spain from the first half of the 1970s, when he arrived to Barcelona from Argentina. It is due to him that there is a renovation of photography and it enters the field of art. The exhibition chronologically shows part of his production from the Archivo Humberto Rivas (Barcelona), as well as from the main collections and museums of the country which contain his artwork MNAC, Museu Nacional d’Art de Catañunya; IVAM, Institut Valencià d’Art Modern; MNCARS, Museo Nacional Centro de Arte Reina Sofía; Fundación Foto Colectania…). Rivas was a visionary in relation to his artwork: each time he selected one of the photographies taken with his camera he would immediately develop several images. This allows us to have original copies made by the artist in the exhibition. The photographic production of Humberto Rivas would fall into different photographic genres according to the historiography of the time. However, Rivas never accepted this classification and it is precisely from this point of view that his contribution to the renovation of Spanish photographic begins. His characters, as well as the city scenery, which, as he liked to say, “are chosen to be registered by the camera”, present a particular contradiction. Landscapes without people and people without landscapes – one or the other, never together in the same photography. It is us who, by showing his artwork, are inserting one inside the other as it is inescapable. Therefore, our exhibition shows the highlights of his conceptual approaches about the subject and the city in a continuous which resembles to what we capture wandering around life. His photographies offer an extremely descriptive work, but also awfully analytical and yet mysterious. There is no place in his work for anecdotes or incidents. In the eyes of Rivas, poetry was the closest art to photography, and as such his artwork is sided with the feeling of loneliness which causes a seductive uncertainty in the spectator. In his photographies of the cities Rivas shows it to us rather as a structure than a theatre of humanity. He halts in the spaces inhabited by the shadows, his favourite, as they comprise ever present absences in his particular dissection of the city. He also pushes the limits of portrait to the limit. His obsession for certain characters, some completely unknown, which appeared as models in his artwork, brought him to approaching them in an almost compulsive manner until he got their portrait, one which he had already imagined. As a consequence of his portraits, we find a conglomerate of time – there is no decisive moment. The exhibition includes around 200 photographies. The formats go from his most traditional format, 26 X 26 cm, until the polyptych collages of 9 photographies of 38,3 X 38,3 cm each. ...
À tous les clandestins Patricia Gómez y Mª Jesús González – Festival 10 Sentidos
À tous les clandestins Patricia Gómez y Mª Jesús González 10 Sentidos Festival
12/04/2019
7 de mayo / 18:00h (Coloquio) Las Naves 11 de mayo (Exposición) Plaza del Ayuntamiento www.festival10sentidos.com

VIII Edición - Bestias

Somos brutos, somos feroces, somos crueles. Somos indomables, somos impulsivos, somos temerarios. Somos viscerales, somos imprevisibles, somos violentos. Somos BESTIAS beasts bèsties 兽类 dýr bestie скот bestas šelmy bestien الوحوش piztiak θηρία zveri petojen vadállatok fän

Condenamos la violencia. Criticamos el abuso de poder y denunciamos el uso indiscriminado de de la fuerza. Nos alzamos contra la intolerancia, nos exaltamos al ver escenas de furia, censuramos la crueldad. Vivimos en una sociedad acostumbrada a los excesos, en la que cada día asistimos a situaciones en las que prima la vehemencia.

Nos rebelamos para no acostumbrarnos a esto. Queremos huir de cualquier trance que nos provoque saña, tirantez, disgusto. Estamos radicalmente en contra de la violencia, pero todos somos violentos. Y esa dicotomía nos atormenta.

¿Por qué está el mundo tan lleno de agresividad? ¿Por qué son tan frecuentes la hostilidad y la crueldad entre los seres humanos? ¿Por qué se amenazan entre sí las naciones con el exterminio nuclear? ¿Por qué aumenta la delincuencia prácticamente en todas partes? ¿Cuál puede ser la respuesta? La más cómoda es, desde luego, afirmar que el ser humano es un ser imperfecto, nacido en pecado y agresivo por naturaleza. Además, esta explicación es satisfactoria para casi todo el mundo, porque a quien nace predeterminado no puede culpársele por su forma de comportarse.

El Festival 10 Sentidos, en su VIII edición, pretende reflexionar acerca del concepto de violencia, que nos abruma y nos fascina a partes iguales, que nos rodea y nos persigue, y generar un diálogo para desmantelar el sistema violento e injusto en el que vivimos.

El Festival 10 Sentidos nace en 2011 y se consolida, edición tras edición, con la satisfacción de haber convertido este encuentro con el arte (escénico, plástico, cinematográfico, audiovisual, literario, didáctico…) en un referente y en una cita obligada cada año en València. El Festival de las artes vivas de València.

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  May 7th / 18:00h (Talk) Las Naves May 11th (Exhibition) Plaza del Ayuntamiento www.festival10sentidos.com

VIII Edition - Bestias

We are brutish, we are ferocious, we are cruel. We areindomitable, we are impulsive, we are reckless. We are visceral, we are unpredictable, we are violent. Somos BESTIAS beasts bèsties 兽类 dýr bestie скот bestas šelmy bestien الوحوش piztiak θηρία zveri petojen vadállatok fän

We condemn violence. We criticize the abuse of power and denounce the indiscriminate use of force. We rise up against intolerance and we censure cruelty. We are concerned about the scenes of anger around us. Our society is used to be driven by excesses. Every day, we are witnesses of situations in which vehemence prevails.

We rebel so we don’t get used to this. We want to avoid any situation that causes anger, tension, discomfort. We are radically against violence but we are all violent. This dichotomy haunts us.

Why is our world so full of aggressiveness? Why are hostility and cruelty so common between human beings? Why do nations threaten each other with nuclear extermination? Why does crime increase almost everywhere? What could be the answer? The most convenient one is, of course, to claim that human beings are imperfect beings, sinful and violent by nature. This explanation pleases almost everyone, because, predetermined by this nature, nobody can be blamed for the way he or she behaves.

Festival 10 Sentidos, in its 8th edition, aims to reflect on the concept of violence —as violence both overwhelms and fascinates us, surrounds and haunts us— and to open a discussion to overturn the violent and unfair system we live in.

兽类 dýr bestie скот bestas šelmy bestien الوحوش θηρία zveri petojen vadállatok fän

The Festival 10 Sentidos, created in 2011, takes hold edition after edition, with the satisfaction of having turned this experience with the arts (performing arts, visual arts, film, audiovisual, literature, education…) into a reference and a must-see event every May in Valencia. The living arts festival of the city.

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The Night Face Up
09/04/2019
27.04–16.06.2019 Bunkier Sztuki Gallery of Conte
27.04–16.06.2019
Bunkier Sztuki Gallery of Contemporary Art
Inauguración/opening: 26.04.2019 (Friday), 6 p.m. Artistas/ artists: Carlos Amorales, Gabriele D’Annunzio, CADA, Graciela Carnevale, Tony Cokes, Gonzalo Díaz, Roman Dziadkiewicz, Simon Faithfull, Marco Antonio Huerta, Julia Kurek, Erik Loyer, La Pocha Nostra, Raúl Zurita curators: Krzysztof Siatka, Mikołaj Spodaryk coordinator: Gabriela Brdej
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The exhibition is held under the auspices
This exhibition was inspired by an intuitive insight into the history of Latin American literature, its real and magical narrative and by the total artists whose fates are etched into it. It is intended as a visual and poetic story spun by contemporary creators, where artworks transform into texts. The exhibition features artists of the Americas as well as their European counterparts; most of these people have complicated biographies and a propensity for openly commenting on the oppressive political reality of today. This adds another layer to the exhibition’s theme of dreams and unfulfilled hopes. In one of Julio Cortázar’s short stories, the protagonist is shifting between the realms of reality and dream. As the story progresses, the dream takes over, gradually becoming more real than reality, and in the end he, a modern man who lives in a civilized world, finds himself centuries earlier, lying “face up” – as per the title of this story published in 1956 – on the sacrificial altar of the Aztecs. To Roberto Bolaño, gazing into the infinite sky has a different, though no less woeful dimension. The Chilean author sees the blue expanse as a medium of anxiety. In Bolaño’s novella Distant Star (1996), the main character, a fascist avant-garde poet and assassin, writes disturbing poetry in the sky, among the clouds, with the smoke from his military fighter jet’s engine. The exhibition, inspired by Cortázar’s narrative and Bolaño’s artistic dystopia, creates a space where the everyday escapes our context-born intuition. In this imaginary land, which the whole of South America, the homeland of both above-mentioned writers, might as well be to Europeans, many things look awry, as if reflected in a mirror: realism and magic are one and the same here and time is non-linear – it doesn’t flow, it circles. The exhibits tell a story of an endless journey through extraordinary worlds: the real ones, divided by the borders of countries and continents, and the magical ones, limited only by our imagination. In both cases, it’s ruthless dictators who rule these worlds, suppressing any sign of freedom, and sycophantic propaganda poisons the iconosphere. An environment like this one is conducive to rebellion and anarchy, which are supported by fatalistic yet hopeful songs and poems. In such a system, is art a cultural remedy that transcends territory and reality, capable of bringing about a common understanding and initiating a dialogue? Or maybe the agency of art is another utopia, an expression of trauma, a catastrophe of interpretation, and ultimately a failure of individuals? Entangled in the realms of both reality and dream, this poetry turns into a message about transient boundaries; encrypted in this message is the terrifying truth about reality, sometimes expressed metaphorically, at others literally. Its authors find inspiration in everyday life and stretch the limits of language. Their art becomes a wild, insane, untamed instrument, which lets secondary visual forms take precedence over the meaning of words and grammar, thus eventually equating itself, paradoxically, with propaganda clichés. The language of everydayness, which they protest, is oppressive, it encroaches on all aspects of life, but revolutionary slogans are no less oppressive either. When all is said and done, the governing principles of art and revolution have long lost their innocent flair, and graphic text has gone beyond the limits of poetry – it is easy to spot it on red, black, green and multi-coloured banners alike.
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