Curated by Óscar Alonso Molina Florence/Venice is, in short, a specific proposal that in the Baroque frame of the chapel of the Trinity of the Barjola Museum, delves into the constants of the work of Juan Carlos Bracho around the notions of sublime Romantic, of the landscape, of the gaze of the Spectator, of the construction of the meaning in his bosom, and of the artifice of any cultural image. A proposal that delves into the innermost meaning of the idea of landscape/nature, and on the mirror as a surface that reflects what does not belong to it. A reflection, also, on what we perceive on the surface of the screens and the images that they emit incessantly, more and more ethereal, intangible and meaningless.
Coda: Acmé “is a specific proposal for the Párraga center of Murcia, composed by the projection of the audiovisual work” Acmé “(2017), original costume and storyboards, and the premiere of a musical performance that serves as” coda “or possible end of the trip of this Work in which the artist is imbued from the 2016. The opening day, the Conservatory of Music of Murcia becomes the Atonal orchestral to ponder melody to this medieval fable of the 21ST century. With “Coda: Acmé” Blanca Gracia ends the project tour in Murcia, finishing a polyhedral and multiple work.
Ángeles Baños Gallery presents Javier Arbizu and Juan Carlos Bracho. Two artist splitting of processes and well different methods reflect, each from a particular perspective, the ideas of transformation and metamorphosis are superfluous. The physical and the symbolic gain body in some works-which aesthetically in the antipodes-dialogue through the body, the form and the space as reference and matter of work.
Orient is East? It is an exhibition curated by Gopi Sadarangani, with the participation of 17 artists, canaries, national and international. La Regenta Art Center, from 26 April to 29 June 2019
The exhibition invites to revise and situate the anthropology of the imaginary, archetypes and images in the West that describe an imaginary geography, starting from the principle of uncertainty, the Western thought has enraptured with Eastern mysticism and the humanistic of the West has been forced to resort to alien models such as Hinduism, Taoism or others… To configure sense constellations that make it possible to approach the most diverse fictions. Crossbreeding and transculturality are habitual practices in contemporary art.
“The event that decided to leave the wisdom in suspense to ask for the being of things, of reality, was astonishment. In the Asom-bro there is an unseen being in front of something, something that has been known and that was thought to know but in an instant it is shown as new, leaving the one who contemplates it in a kind of blindness and dumbness. There is No word in astonishment, only silence and, at the most, an exclamation. The astonishment is Pasmo, the pasmo that occurs when something unusual is seen, but that is even more pure and fertile when it is produced before something well known and that suddenly presents itself as never before.
“Notes of a Method”, María Zambrano.
This excerpt from María Zambrano’s book is established as a base for presenting a project composed of four women who share the illusion of being surprised with the everyday life of their social environment and reflecting it in their works in a transversal way and Multidisciplinary.
The process of creation that they carry out originates from the fecundity of the astonishment, fruit of the temporal suspension of the sense. It Takes special relevance to the artistic practice turned into a trace, at the same instinctive as persevering, from a space where the experience of tangible reality acquires a new raison d’être. This becomes a state where a concatenation of actions leaves cons-importance of it. What is true is that in all cases this new reason of being is revealed to us in a cartographic deployment where colors, objects, textures, texts, images and, in general, all kinds of traces that affirm our physical presence in the world, are presented in half of Path between the unusual, the utopian and the ineffable.
Cases investigates again after “The Why of Oranges” with “Sun” in the cliché of the Levantina coast. Posing his task as a childish game consisting of representing the Sun, the author plunges into the blinding light of the summer Levantine in search of its essence, being carried away by the sensations and putting in question the way in which the sun determines the identity , the aesthetics and the local economy.
In Astronomy, Aromaticum describes the moment in which three or more celestial objects are aligned. The term, which comes from the Greek and which gives its name to this planetary conjunction, means yoke and also union. Composed of videos, drawings, sculpture and installations, Aromaticum is a project that craves the celestial, the real-wonderful and that at the same time reminds us of this inevitable anchorage to the terrestrial and tangible.
The characters of this project seek a significant-master for this atonal world in which we find ourselves immersed. To Lift the celestial fabric of the Flammarion, “The End of the world”, to cross this flat Land and to discover if indeed (as all those globes of the Middle Ages indicated) on the other side inhabit the Dragons or if on the contrary it is only of our own shadows.
The works of this project guide us through a circular journey that goes from the ethereal to the earthly, and in which the mass psychology and social disturbances are intermingled with the mesmerism, the levitation and even the astral voyage. It is No wonder that Vivian Leigh’s famous phrase in “A Streetcar Called Desire” is collected in the video as a manifesto:
“I Don do not want realism! I Want Magic! ” Without Magic, this world would be unbearable.
“Abundo es felicies curiosidades” is an exhibition curated by Joaquín Jesús Sánchez in Espacio Valverde Gallery. Javier Arbizu participates in this project together with Christian García Bello, Secundino Hernandez, Julia Huete, Miguel Marina, Álvaro Negro, Stefan Rinck; A series of works that delve into the almost metaphysical qualities of objects and the fascination they exert on us.
In 2019, the Arpad Szenes-Viera da Silva Museum celebrates the twenty-fith annieversary of its opening to the public. It is within the scope of that celebration that, alongside works by Maria Helena Vieira da Silva, the museum will host, from 21 March to 23 March, an exhibition project by Pedro Cabrita Reis: A metade do céu (Half the sky). Cabrita Reis has assembled a group show that is entirely and openly free of any thematic restraints, and indeed from all discursive artifice. Instead, it based on an elementary intention, on an axiomatic, unshabeable will: "that it would act, quite simply, as means to disclose the thought, the outlook and the creative practice of Half the sky"
Within the program ZonaMaco Sur will present the Sizigia project of the artist Blanca Gracia; Yaima Carrazana, Susanne S.D. Themlitz, Ruth Morán and Laura González Cabrera will be present together at Arteba and Javier Arbizu and Juan Carlos Bracho will talk with their new productions at ArcoLisboa