With his Project Knee-deep Javier Arbizu participates from 07/02 to 26/06 in Generation 2020. Casa Encendida de Madrid presents one more year of the projects selected within its program Generations to support emerging art. From 07/02 to 26/06. In the words of the curator, the projects carried out by the award-winning artists are influenced by the vision of dystopian futures, by darkness, fanaticism and control of the current reality. However, his proposals are presented as resistance actions from this one understood as the only temporary space to exercise control, a present linked to the understanding and knowledge of the past.
From 6/02 to 19/04 in the Sala Oberta of the Centre Cultural La Nau de Valencia Andrés Pachón a project that approaches the archive from a critical perspective, with the purpose of understanding its logics, and how the instrumentalization of photography applied to the knowledge of the "medium man" is a fiction that highlights the connivance between knowledge and power. + Info
With the support of Juna de Extremadura
Until February 2th La Sala Alcalá 31 presents the exhibition "Arquitectura y "Yo"", a set of works carried out by Juan Carlos Bracho between 2003 and 2018, which address the relations with architecture. Also, the exhibition also includes a series of works designed specifically for this project, setting up not so much a retrospective exhibition as a work in process, usual in the career of this artist. Bracho's work has as its main tool the drawing, but uses techniques or equipment of the drawing itself, but also of video, photography or performative character. It is based on the perception and creation of beauty, and his work can be placed in the orbit of conceptual practices. The exhibition, curated by Armando Montesinos, includes three large groups of work: on-site interventions carried out in the room; drawings, photos or mock-ups of unpublished or still in-process projects; and reincarnations and variations of past works. To all this are added the artist's notebooks, which are shown for the first time in public, setting up an exhibition that does not close any reading, but opens to the experience of the viewer, of that "I" that we are each of us.
Ruth Morán presents her latest research around ceramics and their processes within a global project that encompasses shapes, chromatisms and materials. Space, dimension and reality are parameters present in these inquiries where the rigidity of the pottery forms moves to the background to enhance effects that take up organic allusions, as happens in the rest of their artistic production. Another fundamental element in his diction is chance. And nothing better than ceramic processes to encourage the unpredictability of the result.
Until September 22 “Estudio Elemental del Levante” offers a retrospective of the five series made by the photographer in the Levante, the Spanish Mediterranean coast, during more than eight years of work. Ricardo Cases is interested in his environment, but does not support the documentary function, he only records facts. Explore all the semantic possibilities of the image. Blinding light, explosive colors, degraded objects, decaying characters, reveals the visual singularity of this “ungovernable, fascinating and hallucinogenic country”. At first glance, Ricardo Cases’ photographs are very funny and allow us to go beyond stereotypes, obtain reading keys and point the way through this territory. Conceived as a restricted geography, these images, however, have a universal resonance: mutations of territories, nostalgia, respect for local riches and traditions.
From May 29 to June 27 Susanne S. D. Themlitz presents a large installation in the form of a vertical landscape, or a still life like Wunderkammer. The hybrid floral shapes correspond in a system of shelves and tables with corals, stones, magnifying glasses, glass objects and complex detailed drawings.
Fragments like in a lab – some visible through magnifying glasses, glass or water – show a series of frozen details. Around it almost the void, only occasionally here and there a wall, a collage, a drawing, a floating net. Sculpture and drawing form interwoven moments. It all refers to each one. Delicate anatomies and above all silence.
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.