_ARCOlisboa-online edition. 05/20-06/14/20

Our digital stand for ARCOlisboa with artworks of Susanne S.D.Themlitz and Javier Arbizu. ARCOlisboa in collaboration with  artsy.net
Links : ARCOlisboa.com / Galería Ángeles Baños / Susanne S.D. Themlitz / Javier Arbizu

S.Themlitz / 1. She Followed The Lines With Her Index Finger‘. Oil and graphite on canvas. 200 x 280 cm. 2020
S.Themlitz / 2. The Elbow at the Edge of the Table. Oil and graphite on canvas. 150 x 200 cm. 2020
Javier Arbizu / 1. Sin título. Bismuth foundry. 9 4/5 in diameter. 2019
Javier Arbizu / 2. Sin título. Bismuth foundry. 11 4/5 × 5 9/10 × 1 1/5 in. 2019



_Ángeles Baños at ARCO 20

Ángeles Baños Gallery  will present in the general program of ARCO 20 the latest works of Juan Carlos Bracho, Yaima Carrazana and Laura González Cabrera, along with the Solo Project by Daniel Martín Corona. Madrid 26/02_01/03, Stand 9717/9717A

With the support of Junta de extremadura

__Javier Arbizu in Generation 2020 with his new Knee-deep project

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.

_Arquitectura and "I", Juan Carlos Bracho and his relationship with architecture

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.

_Juan Carlos Bracho presents TuttiFrutti at the Alcobendas Art Center until February 1, 2020


Tutti Frutti is an ambitious project that has occupied Juan Carlos Bracho (La Línea de la Concepción, Cádiz, 1970), for the last eight years, and where, as in the rest of its production, the whole assumes error and chance as inescapable parts of any creative method. Bracho, always linked to automated, repetitive processes, as well as a minimal and modular file of graphic resources, now reveals a passion for unexpected color, while maintaining the sobriety, rigor and forcefulness that characterize it. From such a position he has approached here his interest in mono art – chromium from the concept of multipage, that domestic system to obtain economical and large photomechanical images from the sum of nu – meass prints on simple folios. The Tutti Frutti project brings together in its entirety, collected in several boxes/archives, 100 of these multipages, each corresponding to a different color, whose fragment-to-fragment printing is splashing what should in principle be a uniform tone plane with numerous errors, faults, interferences… The result – do shows how “noise” inevitably imposes itself on the clarity of the technique and the machine in its own domains; also that the unexpected and the surprise are always capable of enriching any forecast, planning or norm. In its final stretch, the work plan was completed with two new series, where the initial sequence of errors was reproduced: first from the calcographic language, from the primary colors (cyan, magenta and yellow) plus black and white, and second from the paper embossing technique, through a subtle relief without any ink. At this point, the error chain has already become a kind of hidden code or language. On the route, the cycle from the manual to the mechanical, from analog to digital and from the conceptual to the material, close on themselves on a round trip. This whole set of works implies a reflection on the color and mental construction of the landscape from the most radical abstraction. After all, the emotional bonds we establish with colors depend on what we pro – we connect, just like the scenes of our memories. Don’t take the exhibition’s curator Alonso Alonso Molina,