Macla, Mamua, Bismuto, Vicario is the title of the intervention that Karlos Martinez B. and Javier Arbizu will perform specifically for the Casa Huarte in Madrid, whose objective is to explore the boundaries between bodies and architecture, as well as reflect on the Human scale and its relationship with objects.

This site specific will take place in the famous Casa Huarte, designed in 1966 by José Antonio Corrales and Ramón Vázquez Molezún, considered as an icon of modern architecture, during the day of February 17th, 2018 (from 11.00 to 19.00 hours).

The intervention is produced by the Editorial Poodle, in collaboration with the Oteiza Museum and is related to the exhibition project that both artists will present at the Oteiza Museum next June, as a result of the Hazitegia program, dedicated to the promotion Of the artistic production around the work and the aesthetic thought of Jorge Oteiza and promoted in collaboration with the Center for Contemporary Art of Huarte.

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The artists selected for this project, Eder Santos (Belo Horizonte, Brazil, 1960), Juan Carlos Bracho (the Line, 1970) and Blanca Gracia (Madrid, 1989), draw a broad generational arc that defines the lines of action of the Gallery Ángeles Baños: Tender Bridges with Portugal and Latin America, the national media careers and betting on emerging artists.

The work of these three artists has a personal and recognizable language. However, his proposals find common points in his reflection on the cultural heritage that defines us as individuals and as a society-religion, myth, landscape-and his works can be interpreted as mantras, Oracio, pleas or hymns of worship That induce the spectator to a state of inner contemplation. Some works that meditate on the beauty of the images stored in our memory, and whose meaning project what we are and how we recognize each other individually and collectively.

In the case of Eder Santos and Juan Carlos Bracho, reaching this state is linked to personal or appropriate rituals, repetitive and mechanical processes, while Blanca Gracia immerses the spectator in a sort of hypnosis induced by echoes and reflections of his own Conscience.

In Maison D’Artiste, Loidys Carnero and Yaima Carrazana  establish a dialogue with the work of Piet Mondrian, Theo van Doesburg and the Dutch movement of De Stijl, founded in 1917. Making use of appropriation addresses issues related to integration and autonomy. Each work is part of an investigation in an intimate environment and lifestyle.

In the installation: “De Ligt chair, Heesterveld 28” the artists move to the third floor of the Carpenters ‘ studio in Havana, the kitchen of their studio apartment in Amsterdam, through a reproduction of real scale photography and a chair designed by Gerrit Rietveld. The chair was built by a local carpenter following a Dutch tutorial “do-it-yourself”. Through the gesture of placing a reproduction of the chair “de Ligt” a connection with the functional and the specific context is established.

A Carrazana´s new serie of paintings in oil on canvas show compositions of planes of colors red, yellow, blue, black and grey among which are inserted elements that are part of the domestic environment, like fruits and plants of interior.

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From January 14th and for three weeks a selection of the most relevant international video artists will project their 3d videocreations on the facade of the EYE Filmmuseum as part of the Amsterdam Light Festival. The shape of the museum, with no straight surfaces, and the proximity of the water will create a unique set of technical and production challenges for artists. To make the projection possible, 11 beamers have been placed all over the building. The World masters of projection Mapping is a joint initiative of the Amsterdam Light Festival, the event organizer Integrated Systems events (ISE) and RAI Amsterdam. From January 14th to February 9th, the work of the participating artists will be exhibited every day from 7 to 9 a. M and from 5 to 11 pm in the EYE Filmmuseum. A perfect union of creativity and technology will illuminate Amsterdam.

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From January 11th to April 29th, 2018 you will be able to visit this new project by Ignacio llamas curated by Carlos Delgado Butler. This exhibition, the result of a visit by the artist to the expository spaces of the Huesca Museum, is configured through installations of high poetic content and through which Ignacio llamas delves into concepts such as the interiority of the human being and its Linkages with transcendence. With this exhibition The HUESCA Museum aims to consolidate its wandering in the field of contemporary visual arts, betting on artists of relevance on the international scene, whose projects have a great vocation to link with the Territory Of the province that arise from the inspiration of the museum’s own exhibition halls, privileged heritage spaces to put into dialogue the past and the present of artistic expression.

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With a program that this year revolves around the concept of fuzzy logic, the international film Festival Rhizome will project on November 23 in the Plato set of Cineteca/Matadero the Juan Carlos Bracho’s videoperformance “Imitation of life.”

The screen as a residual surface, and as a reference to our visual imaginary, has been a recurrent theme in the work of Bracho, as well as the landscape as a mirror of ourselves. Throughout his career, Bracho has reflected on the theme of the landscape from the abstraction, the fantasy, the dream or the gaze of the other, and for the first time the protagonist of this piece is a real landscape; The garden as an expression of a domesticated, codified and intellectualized environment. “Imitation of Life” is, in short, a proposal that delves deeper into the innermost sense of the idea of landscape-and on the mirror as a surface that reflects what does not belong to it. A reflection on what we perceive, on the screen and the images that these emit incessantly, increasingly ethereal, intangible and lacking meaning.

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With the work work “theory of the broken Window” The artist Blanca Gracia Gallego has been awarded with the scholarship of pictorial Research Mario Antolín, awarded to one of the three young participants among the painters finalists of the BMW Painting Prize

In 1967, Brazil was already living through a military dictatorship, but Glauber Rocha’s Terra em Transe [Land in Anguish] would unnervingly predict the more punitive turn the regime would take a year later. Looking at populist politics and the inescapable corruption of power in the nation, Land in Anguish revolutionised the filmmaker’s practice. Fifty years after its release, the experience of the film retains the force of its radicality, with its tumultuous separation of sound and image, intense performances from its actors and high operatic drama of Verdi and Carlos Gomes.

This key work of Brazil’s Cinema Novo or ‘new cinema’ movement is screened in dialogue with the world premiere of Eder Santos and Bruce Yonemoto’s Barravento Novo. The short video makes clever correspondences between Antônio Pitanga – a Cinema Novo actor seen here delivering lines from Rocha’s first feature, Barravento 1962 – and his daughter, Camila Pitanga, a well-known actor and filmmaker working today.

Actors Antônio Pitanga and Camila Pitanga, artists Eder Santos and Bruce Yonemoto, and film scholars Lúcia Nagib, Robert Stam and Ismail Xavier join us for this opening night of the film series.

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Where does the drawing go? Where’s the drawing? How far can we talk about drawing? He often wonders what it is to draw, when a drawing is a drawing, what is the object, how the drawing behaves in other media, where the person is, where the observer, the presence of the absence … Susanne S.D. Themlitz has developed within the Disegni program in Artissima a new project of drawings, paintings and sculpture with multiple landscapes and elements “microscopies” that enter into a fictitious dialogue with imagined voyages and dreams in literature of Antonio Tabucchi, Italian author who resided in Portugal.