10 nov 2012

ERICK BELTRÁN. El mundo explicado, São Paulo, Barcelona, 2008-2009


Fisuras
Episodios críticos (1957-2011). Colección MACBA
08 nov. 2012 - 17 feb. 2012 MACBA

En el contexto de la exposición Episodios críticos (1957-2011). Colección MACBA, la planta 2 del Museo presenta dos nuevos episodios de la Colección MACBA. Fisuras, el primer episodio que hay en esta planta, se aproxima a formas de subjetividad desatendidos y a menudo silenciados. La representación del mundo a través de mapas cognitivos, que reflejan la forma en que ordenamos nuestro conocimiento y los relatos con los que se sintetizan estas experiencias, da lugar a materiales de primer orden para el arte contemporáneo. La generación de artistas que en los años sesenta había recibido una educación general básica rechazó una década más tarde todo lo que había aprendido. La irreverencia propia de la escena punk contaminó también una práctica del arte crítica con aquellas instituciones que fomentan individuos disciplinados.

El fragmento, el silencio y el desorden forman parte también de nuestra forma de construirnos como sujetos. Artistas como Erick Beltrán, Anne-Lise Coste, Peter Friedl, Sílvia Gubern, Paul McCarthy, Matt Mullican, Raymond Pettibon y Oriol Vilapuig hacen visibles algunas de las fisuras fundamentales del sujeto contemporáneo. A través de sus obras, se cuestionan los procesos de aprendizaje y los modelos sociales interiorizados.


Los sentidos nos permiten obtener datos dispersos sobre los hechos, pero se necesitan criterios para ordenarlos en un sistema o imagen de conjunto. Matt Mullican y Erick Beltrán investigan en los llamados mapas de conocimiento. El primero, en obras complejas como M.I.T. Project, Untitled (1990-2009), indaga en la lógica del archivo y de la compilación. A su vez, Erick Beltrán elabora un registro casi enciclopédico de sentencias de personas no expertas. «¿Cómo muere una célula? ¿Cómo se decide empezar una guerra?…» A partir de preguntas básicas, El mundo explicado, São Paulo, Barcelona, 2008-2009 (I) reúne descripciones, diagramas y mapas que demuestran cómo las visiones del mundo a menudo se fundamentan en prejuicios.



23 oct 2012

MUNTADAS VERA LIST CENTER NY




Political Advertisement 1952–2012: 
Antoni Muntadas and Marshall Reese
Film Screening & Discussion
Thursday, November 1, 2012, 6:30–8:30pm

The New School, Theresa Lang Community and Student Center
55 West 13th Street, 2nd floor
New York City
20 Years VLC => Free Admission
www.veralistcenter.org


"Sometime in the early 1950s Madison Avenue's hucksters realized that they could sell political candidates like any other product, a throat lozenge or facial tissue."
–Steve Seid, Fifty Years of Campaign Spots (Berkeley: Pacific Film Archive, 2000)

Five days before the 2012 U.S. presidential election, artists Antoni Muntadas and Marshall Reese present a new installment of their twenty-eight-year project Political Advertisement. Launched in 1984—and in each edition updated with new campaign advertisements—the project helps determine whether things have actually changed since the early '50s when "guided by the cooing come-ons of the thirty-second TV spot, campaigns were soon reduced to photo ops, televised debates, and sound bites. Out was the whistle-stop tour and the scrappy convention, in was the instant poll and the attack ad." (Steve Seid)

Starting with Eisenhower vs. Stevenson in 1952 and extending to Obama vs. McCain in 2008 and now Obama vs. Romney, taken together, the ads depict how the image of American presidential candidates has evolved over thirteen elections, and how advertising tactics such as negative ads, soft-sell techniques and emotionalism fundamentally changed the country's electoral process. Political Advertisement includes rare—some never before seen—footage from the artists' own archives, updated during every election since 1984. Compiled and edited by Muntadas and Reese, the stream of thirty-second TV spots runs without commentary for an hour. In the discussion that follows, the artists and Professor of Media Studies Carol Wilder will discuss how the development of televised media and electoral politics have become increasingly inseparable.

Participants
Antoni Muntadas, artist and Professor of the Practice, ACT/Department of Architecture, Massachusetts Institute of Technology
Marshall Reese, artist
Carol Wilder, Professor of Media Studies and Film, The New School for Public Engagement

Organized by Vera List Center for Art and Politics.


VLC = 20 Years. Join us for a 20th-anniversary year with free admission to all VLC events. Stay tuned for more information.

13 oct 2012

MUNTADAS Entre/Between

Muntadas, "This Is Not an Advertisement," Times Square, New York, 1985.
Photo: Pamela Duffy. © Muntadas / ADAGP, Paris, 2012.





















Muntadas
Entre / Between
Until 20 January 2013

Jeu de Paume
1, Place de la Concorde
75008 Paris

www.jeudepaume.org
lemagazine.jeudepaume.org

The Jeu de Paume presents a major exhibition by internationally recognized artist 
Antoni Muntadas, one of the early practitioners of conceptual and media art.

The show will survey Muntadas' prolific career, from the seventies to present days. His art practice spans four decades, in which he has utilized actions, video, photography, multi-media installations, publications, public art, the internet, radio and other media to address key political and social issues of our time. Incorporating in-depth research and astute readings of cultural situations, his incisive works have addressed ideas such as the relationship between public and private, the flows of information along the media landscape, and the inherent power of architecture and other social frameworks.

The show Entre / Between is comprised of 9 thematic constellations: Field of Translation, Places of Spectacle, Microspaces, Communal Spaces, Domain of Fear, Spheres of Power, The Archive, Systems of Art, Media and Landscape.

Muntadas (Barcelona, 1942) studied industrial engineering in Barcelona and came to art through painting. In the early seventies he became interested in multimedia art and moved to New York, where he currently lives and works. He maintains an intense teaching activity and his work is present in some of the most important collections in the world: the Museum of Modern Art – MoMA (New York); the Centre Georges Pompidou (Paris), Museo Reina Sofía (Madrid), Museu d’Art Contemporani de Barcelona – MACBA (Barcelona) or Museo de Arte Contemporânea (São Paulo). He has appeared in some of the most prominent international art festivals: documenta VI (1977) and X (1997), the Venice Biennale (1976 and 2005) or the São Paulo Biennale (1981), amongst others. In 2009 he was granted the Velázquez Prize for Visual Arts.

Curator: Daina Augaitis


Exhibition organized by Museo Nacional Centro de Arte Reina Sofía, Madrid, in collaboration with the Jeu de Paume, Paris.
With the help of the Acción Cultural Española (AC/E) and of the Institut Ramon Llull.

20 sept 2012





Aleksandra Mir
LOCAL LIBRARY

Opening Thursday September 27 at 7.30 pm.
October – November, 2012




www.galeriajoanprats.com

13 sept 2012

Mediations Biennale 2012

We are pleased to announce the work of our artists presented in the
MEDIATIONS BIENNALE 2012  14.09-14.10  POZNAN

 ALEJANDRO VIDAL
FIRESTORM, 2009


FERNANDO PRATS
WE WERE DEAD AND WE COULD BREATHE. (PAUL CELAN), 2012




17 jul 2012

Aleksandra Mir in conversation with Alice Rawsthorn

Aleksandra Mir, Triumph, 2,529 trophies, 2009. Image courtesy the artist
Aleksandra Mir, Triumph, 2009          

South London Gallery
Wednesday 12 September, 7pm, Free



London-based artist Aleksandra Mir discusses her work and current installation Triumph, at the exhibition 'Pursuit of Perfection: The Politics of Sport', South London Gallery, with Alice Rawsthorn, design critic of the International Herald Tribune. 


Booking essential. 
Book online or call 020 7703 6120. 
www.southlondongallery.org

13 jul 2012

Aleksandra Mir - Triumph at the 2012 London Olympics

















Aleksandra Mir exhibits her work 'Triumph' at the exhibition 
'Pursuit of Perfection: The Politics of Sport', South London Gallery, 
 to coincide with the 2012 London Olympics.


*
ALEKSANDRA MIR
Triumph
Inspired by a friend who had been a famous athlete in his youth and kept mementos of his achievements as he was visibly ageing, Mir placed an ad in the local newspaper in Palermo, Italy (where she lived 2005 - 2010) asking the general public for their old sports trophies. Within a few months, Mir collected 2,529 trophies from every genre of sport, dating from the 1940's and onwards and had them cleaned and archived. In the exhibition, the trophies are displayed individually and in groups on plinths and the floor, or piled on top of each other like detritus. Mir explores the power of the trophy, both a coveted symbol of accomplishment and a garish, mass-produced item of little value. Triumph is also a powerful visual statement of our tendency towards nostalgia, and the temptation to wallow in memories of past youth, vitality and joy.

The project was originally commissioned and exhibited at the Schirn Kunsthalle, Frankfurt in 2009.
Read and Interview with the artist and Download the Catalogue:
http://www.aleksandramir.info/projects/triumph/triumph.html
















 











*

Pursuit of Perfection: The Politics of Sport

with Michel Auder / Roderick Buchanan / John Gerrard / Lucy Gunning /
Janice Kerbel / Aleksandra Mir/ Jonathan Monk / Ariel Orozco / Paul Pfeiffer
EXHIBITION: 27 JUL – 14 SEP 2012
PRESS VIEW & PREVIEW: THURSDAY 26 JUL 2012, 6.30-8.30PM
CONVERSATION: 12 SEP, 7pm, Free
Aleksandra Mir discusses her work and current installation with Alice Rawsthorn, design critic of the International Herald Tribune.

Press contact
Katie Haines - Marketing and Communications Manager          
020 7703 6120 katie@southlondongallery.org

Visitor information
Admission free                                                      
www.southlondongallery.org
Twitter: @SLG_artupdates
Gallery open Tuesday – Sunday 11-6pm, except Wednesdays and the last Friday of the month until 9pm. Closed Mondays.
General enquiries: 020 7703 6120
mail@southlondongallery.org
Tube: Victoria or Oval then bus 36/436 towards Lewisham/New Cross, or London Bridge then bus 343 to Southampton Way, or Elephant & Castle then bus 171/12
Rail: Peckham Rye, 10 mins walk to the SLG.
Limited free parking in adjacent side streets.

http://www.southlondongallery.org/page/144/Pursuit-of-Perfection-The-Politics-of-Sport/725

*

26 jun 2012

Fernando Bryce Drawing modern history


Malba – Fundación Costantini


Fernando Bryce, "El mundo en llamas" (detail), 2010–2011




















-----------------------------------------------------------------------------------------------------------------------------------

Fernando Bryce
Drawing modern history
29 June–20 August 2012
Curators: Natalia Majluf and Tatiana Cuevas

Opening: 29 June, 7pm

Malba – Fundación Costantini
Avda. Figueroa Alcorta 3415
Buenos Aires, Argentina
Hours: Thu–Mon, 12–8pm / Wed 12–9pm
T 54 11 4808 6500
www.malba.org.ar


Malba – Fundación Costantini is pleased to announce Fernando Bryce: Drawing Modern History. Organized by the Museo de Arte de Lima - MALI with the support of Prom Perú, this mid-career survey presents 19 ambitious series consisting of more than 1000 elements produced between 1997 and 2011 and drawn from public and private collections in North America and Europe.

Over the past decade Fernando Bryce (b. 1965, Lima) has produced an incisive body of work based on historical memory and modes of representation. Bryce's series focus on crucial historical episodes which he explores critically and systematically. His method, which he has described as "mimetic analysis," relies on the careful copying of pamphlets, official documents, press images, political propaganda, and advertisements in order to articulate large suites of ink drawings that deal with power relations and their mediatization in twentieth-century history. Through the basic play of re-presentation (in the most literal sense of showing again), by copying or by the simple mise en scène of documents and objects, Bryce uses appropriation, parody, and irony as weapons to expose and question the prejudices underlying commonly accepted official discourses. Through this strategy, Bryce literally recovers the figuration of ideology. His project thus engages the images of history in the modern world, fixed selectively to forge a genealogy of the present.

Fernando Bryce: Drawing Modern History traces the way in which the artist's project gradually expands to acquire a programmatic character and an almost encyclopedic ambition. At the turn of the millennium, his work opened up to take on other regions and other chapters of twentieth-century history, from the revolutionary cycle and the Cold War in Latin America to the Spanish Civil War, different episodes of European colonialism, and the Second World War. In these works, the juxtaposition of images of diverse origin creates dense and powerful narrative groupings.

For the exhibition at Malba, Fernando Bryce: Drawing Modern History will be accompanied by a major catalogue in Spanish and English, featuring the critical essay "Seeing History" by Natalia Maljuf, Director of MALI and curator of the exhibition, and an interview with the artist by the critic Carlo Trivelli, as well as installation views of the works in the show.

On the occasion of this survey exhibition, his first in Argentina, the artist will donate the work The World Over 1929 (2010) to the permanent collection of Malba. 

12 jun 2012

EL CAC MÁLAGA PRESENTA FIRESTORM DE ALEJANDRO VIDAL

















EL CAC MÁLAGA PRESENTA FIRESTORM DE ALEJANDRO VIDAL

A partir del 12 de junio en el espacio de videocreación


El Centro de Arte Contemporáneo de Málaga presenta Firestorm de Alejandro Vidal (Palma de Mallorca, 1972). El artista trae al Espacio 5 del CAC Málaga un vídeo en el que explora las cuestiones de conflictos y relaciones de poder. En Firestorm (4,52 minutos) anuncia de manera encubierta la globalización de la imagen del terror.  En el vídeo se mezclan imágenes de fuegos artificiales descargadas de internet con sonidos de explosiones de conflictos reales.

De esta manera, Alejandro Vidal quiere transmitir la idea de que los medios digitales convierten las conflictos bélicos actuales en un fenómeno constante y sin límite espacial ni temporal, ya que la reproducción de estas imágenes está al alcance de todos a cualquier hora y en cualquier lugar, al contrario de lo que sucedía hace unas décadas cuando los conflictos tenían una duración y localización determinadas.

El artista investiga las implicaciones sociales, políticas y económicas del arte contemporáneo, ofreciendo una mirada crítica a la forma en que la economía y la política deforman las posturas de las personas frente a la violencia y a la vida dentro de las ciudades.


www.cacmalaga.org
www.galeriajoanprats.com


8 jun 2012

THERE IS NOTHING YOU CAN'T DO


There is nothing you can't do
Carles Congost exposa a Can Palauet
Dins del projecte Rodalies 4 de Transversal


Carles Congost  exposarà a partir de divendres 8 de juny a Can Palauet dins el projecte de la Xarxa Transversal Rodalies 4. El títol de la peça presentada al certamen Rodalies és Paradigm, però la primera exposició de Carles Congost a Mataró, There is nothing you can’t do, presentarà una revisió de la seva obra.
Les peces que es veuran a Mataró, que combinen amb desinhibició diferents mitjans i suports com el vídeo, la música, el dibuix i la fotografia, s’emmarquen dins de Rodalies 4, un projecte de la Taula d’Arts Visuals del Consorci Transversal ideat per afavorir la projecció i la mobilitat dels artistes, la redistribució a tot el país de la producció d’art contemporani i el treball en Xarxa.
Carles Congost (1970) és un dels artistes contemporanis del moment; acaba d’exposar a ARCO, i la seva obra ha recorregut els espais del Museo Nacional Centro de Arte Reina Sofía, MUSAC, EACC de Castelló, Fundació Miró, Centre d'Art Santa Mònica, La Panera, Centro Andaluz de Arte Contemporáneo, Fundación Bilbao Arte, entre altres sales de l’Estat. A nivell internacional, destaca la seva participació al Palais de Tokyo de París, el PS1 del MoMA de Nova York i a la Biennal d’art de Venècia.
Activitats complementàries:

dimarts 12 de juny de 2012, a les 7 de la tarda
Taula rodona: Pep Dardanyà (l’artista visual i antropòleg i director de Can Xalant, Centre de creació i pensament contemporani de Mataró), Cèlia del Diego (crítica d’art, directora del Centre d’Art de Tarragona i integrant del consell de redacció d’Artiga, revista d’art i pensament contemporani) i Oriol Fontdevila (comissari independent i crític d’art. Membre de l’equip gestor de la Sala d’Art Jove de la Generalitat de Catalunya des de 2005).

dimarts 19 de juny de 2012, a les 7 de la tarda
Encontre amb: Carles Congost



inauguració: divendres 8 de juny, 20 h




2 may 2012

CARLES CONGOST Paradigm















El D'A - Festival Internacional de Cinema D'Autor de Barcelona presenta l'estrena a Barcelona de ParadigmEl nou treball de Carles Congost suposa una evolució, tant formal com conceptual, respecte a les produccions anteriors del videoartista. Altament suggeridora i ambigua, Paradigm es desdibuixa entre el gènere de ficció policíac i el misteri intimista i estranyament new age, entre el cinema nord-americà i la catarsi familiar nòrdica, donant forma a una enigmàtica coreografia acompanyada per la dramàtica banda sonora firmada per Evripidis Sabatis i Stefano Maccarrone. Qui l'ha vist s'ha quedat bocabadat.

Ara el D'A ofereix l'oportunitat de veure-la en pantalla gegant i projecció 4K: en les condicions que ens imposa un treball d'aquesta qualitat. No fa falta dir que comptarem amb la presència del director que ens dedicarà unes paraules sobre la pel.lícula.

Entrada només amb invitació, que has de recollir al taulell d'informació del vestíbul del Aribau Club a partir d'avui dilluns dia 30 d'abril (de 17:00 a 22:30)
No es posen entrades a la venda per aquesta projecció.

Dijous dia 3 de maig, 19:30
Cinemes Aribau Club (Gran Via, 565-567), entre Muntaner i Casanova

http://www.cinemadautor.cat/movies/paradigm/


Carles Congost (Olot, 1970)Per a aquells que coneixen l'aquí i ara del món de l'art i de la videocreació no necessita massa presentacions, ja que Carles Congost n'és un dels actius més destacats. La seva obra combina diferents mitjans i suports en base a una iconografia farcida de referències televisives i cinematogràfiques de clara vocació pop. Els seus treballs van des del reeixit Un Mystique determinado (2003) -amb música de Genís i Manolo (Astrud) i el protagonisme de Pablo Rivero- a propostes més parateatrals com Memorias de Arkaran (2005), on Amanda Lear exercia de mala malísima; del metalingüisme pop de La mala pintura (20008) al seminal That's my impression (2001). És, sense dubte, a Tonight's the night (2003) on ja començàvem a percebre flashos apuntant a elements més misteriosos i inexplicables, fruit d'un fantastique eteri que ara es consolida en aquest darrer treball: Paradigm (2012)


D'A - Festival Internacional de Cinema D'Autor de Barcelonadel 27 d'abril al 6 de maig
www.cinemadautor.cat

www.galeriajoanprats.com



17 abr 2012

Knut Åsdam The Long Gaze The Short Gaze


Bergen Kunsthall / Sternberg Press



Knut Åsdam
The Long Gaze The Short Gaze


Essays by Kaja Silverman, Philippe Pirotte, Simon Sheikh
Foreword by Solveig Øvstebø

Co-published by Bergen Kunsthall and Sternberg Press
www.kunsthall.no / www.sternberg-press.com

The Long Gaze The Short Gaze presents a collection of newly commissioned texts that address Norwegian artist Knut Åsdam's most recent films, Abyss and Tripoli (both 2010), and places them in a retrospective context of Åsdam's film production since the 2000s. The book, a result of Åsdam's 2010 exhibition at Bergen Kunsthall, is richly illustrated with images from Åsdam's films, video, photo, and installations works.

A central practitioner of contemporary film and video art, Åsdam has always worked independently and uncompromisingly on his artistic projects. Åsdam is occupied with the potential of narrative cinema and the scopic field, and has long explored the language of film and its constituent components. Consequently the filmic is a primary theme in this publication.

Transformation and relocation constitute a thematic framework for most of Åsdam's works, which engage the psychological, social, or bodily experience of changing urban environments. The actors in the films respond to economic, linguistic, identity-related, social, physical, or architectural processes of change, and narrate these elements as being both internal and external to themselves. Underlying this is an awareness of the ever-changing meaning, experience, and expression of architecture and society, particularly when encountered by distinct social groups. Even more than in previous works, the places portrayed are themselves fundamental to his new films, not only as generic urban surroundings, but also with their diverse histories, demographic conditions, and architectures.

Kaja Silverman's comprehensive text looks at the development of language of desire within Åsdam's works, from the early hypnotic video performance Come To Your Own (1993) through to the film Abyss (2010). Philippe Pirotte engages Åsdam's films with the idea of the zombification of subjectivity in the relationships between personality and society. And in Simon Sheikh's contribution, he discusses the post-identitarian coupling and ethics of looking in Åsdam's films.

Edited by Knut Åsdam, Solveig Øvstebø, Steinar Sekkingstad
Design by Blank Blank
2011, English
20.5 x 26.5 cm, 284 pages, 150 color ill., hardcover
ISBN 978-1-934105-28-3

For press inquiries and orders, please contact: mail@sternberg-press.com

STERNBERG PRESS
Caroline Schneider
Karl-Marx-Allee 78
D-10243 Berlin
www.sternberg-press.com


www.galeriajoanprats.com

10 abr 2012



Hannah Collins
BEGIN ANYWHERE  (John Cage)


Inauguración, jueves 12 de Abril a las 19:30 h.
Exposición Abril - Mayo 2012


El próximo jueves día 12 de Abril, inauguraremos la exposición de Hannah Collins, Begin Anywhere (John Cage), en la que presentamos obra reciente de la artista, fotografía y vídeo.

La selección de fotografías que configuran la exposición refleja el interés de la artista por la modernidad y su viaje a través del siglo XX, centradas en el atelier de Brancusi, el cual se cedió a París con la condición de que la disposición interna siguiese igual que cuando él vivía. El viaje de Brancusi a París, las propias imágenes de su trabajo y sus objetos, y sus obras inconclusas están colocadas como si hubiese abandonado el espacio momentáneamente y sin embargo, el contexto es el espacio de un arquitecto cuya trayectoria contiene muchos edificios todavía en producción.

Estas imágenes se han yuxtapuesto con una película en time-lapse grabada en una fábrica textil abandonada del norte de Francia – la fábrica también alcanzó el apogeo de su producción durante el siglo XX, no estando lejos de París en el mapa. Con el telón de fondo del lapso de 24 horas rodado en el interior de la fábrica de La Tossée durante dos noches y dos días, los residentes de Roubaix reviven sus sueños. Todos los soñadores tienen alguna conexión con Argelia y sus sueños a menudo viajan a lugares inalcanzables en la vida cotidiana –mientras un hombre se encuentra volando sobre su casa en Argelia, otro soñador se convierte en el Presidente de Francia, capaz de alterar y cambiar el país a voluntad. Los sueños nos son revelados desde la intimidad nocturna mientras se hace visible la fábrica descuidada y abandonada. A medida que la noche deja paso al día, el sonido nos guía a través de nuestras reacciones sobre el cambio lento del tiempo, donde la única acción es el sonido.


Hannah Collins (Londres, 1956) vive y trabaja en Londres y Barcelona. Entre otros museos y centros de arte, ha expuesto en Centre Pompidou París; Museo UNAL, Bogotá; Kunsthalle Exhergasse, Viena; MUDAM Luxembourg; Fundación La Caixa, Madrid; Tate Modern, Londres; Seoul Museum of Art; La Laboral, Gijón; Artium, Vitoria; VOX image contemporaine, Montreal; CAC, Málaga. En la actualidad, presenta su proyecto ‘The Fragile Feast’ simultáneamente en Deutsche Bank 60 Wall Gallery, Nueva York; y Fundación Valentin Madariaga, Sevilla. Además, participa en diversas exposiciones como ‘Singulier (s)/Pluriel’, LaM, Lille; ‘Midnight Party’, Walker Art Center Minneapolis; y ‘Le Grand Atelier’, Musée des arts contemporaines - Site du Grand-Hornu, Bélgica.


Para facilitaros más imágenes e información, contactar: galeria@galeriajoanprats.com


21 mar 2012

Erick Beltrán and Victoria Noorthoorn


mar21_hunter.jpg
Erick Beltrán, Perikhórein Knot, 2011                                 



















Patricia Phelps de Cisneros Visiting Artists and Critics Talk:
The Biennial Reconsidered
Erick Beltrán and Victoria Noorthoorn speak on the 11th Biennale de Lyon
latinamericanartathunter.org
Wednesday March 28, 2012, 6:30pm
695 Park Avenue, 15th floor of Hunter North Building, Hunter College
RSVP at latinam@hunter.cuny.edu
   
How can a biennial offer artists a remarkably open and compelling field in which to produce? Is it possible for such a highly administered exhibition structure as a biennial to paradoxically present a framework for unhindered innovation? Victoria Noorthoorn, the curator of the 11th Lyon Biennial, and the artist Erick Beltrán will engage with these and other questions as they describe their experiences working together on this past year’s biennial, entitled A Terrible Beauty Is Born.

Erick Beltrán is an artist living and working in Barcelona. He received a BFA from the Universidad Áutonoma de México, Mexico City, in 1997. His work was recently included in SITE Santa Fe’s Seventh International Biennial, in Democracy in America organized by Creative Time, and in Philagrafika: The Graphic Unconscious.

Victoria Noorthoorn is an independent curator based in Buenos Aires, Argentina. She received an MA in Art History from the University of Buenos Aires, and an MA in Curatorial Studies from the Center for Curatorial Studies at Bard College in New York. Among other projects, she has co-curated the 41 Salón Nacional de Artistas, in Cali, Colombia, the 7th Bienal do Mercosul, in Porto Alegre, Brazil, and a retrospective of Marta Minujín at Malba.

Patricia Phelps de Cisneros Visiting Artists and Critics program brings key figures from Latin American to Hunter College to address topics in contemporary art and scholarship through talks with students and the New York community. In addition to this forum, Cisneros Visiting Artists and Critics conduct studio visits and seminar discussions with Hunter MFA and MA students during their residency.

www.latinamericanartathunter.org
www.galeriajoanprats.com

6 mar 2012




mar5_kunsthalleduchamp.jpg



Cildo Meireles & Antoni Muntadas
Salt & Sugar ... No SUGAR, No SALT
Curated by Vicente Todoli
10 March–14 April 2012
Monday to Sunday round the clock
Kunsthalle Marcel Duchamp
Place d'Armes / Quai de l'Indépendance, Cully, Switzerland

- - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -  - - - - -


Dear Vicente,
I had several conversations with Cildo, the last one this morning, and we exchanged some drawings and we arrived at the conclusion that this could be our proposal (see drawing above). The space of the Kunsthalle will be divided vertically by a transparent glass/acetate/plexi/acrylic partition. On one side there will be a pile of sugar, on the other a pile of salt. It is reminiscent of two mountains touching each other but consisting of two different materials obviously both white (in the drawing they are yellow and grey, just to differentiate). The sugar and salt I used are: Azucar blanca cristalizada y Sal marina fina. Son muy similares de textura. At this moment we have a title – SALT & SUGAR ... NO SUGAR, NO SALT – and an idea: we will go for a text of 20 words, maybe: salt, sugar, landscape, friendship, collaboration ... I think you and Stefan could come up with some description: It is up to you how you want to describe the project.
Best, + AM, 02/02/12

Dear Antoni, dear Cildo,
here are 20 words from Vicente and me: salt, sugar, friendship, collaboration, discovery, landscape, mountain, expedition, humor, idea, e-mail, travel, dinner, conversation, exploration, stroll, ramble, hike, and climbing.
Warmest wishes, Stefan, 04/02/12



Cildo Meireles (born in Rio de Janeiro in 1948) is a conceptual artist, installation artist, and sculptor. His works, often large and dense, encourage the viewer's interaction. In 1970 he developed Insertions Into Ideological Circuits, a political art project which aimed to reach a wide audience while avoiding censorship. He was one of the founders of the Experimental Unit of the Museu de Arte Moderna in Rio de Janeiro in 1969, and in 1975 he edited the art magazine Malasartes. In 2008 he won the Velázquez Visual Arts Prize, presented by the Ministry of Culture of Spain. Meireles lives and works in Rio de Janeiro.

Antoni Muntadas (born in Barcelona in 1942) is a multidisciplinary media artist. He was a research fellow at the Center for Advanced Visual Studies at MIT, 1977–1984, and is currently professor of the practice at ACT/MIT. In 1995, he was awarded an Ars Electronica Honorary Mention for his well-known work The File Room, an early and ongoing Internet art project. His work has been exhibited widely at venues including the Museum of Modern Art, New York; the Venice Biennale, Spanish Pavilion; documenta VI; documenta X; and the Reina Sofia, Madrid. Since 1971 he has been living and working in New York.

Vicente Todoli (born in Valencia in 1958) is a curator of contemporary art. In 1986 he was nominated chief curator of IVAM in Valencia, a position he held until 1988, when he became artistic director (1988–96) of the same institution. In 1996 he joined Museu Serralves in Porto as its founding director, and seven years later, in 2003, he was appointed director of Tate Modern London, a position he held until 2010. He is currently living in Spain and working on several exhibition projects.



www.galeriajoanprats.com

5 mar 2012




Aire de Lyon
17.03 - 17.06.2012
Fundación Proa, Buenos Aires
A partir del 17 de marzo, Fundación Proa presenta Aire de Lyon, una exhibición curada por Victoria Noorthoorn -curadora de la 11ª Bienal de Lyon (2011).

Los artistas que participaron de la Bienal, provenientes de diversas partes del mundo -Alemania, Argentina, Brasil, Colombia, Francia, Holanda, Irlanda, México, Perú, Polonia, Reino Unido, República Checa, Sudáfrica, Venezuela y Zimbabwe– exponen proyectos concebidos especialmente para los espacios de Proa u obras ya exhibidas el año pasado en la Bienal.

La lista de artistas participantes en Aire de Lyon incluye a Gabriel Acevedo Velarde (Perú), Zbynek Baladrán (República Checa), Ernesto Ballesteros (Argentina), Eduardo Basualdo (Argentina), Erick Beltrán (México), Diego Bianchi (Argentina), Katinka Bock (Alemania), François Bucher (Colombia), Virginia Chihota (Zimbabwe), Lenora de Barros (Brasil), Augusto de Campos (Brasil), Marina De Caro (Argentina), Julien Discrit (Francia), Marlene Dumas (Sudáfrica), Aurélien Froment (Francia), Michel Huisman (Holanda), Christoph Keller (Alemania), Irina Kirchuk (Argentina), Eva Kotátková (República Checa), Robert Kusmirowski (Polonia), Luciana Lamothe (Argentina), Guillaume Leblon (Francia), Christian Lhopital (Francia), Laura Lima (Brasil), Jorge Macchi (Argentina), Cildo Meireles (Brasil), Bernardo Ortiz (Colombia), Garrett Phelan (Irlanda), José Alejandro Restrepo (Colombia), Tracey Rose (Sudáfrica), Alexander Schellow (Alemania), Javier Téllez (Venezuela), Erika Verzutti (Brasil), Kemang Wa Lehulere (Sudáfrica) y Judi Werthein (Argentina).

Aire de Lyon permanecerá expuesta hasta el 17 de marzo al 17 de junio, 2012
Con el auspicio de La Biennale de Lyon
www.proa.org
www.galeriajoanprats.com