The constant shift in a sense of identity set against the endless fluctuation of people and narratives are the conditions in which artist Andrés Pereira Paz likes to operate. His works examine the role that pre-Hispanic and postcolonial arts and crafts play in the construction of cultural identity. Appropriating Andean imagery he explores how the collective and individual can both support and undermine one another in this process.
Exhibition: ‘If I do nothing’ (Matt Calderwood, Stephanie Mann and Josep Maynou)
At SCAN Project Room. From 19 April until 20 May 2018. London.
It has been observed that a condition of impending doom haunts millennial culture. How quickly the dark omens become real (or unreal or are for now deferred) remains to be seen. There is a kind of anxiety in a state of negative anticipation, and yet a dark pleasure, but it is evident we feel ourselves at a threshold. The aim of this exhibition is to stimulate a mutual energy, a static spark in still air like a state of expectation or risk.
Artists Matt Calderwood (United Kingdom), Stephanie Mann (United Kingdom) and Josep Maynou (Spain/ Germany) explore the aesthetics and humour found within states of imminent collapse. The selected videos and sculpture pose antonym pairings – balance / unbalance, start / stop, work / play – suggesting games of resistance that let slip the dualisms, the contradictions, the instabilities and the vulnerabilities of action, and in the end challenging such dualisms entirely. In diverse materials and processes, using chance and possibility, the artists create situations destined to fail, fall and topple over into constituent parts and potentials. This is the process of life.
‘If I do nothing’, nothing does takes its title from the last line of the poem Mexican Loneliness by Jack Kerouac. Kerouac sketches a state of existential emotional conflict of in which doing and not doing blur in an extended moment of anticipation, state of about-to-be. Mexican Loneliness is a part of a larger work, Mexico City Blues, written between 1954 and 1957 and published in 1959. In art, as in life, not everything unbalanced is unbeautiful.
ABOUT THE ARTISTS
Matt Calderwood (b. 1975, Northern Ireland) studied Fine Art at the University of Sunderland. Recent solo exhibitions include More or Less There, 1916 Projects, Singapore (2017), and MATT CALDERWOOD, HS projects, Howick Place, London.
Stephanie Mann, graduated from Edinburgh College of Art MFA in 2013 and is currently based in Edinburgh. She has undertaken commissions from The BBC as part of the Edinburgh International Art Festival and has work in the Royal Scottish Academy collections.
Josep Maynou (b.1981, based in Berlin) studied Fine Arts at UB (Barcelona), Faculta de Belas Artes Porto (Porto) and Middlesex University (London). Josep has shown his work internationally in places such as University of Oxford (UK), PS122 (NYC), Material art fair (Mexico City), Louis 21 (Palma de Mallorca), Galerie Suvi Lehtinen and Transmediale (Berlin), among others.
Image © Matt Calderwood, Found Objects, Untitled (high+bounce)
If I do nothing (Matt Calderwood, Stephanie Mann and Josep Maynou)
SCAN Project Room, 19 Herald St, Bethnal Green, London E2 6JT
From 19 April until 20 May 2018 (Wed – Sun 12:00 – 18:00)
Maddox Arts presents Dionisio González’s first solo exhibition in London. In order to introduce Dionisio González’s works to the London public, they will be showing two of his series “Dauphin Island” and “Inter-action”.
González shows in his works ‘surrealistic’ architecture in a natural landscape. His visionary constructions are close to Le Corbusier, projects of buildings made out of béton brut and futuristic visions of cities inspired by Japanese metabolism architecture especially Kenzo Tange and Kisho Kurokawa. But González does not limit himself only to architecture sketches. He is exploring any kind of art, getting inspiration from Italian Futurist movement, Giorgio de Chirico’s archways and Xavier Corberó’s architectural sculptures.
The contemporary art fair JustMAD9 is taking place in Madrid between 20-25 February. They have a new venue, at Nuñez de Balboa 32, which will be called JUST SPACE, is a 1,500 square metre space and is situated in one of Madrid’s most dynamic and central districts.
We sat down with the curation team, Daniel Silvo and Semíramis González, to find out a little more about them and what they’ve got in store for us in their ninth annual fair.
Last week, Madrid’s number one emerging art fair announced their move to a new space in Nuñez de Balboa 32. The new venue, which will be called JUST SPACE, is a 1,500 square metre space and is situated in one of Madrid’s most dynamic and central districts.
JustMAD9 is curated with a focus on the concept of the Encounter between Europe and Latin America and will be organized into the following sections: General Program; Brand New, a commissioned section for newly established galleries with innovative programming, to introduce them to the gallery circuit through JustMAD; and Solo Project, which will give galleries the opportunity to dedicate their stand to the work of a single artist.
Lastly, in the anticipated context section, curators Octavio Avendaño from Mexico and Inez Piso from the Netherlands will bring together European and Latin American galleries in a joint space to open a common dialogue.
The event is being led by Spanish curators Semíramis González and Daniel Silvo, who, in collaboration with a selection of collectors, namely Pilar Citoler, Oliva Arauna, Guillermo Rozenblum, Norberto Dotor, Basola Vallés, and the galleries Herrero de Tejada, Loo & Lou Gallery, and SCAN, have selected the 33 proposals that will be part of the General Program.
This year we will see the return of some of last year’s galleries and projects: 6más1 (Madrid, Spain), Addaya (Majorca, Spain), Antonia Puyó (Zaragoza, Spain), Aurora Vigil Escalera (Gijón, Spain), Bea Villamarín (Gijón), Blanca Berlín (Madrid), Estela Docal (Santander, Spain), Gema Llamazares (Gijón), Guillermina Caicoya (Oviedo, Spain), Kubik (O Porto, Portugal), La Gran (Valladolid, Spain), Marisa Marimón (Ourense, Spain), Módulo (Lisbon, Portugal), Modus Operandi (Madrid), Monumental (Lisbon), Silvestre (Madrid), The Shot Introducing (Jerez de la Frontera, Spain), Trema (Lisbon), White Noise (Rome, Italy).
In addition, they’ve extended the invitation to other galleries for the very first time. Among those invited are 13 ESPACIOarte (Seville, Spain), A del Arte (Zaragoza, Spain), Acervo (Lisbon), AP Gallery (Segovia, Spain), Cámara Oscura (Madrid), Fúcares (Almagro, Spain), Galería Estampa (Madrid), Herrero de Tejada (Madrid), Kernel (Cáceres, Spain), Loo & Lou (Paris, France), Proyecto H (Madrid and Mexico City), Suburbia (Granada, Spain), Wadström Tönnheim (Sweden) and SCAN from London, UK.
There is no doubt that JustMAD will give us the opportunity to discover some of the best emerging Spanish and international artists such as Avelino Sala, David Crespo, Gabriela Bettini, and Gema Rupérez and international artists Elina Brotherus, Felipe Cohen, and Carla Grunauer, among others.
“The changes that we have made for this new edition are based on feeding the fair’s curation and paying special attention to discovering emerging and high-quality artists and galleries”.
But if there is something that has pleasantly attracted our attention, it is that the number of women artists (71) represented in this edition of JustMAD is higher than that of men (63). Actually, we will have the opportunity to see the work of some of most relevant women artists at the moment like Isabel Muñoz, Elina Brotherus, Gema Rupérez, Tamara Arroyo, Cristina Almodóvar or Mar Hernández to name just a few.
Another female proposal comes from the Sevillian gallery 13 ESPACIOarte who will be showing a program consisting of works by Marta Beltrán, Anna Jonsson and the Collective Inmoderatus (Isabel Cuadrado, Kae Newcomb, Elisa Torreira and Tonia Trujillo) which will address different themes around women, such as motherhood, coming through in the sculpture of the Swedish Anna Jonsson.
In this context, we also highlight the project presented by Rede Museística Provincial de Lugo (the network of museums in the province of Lugo in Galicia, Spain) that will take the action called WE ARE HERE! #estamosaquí focused on giving daily visibility to the potential of female creativity.
These are just a few examples of how our country’s art scene is changing when it comes to equality, and why everyone, from institutions to galleries and cultural agents, should come along to the JustMAD to see how it’s done! It’s one of the reasons why we at Brit Es are so proud to be their Media Partners.
Emerging Art Fair / 20-25 Feb 2018. Núñez de Balboa, 32, Madrid
Full info: www.justmad.es
Since the beginning of this month we have a great exhibition at Victoria Miro Gallery in London, a show comprising paintings and an installation of lamps by the Mexico-based Cuban-American artist Jorge Pardo.
Celebrated for his use of vibrant colours, eclectic patterns and natural and industrial materials, Pardo, a MacArthur Fellow, has since the 1990s drawn on the historical intersections of fine art, architecture and design to create a highly individual body of work. Characterised by its fluidity between genres, his diverse output ranges from paintings, sculptures and murals to furniture and even entire buildings. Pardo’s focus on multiple meanings, purposes and contexts invites constant re-evaluation of objects, images and architectural space.
The exhibition features suspended and freestanding lamps, ranging in scale from one to 1.7 metres tall, distributed at varying distances from one another throughout the first-floor gallery. Distinguishable by a number of components and forms – including sinuous lines of laser-cut PETG plastic resin that surround a central light fitting, and lengths of the same material, sometimes perforated with rectangular or triangular motifs, that hang in fringed formations – Pardo’s lamps offer an extended consideration of physicality and immateriality, the visible and invisible. While the lamps themselves possess sculptural form as objects, sometimes recalling natural phenomena such as animal and plant life, the light they emit, variously controlled and directed, is less tangible. This is experienced in the spaces between each work and the surrounding architecture – an irregular play of light and shadow which itself might be altered by viewer’s movements through the space.
In addition, new paintings, ranging from two metres to almost five metres in height, are installed in the ground floor gallery and in the atrium space that connects the gallery floors. While they are called paintings, these wall-mounted works are composed of layers of laser-cut birch wood ply and MDF, milled, perforated and painted so that evocations – of colour, form and image – seem to shift and dissolve as the viewer moves in front of them. Ostensibly completed in single colours – red, orange, yellow and blue – up close the works reveal tesseraelike surfaces of complementary and tertiary hues. These interact with the routed circular and linear motifs, topographical in appearance, of the layers underneath to create moiré-like patterns of interference, through which suggestions of landscape and weather are revealed.
The forms of the paintings themselves recall folding screens installed on their sides and bolted to the wall (and thus robbed of their function), though the impression of the hinged panels projecting into space is another illusion. Rather than concertina into space, the works are resolutely flat.
Poised between the organic and the manmade, the practical and the poetic, Pardo’s art playfully insists that form needn’t necessarily follow function (or vice versa) instead suggesting multiple and mutating definitions and applications that toy with our expectations. Together, the works in the exhibition expand upon the artist’s ongoing exploration into questions of composition, classification of genres and categories of production and display.
Jorge Pardo / 2 February – 24 March 2018 / Victoria Miro Gallery / I16 Wharf Road, London N1 7RW
‘Your Consequences Have Actions’ is Saelia Aparicio’s first major exhibition in a public gallery in the UK, bringing together newly commissioned works made especially for The Tetley with a selection of existing works, shown alongside several drawings and sculptures from the Musgrave Kinley Outsider Art Collection at the Whitworth, The University of Manchester.
Transcription // Non-Stop Drawing Action
The gallery was left exactly as it was: on the table sits the last doodle of an exhausted mind. Upon entering the small room, you feel as though you are walking onto a crime scene. You can’t help but try to solve the puzzle, reconstructing what the artist must have been feeling. Olga Diego’s experiment shows us that putting the creative process under extreme conditions can access ideas buried deep in our psyche.
The Spanish artist Olga Diego is doing from today (16/01/18-12h) an artistic experiment that aims to explore the limits of the mind in a creative process. She is, since 12:00 noon, drawing at SCAN project Room in London, without stopping for as many days as her mind-body can resist without taking any rest.
Diego will not stop drawing even while eating, drinking, or doing any kind of physiological activity. She will take the paper with her and continue drawing at the same time. She will create a space with no imposed time limit, and where the creative mind could reach unknown places. Nor will she stop drawing in order to sleep because she will stay awake and draw day and night.
An experiment that maybe could answer questions such as: What is the mind capable of creating in an unknown context, or when it is subjected to extreme exhaustion? What are we able to draw when we do not have a time limit for it? As here the artist’s mind will be placed between absolute freedom and the limitation of its own capacity and resistance. How will this be reflected in the graphic image on paper? This graphic document together with the audio-visual documentation of the action will be material of a later study.
The action will be shown on live streaming on Internet until the end. This way, viewers will be able to see the action not only in the same exhibition space, but also on their computer from anywhere in the world, and at any time while the action is taking place.
The result will be a transcription of the different states of mind in the shape of graphic creation. These drawings will be on exhibit at the SCAN PROJECT ROOM from 20 January until 3 February.