Arts Catalyst presents a solo exhibition by Ignacio Acosta, into a programme which investigates the politics of extraction across the planet.
The ecology of extractive practices is a poisonous one. In Chile as in Sámi areas in northern Sweden, mining activities by multinational corporations are both visibly and invisibly shaping the landscape, intoxicating water, soil and air while displacing agricultural and indigenous communities. The excavation, extraction and exploitation of minerals – justified by the promise of immediate accelerated economic growth – means that spaces inhabited by communities become ravaged by desertification, contamination and expropriation, and sites of political and environmental dispute.
Guest curator and Maria Fusco takes master works from ”la Caixa” Collection of Contemporary Art as inspiration for ‘NINE QWERTY BELLS. Fiction for ‘Live Voice’, a short story in which each work of art gives a presentation at a conference. This is the second of four displays from the collection, which was established in 1985 to foster dialogue between Spanish and international art.
Isaac Julien’s nine-screen installation, premiering at Victoria Miro, traverses a collection of Lina Bo Bardi’s most iconic buildings, offering a meditation on the iconic work and on the legacy of the visionary modernist architect and designer (1914–1992).
When objects are removed from their original context, they can be arranged, collected, misunderstood and exotisized. Blue Curry and Fernando Martín Godoy, two artists from abroad living in London, bring their divergent practices together to consider the role that context plays.
Curry‘s work is playful and direct in its use of materials and in the symbolic possibilities of the found objects he works with. Martín Godoy’s paintings and drawings are more guarded in their approach to the object, obscuring it almost entirely and demanding the viewer’s time and observation skills before its presence materialises. In the conjunction of their works a conversation takes place, where elegance and humor lead to a number of reflections about the real and the fictive, the superficial and the transcendental.
The National Gallery in London shows a select number of works by Bartolomé Bermejo including six loans that have never been seen outside Spain
This summer, the National Gallery, as part of its Spanish season, will show a select number of works by Bartolomé Bermejo (about 1440–about 1501), one of Spain’s most innovative and accomplished painters active in the second half of the 15th century.
Immortality it’s possible. At least for the Turritopsis dohrnii, popularly known as the immortal jellyfish. Silently invading our waters, this creature will reproduce and then, faced with the normal career path of dying, it will opt instead to revert to a sexually immature stage. And not just once: it will do it over and over again, eternally flowing into the sea. With no organs or brain to focus on, the only way to research on this creature is by observing its movements that constantly repeat.
‘Spanish Master of Light’ at the National Gallery: The first major exhibition in the UK for over a century of Sorolla
The first major exhibition in the UK for over a century of the artist known as Spain’s Impressionist, Joaquín Sorolla y Bastida (1863–1923), opens at the National Gallery next 18th of March. Sorolla: Spanish Master of Light (18 March – 7 July 2019) includes portraits, and genre scenes of Spanish life, as well as the landscapes, garden views, and beach scenes for which he is most renowned.
Halcyon Gallery presents a new exhibition by contemporary Spanish artist, Pedro Paricio, Paricio – Picasso. Over two years in the making, this seminal exhibition sees Paricio take up the gauntlet through new paintings, sculptures, works on paper and print, that are both a dialogue with and a homage to one of the greatest artists in history, Pablo Picasso. Paricio takes his inspiration from David Sylvester’s provocation: ‘Picasso is the one to beat, Picasso is the fastest gun in the West, the one every budding gunfighter has to beat to the draw in order to prove himself’ (David Sylvester, About Modern Art: Critical Essays, 1948-1996, 1997)
It all happens at home, indoor. When you get in, you take off your coat, leave the things. You lower the guard, the strength falls down. And time is more still and there are mirrors, and the night falls, too. It is then, here inside, when the soul expands for a bit and you start glimpsing, again, the fears you have been switching off during the day. The uncertain, unruly mental zones that you try to escape.