FLIPSIDE: Saelia Aparicio, Roxanne Jackson, Rosie Reed, Rebecca Jagoe, Phoebe Cummings, Joel Chan, Kamile Ofoeme, Laura Dee Milnes, Lindsey Mendick, Kira Freije, Paloma Proudfoot, Lotte Andersen
Curated by Rosie Reed
The A Coruña based María José Jove Foundation has announced its inaugural Therapeutic Applications of Art Research and Essay Award, created to contribute to the study, dissemination and use of art as a therapeutic tool, as well as promoting the contemporary line of thinking based on an interdisciplinary approach.
LONDON. Ira Lombardía “SCAN-AR #2. ARTISTS RESIDENCY”. July 2018. Scan Project Room
Ira Lombardía (Asturias, Spain, 1977) is the selected artist for the second edition of SCAN summer residency program. She will be occupying the SCAN project room as her studio and production space during the month of July.
‘Fragmented Dialogues’, it’s an exhibition at Austin / Desmond Fine Art in collaboration with CF-LART London that brings together the work of conceptual artist Mario Fonseca and photographer Mauricio Valenzuela. Both Fonseca and Valenzuela worked in Santiago, Chile, during the 1970s and 1980s. Despite two seemingly very different bodies of work, both artists intrinsically shared a strong dialogue around the notions of absence and prohibited identity.
Mario Fonseca is a visual artist, art critic, curator, academic, writer, designer and Chilean publisher. Born in Lima, Peru in 1948, he has lived in Chile since 1966. Fonseca enrolled in the School of Fine Art of the Universidad Católica in 1966 but dropped out of the programme to embark on his professional career in graphic design and edition. He also started to experiment with conceptual art in his artistic practice, a topic he would continue to develop for many years, becoming one of the forefront conceptual artists in Chile in the 80s. Only in 2009, did Fonseca obtain his Bachelor of Visual Arts with a degree in Photography.
Mauricio Valenzuela’s studies in Painting and Fine Art at the University of Bellas Artes, Santiago, were violently interrupted on 11th September 1973, the day the military junta toppled Allende’s government. Determined to pursue his studies despite the prevailing political climate, Valenzuela (1951) completed his visual arts education intermittently, in different art establishments, acquiring a degree in Theater Studies along the way. This unusual academic formation and a hitch-hiking trip from the island of Chiloe, South of Chile, to the Peruvian boarder, would define Valenzuela’s personal quest and sensitivity as a leading visual artist in Chilean photography.
Also on display are a selection of works by Edward Burra, Patrick Caulfield, Eduardo Chilida, John Craxton, David Hockney, Peter Lanyon, Tony Longson, Mary Martin, Margaret Mellis, Paul Nash, Victor Pasmore & Terry Pope.
Image ©Mario Fonseca“Negativo del autor / Positivo del autor” Habeas Corpus 7, 1981 Cardboard, kodalith, masking tape 28 x 21 cm each
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Fragmented Dialogues: Mario Fonseca & Mauricio Valenzuela (Art and Identity in 1980s Chile)
Austin / Desmond Fine Art, London WC1B 3BN
11 May 2018 – 18 July 2018
Open on Saturday 23 and Saturday 30 June (11am-2.30pm)
Parasol unit foundation for contemporary art, presents a solo exhibition of works by Cuban artist Carlos Garaicoa. Showing here in London for the first time in a public institution, Carlos Garaicoa reflects upon ‘the city’ – its limitations, potential and possibilities – as a physical infrastructure, social network and political space in this exhibition comprised of large-scale installations, sculptures, video and photography.
Assembly Point presents ‘System Recovery’, a new body of work by Fran Meana, an exploration of the possibilities that digital tools offer to replicate and reactivate the recent past, embracing the mechanical/technological infrastructure that frames our existence and is redefining the nature of our relationship with work and death.
‘System Recovery’, recruits the help of a neural network — a type of machine learning algorithm — to explore the legacy of proto-think tank El Laboratorio de Formas. The laboratory was established in the early sixties by a pioneering group of Galician artists such us Isaac Díaz Pardo and Luís Seoane. Trained using the writings of a recently deposed and now deceased founder CEO, the algorithm will help Meana navigate the legacy of the organisation. The work reactivates an archive ranging from studies of local Neolithic rock engravings to affordable mass produced objects, using new technologies and rapid prototyping to bring contemporary ideas and life to the company.
Fran Meana (Asturias, ES) is an artist based in London. Recent exhibitions include Generaciones 2018, La Casa Encendida, Madrid, ES (2018), Tender Buttons, Salón, Madrid, ES (2017), Future Archaeologies, SCAN, London, UK and Laboral, Gijón, ES (both 2016), 1.000 Horsepower, Can Trinxet, Hospitalet, ES (2016), Labour, Motion and Machinery, TENT, Rotterdam, NL (2015), Machines for Hardrock, Avalanche, London, UK (2015) and Percussive Hunter, Akbank Sanat, Istanbul, TR (2015). The new body of work in the exhibition is the result of recent research periods at Tabakalera (San Sebastián) and kindly supported by Acción Cultural Española (AC/E) through the Programme for the Internationalisation of Spanish Culture (PICE).
Photos © Photo courtesy of Fran Meana / Assembly Point
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Getting down to writing about Mª José Arceo’s latest artistic project ‘Future Dust’ is as difficult as trying to sum it up in just a few lines. If it’s an origin story you’re after, you could say that it all started with 2014’s eXXpedition Crew, which set sail for Martinique from Lanzarote, crossing the Atlantic as part of UNESCO’s Atlantic Odyssey. 14 women embarked on the journey: scientists, designers, film-makers, biologists, ecologists, and an artist, María. With the help of her expedition partners, she was able to explore the impact of microplastics on our environment and our lives. To achieve this, she started to gather up all the microplastics that she came across in order to create little crystal installations that would be shown in her future exhibits. Anyone who sees one of these artistic interventions finds themselves faced with a poignant story about microplastics that begins and ends with us.
The Ryder announces for next month the first UK solo exhibition of Andrés Pereira Paz (La Paz, Bolivia, 1986).
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) curated by Luz Massot
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.
‘Straight lines don’t exist in the natural world.’ This is the opening line of ‘The Distance Between Us’, one of the videos by Marco Godoy on display at London’s Copperfield Gallery. BritEs caught up with the artist, originally from Madrid, during this year’s ARCO contemporary art fair.