Welcome to Cristina Guerra Newsletter March 2017. ONGOING EXHIBITION
Cristina Guerra Contemporary Art, Lisbon, Portugal
Closing 8 March
"(...) Depois e RASGO are different projects, with a common element: they do not represent, strictly speaking, the city but the perspective André Cepeda has; his subjective vision of the city. Cepeda believes that photography is invariably about showing "how the artist sees, how he frames reality". In this case, we are offered a low point of view and observe the city like a street dog or a coyote would see it. One can see a certain performative intention in this photographic experience, an attempt to dialectically influence the reality that is being represented. With no human figures, it is the presence of the photographer and his peculiar interaction with the space that "humanises" the space he captures in his photographs. Or should I say that "animalises" it? The title RASGO suggests a violent and aggressive action (tear, rip), confirming this impression.
Finally, the exhibition constitutes another step in André Cepeda's career, as he investigates the possibilities of "installed" photography. He started testing it in June in his show at Fridman Gallery in New York. Cepeda repeats the experiment for this new project at Cristina Guerra Contemporary Art. Like a small and brilliant sky-scraper, the enigmatic paper cylinder redefines the space of the first room, is a fundamental piece in the show since it tells us about the relationship between the image with its materiality and corporeality. This is the subject that unifies all the images and ultimately, André Cepeda's experience in New York: a search fro the "real", for a human scale, in a context of artifice, simulation and spectacle, as it was described by Jean Baudrillard in his book America (1986)".
Pedro de Llano, 2017
UPCOMING EXHIBITION Cristina Guerra Contemporary Art, Lisbon, Portugal
Opening 16 March | 10 pm
We have the pleasure to announce Robert Barry's first solo exhibition at the gallery Cristina Guerra in Lisbon.
Known as one of the founders of Conceptual Art, in his early works, Robert Barry explored sound waves, barely visible strings, among other works that engaged issues of audience involvement, perception, spatial relationships and art world structures.
Throughout the years he has always used written language as art, counter-point, and explanation for his work. The use of language soon became his 'signature' medium.
Barry's works are somehow austere; clean words and surfaces, with an appealing look; the words and its potential connections are out to be questioned and explored by the viewer. Each formal decision Robert Barry makes gives the opportunity for further readings into his work. There is no reference to any narrative.
How Barry makes works which are so powerful to look at, captivating to read in their specificity, introspective to explore and yet wide open, is a big part of why Robert Barry's work is so strong.
Robert Barry first solo museum exhibition was in 1971 at The Tate in London. The artist has had solo shows since at the Stedelijk Amsterdam, at the former Museum of Conceptual Art of San Fransisco, among other main museums around the world.
His works are in several important institutional collections such as the Whitney Museum, the Ludwig Collection, Moma, Hirshorn Museum, Guggenheim in New York, Centre George Pompidou, Kunstmuseum Basel, National Gallery of Art in Washington among many others.
On the occasion of the 15th anniversary of the PLMJ Foundation, the exhibition "Crossing Lines" assembles a group of works which are representative of the Foundation's collection, throughout the years; this event is part of the commemorations of the 50th anniversary of PLMJ lawyers firm.
The concept of this exhibition was defined by the invited curator, João Silvério; "Crossing Lines" enhances the crossing between different languages on contemporary art production.
Following the recent edition of a book with the same title, this exhibition is part of a continuous sharing process, that PLMJ Foundation entails as an active organiser of public presentations of their collection.
The exhibition will present a selection of new acquisitions, with artworks from Portuguese and international artists.
From the thirty-eight selected artists, we highlight the participation of José Loureiro, João Louro, Julião Sarmento and Yonamine.
This project "The Self - An Ego Machine" tries to find answers to questions like 'Why do human beings use consciousness? How do we create empathy with other people? What happens in a trance? Do animals have consciousness?
The exhibition presents six artists with different visions that address several aspects of scientific investigation on consciousness, bringing fruitful new developments to this field.
Among the six featured artists, we are glad to highlight Matt Mullican's participation.
The exhibition is showing new "Rubbings" by Matt Mullican as well as his video "Breakfast". His latest piece "Untitled (A place to sleep)" is surprisingly storyline and formulates the human desire for security and intimacy with very simple means.
Curators: Luca Lo Pinto, Vanessa Joan Muller
"What makes a verbal message a work of art?"
Poetry is based on language's surplus, on words that skip meaning, and modulate sound and rhythm. The poetic language resists the logic of effective meaning production and the functional exchange of signs. Poetry has long since been a source of inspiration for the visual arts.
This exhibition is less interested in poetry as words that rhyme, but in what Roman Jakobson described as "the poetic function of language": the aesthetic dimension of language that reaches beyond its merely communicative function.
This exhibition is interested in open language and finds it in concrete poetry, film, collages, installations and performances.
Among the 18 featured artists, we highlight John Baldessari's participation.
Event with music by João Paulo Feliciano and Rui Toscano.
"I live and work in Xabregas since 2002. I observed this area of town throughout this decade and a half. I had been a witness of several cycles that this zone went through: the perspective after Expo 98, the big projects for the future, the crisis effect of 2009, and the progressive awaken from the las 2-3 years.
By the end of 2015, a photo was taken next to the 'Pátio do Blak' (Beco dos Toucinheiros / vila Dias) and it was published immediately on my Instagram and Facebook accounts; this was a spontaneous beginning of what was going to become an ambitious project of a photographic survey of this oriental area of Lisbon.
Developed throughout one year, between 9 of November 2015 and 22 November 2016, this photographic project to which I called "Xabregas City" resulted in over 8300 photographs taken and in a selection of 1404 photographs published.
The photos all of them taken with iPhone, were being published at a rhythm of several per day (always on Instagram and Facebook). They correspond to a personal vision, artistic, from 'my city', lived and discovered in a daily basis. These photos are also a report of a landscape and morphology of an important area of Lisbon (1/5 of the urban grid), in a 'suspension' moment, between a crystallised past and an unknown future.
The notion that within the next years all this are will suffer transformations at a hectic pace, was without a doubt one of the impulses to make this photographic survey. The reaction of surprise or emotion transmitted by the spectators to the posting of many of these photos was another determining factor. This is a Lisbon that not many people know. Even myself, after 15 years living in Xabregas, I realised that I hardly knew this part of town.
Besides its online feeding, the total series of photographies from "Xabregas City" will be now assembled in an exhibition, on the new Ar.Co school building, at the previous Xabregas Market, 100 meters away from the place I took the first image of this series. It could not make more sense. In April the catalogue will be edited, with 1404 photographies and texts by Sérgio Mah, Jorge Gaspar and José Sarmento Matos."
João Paulo Feliciano, Xabregas, Marlo 2017
We are glad to announce Filipa César's participation at the Contour Biennale 8; this edition's theme being Polyphonic Worlds: Justice as a Medium
"Filipa César and Louis Henderson imagine the lighthouse lens as a departing point to unfold a critique of Western epistemologies informed by optical technologies, as military and colonial design.
(...) This research seeks lines of flight towards the shadows by upholding a politics of opacity. Expanding research conducted for their collaborative film, this lecture-performance maps a trajectory from historical methods of optical navigation to new algorithms of locating."
This exhibition at the Galeria Municipal do Porto will be the first one from this year's programme.
"Quote / Unquote" will present a selection of artworks from the EDP Foundation Collection - from the 60's until nowadays - and it will have as the central theme the question of appropriation in artistic creation.
"From the appropriation, the circulation of ideas and the dialogue between artworks we build a group of works which we could divide into three parts. (...) The aim is to put artists in dialogue inside here", explains the curator of the Galeria Municipal.
Among the featured artist, we highlight the work of Michael Biberstein and Diogo Pimentão.
This exhibition will be presented in Manica Lunga of the Castello di Rivoli Museo d'Arte Contemporanea and at the GAM Galleria Civica d'Arte Moderna e Contemporanea of Turin.
This public display will include a collection of over 400 artworks by 125 artists from around the world, dating from the XVII century until nowadays.
By analysing the different colour theories that gradually took shape in the turbulent socio-political context that characterised the 20th century, L'emozione dei COLORI nell'arte reflects on the perspective that considers light, its vibrations and the world of emotions, while challenging the standardisation of the use of colour in the modern and digital era.
This group exhibition will cover the history, inventions, experience and use of colour in modern and contemporary society. The use of colour is explored through a multitude of presentations, from various points of view, including from a philosophical, biological, anthropological and neuroscientific perspective.
Among the 125 participating artists, we highlight the works by John Baldessari, Robert Barry and Lawrence Weiner.
Football-sized lump of clay on light blue car roof
Opening 23 March | 7 pm
Curator: Gunther Holler-Schuster
This solo exhibition by Erwin Wurm (*1954, Bruck an der Mur) in the Kunsthaus Graz takes as a starting point the open architectural structure of the Kunsthaus.
In Wurm's essential lines of development in the sculpture of the XX and XXI century emerge - from the object to the action to the creation of the image.
Presence and absence move through Wurm's work as issues; absence, in particular, stimulates the power of the imagination.
A group exhibition presenting the work of photographers selected via an International Open Call for projects in response to FORMAT17 Festival theme: HABITAT.
Featuring work of sixteen selected artists, we are glad to announce Edgar Martins participation. The Poetic Impossibility to Manage the Infinite is the most comprehensive survey ever assembled about a leading scientific and space exploration organisation.
For the first time in history, the European Space Agency (ESA) granted a visual artist exclusive and unparalleled access to all of its facilities, staff, programs, technology, and private aerospace industry partners.
The project looks to crucially engage with ESA programs, whilst also reflecting on the new politics of space exploration.
Martins travelled and documented 15 separate facilities worldwide, including the UK, The Netherlands, France, Germany, Italy, Spain, Russia, Kazakhstan, and French Guiana.
The German artist Carl Spitzweg (1808-1885) was a humorous and critical analyst of his time whose ironic works depict petit bourgeois and odd characters within their illusory Biedermeier world.
Born in Munich, Spitzweg was a keen traveller whose biography reveals connections with Austria that are reflected in his work.
130 years after his death, the Leopold Museum is dedicating his first comprehensive exhibition in Austria, complemented by precisely placed cultural-analytical works created by the Austrian artist Erwin Wurm.
This exhibition will display around 100 works, including paintings, drawings, sculptures and photographs.
The juxtaposition of these two artists will illustrate how they both deploy humour in order to analyse their respective eras in a critical manner.