GROUP SHOW The Shape of Thought Opening 19 May | 29 June
Curator: Miguel Von Hafe Pérez
Trans-generational, international and sound; art does not exist without thought, as we cannot think art without a comprehensive knowledge of the world of shapes. In the gap between efficient functionality and pure conceptual speculation, it perpetuates ways of living the desire of creatively inscribing the world.
Instrumental, here, the chronological beginning of this exhibition which unfolds symptomatically with one artist that was able to differentiate, subvert and continuously follow ways with return to the extremes previously acknowledged: Fernando Lanhas, artist, architect, researcher, dreamer.
In the course of historical situations, differentiated geographies and aesthetics reveal a constant questioning of the capacity for gestures and representation, composing statements of thoughts-other, precisely those offered to the spectator through a form of artistic thought. Sound in its aim, this exhibition is anchored in the multiplicity of its answers. It will be in the speculative contamination of the empty spaces between each piece that the relevance of what we insist in calling art will be best apprehended.
Miguel Von Hafe Pérez
ONGOING EHIBITION Galeria Cristina Guerra, Lisboa, Portugal
JOÃO PAULO FELICIANOPrimavera Closing 12 May
"For the past four years I've been challenged to put my artistic views into practice at the beautiful settings of the Parque da Cidade in Oporto. Doing my best to make the NOS Primavera Sound Festival as rich, intense and fulfilling as a festival can be for true music lovers, my approach has been to use art not to show off but, to resonate the magic happening on stage. Music is the 'main art' of the festival; to experience live music is the reason why it happens. The intense experience of thinking, designing, making and living the NOS Primavera Sound has become a rich part of my artistic life. Suddenly, on the days that followed last year's edition, with all memories still vivid and clear, a series of ideas for art pieces flowed: materials, objects, shapes, building systems, pictures, colours, metaphors, experiences, events... many aspects of the festival came to mind as potencial ideas for art pieces. What interested me about these ideas was the possibility to work on them freely, unbounded from the many constraints of the festival itself.
ANDRÉ CEPEDARU _ Residency Unlimited NYC Starting 10 May
Residency Unlimited (RU) supports the creation, presentation and dissemination of contemporary art through its unique residency program and year-round public programs. RU forge strategic partnership with collaborating institutions to offer customised residencies designed to meet the individual needs of participating artists and curators. Residents benefit from RU's diverse network of partners, which allows for flexibility, customisation and access to a wide range of services and resources including but not limited to studio/workspaces. RU facilitates connections in and outside the art world, offer hands-on production and technical assistance, and professional development opportunities. Dialogue and exchange happen through talks and other public programs, which take place at RU's Brooklyn location: a creative hub for RU's expanding community of artists, curator, partners, collaborators, and internacional visitors. RU works together with their residents and partners to develop a residency experience that optimizes opportunities while meeting the goals, needs and visions of participating artists and curators. Residences may focus on research and dialogue rather than on traditional production formats. In addition, to the local New York - based residencies, RU's offer national and international exchanges, and year-round public programs which cover a broad range of topics at the forefront of contemporary art practice and critical discourse.
A group show will be organized as part of RU's program; Cepeda was selected to participate in the exhibition at Christian Duvernois Gallery, opening 13 July. Lia Zaaloff will be the invited curator.
"Smuggling", by João Louro, presents a selection of João Louro's new works, produced for the exhibition, contextualised by previous works. "Smuggling" is an insinuation to João Louro's program; throughout his career he has been questioning the relations between language, references (literary, cinematographic, musical and theoretical) and supports that activate a smuggling of meanings, allowing to observe the most diverse layers of cultural production. "João Louro's work has a natural predisposition, dispersed in references, languages and diverse, even though connected in a very clear and precise way around the same visual program: art has a form of knowledge trespassed by the cultural work. Therefor, the artistic value of Louro's pieces is followed by an epistemic legacy, and an endured substance through the ethical and aesthetical message of each image of the world. "Smuggling" is a revelation-exhibition since it shows not only the several locations that compose this constellation - pieces in its individuality, but also the the way that each pieces relates with other pieces and how these pieces relate together: through a smuggling of languages and meanings; exchanges, mailings, questionings, refutations that follow dense ways, sometimes obscure ways with hidden heuristics conventions".
Ana Cristina Cachola.
Curator: Reto Puffer.
During his stay at Michael Biberstein studio (Solothurn, Switzerlanf, 1948 - Redondo, Portugal, 2013) Reto Puffer could work with the tools, materals and even with the canvas left by the passed away artist. Here Puffer discovered a selection of pieces, some finished outhers left in standby that show an unexpected affinity between these two artists practice. This situation of a reality that is left unfinished made Reto also reflect upon the artistic process and about the 'incomplete' as a possibility of a new esthetic category. http://www.fundacaoeugeniodealmeida.pt/forum/michael-biberstein-realidade-suspensa-/4127.htm
Caixa Forum, Barcelona, Spain
MICHAEL BIBERSTEIN, JOÃO ONOFRE
The Weight of a Gesture
Closing 1 May
Curator: Julião Sarmento.
Paintings, sculptures, videos and installations, are presented in this exhibition to seduce the eye and provoque a narrative dedicated to the spectator, in which the artworks act, propose, entangling a dialogue and getting emotional too. The Portuguese artist Julião Sarmento is the author of this project. The challenge proposed to Sarmento was to realize an exhibition following his artistic vision, with pieces from the collection La Caixa Fondation, from MACBA collection and from CAM Gulbenkian Fondation.
Curator: Sérgio Mah.
This exhibition gathers a series of recent photographs by André Cepeda, taken in Oporto the city where the artist lives and a recurrent topic of his work. The collection of images suggests a physical - and mental - journey through various sites in a city where human presence is residual. During this journey, this meander, André Cepeda photographs a wide range of subjects, including desert streets, the façades of buildings, rudimentary constructions, monuments, ruins, and abandoned materials and objects in settings permeated by melancholy and a sense of emptiness. It is a view that is harsh and sensitive, meditative and critical, which reacts to space, matter, and light, bestowing certain places and objets with a character that is at once familiar and strange, banal and mysterious.
Nothing appears to happen in these places. There are no discernible movements or gestures. A petrified world, deathly silent, where all that remains are spaces, constructions, and objects that point to a prior history. Depois is a work about what remains, but also about our desires and about what we are prepared to see in and make of the images, to reclaim the need for an ethics of observation and reflection on all the sites of abandonment and oblivion.
JUAN ARAUJO Roberto Burle Marx: Brazilian Modernist
Opening 6 May | Closing 18 Sep.
Organised: Jens Hoffmann (Director); curators: Claudia J. Nahson, Morris e Eva Feld.
Burle Marx (1909-1994) was one of the most influential landscape architects of the twentieth century, yet he is not a familiar figure outside of his native Brazil. He is best known for his iconic seaside pavements on Rio de Janeiro's Copacabana Beach, and for his abstract, geometric garden designs. But his work encompasses an enormous range of artistic forms and styles: Burle Marx was a painter and sculptor; a designer of textiles, jewelry, theater sets, and costumes; a ceramicist and stained-glass artist. He was an avid art collector, a talented baritone, a consummate cook, and a visionary self taught botanist and ecologist. For him, all these endeavors were equally important, facets of one another. The artist embraced modernism in the early 1930s, as the movement was taking hold in Brazil. He revolutionized garden design by using abstraction and grand colorful sweeps of local vegetation, abolishing symmetry and rejecting imported flora and European models. Burle Marx's gardens are works of modern art, not only because they make use of flat planes, abstract shapes, and bold color, but because of the way they behave: they prompt awareness of oneself in relation to the built environment. It is therefore no surprise that artists of today find him a fruitful source of inspiration. In this exhibition, seven artists with ties to Latin America, all born after 1950, provide a sampling of his influence. They are: Juan Araujo, Paloma Bosquê, Dominique Gonzalez-Foester, Luisa Lambri, Arto Lindsay, Nick Mauss, and Beatriz Milhazes.
The catalogue 'Smuggling', sponsored by Millennium BCP, presents a selection of texts written by Ana Cristina Cachola (Smuggling exhibition's curator) and by Jens Hoffmann (director of The Jewish Museum, NYC). This catalogue also includes an interview from João Louro to the artist Lawrence Weiner.
This will be the last opportunity to participate in a guided tour to the exhibition, organised by the artist in conversation with the curator.
'In this exhibition, the visual and the verbal - the word visibility and the image verbality, follows alternative ways to the conventional ways of content distribution. The presented pieces, in several media, are a result of these traffics, producing analytical surfaces and calling upon visual literacy as a critical strategy from the contemporary world. (...) The map that always has had a political character, configuring power relationships and establishing hierarchic structures within territories, is the imagery surface that in this exhibition, in several moments and pieces, reveals to the spectator João Louro's constellation. (...) 'Smuggling' is a revelation exhibition since it shows not only different locations that complete the constellation of Louro's work _ his individual pieces and the way they relate to each other through a smuggling of language and meanings, spontaneous exchanges, mailings, questionings, refutations which follow dense ways, sometimes illegal, since they are hidden from heuristic conventions.
Ana Cristina Cachola
With the title Part One: One Another, the exhibition of Luís Paulo Costa's work at the Leal Rios Foundation takes a shape of artistic essay, a staging of objects continuously in movement, shifting from the studio to the museum, to the gallery, to the collection, to th reproduction and beyond. Each work in each room was carefully selected by the artist in order to guarantee a reasoning between them, as the pieces separation in two individual shows reveals elements from the artist's curatorial attitude. In his work Costa uses painting, sculpture, photography, video, digital images and installation. Is art is nevertheless the art of the reluctant illusionist: sometimes hidden sometimes revealing. Using overpainting techniques, occlusion, quotation and quibbles, the artist erases the traces of his artistic process only sufficiently to awake one's curiosity, inviting the spectator to discover its inherent methodology. The artist selects often images from the internet, re-photographs and prints with ink jet on canvas, and finally covers it with image with his precision painted reproduction. Its materiality is altered, or even added, since painting reaffirms, through representation, the same image that it eliminates. This proposal will be expanded in the second exhibition by Luís Paulo Costa, with the title 'Part Two: One and Other'.
The art museum is a complex structure that has been evolving for centuries, starting with the emergence of the kunstkammer and wunderkammer in the 16th century. During the twentieth century the museum as a structure of knowledge, as well as its classificatory strategies, became the subject of interest for many artists who appropriated the idea of the museum. Notable examples in the history of post-war include: Marcel Broodthaers' Le Musée d'Art Moderne, Département des Aigles de Marcel Broodthaers, which existed under various incarnations and in several locations, including art fairs, between 1968 and 1972. Broodthaers' museum expanded the horizon of the museum towards the intersection between art and the market, in an acknowledgement of its inexorable transit towards capitalist modes of production and exchange. In tracing an "evolutionary line" between homo faber and homo economicus, the exhibition highlights the forces that exert an influence on the museum's modes of representation today. This exhibition offers the public an insight into how a curatorial team is approaching the Jumex Collection and how this resource allows us to generate different curatorial formats and ways of working.
What can painting do, what can it be? What's special about it? Where does it take us? This exhibition provides an overview of the possibilites, forms, specific characteristics an also the deconstruction of painting. Generously donated to the Neue Galerie by the Heinz Ploner collection, 47 works enter into a dialogue with other works from the museum's existing collection. Its focus lies on exploring a traditional medium so often declared dead and yet whose shifting ability to transform manages to keep it alive and topical as ever. Deconstruction of Paining, Painting Games: the medium of painting can use paint to depict three-dimensional objects, bodies and people without itself being consciously perceived as an object space. Angela Bulloch's and Herbert Hamak's works challenge this by making the paint take over three dimensional space. Adrian Scheiss's 'Flat Work' also extend into space: unlike his watercolours, the monochrome panels do not hang on the wall.In contrast to the painted illusion, Erwin Wurm emphasises the three-dimensional body in space. The coat, which as a garment serves as a 'second skin', is stretched over a plinth and takes on an artificial, geometrically lifeless form. Although light can be captured in facts and figures, we can still never really 'grasp' it in our perception.
The CAC Malaga presents in the exhibition Periplo/Portuguese Art of today, a selection of 211 Portuguese artists, that used small scale canvas (10 x 12 cm) as support to freely interpret their work. The exhibition is a walk through the contemporary art trends, including urban art. Portuguese artists like Julião Sarmento, share the exhibition space, presenting an unique selection of several artworks. More than painting, the exhibition also highlights drawings, photography, installations and sculpture pieces beyond the physique limits of the canvas. The exhibition is divided following a theme and style allowing the spectator to follow a guide line, during the visit through the exhibition space. Therefor one can have a complete vision of the figurative art made in Portugal, where portraits, animals, scenarios, landscapes, and objects are highlighted.
Curator: David G. Torres.
The MACBA presents this coproduction between CA2M, Centro de Arte de Mayo da Comunidade de Madrid, and ATRIUM, Centro Vasco de arte Contemporâneo, and Vitória. More then 50 internacional and nacional artists, participate in this exhibition; a trip through the universe of the punk influence in contemporary art and creates eco of its importance has an attitude and reference amongst several creators. The exhibition presents installations, documentary parts, multiples, photography, videos and painting; it also includes a documentary section regarding the origins of Punk and its evolution until nowadays. Some of the themes are sound, nihilism, violence, and sexuality. The insatisfaction, lost of faith in progress and a violent critique in the icones of the economic and social system that are shown in these artists works. \in this exhibiton Punk shows as a reference to several artists, in the use of elements like noise, typographie, antidrawing, and ugliness, or with the musical inclusion.
Centro de Arte e Imagem - Gallery IPT, Tomar, Portugal
JOSÉ LOUREIRO José Loureiro, Pedro Casqueiro
Closing 15 May
This exhibtion is a group show presenting two artists: José Loureiro and Pedro Casqueiro. It will happen in the Instituto Politécnico de Tomar, until 15 May. José Loureiro was born in Mangualde in 1961. He lives and works in Lisbon. José Loureiro elects, has remarkable moments in his artistic graduation, two readings: the poem 'Deslumbramentos' from O Livro de Cesário Verde', by Cesário Verde; and a chapter from War and Peace, by Leo Tolstoi, where the battle of Boronidó is narrated. Nowadays all his life happens around three words: priolo, filamento e aro.
JOHN BALDESSARI Electronic Superhighway (2016 - 1966)
Closing 17 May
A major exhibition bringing together over 100 works to show the impact of computer and internet technologies on artists from the mid-1960s to the present day. The exhibition title is taken from a term coined in 1974 by South Korean video art pioneer Nam June Paik, who foresaw the potential of global connections through technology. Arranged in reverse chronological order, Electronic Superhighway begins with works made at the arrival of the new millennium, and ends with Experiments in Art and Technology (E.A.T.), an iconic, artistic moment that took place in 1966. Key moments in the history of art and the internet emerge as the exhibition travels back in time. The exhibition features new and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing. From John Baldessari, Cory Arcangel, Constant Dullaart, over 70 artists spanning 50 years are included.
This exhibition examines the significance of television for the visual arts and how our visual culture has changed from the 1960's to the present. The focus is on the artistic treatment of the contents and forms of image culture developed by the television medium. Following this approach, "TeleGen" reflects on the "Televisual" across various genres. The historical part of the show presents artistic approaches from the 1960's that explore the television image or the television set as an object and which bear witness to the treatment of televisual aspects in painting, sculpture, installation, photography, film and action art even before the advent of video art. The second part of the exhibition, focusing on the present, is dedicated to the phenomena of dissolution of the once so monolithic television medium in the age of digitisation, hybridisation and media convergence to this day. "TeleGen" presents the upheavals in the relationship between television and visual culture based on their treatment by artists in a total of seven chapters, some interlinked. With works by Angela Bulloch, Tauba Auerbach, John Cage, Thomas Demand, Nam June Paik, Paul Thek, among others. The exhibition was conceived by Kunstmuseum Bonn in collaboration with Dieter Daniels, Leipzig.
Curator: João Silvério.
The exhibition was planned to make use of three exhibition spaces in the city of Split: the Kula Gallery, the Milesi Palace and the Gallery of Fine Arts, offers viewers several points of entry into Sarmento's work, by dispalying works in various media, such as the video piece, which creates a unique impression by filling the whole space of the Kula Gallery, in which the exhibition begins. A video will be on display, with a woman reciting Ludwigh Wittgenstein's remarks on Colour while slowly undressing in front of a Neoclassical backdrop. The exhibition's title, As Good as It Gets, is also the title of a painting that is part of the set of works to be exhibited at the Gallery of Fine Arts. This common and clichéd phrase contrasts with the elements in the painting. The three hands' posture and movement create a strange and disturbingly ambiguous composition, under a drawing of an architectural structure that is unrecognisable and partially diffuse, like a previous existence slowly fading away. This event can be seen as an introduction to a body of work that is constantly open, something that in Julião Sarmento's artistic practice and thought amounts to an act of resistance that fractures all the interpretative possibilities each piece offers and deconstructs.
P. Uma homenagem a Paulo Cunha e Silva por extenso
Closing 22 May
Curator: Miguel Von Hafe Pérez.
Following Porto's Town Hall press release, this exhibition relays on a documental aspect exploring, "the visual speech on two ways: starting from the document, where Paulo Cunha e Silva's participation in the field of culture and thought is highlighted; the exhibition is completed with artistic proposals of authors that followed Paulo's interventions through the aesthetic phenomenon. Pieces from more then ten artists, previously included in exhibitions curated by Paulo Cunha e Silva when he was in the cultural department at Porto Town Hall, before he passed away in the end of 2015. Among these artists are Julião Sarmento, Yonamine, João Louro, João Onofre.
During ARCO Lisbon first edition, the Brazilian artist Adriana Barreto presents her piece 'Extensões do Corpo'. 'Adriana Barreto returns to her fundamental questions: the body, the shape how she adapts and creates space, the processes by which the body and space expands through movement. Three works compose 'Extensões do Corpo': a videographic work, a selection of photography in two different formats and a performance'.
Galeria Cristina Guerra is pleased to announce its presence at Stand F01.
We will be concentrating in an American artist, Lawrence Weiner.
Lawrence is a central figure of Conceptual Art; born in 1942 in Bronx, New York
'Art used to be made for illusion; now it is made from illusions' Luís Paulo Costa.
The exhibition entitled Part Two: One and Other, takes the form of an artistic essay. The work presented harnesses the propositional aspect of conceptual art and its institutional critique, to the hermeticism of a painterly process. The writer Kenneth Goldsmith argues that 'some wonderful things happen when you do go through the process of having done it instead of proposing it". Jaques Derrida uses the term parergon to examine the discourse of the frame, questioning the binary division between inner and outer; instead, Costa argues for a slipperiness between the work and the frame, an oscillation between the work and its support. The art historian Juliane Rebentisch argues that 'installation restores to film, if not the quality of genuineness or originality, then at least an auratic uniqueness'. Once transposed to the gallery environment, cinema acquires the aura of art. In exposing the actual footage in the space, the content of the films can no longer be viewed by the audience, thus deferring content from one container to another, from the cinema to the gallery space.
Nowadays, the traditional portrait is history. In the past, auto-portrait was only for artists that painted themselves in front of the mirror. In Facebook age, auto-representation become a tool for all. We live in an highly egocentric period. Day after day, our faces migrate to a giant digital image arquival. \how are artists leading with this situation? Ironically in a relaxed way - artists do not present themselves as they used to. This exhibition presents 40 artists, following iconoclasts on their research of a contemporary auto-representational way - including works by Erwin Wurm, Jonathan Monk, Rosemarie Trockel, Ryan Gander and Abraham Cruzvillegas. In an experimental way, the ego is evacuated. Here merely superficial encounters happen.
We are pleased to announce João Onofre's participation in the video art exhibition at the Minsheng Art Museum in Beijing.
This exhibition presents a selection of works from several international artists, from the Isabelle and Jean-Conrad Lemaitre Video Art Collection.
João Onofre's video in exhibition is 'Casting', 2000.