SUMMER OPENING HOURS /
Tuesday to Saturday /
Main exhibit area / June 27 / 19:30 / Openning
Katharina Arndt / Mirthe Blussé / Elo Durand / Dunja Jankovic / Pia Kintrup / Laura Martinovic
Showroom / June 27 - September 4 2019
10th October 2019 - 20th Jenuary 2020
Lives and works in Montevideo_Uruguay.
She is an artist and curator, trained in the Faculty of Architecture of Montevideo, the Higher School of Architecture of Madrid and the New York University.Researcher of the Fullbright Academic Program, specialized in Architecture and Contemporary Art, she developed her research at the Guggenheim Museum, the Media ArtsCenter and the New Museum of Contemporary Art in New York. Associate Artist of the Atlantic Artist Master Program Center for the Arts / ACA-USA. She is an advisor and member of collectives and institutions, national and international.
Her practice is integrated through conceptual strategies, objects, photographs, texts and ﬁlms in interactive installations and participatory actions.
The objective is to put dialogue into works that, in their summation, facilitate and highlights the reading of contemporary problems of diverse scales.
The works act in this case as pieces of a ﬁle, where global and local scenarios coexist for
decentralize the look and relativize, in a equally poetic than critical, apparent segmentation that can make us believe that a problem is not ours for the simple reason of not being close to your geography, culture or religion. Her work can be understood more as a contextualization of the existence that as a record of it.
For classical Greeks the term catastrophe (kata-strophē) can refer to the last verse or part of a tragedy, and urges the need to end a text in order to start a new writing.
In natural sciences, the term eutrophication, i. e. the excessive richness of nutrients in a lake or other body of water, may imply that the thirty-year growth of green algae on the surface of a pond may bring about the death of underwater life in one year.
The video Darrera Estrofa (Last Verse) shows an underwater landscape in which a strange element suddenly appears: a ve-euro banknote that displays a particular dance and sinks slowly into an alien environment. Carried by the current, it mimics the movement of algae, rubs against decaying matter, and is sometimes approached or ignored by insects and shes. The music that accompanies the images evokes passages of science-fiction films or nature documentaries.
The banknote is immersed in a kind of fantastic journey; its sinuous and captivating movement transports us to a free and steady fall that hypnotizes us with its voluptuous dance and eventually hits bottom, camou aged in this strange environment.
The drifting bank-note can be seen as a metaphor for the fascination for money in contemporary society, as well as an image of the drifting economic system. In any case, it is clear that neither the current economic system nor the economy as a discipline are natural realities existing throughout human history, as its leading proponents seem to forget in order to defend positions that allow the accu- mulation of wealth in very few hands management and economic power exerted on the control of human communities.
It seems that we are sailing the crest of the wave of contemporary art, anything goes, is total freedom, the languages of art are immeasurable, more and more art speaks to us from deeper and deeper corners within ourselves from our individual perception, our emotional baggage and our knowledge.
The allegory of Plato's cave, like other ancient myths brought closer to reality by time, is very similar to the modern analogy of the echo chamber where we perceive what we know and what don´t we tend to deny.
Through the psychological phenomenon of pareidolia a random or vague stimulus is mistakenly perceived as a recognizable form, as in a Rorschach test or as when we recognize shapes in the clouds, some abstract proposals cease to be so and other abstractions are suddenly figurative
This exhibition aims to initiate a conversation about the concepts we take for concrete, such as the letters that make up this text, the materials of which this sheet is composed, or short-lived abstractions, such as a paint stain that is suddenly a figuration, or an abstract figure on a banking screen that for a moment meant one euro and suddenly means nothing.
It is essential to create a space to do nothing or do useless things, to be able to get lost and look inside oneself in a way decontaminated of pragmatism, profitability or benefit.
(Nothing Room or Noting Room.) (Nothing: "emptiness" and Noting: "observe")
To forget the names.
(Self-taught illiteracy? I do not know, it will be a puzzle for me and for you.
To ask not what it means, but to articulate reality.
To leave incomplete, so that, it is not; because when it is, it closes in on itself.
Always on the edge of an impossible confidence.
Incessant suspension of the answer.
Losing the language to reinvent worlds, although many times the imagination is confused with misinterpretation.
The content inhibits but you can not continue without it.
There is content but the content is not solving a problem.
The content is building a reason to do that.
Stuck between the need for content and the need to leave that behind to be able to fly, you try and fail, by failing you learn and little by little a path appears.
Suggest, more than define, as a door to invention, which is the intelligence of the construction.
So in hand with the masters, I do not look for answers, nor do I want to solve the mystery, but only remain in the wastelands of the mystery observing the constant ineffable transformation.
A poet said, that the importance of a thing is not measured with a tape, or with scales, or barometers, etc. That the importance of a thing has to be measured by the enchantment that the thing produces in us. As Rimbaud quote: You have to lose your intelligence to see things.
I feel a unique attraction to the unassisted and abandoned woods, as I am attracted to the remains that lay outside the liquid narratives.
Art is like the experimental exercise of freedom. It does not mean this or that. It is a finger that points to a direction without previous plans; intuitive and a game of random improvisation, and to taste it you have to move, enter it and play.
What do we do with our lives?
People say: I think about the past, I think about the future, like anyone else.
I ask, what do I do with this?
Go back to sleep.
Art liberates us.
In any other situation, things get out of hand;
We have to create something.
- Flavio Morais
Jordi Gispert Pi presents us with a visual language to decipher: poetic visions of a world in harmony, an existential sprout stimulated by the color palette. His precise technique reveals an ecstatic, the inner symbolism of the artist projected towards the exterior, as a connection between the micro and macro cosmos, of its own expression. The neologism Econsciencia (Ecology - Science - Consciousness) defines its conceptual proposal, not limited to aesthetics, but rather positioned in reality as an alternative to the destructive inertia of the current socio-economic system, incompatible with an environmental balance.
Hermeneutics, from the Greek "hermeneutikos", composed by
(herméneuo = I decipher) and (tekhné = art). The art of interpreting texts.
Visual Hermeneutics invites the viewer, through intimate contemplation, to surrender to the intuitive feeling of oneness, and to dilute the illusory barrier between their own being and the world.
Aleph incident, 1996. mixed media on paper.141 x 228 cm.
In the nineties, Yamandú Canosa began working on the project entitled Hotel Nada (1991-1993), which he presented in different exhibitions at the galleries Benet Costa and Ciento in Barcelona, the Centre de Lectura in Reus, and the gallery Rian Van Rijsbergen in Rotterdam.
His works often scandalize the spectator, presenting some stories that bring to the extreme the common logic of which we all participate. Nevertheless, the same author defends that his exercises, always orbiting around social conventions, are not born from cynicism, but from the surprise of a naïve attitude.
He studied Fine Arts at the Parsons School of Design in New York. His work has been exhibited in galleries such as the Akiyoshidai International Art Village (Japan), the Künstlerhaus Bethanien (Germany), the Contemporary Culture Center of Barcelona, the Clara Oliver gallery (New York), the Michael Haas gallery (Berlin) the Mizuma gallery (Tokyo).
He has participated in exhibitions at national and international centers such as the Museum of Montserrat, Barcelona (2017); 'Guillermo Pfaff / Adrià Cañameras', Gallery Heinrich Ehrhardt, Madrid (2016); 'The invisible space', Piramidón, Barcelona (2016); 'Diògenes' lesson, Tecla Sala, Hospitalet (2016); University of Connecticut, United States (2015); 'Lighting', Carles Taché Gallery, Barcelona (2015); Palau de Casavells, Girona (2014)