5, 227 x 180 cm

CAIO REISEWITZ Itatinga, 2012, C-Print on diasec, ed. 2/5, 227 x 180 cm CAIO REISEWITZ Penedo, 2013, C-print on diasec, ed. 2/5, 180 x 144 cm CAI...
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CAIO REISEWITZ Itatinga, 2012, C-Print on diasec, ed. 2/5, 227 x 180 cm

CAIO REISEWITZ Penedo, 2013, C-print on diasec, ed. 2/5, 180 x 144 cm

CAIO REISEWITZ Paretinga, 2010, C-print on diasec, ed. 3/5, 155 x 125 cm

CAIO REISEWITZ São Paulo, 1967 Lives and works in São Paulo The register of a high speed changing nature is one of the subjects that articulates the photographic work of Caio Reisewitz and, in this sense, his images are placed in a tradition in which the photographic means are a witness and capture ephemeral realities. The activity of man in the planet, and in certain areas in particular, modifies radically the landscape´s physiognomy. His photographs, most of all large formats, are characterized by their frontality and by a spectacular clarity that show an exuberant nature and a utopian unreal beauty. He himself comments: `sometimes these images don‟t seem real, them being so utopian, but they are true, it‟s pure reality´. SELECTION OF RECENT EXHIBITIONS: 2017 Pedro no Céu: Arte e a Arquitetura de Paulo Mendes da Rocha, MuBE, São Paulo / Metrópole: Experiência Paulistana, Pinacoteca, São Paulo 2016 Ingenios de hoy, Photoespaña, Museo de Albacete / Caleidoscopio y Rompecabezas, CAAM, Las Palmas, Gran Canaria / Histórias/Histories, USF Contemporary Art Museum, Florida 2015 Disorder, Maison Europeénne de la Photographie, Paris / Florestas, favelas e falcatruas, Huis Marseille Museum voor Fotografie, Amsterdam 2014 IPC International Center for Photography, New York / Museu de Arte Contemporanea de Goias, Goiania, Brazil / Jaraguá, Casa da Imagem, São Paulo 2013 LARA, Latin American Roaming Artist, NC Arte, Bogotá, Colombia 2012 From the Margin to the Edge, Somerset House, London / Lugares en Pérdida, Centro de Arte Contemporáneo Huarte, Navarra / Segue-se ver o que quisesse, Fundaçao Clovis Salgado, Belo Horizonte 2011 Ituporanga, Sesc Belenzinho, São Paulo / agua que cai, Galeria Joan Prats, Barcelona / 748.600, Paço das Artes, São Paulo / O Coleccionador de Sonhos. Instituto Figueiredo Ferraz, Riberao Preto, Brazil 2010 Modelos para armar, MUSAC, León / Cadavre Exquis, Centro Cultural São Paulo 2009 Projecto Parede: Caio Reisewitz, MAM, Museu de Arte Moderna, São Paulo / Tropics, National Gallery Capetown / GD Art and Technology, Pinacoteca di Bologna / II Bienal del Fin del Mundo, Ushuaia 2008 Tropen, Martin Gropius Bau, Berlin / Assim se criam realidades, Galeria Joan Prats, Barcelona / Paraísos Indômitos/Untamed Paradises, CAAC, Sevilla and MARCO, Vigo / Parangolé: Fragmentos de los 90 en Brasil, Portugal y España, Museo Patio Herreriano, Valladolid / Arte pela Amazonia, Fundação Bienal de São Paulo 2007 I Bienal del Fin del Mundo, Ushuaia/ Trópicos, Centro Cultural Banco do Brasil, Brasilia / Portraits de Villes: Brasília, Chandigarh, Le Havre, Musée Malraux, Le Havre, France / Alegoría Barroca en el Arte Contemporáneo, Museo de Arte Contemporáneo, Santiago, Chile 2006 Zeitgenoessische Fotokunst aus Brasilien, Kunstmuseum Dieselkraftwerk, Cottbus; Stadtgalerie, Kiel, Germany 2005 51 Biennale di Venezia / Beyond Delirious, Cisneros Fontanals Art Foundation, Miami 2004 XXVI International Biennial of São Paulo

JULIÃO SARMENTO Frames Grey Squares, 2013, Polyvinyl acetate, pigment, water-based enamel, acrylic gesso, acrylic, graphite and silkscreen print on raw cotton canvas, 107 x 110,5 cm

JULIÃO SARMENTO Broken Alice, 2014, 3Dprint sculpture, ABS, wood, MDF, acrylic gesso on "Platex", cardboard, paper tape, 136,5 x 90 x 74 cm

JULIÃO SARMENTO Lisbon, 1948 Lives and Works in Estoril, Portugal Julião Sarmento produces a work that adopts multiple forms with drawings, paintings, sculptures, performances and videos that speak of the artifices of seduction and the mechanisms of desire. From its beginnings, in the middle of the seventies, the work of Julião Sarmento has been characterized by its archival character. Thus, in his works, they can appear feminine silhouettes, architectural plans, literary fragments and objects. Often, these coded iconographies explicitly present us with the signs needed to identify to the source of his imagery and its meanings. This constant oscillation between appearance and reality, fiction and documentation, invention and fact with which Sarmento confronts us is not at all a gratuitous game. The assemblages fashioned by the artist play on this dialectic of superficial interpretation, where many elements are perfectly identifiable, even banal or anodyne, and deeper interpretation that drives us to seek correspondences, links and relations without realizing that the very fact of carrying out this search is itself the meaning we are supposed to discover. Julião Sarmento (Lisboa, 1948) lives and works in Estoril, Portugal. He has shown internationally since 1979. In recent years the following individual exhibitions stand out: The real thing at Gulbenkian París, 2016; Guest or Host at CAAM Gran Canaria, 2015; Lo Sguardo Selettivo at GAM Turin, 2014; Index at MACE Porto, 2013; White Nights (A Retrospective) at Serralves - Museu de Arte Contemporânea Porto, 2012; Monograph Room at Tate Modern London 2010; Grace Under Pressure at Estação Pinacoteca São Paulo, 2009; Literal at Centro José Guerrero Granada, 2008; and Julião Sarmento at Museum Dhondt-Dhaenens Deurle, 2005. He has been present in two Documenta (1982, 1987) and three Venice Biennials (1980, 2001 and 1997 representing Portugal). His work is part of public and private collections around the world, among which: The Hirshhorn Museum, Washington; Centre Georges Pompidou, Paris; Stedelijk Van Abbemuseum, Eindhoven; Tate Modern, London.

PEREJAUME Exposició Universal, 2003, Serigraph on laminated glass, 200 x 200 cm

PEREJAUME Obres, 2017, Acrylic on paper, 57,5 x 77,5 cm

PEREJAUME Sant Pol de Mar, 1955 Lives and works in Sant Pol de Mar Since the mid 1970s Perejaume has insistently linked aspects of local culture to global phenomena. The utter disconnection between these two extremes has often led to a new kind of exoticism and alienation, creating a tension that challenges easy global discourses. However, the artist‟s creative attempts to bridge cultural, historical and geographical positions have resulted in his most accomplished works. By bringing together remote spaces, unparalleled political situations and scarcely simultaneous historical developments Perejaume achieves an aesthetic continuum. In this way, wherever there is rupture and dislocation some sort of entropy rearranges hitherto unconnected fragments. Rather than a consistent picture of the world, what emerges is a geo-poetical activity. Perejaume‟s work systematically approaches the status of representation and its dissemination. Sound and atmospheric conditions awaken his interest on account of their implicit mobility and substantial otherness, especially when set against the backdrop of canonical representations of nature as framed visual landscapes. SELECTION OF RECENT EXHIBITIONS 2017 La rel de l’arbre és una roda. Els arbres ballen la paraula de Llull, Cartoixa d‟Escaladei 2016 La màquina de pensar. Ramon Llull i l’«ars combinatoria», CCCB, Barcelona 2015 Condensacions, Galeria Joan Prats, Barcelona / Indisposició general. Assaig de la fatiga, Fabra i Coats, Barcelona 2014 Maniobra de Perejaume, Museu Nacional d‟Art Catalunya, Barcelona / Haver fet un lloc on els artistes tinguin dret a equivocar-se, Fundació Joan Miró, Barcelona 2013 Cartografias contemporáneas, Caixaforum Barcelona, Caixaforum Madrid 2012 La Pedrera, Barcelona / El Museu Explora, MNAC, Barcelona 2011 Públicos y contrapúblicos, CAC, Seville / Fundación Pedro Barrié de la Maza, Vigo 2010 Pablo Picasso-Im Atelier des Künstlers, Graphikmuseum Pablo Picasso, Münster 2009 Imágenes Proyectadas, CAB, Burgos / Premio internacional a las aportaciones e innovaciones en arte gráfico, Calcografía Nacional, Madrid 2008 Prospect, New Orleans 2007 Pessebre Sert, Fundació Joan Miró, Barcelona 2006 Art Unlimited, Basel / Es Baluard, Palma de Mallorca 2005 51 Biennale di Venezia / Amidament de Joan Coromines, La Pedrera, Barcelona 2004 Retrotabula, Centro de Arte José Guerrero, Granada 2001 Teló seguit, Pavilion 1, Housing exhibition, Malmö, Sweden 1999 Deixar de fer un exposició, Macba, Barcelona 1998 Dibujos Germinales, MNCARS, Madrid / Museum Dhondt-Dhaenens, Deurle, Belgium 1996 Kunsthallen Goteborg, Sweden 1992 22 Biennal São Paulo, Brazil

CABELLO/CARCELLER Prototipo #1: Relojes (Herramienta para artistas que trabajan en colaboración), 1996, Glass cabinet with used watches and colour photography of 68 x 90 cm

CABELLO/CARCELLER Prototipo #1: Relojes (Herramienta para artistas que trabajan en colaboración), 1996, Glass cabinet with used watches and colour photography of 68 x 90 cm

CABELLO/CARCELLER Helena Cabello (Paris, 1963) and Ana Carceller (Madrid, 1964) Live and work in Madrid Cabello/Carceller‟s work is set in a territory from which they question, reflect and/or fracture the roles or stereotypes associated to gender. They understand identity as something built in conflict or in consonance with a social, cultural, political and economical environment. They point an `I´ that is found always according to the `others´, this idea vertebrates their production. In their works the patterns that are linked in a static way to either masculine or feminine roles are revised. In this way, images are subverted in their works along with behaviour codes and attitudes, associated to that which is commonly considered as masculine or feminine. The rereading that Cabello/Carceller‟s work forms in the mentioned models, position the spectator facing multiple prejudice, assumed values and contradictions that manage to effectively destabilize a univocal vision of reality. SELECTION OF EXHIBITIONS 2015 56 Biennale di Venezia, Spanish pavilion 2014 Un texto es un texto es un texto, Centro Cultural de España (CCEMx), Mexico City 2013 Performer, Museo de Bellas Artes de Bilbao, Bilbao / re.act feminism#2. A performing archive, travelling: Centro Cultural Montehermoso Kulturunea, Vitoria-Gasteiz; Instytut Sztuki Wyspa, Gdańsk; Galerija Miroslav Kraljević, Zagreb; Museet for Samtidskunst, Roskilde; Tallinna Kunstihoone, Tallinn; Fundació Antoni Tàpies, Barcelona; Akademie der Künste, Berlin / Qué Pensar, Qué Desear, Qué Hacer, Caixa Forum, Barcelona 2012 MicroPolíticas, MicroPoética, CCEBA Centro Cultural de España en Buenos Aires / Genealogías feministas en el arte español: 1960-2010, MUSAC, León 2011 Off Escena: Si yo fuera, Abierto x Obras, Matadero Madrid / Archivo: Drag Modelos, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria / Fiction and Reality - Moscow Museum Of Modern Art 2010 Archivo: Drag Modelos, Galería Joan Prats, Barcelona / A/O (Caso Céspedes), CAAC, Seville / Handlung. On Producing Possibilities, Bucharest Biennale 4, Romania 2009 Rencontres Internationales Paris/Berlin/Madrid, Museo Nacional Centro de Arte Reina Sofía, Madrid / Itinerarios 07-08. Fundación Marcelino Botín, Santander 2008 Nuevas Historias. New View of Spanish Photography, KulturHuset, Stockholm 2007 The Screen Eye or The New Image : 100 Videos to Rethink the World, Casino Luxembourg, Forum d‟art contemporain; National Museum of contemporary art, Bucharest 2006 Identidades críticas, Sala Puertanueva, Córdoba; Museo Patio Herreriano, Valladolid 2005 No es él, Galería Joan Prats, Barcelona 2004 En construcción (cap_2), Centre d‟art la Panera, Lleida / En construcción, Sala de Verónicas, Murcia

TERESA SOLAR ABBOUD Crushed by pressure, debris, 2017, Galvanized steel pipes of 4 cm of diameter, rope and pink enamelled ceramic, 98 x 170 x 60 cm

TERESA SOLAR ABBOUD Crushed by pressure, strain insulation, 2017, Black enamelled ceramic sculpture of 20 x 15 x 15 cm & ropes. Variables dimensions

TERESA SOLAR ABBOUD Teresa Solar Abboud‟s work revolves around heterogeneous practices that materialize in audiovisual and sculptural works, in which the languages of the two disciplines connect and interact. Her projects, structured around characters or catalysts, are typified by being long-lasting and developed in different phases and manifestations. Within this constellation of characters it is possible to highlight the work with Lawrence of Arabia and with the photographer Harold Edgerton, that allow her to speak of cross-cutting thematic axes in her work, like the figure of the pioneer and of the foreigner. Her sculptural works are closely linked to her audio -visual projects. Many of the elements she uses, such as sets and props, for her films, are later used as sculptures and vice versa. Teresa Solar explores the double nature of these elements, visited through the partial view of the camera and which, later, develop a new entity in the room. Teresa Solar Abboud (Madrid, 1985) lives and works in Madri d. She has been a resident and visiting professor at Staatliche Akademie der Bildenden Künste, Stuttgart (2016), she was a finalist of the Cervezas Alhambra Award for Emerging Art (ARCOmadrid 2017) and the Rolex Mentorship Program (2016), she received the production grant Fundación Botín (2014), the production grant CAM (2011) and the prize Generaciones (2012). She has individually exhibited at La Panera Lleida (2016), Matadero Madrid (2014) & CA2M Móstoles (2012) and she has participated in group shows at Kunstverein München, Munich (2017), Fundación Marcelino Botín, Santander (2016) and Macro, Roma (2015), among others. Currently, she is presenting one sculpture at Skulpturenpark Köln, Cologne, in the exhibition “La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!”, curated by Chus Martínez. She will present a solo show in Matadero, Madrid, in the program „Abierto por obras‟ (February, 2018) and she will participate in group shows at Haus der Kunst, Munich (March, 2018) and in the section „El futuro no es lo que va a pasar, sino lo que vamos a hacer‟, curated by Chus Martínez, Rosa Lleó and Elise Lammer, in ARCOmadrid 2018, Madrid.

LOLA LASURT Donació, 2016, 22 paintings, oil on linen, of 80 x 41,5 cm

LOLA LASURT Donació, 2016, 22 paintings, oil on linen, of 80 x 41,5 cm

LOLA LASURT Barcelona, 1983 Lives and works in Barcelona Lola Lasurt‟s artistic activity focuses on painting and video and many times also on collaborative processes that confer a universal projection, to her works of a more personal character. The project about the „des-time‟ can be understood as the analysis and the questioning of a time period, previous to hers. This is one of the main axes of her work that she frequently uses as starting point element from the material and aesthetic culture, which reveal behavioural patterns and ideological parameters of a determined era. Her pieces revolve around the themes of the memory and the oblivion, the nostalgia and the amnesiac need. Lola Lasurt is interested in the historical individual time and its relationship with the guidelines of the hegemonic culture and the construction of collective symbols. SELECTION OF LAST EXHIBITIONS: 2016 Donació, Biblioteca Pública Arús (Barcelona Gallery Weekend), Barcelona / Foot Foraine, La Villette, Paris / contesting/contexting SPORT 2016, to reclaim the field with art and activism, ngbk Neue Gesellschaft für bildende Kunst, Berlin / Surprise, Netwerk Center for Contemporary Art, Aalst, Belgium 2015 Constel.lacions familiars, Museu de l´Empordà, Figueres / Young Belgian Art Prize, Bozar, Brussels / Gran Angular, Fabra i Coats, Barcelona 2014 Doble Autorització, ciclo 'Arqueologia preventiva', Espai13, Fundació Miró, Barcelona / Exercici de ritme, Galeria Joan Prats, Barcelona / Red Dawn, HISK, Ghent, Belgium / Write of Spring, Extra Muros / Het Paviljoen, Ghent 2013 Auberge Espagnole, Anneessens Palace, Brussels / Narrativas domésticas: más allá del álbum familiar, Visiona, Programa de la imagen de Huesca 2012 Amnèsies, ciclo „Constel·lacions familiars‟, EspaiDos de la Sala Muncunill, Terrassa / Los Inmutables, DAFO, Space & Projects of Contemporay Art, Lleida / Learn and Teach, Cape Town Art Week, Greatmore Art Studios, Cape Town, South Africa 2011 El Gegant Menhir, ciclo „De com convertir un Museu en Arena‟, L‟Aparador del Museu Abelló, Mollet del Vallés / Campo de Desconcentración Polivalente, Bienal de intervenciones site-specific. Alcontar, Almería / Punt mort cap el Euro-Mediterrani, Casal Jove Torreblanca, Sant Cugat del Vallés / La Gran Aventura, Can Felipa Arts Visuals, Barcelona 2010 Premio de Pintura Internacional de la Fundación Guasch Coranty, Tecla Sala, Barcelona / Contextos Intermedia, Tecla Sala, Barcelona / Paradís Perdut, Can Felipa Arts Visuals, Barcelona / Lo tengo, no lo tengo, proyecto expositivo, Espai Zer01, Olot 2009 Biennal d‟Art de Valls, Museu de Valls, Tarragona 2008 Projeccions nº 23, Cambra de la Propietat Urbana, Barcelona / Projectes deslocalitzats,Sala d'Art Jove de la Generalitat de Catalunya, Barcelona

JAVIER PEÑAFIEL Perfeccionando Muerte 2, 2016, Drawing on paper, 80 x 139 cm

JAVIER PEÑAFIEL Zaragoza, 1964 Lives and works in Barcelona Javier Peñafiel‟s work, drawings, videos, texts and sculptures make up a linguistic system parallel to reality as it‟s unconnected to it. All through his career, Javier Peñafiel has built up a universe inhabited by characters; by sentences that work autonomously, such as phrases that have the duty to bother the quiet and routine based use of the language by the spectator; or videos where diverse elements are combined in the shape of tableaux, sharing a space but keeping at the same time their identity separate. The works of Javier Peñafiel show the necessity and the difficulty in direct communication. His works investigate the double identity – as obstacle and as a bridge- that the language represents in such communication. SELECTION OF LAST EXHIBITIONS: 2017 Discursos Premeditats, Centre del Carme, Valencia 2016 Cómo hacer arte con palabras, MUSAC, León / Gestos iconoclastes, imatges heterodoxes, Caixaforum, Barcelona 2015 Dibujo inalámbrico, Trienal Poligráfica, Anamasprojects, San Juan, Puerto Rico / Indisposició General. Assaig Sobre La Fatiga, Fabra i Coats, Barcelona 2014 Egolactante, MAC Museo de Arte Contemporáneo. Universidad de Chile, Santiago 2013 Latido Antecedente, Galeria Joan Prats, Barcelona / Colección: adquisicións e incorporacións recentes, CGAC, Santiago de Compostela / Me, myself and I, Sala la Lonja, Madrid 2012 Vibrar Vacíos, un proyecto de Javier Peñafiel y Eulàlia Valldosera, Halfhouse, Barcelona / Estilo Indirecto, Foto Colectania, Barcelona; Bòlit, Girona / I glove you, Reynolds Gallery, Richmond, USA 2011 Monólogo jardín, palacio polifonía; la voz acusmática, Lisbon, Berlin, Valparaíso / Relatos encadenados, La Panera, Lleida / Topografías Re-versibles, Centre d‟art Cal Massó, Reus / Itinerarios 20092010, Fundación Botín, Santander / Noroeste, IAACC Pablo Serrano, Zaragoza / Lying on rocks, sitting in windows, standing on chairs, Hockney Gallery, Royal College of Art Kensington Gore, London 2010 Locución Merkel-Bachelet, Berlin-Santiago de Chile / Veu entre línies, La Panera, Lleida / ¡Que Hazaña! ¡Con muertos!. Enfrentamiento y violencia en el arte contemporáneo, Sala Puertanueva, Córdoba 2009 Vivir entre líneas y La agenda de caducidad de los tiempos drásticos de Javier Peñafiel, MAC Museo de Arte Contemporáneo, Santiago, Chile 2008 Agenda do fim dos tempos drásticos, 28ª Bienal de Sâo Paulo, Brazil / Agua incondicional, Exposición Internacional de Zaragoza / No verbal, todo por escrito, Galería Joan Prats, Barcelona 2007 Mera Coincidencia, CGAC, Santiago de Compostela / Kunst, Design, Bücher, Museum für Angewandte Kunst, Frankfurt / Encuentro internacional Medellín 07, Colombia / Paperback, MARCO, Vigo 2006 Trilhas na mata digital. Videocriação contemporânea na Espanha, Museu de Arte Contemporânea de Niterói, Brasil / Diversidades formales, CAB, Burgos / Material Sensible, Museo Esteban Vicente, Segovia 2005 Tiempos de vídeo. 1965-2005.Colección Nouveaux Médias del Centre Pompidou, CaixaForum, Barcelona

FERNANDO PRATS Acción Quillagua, 2012, Mixed media on paper and photograph, Variable dimensions

FERNANDO PRATS Acción Quillagua, 2012, Mixed media on paper, photograph and video, Variable dimensions

FERNANDO PRATS Santiago de Chile, 1967) Lives and works in Barcelona since 1990

In his work Fernando Prats „‟paints‟‟ or, we‟d rather say, recreates nature; he deals with registering tracks, making visible the invisible, giving voice and image to what was there but kept unnoticed. Using seismographs, traces, photographs, videos… he registers the beat of different realities on smoked supports, from the flight of birds to the wild jet of a geyser, the deep coal of mines or the powerful waves that break against the cliff. Thus, Fernando Prats holds an unorthodox relationship with painting, both for the choice of his instruments and for the intervention of chance. His work is formalized in actions which himself registers, that show the creative processes intrinsic to his work. Fernando Prats paintings are time-objects, as they condense in their finished form a story, the one of its creation, whose times often has nothing to do with the ones of the artist, but with the natural rhythms. Fernando Prats has participated in international exhibitions such as Venice Biennale, representing Chile (2011); Mediations Biennale, Poznan, Poland (2012); Canary Islands Biennial (2009); Chile Triennial (2009) and Exposición Universal del Agua, Zaragoza (2008). He has exhibited his work in international art centers such as Espace Culturel Louis Vuitton, Paris, Fundació Miró, Barcelona or Museo Nacional de Bellas Artes, Santiago de Chile. He has been awarded with several prizes and has received scholarships from different institutions: Premi Antoni Gelabert d‟arts visuals, Palma de Mallorca (2011), John Simon Guggenheim Memorial Foundation Scholarship for his career (2006-2007); artist in residence at the Kunst Station Sankt Peter Köln(2002-2003); Presidente de la República scholarship of the Government of Chile (1997-2000).

VICTORIA CIVERA Serie Radial. Horizontes circulares, 2017, Mixed media on aluminium, 43 cm of diameter

VICTORIA CIVERA Serie Tablets. El hombre de los pasajes #2, 2017, Mixed media, 28,5 x 42 x 13,5 cm

VICTORIA CIVERA Port de Sagunt, Valencia, 1955 Lives and works between New York and Saro (Cantabria) Victoria Civera's career began in the seventies, working mainly photomontage. Over the next decade she focused on painting, abstract at first, but then introduced figurativism. It is in the middle of this decade when Victoria Civera moves to New York and includes photography and sculpture to her practice, and a change is made in her work, which becomes more introspective. Because of the iconography of her work, focused on the feminine universe, and because of her oneiric content, Victoria Civera has achieved a personal language, full of nuances. She moves in between large-scale pieces, in which she uses industrial materials, and suggested and poetic understatement pieces, often incorporating ordinary household objects. SELECTION OF LAST EXHIBITIONS: 2017 Every Day. Ni la palabra ni el silencio, Centro de Arte Alcobendas / Colección Soledad Lorenzo Punto de encuentro // Cuestiones personales, MNCARS, Madrid 2016 Surrealism & Beyond, von Bartha, Basel; Museum Boijmans Van Beuningen, Rotterdam 2015 De la mano, CentroCentro Cibeles, Madrid / Made in Spain, CAC, Málaga / Imago Mundi, Fondazione Giorgio Cini, Venezia 2014 A partir de la figura, CAAC, SevillE / La bolsa o la vida, Casa de Velázquez, Madrid 2013 93, CGAC, Santiago de Compostela / Experiencias 5, Museo de Bellas Artes, Santander 2012 Pictorial Fragments, 1980-2010, Es Baluard Museu d‟Art Modern, Palma de Mallorca 2011 Victoria Civera, IVAM, Valencia / Cómplices de futuro, Centro de Arte Alcobendas, Madrid / Figuras de exclusión, Patio Herreriano, Valladolid 2010 Victoria Civera. Atando el cielo, CAC Málaga 2009 Grande Hazaña! Con muertos, Sala Puertanueva, Córdoba / Cosmética dogmática, Caixaforum, Barcelona 2008 Micro-narratives : tentation des petites réalités, Musée d‟Art Moderne, Saint-Etienne / Invisible Rays: The Surrealism Legacy, The Rose Art Museum, Waltham, USA 2007 La vida privada, CDAN Fundación Beulas, Huesca / Al otro lado del espejo, CEART, Madrid 2006 Túnel eterno, Palacio de los Condes de Gabia, Granada 2005 Bajo la piel, Espacio 1, MNCARS, Madrid

JUAN USLÉ Soñé que revelabas, 2016, Vinyl, dispersion and dry pigment on canvas, 274 x 203 cm

JUAN USLÉ Desencuentro, 2016, Vinyl, dispersion and dry pigment on canvas, 61 x 46 cm

JUAN USLÉ Khar-Us (Nuur), 2016, Vinyl, dispersion and dry pigment on canvas, 61 x 46 cm

JUAN USLÉ Santander, 1954 Lives and works in New York and Saro (Cantabria) Juan Uslé‟s painting is based on his experience of the city, particularly New Yor k, where he moved in the late eighties. His visual perception of structure and space, both liquid – mobility and fluidity - and luminous, influenced him, bringing forth a combination of geometric and organic elements in his compositions. Mixing intensely coloured pigments, vinyl, and dispersion on canvas, Juan Uslé makes abstract images from geometric patterns, from light and colour. The emergence of the unexpected from organized compositional elements provides his paintings with a sense of surprise. Juan Uslé‟s painting analyses, rather than express, the origin of the images based on the urban experience. His work is defined by the dynamism inherent to opposites – they are at once organic and geometric, ethereal and solid. SELECTION OF RECENT EXHIBITIONS 2015 Made in Spain, CAC Centro de Arte Contemporáneo, Málaga, Spain 2014 Juan Uslé: Luz Escura, CGAC, Santiago de Compostela, Spain / Juan Uslé. Dark light, Kunstmuseum Bonn, Germany / A partir de Figura, CAAC, Seville, Spain 2013 On Painting, CAAM, Gran Canaria, Spain 2012 Trayectorias, MEIAC, Badajoz, Spain 2011 Fiction & Reality, MMOMA, Moscow / Abstracción Racional, CGAC, Santiago de Compostela, Spain 2010 Nudos y rizomas, Es Baluard, Mallorca, Spain / Ich weiß gar nicht, was Kunst ist, MARTa Herford, Germany 2009 Kunsthalle Emden, Germany 2008 Out of Storage, MUDAM, Luxembourg / España 1957-2007, Palazzo Sant‟Elia, Palermo, Italy 2007 Juan Uslé, CAC, Málaga, Spain / Beijing Art Museum of the Imperial City, Beijing, China 2006 Salvador Dalí and a Century of Art from Spain: Picasso to Plensa, The Alburquerque Museum, New Mexico; Salvador Dalí Museum, St. Petersburg, Florida 2005 Biennale di Venezia LI, Italy 2004 Monocromos, de Malevich al presente, MNCARS, Madrid 2003 Open rooms, Palacio Velázquez, Madrid; SMAK, Ghent, Belgium; IMMA, Dublin 2001 Quartos Escuro e Amarello, Serralves, Portugal / De Picasso a Barceló, Pinacoteca do Estado, Sao Paulo; Museo Nacional de Bellas Artes, Buenos Aires 1996 Ojo Roto, MACBA, Barcelona 1993 Desde la pintura, Museo Rufino Tamayo, Mexico City 1992 Documenta 9, Kassel, Germany 1989 2nd International İstanbul Biennial, Turkey 1985 18ª Bienal São Paulo

HERNÁNDEZ PIJUAN Les Albes del Segre XII, 1983, Oil on canvas, 150 x 150 cm

HERNÁNDEZ PIJUAN Sèrie ornamental II, 2005, Oil on canvas, 38 x 53 cm HERNÁNDEZ PIJUAN Terra de siena amb punts blancs, 2000, Oil on canvas, 27 x 41 cm

JOAN HERNÁNDEZ PIJUAN Barcelona (1931-2005) Joan Hernández Pijuan started painting during the sixties with a style related to expressionism. Nevertheless, during the seventies the empty space started gaining prominence in his paintings such as the geometrical figures. As he himself mentioned “the space” became the objective of his work; “I‟d say that a constant preoccupation is, and has been finding a space as total protagonist of the canvas. (…) A space as a living element and not as a surface over which one draws or places himself” The landscape of his childhood in the town of Folquer became a pictorial motive in h is adult age: Hernández Pijuan resorts to a memory exercise to recreate it synthetically in his painting. The objective of this painter was never to achieve a descriptive or narrative painting, but to emphasize through the monochrome the pictorial technique itself.

Joan Hernández Pijuan has been one of the most internationally renowned Catalan artists. He has taken part in exhibitions at prestigious international art centres and has also received several awards, as for example the Premio Nacional de Arte Gráfico, in recognition for his trajectory (2005), the Premi Ciutat de Barcelona of Plastic Arts (2004) and the Premio Nacional de Artes Plásticas (1981). Among his most outstanding exhibitions it could be pointed out his participation at the 51st Ven ice Biennale (2005); Tornant a un lloc conegut… Hernández Pijuan 1972 -2002, at the MACBA, Barcelona (2003), travelling exhibition at the Musée d‟art et d‟histoire de Neuchâtel, the Konstshalle Malmö and the Galleria d‟Arte Moderna de Bologna; Hernández Pijuan-drawings 1972-1999, at the Rupertinum Museum in Salzburg (2000) and Espacios de silencio 1972-1992 at the Museo Nacional Centro de Arte Reina Sofía, Madrid (1993), that was also exhibited at the Museo de Monterrey, México. Recently his work has been shown at a retrospective exhibition at the Moscow Museum of Modern Art; at the exhibition Farben der erde, at the Altana Kulturstiftung in Bad Homburg, Germany and at the exhibition La distancia del dibujo, travelling to the Museo de Arte Abstracto Español, Cuenca, the Museu de Montserrat and the Museu d‟Art Espanyol Contemporani, Palma de Mallorca.

JOSÉ MARÍA SICILIA La locura del ver, 2017, Chalcographic ink, paper, silk on wood, 200 x 200 cm

JOSÉ MARÍA SICILIA El instante, 2011-7, Chalcographic ink, paper, silk on wood, 60 x 60 cm

JOSÉ MARÍA SICILIA El instante, 2011-7, Chalcographic ink, paper, silk on wood, 60 x 60 cm

JOSÉ MARÍA SICILIA José María Sicilia‟s recent work is made up of abstract pieces that incorporate fabrics and embroidery and whose shapes come from sonograms. Together with the Phasma series, started in Japan, we find the series of El Instante, collages made from drawings of the last ten years, and works from the series La Locura del ver. The creation process of this last series is linked to a sonographic technology that results from an experiment carried out by Thomas Young in 1801, which allowed for the detection of the wave nature of light through its diffraction across two networks successively distanced from a luminous source. This experiment serves as a starting point for a software that allows Sicilia to decompose the sound in order to create cartographies of lines and shapes, some drawings, painting, collage and embroidery co mpositions that result in the works of La Locura del ver. This technology gives José María Sicilia a tool to reach a new depth. In this new development of his work we find everything that was already present in his previous artistic evolution: the strengt h of colour, the movement of light, a fondness for the organic and the process of unification and opposition that, since the eighties, his painting have shown. His first production had a strong expressionist character and deepened in the monochrome of white. Later on, his career is marked by the discovery of wax as a material, by the appearance of flowers, beehives and also by photography. Sicilia is a restless creator who has based his work on the questioning of shape. He is an artist who interrogates, who does not accept moulds and feels the need to break the formats, summoning the emotion of the spectator.

José María Sicilia (Madrid, 1954) lives and works in Madrid. He has recently exhibited in Museo Casa de la Moneda and Calcografía Nacional, Madrid (2017); Musée Delacroix, Paris (2015), Palacete del Embarcadero, Santander (2014); Matadero, Madrid and Fukushima Prefectural Museum of Art (2013); Hospital de la Caridad, Sevilla (2012); Maison Erasme, Brussels and Amos Anderson Art Museum of Helsinki (2010); Nagasaki Prefectural Art Museum (2008). His work is present in important public and private collections, among which stand: Centre Georges Pompidou, Paris; MOMA, New York; Fundació „la Caixa‟, Barcelona; Colección Banco de España, Madrid; Collection Ville de Paris; MACBA, Barcelona; Galleria d‟Arte Moderna, Torino; MNCARS, Madrid; Museum of Modern Art, Gunma, Japan; National Gallery of Australia, Canberra; Solomon R. Guggenheim Muse um, New York; The New York Public Library, New York.