Labradores,17 03002 Alicante. SPAIN +34 965 218 024 … · Estimulada por las preguntas planteadas...

Labradores,17 03002 Alicante. SPAIN

+34 965 218 024 / +34 617 050 603 [email protected] | www.auralgaleria.com

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AURAL gallery presents, for this Edition of Artissima 2016, two booths: in Main Section and Back to the

Future.

BACK TO THE FUTURE, Artissima section dedicated to rediscover the artistic avant-garde of the 1960s, 70s

and 80s, focuses exclusively on the period 1975-85. The section will present case stands with works made

exclusively during this decade of artists who played a key role in the history of art, but whose work is not

always known by the general public.

1975-1985 was a transition period that coincided with the end of a certain type of conceptualism and the

explosion of painting, however, he included many possibilities of expression: gender, politics and physical

presence in the extreme, and also he appeared on video, photography and performance art. In this decade,

a laboratory of radicalization, rethinking, development and ownership, represents a critical period in the

reading and interpretation of art today.

BACK TO THE FUTURE is designed to offer a series of solo exhibitions of museum quality presented in a

dedicated area in the heart of the fair the same area. The section has proven to be a growing success since

its inception, so that many of the artists featured are now getting international attention from professionals,

collectors and the media. The high quality of the work and exposure, along with the ability of the section to

engage and surprise both professionals and public art has become one of the strengths of Artissima.

The Curatorial Committee composed of Eva Fabbris (coordinator) and independent curator (Milan),

Cristiano Raimondi, MONTECARLO, head of development and international projects, Nouveau Musée

National de Monaco, Krist Gruijthuijsen, BERLIN, director, KW Institute for Contemporary Art, Gary Carrion-

Murayari, NEW YORK, curator, Kraus Family, New Museum / co-curator, New Museum Triennial (2018), has

proposed and selected high quality projects by the great innovators of art from around the world in an

interesting dialogue with the latest artistic research.

This year we take part for second time. In this occasion the curatoial commite have selected Anna Bella

Geiger one of the most considered Brazilian artists on the international scene that have been working since

2008 and participated in a Solo Project Focus ARCO Latin America in 2014, PINTA London 2014 and we had

the pleasure from our gallery to show her first solo exhibition in Spain in 2014.

Geiger was one of the pioneer to use unconventional media to experiment with other approaches and

questioning about what was happening in her country in the 70s, during the military dictatorship. A

circunstance that establishes a relationship of similarity to what happened in Spain. A time anxious of

freedom, when a new sensibility surfaced which led to a break with traditional languages: crosscutting

disciplines, the integration into the creative process of mechanisms relating to philosophy, sociology,

psychoanalysis, politics, technology, popular culture, science, architecture, music of language.

From Anna Bella Geiger (Rio de Janeiro, 1933) Aural presents a series of photographic works from the years

1975-1980 related to passage, to time, to experience and camouflage, where she appears as a trigger

element of the image. Without being the best known works of the artist, they are essential parts for

understanding her work and have a timeless character.

Stimulated by the questions raised by the conceptual art and the actual political moment, her production in

the 1970s is marked by a highly experimental nature: gravure, photography photomontage, screen printing,




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photocopying, postcards, video, Super 8, whitch then leaded her to work in a variety of hybrid forms

(object-sculpture, engraving-object, object-photography, photo-collage, photo-installation, video

installation), in the sense of blurring boundaries between themselves and with the idea of passage, the

return to the nomadic, to exile and to a continuous motion. Geiger develops a contemporary poetic of the

space, but the double contemporary condition of the artist is evidenced in the approach to the release of

the autonomy of the art and the specificity of each the closed media and genres, manteining a pulse with

each other, in an attempt establish interdependencies.

Anna Bella Geiger takes a critical stand developed through the serie, the variation, the mutations and the

replication, that allows her to develop questions using video, engraving or photography as conducive to the

serialization and multiple media, constituting the formal configuration of her work.

We present two project requires more effort that forces us to give more coherence to our presence at the

fair in the adjacent booth at the Back to future that is located behind the Main Section. In this case we

present a project that raises a reflection from the perspective of four very significant artists of contemporary

Spanish and international scene that they have contributed with great consistency to configure a context

from a generational perspective, linked by a work of conceptual character.

Concha Jerez, whose work we have shown in our booth last year in the section Back to the Future, was

awarded the National Prize of Visual Arts, in the last edition 2015, during her stay in Artissima. This approach

creates a sense of temporal and chronological dialogue where concerns are very similar, where the breaking

of conventional artistic practices are put into question to make room for others issues related to the

historical moment and the life experience of the artist. Their common ground: the work of arts as a

reflective activity both mental and experimental.

Following this dialogue, we move to the generation of artists whose careers began after the dictatorship,

towards the 80s. Fernando Sinaga and José Maldonado are artists whose concerns and reflections are

based on conceptual premises, however, each have developed an own language with significant

contributions to contemporary art throughout their careers; fundamental contributions to understand the

national artscene in the past and present. They have token part in the international exhibitions and projects

in recent decades, giving an example of coherence and consistency despite the several crises, not only

personal and artistic, but also conjunctural.

About Chilean artist Ingrid Wildi Merino we present a of video-essay work. Her work is between

documentary and video art, which allow the development of a fictional dimension and question reality itself

taking her to the video essay format, leading her toward a flight of established genres. The visual and

linguistic reflection of Ingrid Wildi not only points to the art captive audience, but the more general about

realities such as migration, are currently changing the evolution of culture thinking.

These are artists who have been especially interested in exploring a new area of aesthetic speculation that

seemed to represent a dramatic break with usual activities of production, contemplation and artistic

appreciation; where the procedural is almost an attitude and modus operandi, where the end product of art,

the art object, is not the ultimate goal. The work is under constant review and reconsideration. The work

becomes action in time. It is not document, but an event that takes place here and now.




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La galería AURAL presenta en la edición de Artissima 2016, dos stands: en la Sección Principal y en BACK TO THE FUTURE. BACK TO THE FUTURE es sección dedicada a redescubrir la vanguardia artística de los años 1960, 70 y 80, se centra exclusivamente en el período 1975-1985. La sección presentará obras realizadas exclusivamente durante esta década sobre aquellos artistas que jugaron un papel clave en la historia del arte, pero cuyo trabajo no siempre es conocido por el público en general. 1975-1985 fue un período de transición que coincidió con el final de un cierto tipo de conceptualismo y la explosión de la pintura, sin embargo, que incluía muchas posibilidades de expresión: el género, la política y cuestiones de identidad, y también aparecieron medios relacionados con el cuerpo como soporte artístico , la performance, el vídeo, la fotografía, etc. Esta década representó un verdadero laboratorio creativo que replanteo las prácticas artísticas.Representa un período crítico en la lectura e interpretación del arte en la actualidad. BACK TO THE FUTURE está diseñado para ofrecer una serie de exposiciones individuales de calidad de museo que se presentan en un área especial en el corazón de la feria de la misma zona. La sección ha demostrado ser un éxito creciente desde su creación, por lo que muchos de los artistas que aparecen están recibiendo ahora la atención internacional de los profesionales, coleccionistas y los medios de comunicación. La alta calidad de la obra y la exposición, junto con la capacidad de la sección para acoplarse y sorprender a los profesionales y el arte público se ha convertido en uno de los puntos fuertes de Artissima. El Comité Curatorial compuesto por Eva Fabbris (coordinadora) y comisaria independiente (Milán), Cristiano Raimondi de Montecarlo y jefe de proyectos de desarrollo e internacionales del Nouveau Musée National de Mónaco; Krist Gruijthuijsen de Berlin y director del KW Institute for Contemporary Art; Gary Carrion –Murayari de Nueva York y curator de Kraus Familia, Nuevo Museo / co-curador, Nueva Museo Trienal (2018); se ha propuesto y seleccionado proyectos de alta calidad por los grandes renovadores del arte de todo el mundo, en un interesante diálogo con la última artística investigación. Este año tomamos parte por segunda vez. En esta ocasión el comité curatorial ha seleccionado a Anna Bella Geiger una de las artistas brasileñas más consideradas de la escena internacional que ha estado trabajando con la galería desde el año 2008 y ha participado con un Solo Project en ARCO Focus LatinoAmérica en 2014, PINTA Londres 2014, hemos tenido el placer de nuestra galería para mostrar su primera exposición individual en España en 2014. Geiger fue una de las artistas pioneras en el uso de medios no convencionales para experimentar con otros enfoques y cuestionar lo que estaba ocurriendo en su país en los años 70, durante la dictadura militar. Una circunstancia que establece una relación de semejanza con lo que sucedió en España. Una vez ansiosa de libertad, cuando una nueva sensibilidad a la superficie la que llevó a una ruptura con los lenguajes tradicionales: disciplinas transversales, la integración en el proceso de creación de los mecanismos relacionados con la filosofía, la sociología, el psicoanálisis, la política, la tecnología, la cultura popular, la ciencia, la arquitectura, el lenguaje musical. De Anna Bella Geiger (Río de Janeiro, 1933) Aural presenta una serie de obras fotográficas y videos a partir de los años 1975-1980 relacionados con el pasaje, al tiempo, lo experimental y el camuflaje, en que ella aparece como elemento desencadenante de la imagen. Sin ser las obras más conocidas del artista, son partes esenciales para la comprensión de su trabajo y manteniendo un carácter atemporal.




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Estimulada por las preguntas planteadas por el arte conceptual y el momento político actual, su producción en la década de 1970 se caracterizó por un marcado carácter experimental: huecograbado, fotografía fotomontaje, serigrafía, fotocopias, postales, vídeo, Super 8, générale luego la encaminados para trabajar en una variedad de formas híbridas (objeto-escultura, grabado a objetos, objeto-fotografía, foto-collage, foto-instalación, instalación de vídeo), en el sentido de difuminar las fronteras entre ellos y con la idea de pasaje, el retorno a la el nómada, al exilio ya un movimiento continuo. Geiger desarrolla una poética contemporánea del espacio, pero la condición de doble contemporánea de la artista se evidencia en el enfoque de la liberación de la autonomía del arte y la especificidad de cada uno de los medios de comunicación cerrados y géneros, mantienendo un pulso entre sí, en un intento de establecer interdependencias. Anna Bella Geiger toma una posición crítica se desarrolló a través de la serie, la variación, las mutaciones y la replicación, que le permite desarrollar preguntas utilizando el vídeo, grabado o la fotografía como conducente a la serialización y varios medios de comunicación, que constituye la configuración formal de su trabajo. Presentamos dos proyectos que requieren aún un esfuerzo mayor que nos obliga a dar más coherencia a nuestra presencia en la feria con el stand 8 en la Main Section situado a espaldas del anterior Back to the Future, en el pasillo violeta. En este caso presentamos un proyecto que plantea una reflexión desde la perspectiva de cuatro artistas muy significativos de la escena española e internacional contemporánea que han contribuido con gran consistencia para configurar un contexto desde una perspectiva generacional, unidos por una obra de carácter conceptual. Concha Jerez, cuyo trabajo hemos demostrado en nuestro stand el año pasado en la sección Volver al Futuro, fue galardonado con el Premio Nacional de Artes Visuales, en la pasada edición de 2015, durante su estancia en Artissima. Este enfoque crea un sentido de diálogo temporal y cronológico en que las preocupaciones son muy similares, donde la ruptura de las prácticas artísticas convencionales se ponen en tela de juicio para hacer espacio para otros temas relacionados con el momento histórico y la experiencia de la vida del artista. Sus puntos en común: la obra de arte como una actividad reflexiva, tanto mental y experimental. A raíz de este diálogo, nos movemos a la generación de artistas cuya carrera se inició después de la dictadura, hacia los años 80. Fernando Sinaga y José Maldonado son artistas cuyas inquietudes y reflexiones se basan en premisas conceptuales, sin embargo, cada uno ha desarrollado un lenguaje propio con importantes contribuciones al arte contemporáneo a lo largo de sus carreras; contribuciones fundamentales para entender la escena artistica nacional en el pasado y presente. Ellos han participado en exposiciones y proyectos internacionales en las últimas décadas, dando un ejemplo de coherencia y consistencia a pesar de las varias crisis, no sólo personal y artística, sino también coyuntural. Acerca de la artista chilena Ingrid Wildi Merino presentamos un trabajo de vídeo-ensayo. Su trabajo es entre el documental y videoarte, que permiten el desarrollo de una dimensión de ficción y realidad de la pregunta en sí su tomando al formato de video ensayo, conduciéndola hacia un vuelo de géneros establecidos. La reflexión visual y lingüística de Ingrid Wildi no sólo puntos al arte público cautivo, pero el más general acerca de realidades tales como la migración, están actualmente en la evolución del pensamiento cultura.

Estos son los artistas que han estado especialmente interesados en explorar una nueva zona de la especulación estética que parecían representar una ruptura dramática con las actividades habituales de la producción, la contemplación y apreciación artística; donde el procedimiento es casi un modus operandi actitud y, cuando el producto final del arte, el objeto de arte, no es el objetivo final. La obra está bajo revisión y reconsideración constante. El trabajo se convierte en acción en el tiempo. No es un documento, sino un acontecimiento que tiene lugar aquí y ahora.




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BACK TO THE FUTURE BOOTH 12

ANNA BELLA GEIGER

Camouflage, 1980

Photography color printing pigmented inks on Hanemühle paper 5 de 19,5 x 12,7 cm each

19,54 x 63,5 cm total Photos: Nina Geiger Cole

Ed. 5/15

Exhibitions Michael Hopen Gallery, London

ARCO’16-Madrid, 2016, Aural Gallery. Geografía Física y Humana, CAAC, Sevilla, 2016

Collections

Bob Wilson, N.Y. Bernd Slutzky, Frankfurt




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Abstract

Camouflage [camuflagem / Camouflage] is the title of a photographic sequence divided into five parts. This paper describes the connection between appearance and being as opposed to games, alternating between camouflage and unmasking. Concealment and discovery on both sides of reality are indelibly intertwined. The innocent agents of that series are the density of the forest, the type stained coat that the artist saw, an anteater with messy picture of his pelt, which looks uncomfortably with the shirt that the artist saw in the last picture. Consonance and correspondences trigger a process of metamorphosis in the model coat becomes part of the jungle where the anteater gives your returns and in turn is diluted in a secret osmosis, under the guise of the artist in it with his black shirt resembles the type of hair small anteater. Image and reflection, nature and art, original and fake, one is the other and is formed according to his image. In the confrontation between fictional and real space in the early 80s, the artist works in this confrontation as illusory spatial representations, such as cloud formation or similar stains that are characteristic of the pieces on the camouflage (shirt He is leading artist in the three central pictures). Camouflage [Camuflagem / Camuflaje] es el título de una secuencia fotográfica dividida en cinco partes. Este trabajo describe la conexión entre apariencia y ser en cuanto a juegos de contrarios, alternancia entre camuflaje y desenmascaramiento. Encubrimiento y descubrimiento en que ambos lados de la realidad están indeleblemente entrelazados. Los agentes inocentes de esa serie son la densidad de la selva, el tipo manchado de abrigo que la artista viste, un oso hormiguero con el dibujo desordenado de su pelambrera, que se parece incómodamente con la camiseta que la artista viste en la última fotografía. Consonancias y correspondencias desencadenan un proceso de metamorfosis en que el modelo del abrigo se convierte en parte de la selva, donde el oso hormiguero da sus vueltas y a su vez queda diluido en una ósmosis secreta, bajo el disfraz de la artista, en que ésta con su camiseta negra se parece al tipo de pelo del pequeño oso hormiguero. Imagen y reflejo, naturaleza y arte, original y falsificación –uno es el otro y se forma de acuerdo con su imagen. En la confrontación entre espacio ficticio y real en los inicios de los años 80, la artista trabaja en este enfrentamiento como representaciones espaciales ilusorias, como por ejemplo, la formación de nubes o manchas parecidas que son características de las piezas sobre el camuflaje (la camisa que lleva la artista en las tres fotografías centrales).




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MAIN SECTION BOOTH 8

CONCHA JEREZ Menu del Giorno

Mixed media

(barbecue, paella pan, glasses with self-censored texts, flat screen with the text MENU DEL GIORNO, and aerial)

67 x 58 x 50 xm 1994-2016

Unique

24.000 €

Abstract A piece reflecting on the daily integration of TV into our lives as a part of our Today’s menu. Television

programmes constitute our particular “diet”, which is sometimes barely digestible, symbolized by the fact

that the “edible” material consists of glasses which both reveal and conceal what is happening to us.

Una pieza que refleja en la integración diaria de televisión en nuestras vidas como parte del menú del día de

hoy. Los programas de televisión se sustentan en nuestra especial "dieta", que a veces es apenas digerible,

simbolizada por el hecho de que el material "comestible" se compone de cristales los cuales a la vez revelen

y esconden lo que nos está pasando.




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Background | Antecedentes A first version of this piece was presented for the first time in the individual Installation of the author that with the title WALKING THROUGH BROKEN UTOPIAS was presented in the space of ESC in Graz in 1994. The same one was presented this year in the author's solo exhibition INTERFERENCE UNITS that occurred at Gallery Sandman & Hack in Hannover. A third version was presented in 2016 at the solo exhibition of Jerez at the Sala Veronicas Murcia in solo exhibition titled TIME DIA-RIO in 2016. Una primera versión de esta pieza se presentó por primera vez en la Instalación individual de la autora que con el título WALKING THROUGH BROKEN UTOPIAS se presentó en el espacio de ESC en Graz en 1994 . Esta misma se presentó ese año en la exposición individual de la autora INTERFERENCE UNITS en la Galeria Sandman & Hack en Hannover. Una tercera versión se presentó en 2016 en la exposición de la autora en la Sala Verónicas de Murcia en la exposición individual de Jerez titulada TIEMPO DIA-RIO en 2016.




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FERNANDO SINAGA

Écrasez l’infâme

Jatoba wood and walnut 33,2 x 56 x 4 cm

2013 Unique

10.000 € (+ IVA)




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Abstract Voltaire shouts: "Ecrasez l'Infamous, Ecrasez l'Infamous," "crush the infamous, crush the infamous".

The phrase refers to abuses of the upper classes, people of royalty and clergy who exercised over citizens.

Voltaire saw around superstition and intolerance, himself being affected by innumerable abuses such as

burning of his books, he was forced into exile. Voltaire, French writer and philosopher (1694-1778)

advocated freedom of religion and expression. He was a man immersed ideas into the problems of his time

advocating for justice and tolerance.

Faced with the "serialization" and asepsis of minimal movement, his work takes a position that could be

described as naturalistic in the sense that through minimum counterpoints and is suitable supports complex

processes of perceptual trigger concatenation. Nothing is left to chance, but the typical natural processes

infinitesimal interdependence.

Sinaga recuerda la frase que grita Voltaire: “ecrasez l’Infâme, ecrasez l’Infâme”, “aplasten la infamia,

aplasten la infamia”. La frase se refiere a los abusos de las clases altas, personas de la realeza y el clero que

ejercían sobre el ciudadano. Voltaire veía a su alrededor la superstición y la intolerancia, siendo él mismo el

afectado por innumerables abusos como la quema de sus libros, viéndose obligado al exilio. Voltaire,

escritor y filósofo francés (1694-1778) abogaba por las libertades de culto y de expresión. Era un hombre de

ideas inmerso en los problemas de su tiempo, abogaba por la justicia y la tolerancia.

Frente a la “serialización” y asepsia del movimiento minimal, su obra adopta una posición que podría

calificarse de naturalista, en el sentido de que mediante contrapuntos mínimos y soportes adecuados trata

de desencadenar procesos complejos de concatenación perceptiva. Nada es dejado al azar, sino a la

interdependencia infinitesimal, típica de los procesos naturales.




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“There are vivid moments that exude conflicts. They are transferences written in cycles where the subjetive,

bound by the political, bleeds. Moments, where everything occurs like a dumping proundfor conditions that

anticipate and prefigure a social intern crisis.

In this current moment, art as an emotional device draws a mental map that seeks to alleviate the mental

disorder of our time. A photosensitive membrane of psychopolitical processes installed in a precarious and

helppless subjetictivity.

Productive capitalism today is only interested in our social impotence and subject in crisis. An infarcted,

damaged and broken subject that is unable toreact to current conditions and their demands. We already live

in a movement towards a conception of life that exists within a productivist and consumerist globalization

bias that suits the current oppressive system. Meanwhile art remains crowded with conflicts registred from

a damaged subjectivity.

The present times act, like a mold that configures itself second by second to impose both a ocial and

educational indoctrination that subdues the subjects through an employment status that incorporates

increseasingly harsh social cuts. Conditions and demands that are disabling any possibility of protest and

emancipation”. Fernando Sinaga, January 15, 2016

“Existen momentos súbitos que exudan conflictos. Son transferencias inscritas en ciclos donde lo subjetivo

atado por lo político se desangra. Momentos, donde todo sucede como un vertedero de afecciones que

anticipan y prefiguran las crisis internas de lo social.

En la situación actual, el arte como un dispositivo emocional, dibuja un mapa psíquico que trata de paliar el

trastorno mental de nuestro tiempo. Una membrana fotosensible de procesos psicopolíticos instalados en

una subjetividad precaria e indefensa.

Al capitalismo productivo ya solo le interesa la impotencia social y la crisis del sujeto. Un sujeto infartado,

dañado y quebrado que sea incapaz de reaccionar frente a las condiciones y exigencias actuales. Vivimos ya

en un avance hacia la concepción de la vida que actúa desde una globalización de sesgo productivista y

consumista que conviene al actual sistema opresivo. El arte entretanto subsiste abarrotado de conflictos

inscritos desde una subjetividad dañada.

La época presente actúa, como la horma donde se configura segundo a segundo un adoctrinamiento social y

educativo que intenta doblegar al sujeto a través de un estatuto laboral que incorpora recortes sociales cada

vez más duros. Unas condiciones y exigencias que están desactivando cualquier posibilidad de protesta y

emancipación”. Fernando Sinaga, 15 de enero 2016




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Fernando Sinaga is heir of the conceptual and postminimalist debates that drive sculpture away from

figuration. Nonconformist and passionated, he is part of a select group of sculptors, from the second half of

the 80s and 90s, that creates a new space for representation.

The Sinaga's piece that we present for the first time in ARTISSIMA, being a current work, is the result of

previous ideas and certainly is a piece that well reflects a character fighting style. It is a non finite work, with

an sentialist idea at its core, in a continuous present tense that presents various levels of complexity.

This absent sculpture survives in Sinaga however, has more to do with an ontological dimension to the

phenomenological and spiritual, where the art is a process of inner knowledge of the subject. I note that

the loss of sculpture as such should not represent any cause for mourning.

The surface of the sculptures Sinaga contains its meaning by absence; this flat surface of his work on the

gaze falls is a contrived plot of latent meanings that are there waiting to be released through reading, that

is, experience. Holistic capacity of simple structures reside in the same denial, because the more

reductionist appears in form, unless it is in the content, or it is overloaded. The complexity of the outlook

on the world, their willingness all, can only be contained, as he says, in that amalgam do; the artwork is a

channel for the inclusion of all possible content alien to art (philosophy, thinking, sociology, science and

alchemy, etc.), just to show that art is nothing more than an empty receptacle that is filled with all that. The

artwork thus becomes the vessel of that yearning for the absent entirely covered under the reductionism of

modern forms and, incidentally, it is also a container for allegory (Baroque).

Fernando Sinaga es heredero de los debates conceptuales y postminimalista que impulsan la escultura

alejado de la figuración. Inconformista y passionated, que forma parte de un selecto grupo de escultores,

desde la segunda mitad de los años 80 y 90, que crea un nuevo espacio de representación.

La pieza de Sinaga se presenta por primera vez en ARTISSIMA, siendo una obra actual, es el resultado de las

ideas anteriores y, ciertamente, es una pieza que también refleja un estilo de lucha de caracteres. Es un

trabajo que no finito, con una idea esencialistas en su núcleo, en un presente continuo que presenta varios

niveles de complejidad. Esta escultura ausente permanece en Sinaga, sin embargo tiene más que ver con

una dimensión ontológica a la fenomenológica y espiritual, donde el arte es un proceso de conocimiento

interno del sujeto. Tomo nota de que la pérdida de la escultura como tal, no debe representar ningún

motivo de luto.

La superficie de las esculturas Sinaga contiene su significado por la ausencia; esta superficie plana de su

trabajo en la mirada cae es una parcela artificial de significados latentes que están ahí esperando a ser

lanzado a través de la lectura, es decir, la experiencia. Capacidad holística de estructuras simples residen en

la misma negación, porque cuanto más reduccionista aparece en la forma, a menos que sea en el

contenido, o está sobrecargado. La complejidad de la visión del mundo, su disposición de todo, sólo se

puede contener, como él dice, en que la amalgama hacer; la obra es un canal para la inclusión de todos los

posibles contenidos ajenos al arte (filosofía, el pensamiento, la sociología, la ciencia y la alquimia, etc.), sólo

para mostrar que el arte no es más que un recipiente vacío que se llena con todo eso. Así pues, la obra se




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convierte en el buque de ese anhelo de los ausentes por completo cubierto por el reduccionismo de las

formas modernas y, por cierto, también es un contenedor para la alegoría (barroco).

JOSÉ MALDONADO

31416etc…

Mixed media (Tape recorded with audio adhered with acrylic surface painted with acrylic paint on canvas, audio cassette 7 " and

display with theoretical documentation of the work and the process) 200 x 400 cm

2016 Unique

22.000 € (+IVA)




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JOSÉ MALDONADO 62…

Mixed media

(Tape recorded with audio adhered with acrylic surface painted with acrylic paint on canvas) 20 x 20 cm each




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2016 Unique

Each 1.200 € (+IVA)

Abstract 31416etc...

“31416etc…” is seen as an attempt to approach some idea of vacuum through displacements that occur

between different formal languages, the painting itself and its practice and the idea of it we build,

abstraction as a genre derived from the action of thinking poetically, and geometry and topology as

areas where the need to understand the relationship between the part and the whole requires

precision. All this through an allegorical and conceptual twister that comes and moves from an attempt

to define the empty set up a tape that is caught by the painting to draw on it and in it an attempt to

unit circle of perfection impossible but exact perimeter within the possibilities of the materials, the

means and the anguished need of aesthetic production and linguistic ... perhaps felt as empty as when

it was not yet.

“31416etc…” se plantea como un intento de aproximación a cierta idea de vacío a través de desplazamientos que acontecen entre diversos lenguajes formales, el de la propia pintura y su práctica y la idea que de ella construimos, la abstracción como género derivado de la acción de pensar poéticamente, y la geometría y la topología como ámbitos donde la necesidad de comprender la relación entre la parte y el todo requiere de precisión. Todo ello a través de un trabalenguas alegórico y conceptual que deriva y se traslada desde un intento de definición del conjunto vacío hasta una cinta magnetofónica que es atrapada por la pintura para trazar sobre ella y en ella un intento de circulo unitario de perfección imposible pero de perímetro exacto dentro de las posibilidades de los materiales, del medio y la angustiada necesidad de producción de sentido estético y lingüístico… quizás tan vacía como cuando todavía no era.




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INGRID WILDI MERINO

Los Invisibles | The Invisible ones

Videoinstallation, HD/DVD 35‘

Spanish and subtitles: English/German/French/Portugies 2007

Editon 10

7.000 € (+IVA)




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Abstract Five Colombian immigrants living clandestinely in Switzerland for many years evoke their situation,

their suffering, their fears and the reasons that led them to leave their country. By discontinuous

montage and the fragmentation of her interlocutor’s accounts, artist Ingrid Wildi builds up an

arborescent address about the inherent problematic of clandestinity status - identity conflict, cultural

and linguistic bond issues, social integration’s difficulties.

In order to preserve their anonymity, only body fragments – torso and arms - of the interviewed

persons are shown on screen, that device calling to mind simultaneously the missing part of the filmed

subjects and their situation of «invisibility».

There are body work Wildi is your relationship with the world with issues like language, identity, diaspora, exile, from a perspective of Personal and autobiographical experience. The video is your favorite for the negotiation of these issues method. The process of video production, and testing, lets you keep the spoken word of the people who interview to build a narrative ambiguous and slippery character, where the contradictions and friction between personal and global are evident, the influence of a system social, political and economic hinders integration. Pioneer in the studies and postcolonial theories decolonial and develops his work in the fields of video-testing, installation and photography.

Cinco inmigrantes colombianos que viven clandestinamente en Suiza desde hace muchos años evocan

su situación, sus sufrimientos, sus miedos y las razones que les llevaron a abandonar su país. Por el

montaje discontinuo y la fragmentación de las cuentas de su interlocutor, la artista Ingrid Wildi

acumula una dirección arborescente acerca de la problemática inherente de la condición de

clandestinidad - conflicto de identidad, las cuestiones de lazo culturales y lingüísticas, las dificultades de

integración social.

Con el fin de preservar su anonimato, sólo muestra fragmentos del cuerpo - torso y los brazos - de las

personas entrevistadas, esta disposición nos lleva a pensar de forma simultánea en la parte que falta de

los sujetos filmados y su situación de «invisibilidad.

El cuerpo de trabajo de Wildi Merino es su relación con el mundo con temas como el lenguaje, la

identidad, la diáspora, exilio, desde el punto de vista de la experiencia personal y autobiográfica. El

video es su medio favorito para la negociación de estas cuestiones. El proceso de producción del vídeo,

y las pruebas, le permiten mantener el habla de las personas que entrevistan para construir una

narrativa, donde las contradicciones y fricciones entre lo personal y global son evidentes, la influencia

de un sistema social y político obstaculiza la integración económica. Pionera en los estudios y teorías

postcoloniales – lo decolonial-, desarrolla su trabajo en los campos de vídeo-ensayo, instalación y la

fotografía.




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The Invisible Ones by Pedro Jiménez Morrás

Ingrid Wildi’s video essay paradoxically shows us the unseen, by putting into the spotlight few of the many

“invisible“ co-citizens who surround us. Through her interviews, we are not only given the opportunity to

see them, but also, and especially, to listen to them.

These voices refer to the very specific and current context of illegal Colombian workers in Switzerland. But

this example is emblematic of a situation shared today by many other displaced persons, since, in our

globalized world, the invisibility, intrinsic to the ineffable status of illegal workers, has become one of the

most widespread side effects of economic growth.

Beyond the social distress they evoke, these testimonies weave also a polyphonic tale on the painful

memory of exile. These invisible people, both actors and victims of the economic flows supposed to

guarantee a common welfare, tell us here a story about the pursuit of happiness quite different from the

one we tend to fantasize about, or the one we are told about by those governing us.

El video- ensayo de Ingrid Wildi, paradójicamente, nos muestra lo que no se ve, poniendo en el punto de

mira muchos "invisibles" co-ciudadanos que nos rodean. A través del formato entrevista, no sólo se nos da

la oportunidad de verlos, sino también, y especialmente, a escucharlos.

Estas voces se refieren al contexto muy específico y actual de los trabajadores ilegales colombianos en Suiza.

Pero este ejemplo es representativo de una situación compartida hoy por muchas otras personas

desplazadas, ya que, en nuestro mundo globalizado, la invisibilidad, intrínseca a la condición inefable de

trabajadores ilegales, se ha convertido en uno de los efectos secundarios más comunes de crecimiento

económico.

Más allá del malestar social que evocan, estos testimonios también tejen un relato polifónico en el doloroso

recuerdo del exilio. Estas personas invisibles, tanto a los actores y las víctimas de los flujos económicos

supuestos para garantizar un bienestar común, nos habla aquí de una historia sobre la búsqueda de la

felicidad bastante diferente de la que tenemos la tendencia a fantasear.




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ANNA BELLA GEIGER

(Rio de Janeiro, 1933) lives and works in Rio de Janeiro.

She is considered one of the most important contemporary Brazilian artists of the twentieth century. She has devoted her entire career to research and the artistic experimentation around the debate between art and society, and as a teacher to the formation of the new generations. She was one of the first conceptual artists and a pioneer in the use of video in Brazil.

Stimulated by the questions raised by conceptual art and the political moment lived (military dictatorship 1964-1985), her production of the 1970s is marked by a highly experimental nature: gravure, photography photomontage, screen printing, photocopying, postcards, video, Super 8, which subsequently leads to work on a variety of hybrid forms (object-sculpture, engraving-object-subject photography, photo-collage, photo-installation, video installation), in that bluring of boundaries between themselves and with the idea of passage, of the returning to the nomadic exile and to continuous motion. Perhaps, being the daughter of immigrants and living in Rio de Janeiro, trigered her to deal with the problems of adaptation, mimesis, exchange and ubiquity, finding the global in the local and vice versa. In the works that dialogue with the conceptual aspects, she investigates the ontological character of art. Anna Bella Geiger also examines the cultural and political systems that create and perpetuate the art.

Among solo exhibitions we highlight PINTA in London, Solo Project, Aural Gallery (2014); ARCO'14. Solo Project, Aural Gallery (2014); Anna Bella Geiger-CIRCA MMXIV. Ni Más Ni Menos, in Aural Gallery, Alicante (2014); Anna Bella Geiger-Circa MMXIV, A Imaginação é um Ato de Liberdade, Mendes Wood DM, Sao Paulo (2014); Retrospective da Coleção João Sattamini, MAC Niterói (2012); CIRCA MMXI, SESC. Flamengo, Rio de Janeiro (2011); Fotografía além da Fotografía, Paço Imperial do Rio de Janeiro ; She participated in the 8th São Paulo Bieneal; CIRCA 2006 created the video installation for the Breath Project for the Eva Klabin Foundation in Rio de Janeiro; On a Certain Piece of Land -The Red Gate Gallery Beijing (2005); ANNA BELLA GEIGER - Arbeiten von 1975 bis 1995, Galerie Bernd Slutzky of Frankfurt (1995); O pao nosso de cada dia, installation for the Venice Biennale (1980); PROJECTIONS XXI The Museum of Modern Art N.Y., USA. (1978).

In 2011 she participates in international exposiciciones such as Europalia in Belgium, Modern Women Single Channel at MoMA and PS1 in New York, Como Nos Miran at the CGAC of Santiago de Compostela, the 8th Mercosul Biennial Geopoetics Porto Alegre, La idea de América Latina en el CAAC, Seville. Elles @ at the Centre Georges Pompidou in Paris; La Mancha Humana colecciones en el conceptual, CGAC of Santiago de Compostela; Lectura 1: Brazil at the MACBA in Barcelona; Homeland-Kraj-OPOLE in Sztucki Gallery in Poland (2008) Whenever It Starts Is The Right Time at the Kunstverein in Frankfurt; Feminist Art Revisited 1960-1980, Lelong Gallery, Paris (2007).

Her works are in collections such as the MoMA-New York, Centre Georges Pompidou in Paris, Victoria Albert Museum in London, Los Angeles Getty Collection, The Collection of Harvard Fogg, MACBA Barcelona, MAM Rio de Janeiro and Sao Paulo, USP MAC, Tate Modern in London, CGAC of Santiago de Compostela, Museo Reina Sofía of Madrid, and received the Guggenheim Fellowship Award, NewYork in 1982, The Bolsa Vitae 2000 of São Paulo and the SESC Prize 2010.

She studied philosophy, Anglo-Germanic languages, linguistics and literature. She still teaches at the School of Visual Arts Parque Lage and tat he Higher Institute of Fine Arts in HISK, Belgium.




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CONCHA JEREZ

(Las Palmas de Gran Canaria, 1941) lives and works in Madrid.

Concha Jerez´s path covers forty years of artistic activity. She belongs to the first generation in Spain

ascribed to conceptual art in dialogue with the production of Fluxus, mostly with Wolf Vostell- and the

pioneering Spanish group ZAJ.

Since 1976 she explores the territory of on-site installation through large projects, many of which take an

intermedia character. Her work is characterized by the use of a wide range of interests and media,

covering the still and moving image, the printed text and the trace, the word and the silence, noise and

music, objects found or constructed, actions and performance, radio art and interactivity via sensors and

the specific production for Internet, and always in dialogue and interaction with the physical spaces.

From the artistic practice, Jerez traces strategies of resistance and dismantels the dominant discourse,

often introducing the concept of interference.

A common aspect in of all her work is a dialogue and interaction with the physical space. Through all

these resources she has addressed issues of deep social significance from a critical perspective, she has

analyzed the mechanisms of censorship and self-censorship, the consumer society, the culture of

spectacle, the manipulating power of the media to shape thinking, the impact of advertising, the various

forms of control that the political and economic power have on individuals, the sophisticated surveillance

and control that is practiced in developed societies, and the narrow margins of freedom that the

democratic systems allow.

Concha Jerez has studied Political Science and piano at the Madrid Royal Conservatory. She has combined

her praxix with teaching, being associate professor at the Faculty of Fine Arts of the University of

Salamanca between 1991 and 2011.

In the last twenty years she has developed important international projects in collaboration with artist

and composer José Iges.

In 2011 she was awarded the Medalla de Oro al Mérito en las Bellas Artes, and in 2015 the National Prize

of Visual Arts.

She has exhibited in galleries such as Galerie Schüppenhauer Köln, Angel Romero Gallery, Galerie Brigitte

March Stuttgart, Gallery Evelio Gayubo of Valladolid, Lüpke Gallery of Frankfurt, Sandman & Haak Gallery

of Hannover, Saro León Gallery of Las Palmas de Gran Canaria, Adora Calvo Gallery of Salamanca, and

Aural Gallery of Alicante.

Her works are in the permanent collections of major European museums like the Museum Moderner

Kunst Norkoping (Sweden), Museo Vostell Malpartida (Cáceres), Staatsgalerie Stuttgart, Museum

Wiesbaden, ARTIUM (Vitoria), Museo Nacional Centro de Arte Reina Sofía in Madrid Museum of Fine Arts

of Santander, Museo Casa Natal de Jovellanos, Museum of Contemporary Art in Vilafamés and MUSAC in

León. As well as in various corporate and private collections: "La Caixa" Foundation Collection Madrid, Caja

Burgos, National Library, Brigitte March Stuttgart, Cologne Schüppenhauer Collection Citoler Pilar and

Archive Lafuente, ZKM (Zentrum Karlsruhe für Medientechnologie), among others.




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FERNANDO SINAGA (Zaragoza, 1951) lives and works in Salamanca.

A long with his teaching career at the University of Salamanca, Fernando Sinaga is, at once, one of the greatest sculptors with solid experience in the field of the European creation in recent decades. While it has been present in the art scene since the late 1970s, his work became more important from the second half of the 1980s. The nineties represent another twist, ordering his creations into an art that can be considered heir of the European post-minimalist heterodoxies. Sinaga, through his work, , through his work, shows a strong experimental will attached to a transversal and diversified trying to arrange connections and links from different backgrounds.

His work has been exhibited in galleries and museums in Spain, Germany and the United States. His solo shows in galleries include El Desayuno Aleman, Gallery Villalar de Madrid (1986) and has since then exhibited in galleries like Miguel Marcos Gallery, Bochum Gallery in Germany (1989), Mincher / Wilcox Gallery in San Francisco, U.S.A. (1990), Oliva Arauna Gallery, Gallery Luis Adelantado, Juana Aizpuru Gallery, Gallery Gianni Giacobbi, Salvador Diaz Gallery, Galeria Fernando Latorre, Bores & Mallo Gallery, Galería Max Estrella, Gallery VGO, Vanguard Gallery, Blue Cube Gallery, Galería SCQ, Trayecto Gallery, Adora Calvo Gallery, Aural Gallery. He has participated in shows such as Art Los Angeles, Art Cologne, Art Basel, ForoSur, Artissima, ArteSantander, ArtValencia, Art Lisbon and ARCO, since 1986. In 1989 he participated in the XX International Biennial of São Paulo, Brazil; in 1992 at the V Triennale Felbach, Germany; Agua Amarga, Fundació Pilar i Joan Miró, Mallorca (1996); Polaroids 1995-1997, Sala Robayera, Miengo, Santander (1997); Double Reverse, Palacio de los Condes de Gabia, Granada (1998); Fernando Sinaga, Sculptures 1991-1999, Sala Amárica, Vitoria-Gasteiz (1999); Exhibition at the Pavilion of Spain in the Universal Exhibition of Hannover (2000); Cor Duplex Pablo Serrano Museum of Zaragoza, La estancia inhóspita at the IVAM, Valencia and On Prediction, Museo Vostell Malpartida de Cáceres (2005); Area, Domus Artium (DA2), Salamanca (2006); Pantallas espectrales sobre el Ebro, Auditorium, University of Zaragoza (2009); A Ras de Suelo, Palau Solleric, Palma de Mallorca and Fernando Sinaga Ideas K, Museo de Arte Contemporaneo de Castilla y Leon, MUSAC, León (2012); Fernando Sinaga. Ideas K, Contemporary Art Center Graca Morais, CACGM, Bragança and Museum of Contemporary Art of Alicante, MACA, Alicante (2013); Ethnographic Museum Zamora (2016). Interested in public art, he has carried out several projects, often in collaboration with architects. The latest: El escalofrío retiniano located in the City of Arts and Sciences of Valencia, with Santiago Calatrava, Viombo in the Botanical Garden od Gijón (2002) and Pantallas Espectrales sobre el Ebro in Zaragoza (2008). His works are in the permanent collections Centro de Arte Reina Sofia National Museum, Madrid; Instituto Valenciano de Arte Moderno, Valencia; Kunstsammlung der Ruhr-University, Bochum, Germany; Museo Pablo Serrano, Zaragoza; Museo Patio Herreriano, Valladolid; Extremaduran and Latin American Museum of Contemporary Art, Badajoz; Museum Vostell Malpartida, Cáceres; Collection CDAN, Huesca; Artium, Basque Centre-Museum of Contemporary Art, Vitoria-Gasteiz; Museum of Contemporary Art Aragon, Monasterio de Veruela, Zaragoza. Government of Aragon, Zaragoza; National University of Distance Education, Madrid; Diputación Provincial de Zaragoza; Prosegur Collection, Madrid. Castilla y Leon, Valladolid; Community of Murcia; Domus Artium, Salamanca; Collection Ayuntamiento de Alcobendas, Madrid; Collection Ibercaja, Zaragoza; Collection Caja de Burgos; Ministry of Education and Science, Zaragoza; Collection City of Miengo, Santander; Sports Council Collection, Madrid; Fundació Pilar i Joan Miró a Mallorca; Collection Press Association of Aragon, Zaragoza; Coca Cola Foundation, Madrid; Fundación Caja Madrid; Collection City of Alcaniz, Teruel; Professional Football Foundation, Madrid; Cortes de Aragon, Zaragoza; Collection and Goldman Sachs, London; Collection Bank of Spain, Madrid; Esséncies Collection, Barcelona. Reasoned catalogs can be found on his work at the Fundació Miró of Mallorca (1996); Palacio de los Condes de Gabia, Granada (1998); Palacio de Revillagigedo, Gijon (1999); Sala Amárica Vitoria (1999); IVAM, Valencia (2005); Pablo Serrano Museum of Zaragoza (2006) and MUSAC in León (2012). His career has received public recognition of the Valparaiso Foundation Almería, the Villa de Madrid Award for best sculpture exhibition held in this city in 2001 and 2010 Aragón Goya Award from the Government of Aragon for outstanding artistic career.




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JOSÉ MALDONADO (Madrid, 1962) Lives and Works in Valencia. Its activity started in the early years of the eighties, in which he develops a painting that draws on the aesthetics of urban graffiti close to the work of Keith Haring, A. R. Penck or Anselm Kiefer. In parallel, he concludes his studies in Fine Arts (University of Salamanca) and began teaching at the University of Castilla-La Mancha. He develops his creative activity in galleries aclaimed nationally and internationally such as Villalar Gallery, Gallery Juana Mordo, Siboney Gallery, Galerie Denise Van de Velde in Aalst (Belgium), Miguel Marcos Gallery, Gallery Antoni Estrany, Froment et Putman Galerie Paris Gallery Estrany de la Mota, Dotze Palma Gallery, Galería Helga de Alvear Gallery Path, Aural Gallery. The exhibition Imágenes tradicionales & Nuevas imágenes tradicionales (Juana Mordó, 1989) makes clear the intellectual shift to his work. He abandons his initial proposals to adopt a painting of thesis, from a reading of linguistic disciplines and non figurative references, entering an analysis of the mechanisms of perception and pictorial representation. OK 15/20 (Chapel Oidor of Alcala de Henares, 1990), 2 Cegazones (Antoni Estrany, 1991) and Cámaras Hidráulicas (1992) exemplify the degree of formal complexity and signification that reach his installations, which are three-dimensional solutions in which he stages and makes transitable the perceptual and conceptual games that hinted in his paintings; intellectual challenges in which he uses the cracks in language and the gaze as systems of intrepresentation and ways of knowing.

Individually he has shown his work at Municipal Museum of Fine Arts of Santander (1985); Space Foundation Caja Burgos and Espai Poble Nou in Barcelona (1993); La Gallera, Consortium of Museums of the Generalitat Valenciana in Valencia (1999); Espai Cuatre / Casal Solleric. Palma de Mallorca (2009). He has shown his work in public institutions in group exhibitions such as Carnet de Voyages, Cartier Fondation, Jouy-en-Josas (1990); Última Visión, Spain, four young artists, traveling exhibition, Ibero-American Cooperation, Buenos Aires, Caracas, Santiago de Chile and Sao Paulo (1991); Spanish Pavilion, Expo 92, Seville, Historia Natural (El doble hermético), Atlantic Centre of Modern Art, Las Palmas (1992); Prospect 93, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt (1993); Architecture(s), CapcMusée d'art Contemporain, Bordeaux, France (1995); Introversions, Museu d'Art Contemporani de Barcelona (MACBA), Barcelona (1997. Essays & Embryos 13 Contemporary Spanish Artists Enzo Gallo Fine Art, Inc. Florida (1997); El Punto Ciego Spanische Kunst der 90er, Kunstraum Innsbruck. Innsbruck Austria (1998); Mínima Resistencia. Entre el tardomodernismo y la globalización: prácticas artísticas durante las décadas de los 80 y 90. Centro de Arte Reina Sofía National Museum (MNCARS) Madrid (2013); Escuchar con los ojos. Arte sonoro en España (1961-2016) Fundación Juan March Palma de Mallorca, Cuenca and Madrid (2016). He has taked part in international fairs such as Art Cologne, Köln (Germany), Kunst Rai 89 in Amsterdam, FIAC in Paris, Art Athina 3'95 in Athens, Art Basel, Art Chicago, Art Forum Berlin, ARCO from 1985 to today. His work is represented in the collections of Museo Nacional Centro de Arte Reina Sofía in Madrid (Spain), Collection of the "Caixa" in Barcelona (Spain), Bank of Spain of Madrid (Spain), BMG Ariola of Madrid, Caja de Ahorros Municipal of Burgos (Spain), City of Pollensa in Mallorca (Spain), German Foundation for Scientific Development of Köln. Fundación Colegio del Rey of Alcala de Henares (Spain), General Mills, Inc. of Minneapolis, Minnesota (USA), Marugame Hirai Museum of Manugame (Japan), Milestone Inc. (USA), Museum of Fine Arts of Santander, Museum of Alava in Vitoria, Museo de Arte Contemporaneo of Lleida (Spain), Ulster Museum in Belfast, North Ireland.




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Ingrid Wildi Merino (Santiago de Chile, 1963)

She is an artist who lives in Switzerland since the early 80's a very interesting as a researcher but practically unknown in Spain artist. Graduated in Visual Arts, mentor Bernd Hoppner, Zurich, Geneva Graduate getting the University of Art and Design, Geneva in 2000. Her work began to arouse interest when he represented Switzerland at the Venice Biennale in 2005. Entre sus exposiciones individuales destacan Geografías Altes Schützenhaus, Zofingen, AG, Swiss (1992) ; Ohne Titel, intervenciones sobre papel Trudlhaus Gallery, Baden, AG, Swiss (1995) ; Ouvrir et fermer les yeux, Planet 22, Ginebra, Swiss (2001) ; De palabra en palabra, Centre d’Art Contemporain, Ginebra, and Kunsthaus Aarau, Swiss (2004); Quelquepart ll , (colaborating with Mauricio Gajardo) Kunsthaus Glarus, Swiss (2006); Historias breves, Galería Gabriela Mistral and Museo de Arte Contemporáneo de Santiago of Chile (2007); Processing the Invisible, Galerie Traversée, Munich, Germany (2008) ; De Gerardo, Video instalation, Video Tank, Zürich, Swiss (2009) ; ENTRE EL ESTAR Y EL SER/WHAT WE DO AND WHO WE ARE. Galeria Aural, Alicante. Spain (2015). She has shown his work in public institutions in group exhibitions such as Geografias, instalation, Casa Municipal de la Cultura, Avilés and Museo Evaristo Valle, Gijón, Spain (1992) ; Mediciones de Geografias, mixmedia instalation, Aargauer Kuratorium, Swiss (1994); Augen Loch, Mixmedia instalation, Mestizos, Universidad of Zaragoza, Spain (1995) ; Exit, mixmedia instalation, Studium Kunst, Kunsthalle Winterthur and Studienbereich Bildende Kunst (SBK), Zürich, Swiss (1996); Sich, video monitor, Freie Sicht aufs Mittelmeer, Kunsthaus Zürich, Suiza and Kunstmesse Frankfurt, Germany (1998); Si c’est elle video instalation for Federal Fine Art Prize, Fri-Art, Friburgo, Swiss (2000);Si c’est elle, video instalation, Musée d’Art Moderne et Contemporain, Estrasbourg, France (2000) ; Art Frankfurt, Germany (2001) ; Si c’est elle, video instalation, Piano Nobile, ALBA Beyrouth, Academy of Fine Arts, Beirut, Lebanon (2001); ¿Aqui vive la Señora Eliana M...? video instalation, Re:view, Migros Museum, Zürich, Swiss (2003); Si c’est elle, video instalation, Attitudes Gallery, Ginebra, Swiss and Museo Reina Sofia, Madrid, Spain (2003) ;Quelquepart I, video instalación,Swiss Art Videolobby, Centre pour l’Image Contemporaine, Ginebra, Swiss (2004) ; Si c’est elle, video instalation,Honyarado, Kyoto, Japan, Dakar, Senegal, Landshut and Munich Germany (2004) and Si c’est elle,video instalación, Memoria de Exposiciones, Hoffmann’s House, Museo Salvador Allende, Santiago, Chile (2004) ; Portrait Oblique, video instalation, Gaz 21 Gallery and Hermitage Museum, Saint-Petersburg, Russia, Shadows collide with people, Pabellón Suizo, Exposición Bienal Internacional de Venecia, Italy (2005) ; Portrait Oblique, video instalation, Zürich and Ginebra (Swiss), Macau, (China), Musée Municipal d’Art Contemporain, Gent (Belgium), Kunstverein Salzburg (Austria), Bogotá (Colombia) (2006) ; Si c’est elle, video instalation, Reproccessing Reality, P.S.1 Contemporary Arts Center, MoMA, Nueva York, USA (2006) ; Los Invisibles, video instalación, Les Rencontres Internationales París, Berlín, Madrid, Aarau, 20 Bienal d’Eivissa, Mención de Honor, Museu d’Art Contemporani d‘Eivissa, (Spain) ; Bienal Istanbul, Turky Townhouse Gallery, Cairo, Egypt. SESC Pinheiros, São Paulo, Brasil,(2008); La entrevista terminada, la entrevista interminable,Video instalation, El Grito y La Escucha, 7 Bienal de Mercosur – Invited by Chile, Rio Grande do Sul, Brasil (2009); Los Invisibles, video instalación, Talk Talk - The Interview als Artistic Practice Leipzig, Graz, Salzburg, Viena. (2009); La memoria del Otro, Centro de Arte Contemporáneo WIFREDO LAM, La Havana, Cuba (2011); Arica y Norte de Chile, No lugar y lugar de todos, video instalación, Performing the Document, Múnich, Germany and Dislocación, Kunst Museum Bern, Swiss (2011); Arquitectura de las transferencias; La Hybris del punto Cero I, Performance, instalación mixmedia Centro Wilfredo Lam, La Havana, Cuba and Acts of Voicing on the Poetics and Politics of the Voice. Württembergischer Kunstverein Stuttgart (2011-2013) ; Slow Future, Centre for Contemporary Art Ujazdowski Castle, Poland (2014); ChACO’14. Galería Aural. Santiago de Chile (2014); La Voix du traducteur. Frac Lorraine, Metz. France (2015) ; The End of the World Centro per l'Arte Contemporanea Luigi Pecci, Prato, Florencia, Italy (2016-17). She was awarded (2012) Auswahl 12 Aargauer Künstlerinen und Künstler / Aargauer Kunsthaus, Aargauer Kuratorium, Aargau, Swiss. (2011) Swiss Exhibiton Award DISLOCACIÓN, the best exhibition in 2011, Suiza and Chile. Curated by Ingrid Wildi Merino; (2010) Prize FONDART, Project for curatorial research Dislocación, Consejo Nacional de la Cultura y las Artes, Chile. Exhibition DISLOCACIÓN ; (2009) Prize Meret Oppenheim, Swiss. Her work is represented in the collections in Aargauer Kunst Museum, Aarau, Swiss ;Bundeskunstsammlung Bern, Swiss; FRAC-Provence-Alpes-Côtes d’Azur, Marseille, France; City of Zürich, Swiss; FRAC-Lorraine, France; Fonds d’Art Contemporain de la Ville de Genève, Swiss; Fonds Cantonal d’Art Contemporain de Genève, Swiss; Kunsthaus Zürich, Swiss; Consejo Nacional de la Cultura, Ministerio de Cultura, Chile ; Frac Lorraine, Metz. France.


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Labradores,17 03002 Alicante. SPAIN +34 965 218 024 … · Estimulada por las preguntas planteadas...

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