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Current
Ibon Aranberri. Meseta Grammar Dates: July 14 – November 14, 2010 In his works, Ibon Aranberri (Itziar-Deba, Guipúzcoa, 1969) uses historical or artistic references which appeal to the spectator's attention in order to prompt a reflection in them. In the artist's own words: "I'm interested in exploring the possibilities of the form and the object, the archaic materiality, as well as information, the textuality of matter. I'm interested in the gruesome decomposition of the notion of sculpture, which almost looks like a carcass." Aranberri's exhibition at the Silos Abbey is inspired by Mankind's collective memory, and analyzes the way that cultural heritage is transformed by History and industrial culture. Much like the relationship between repressed memory in the recent past, Ibon Aranberri engages the notions of monument, ruin and spatiality of historical memory itself, in his return to a historical pace which presents the ideology of form together with historical experience. + info
Jessica Stockholder. Peer Out to See Dates: July 14, 2010 – February, 2011 Visual-verbal puns and rhymes abound in Jessica Stockholder’s vibrant art. As things that once seemed familiar and ordinary take on new life, mirroring, echoing and dialoguing with each other in their unlikely new roles, they become imposing, assertive, cheeky, sly, teasing, alluring, whimsical and much more. Never, however, are they routinely pedestrian. Stockholder’s world is composed more by association than by conventional forms of analysis. Her works propose that, if we want to examine something, we need to scrutinize, probe, and scan carefully in an intent reading than goes beyond mere glancing and glimpsing: by peering out in this fashion we might, of course, see more than we bargained for: we might end up walking the plank, suspended on a platform above the depths, launched into the unknown – on a pier out at sea. + info
Miralda. De gustibus non disputandum Dates: June 24 - October 11, 2010 This exhibition will propose a retrospective reading of works by Miralda in a global, historical and artistic context. The exhibition ranges from his first period in the 1960s when the artist created his first public interventions while living in Paris, to the 1990s with his large-scale, worldwide interventions for his project Honeymoon, to the 2000s with his exhibition of the Food Cultura Museum at the International Exposition at Hanove. + info
New Realisms: 1957-1962. Object Strategies Between Readymade and Spectacle Dates: June 16 – October 4, 2010
Mixed Use, Manhattan: Photography and Related Practices 1970s to the present Dates: June 10 – September 27, 2010 Mixed Use, Manhattan is an exhibition about the uses and pictures made of New York City beginning with the intensive period of de-industrialization and neglect in the 1970s and counterpointed with recent works by artists who, well aware of their predecessors’ practices from that earlier moment, continue to find aesthetic potential in the city. The show will include several important photographic series: Peter Hujar’s nighttime photographs taken in 1976 on the West Side of Manhattan from the Meat Packing district south to the financial district; Alvin Baltrop’s Hudson River pier photographs from the decade 1975-86, most of which have never before been shown; David Wojnarowicz’s Rimbaud in New York, 1978-1979, and, more recently, a number of Zoe Leonard’s photographic projects from the late 1990s forward, including the Tree + Fence and Bubblegum series. Other photographic series, video installations, and films by Matthew Buckingham, Moyra Davey and Emily Roysdon, among others amplify these core works and attest to the vitality of their legacy, as artists continue to engage with New York in ways that suggest how urban space may be made truly public.
The Potosí Principle. How shall we sing the Lord’s song in a strange land? Dates: May 12 – September 6, 2010 The project Principio Potosí centers on analyzing the notion of modernity and its universal expansion, which has taken place since the colonization of Latin America. The exhibition will display examples of Andean colonial painting and works by international artists, inviting viewers to reflect on relationships between sixteenth- to eighteenth-century colonial art and the contemporary world. Beginning with examples of viceregal painting from the Potosí School, the project’s line of investigation relates these isolated fragments of history to the conditions of artistic production today. Principio Potosí is an aesthetic proposal with an ambiguous meaning. "Principio" in Spanish can refer to, on the one hand, a temporal meaning or a beginning—the enduring memory of Potosí. On the other hand, it also refers to technique, such as a mechanical principle or rule, which is repeated on different global coordinates in time and space. These two potential foci form the basis for the project, which together with the exhibition will include several seminars, conferences and publications. + info |
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