FLOWS AND DISPLACEMENTS - MARINA CAMARGO AT ZIELINSKY
Tras la piel del mapa (Behind the skin of the map) is the first solo exhibition of Marina Camargo (1980, Maceió, Brazil) at the Zielinsky Gallery in Barcelona.
The interest in understanding and distorting the established order of the world drives Marina Camargo’s work towards an expanded notion of displacement, both at a physical level—marked by the relationship with spaces and places—and at a conceptual level—the idea of moving perception beyond codes and conventions. The exhibition focuses on her recent works and includes paintings, drawings, sculptures, photographs, and video.
From the beginning, Camargo’s research has been marked by an expanded notion of drawing, in which image and thought are reciprocally constituted and, from there, structure the work process itself. Issues related to cartography began to interest her during the period she lived in Barcelona (where she studied Visual Culture at the University of Barcelona), and since then, issues related to various notions of displacement have become recurrent in her practice. Returning to Barcelona after twenty years is like returning to the references that have structured her pieces over the subsequent years.
A mirrored, floating, cut world; a soft and permeable border. The works by Camargo in the exhibition suggest other conceptions of territory. Maps, conceived as graphic representations of control and power, are twisted or redrawn by the artist in a flow that takes various directions, shaping continents, inverting scales, trembling the edges. A gesture that occupies the scale of poetry, imagination, and desire.
Marina Camargo (1980, Maceió, Brazil) lives and works between Berlin, Germany, and Porto Alegre, Brazil. She has held numerous exhibitions in different contexts and countries, including: 14th Shanghai Biennale, China; A Certa Sombra, Instituto Ling, Porto Alegre, Brazil; Cartografías fluidas y otras metamorfosis del espacio, Fundación Giménez Lorente/Universidad Politécnica de Valencia, Spain; Shifting: Displaced, Warehouse, Interloper, Seattle, USA; 37th Panorama da Arte Brasileira: sob as cinzas, brasa, Museu de Arte Moderna de São Paulo, Brazil; EXiS Experimental Film & Video Festival, Seoul, South Korea; Mapping the cartographic: contemporary approaches to planetarization, Drugo More, Rijeka, Croatia.
Tras la piel del mapa (Behind the skin of the map). Exhibition by Marina Camargo.
Until September 6, 2024.
Zielinsky. Passatge de Mercader, 10. Barcelona, Spain.
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Banco Macro presented El Oro de los sueños (The Gold of Dreams), the exhibition by Andrés Paredes which is part of a new artistic program within its agenda at the Corporate Tower. The program is called Macro Federal, an initiative to present artists from all the provinces of Argentina, starting with Misiones. It is curated by Patricia Rizzo.
THE GOLD OF DREAMS: ANDRÉS PAREDES AT THE MACRO TOWER
Banco Macro presented El Oro de los sueños (The Gold of Dreams), the exhibition by Andrés Paredes which is part of a new artistic program within its agenda at the Corporate Tower. The program is called Macro Federal, an initiative to present artists from all the provinces of Argentina, starting with Misiones. It is curated by Patricia Rizzo.
Liliana Porter: The Task is the artist’s exhibition at Dia Bridgehampton. The exhibition comprises a new commission alongside a selection of works from the 1970s and video documentation of a recent play by Porter and collaborator Ana Tiscornia.
LILIANA PORTER'S DISLOCATED TIME
Liliana Porter: The Task is the artist’s exhibition at Dia Bridgehampton. The exhibition comprises a new commission alongside a selection of works from the 1970s and video documentation of a recent play by Porter and collaborator Ana Tiscornia.
Within the framework of Pinta Sud | ASU 2024 FORO conversatory, Ticio Escobar - moderated by Irene Gelfman - participated in the exclusive presentation of the book "Colección Mendonca. Paraguay and the art system", by Adriana Almada. The book was presented at CAF - Development Bank of Latin America and the Caribbean.
PARAGUAY AND THE ART SYSTEM
Within the framework of Pinta Sud | ASU 2024 FORO conversatory, Ticio Escobar - moderated by Irene Gelfman - participated in the exclusive presentation of the book "Colección Mendonca. Paraguay and the art system", by Adriana Almada. The book was presented at CAF - Development Bank of Latin America and the Caribbean.
El Centro Botín presenta Partitura, la primera exposición en España de la artista suiza Silvia Bächli.
LAS PARTITURAS DE SILVIA BÄCHLI EN EL CENTRO BOTÍN
El Centro Botín presenta Partitura, la primera exposición en España de la artista suiza Silvia Bächli.
The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.
HYBRID IDENTITY AND SOCIETY IN STARSKY BRINES
The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.
The third and last edition of Art Week Asuncion presented by Pinta Sud | ASU starts today August 5 with an ambitious cultural program, curated by Adriana Almada and accompanied by Irene Gelfman, featuring exhibitions, curatorial programs, lecture series and events.
PINTA Sud | ASU ART WEEK IN ASUNCION
The third and last edition of Art Week Asuncion presented by Pinta Sud | ASU starts today August 5 with an ambitious cultural program, curated by Adriana Almada and accompanied by Irene Gelfman, featuring exhibitions, curatorial programs, lecture series and events.
The trajectory of Barbara Brändli (Schaffhousen, Switzerland 1932 - Caracas, Venezuela, 2011) in photography requires a conscientious analysis of several points. Without stopping at them, it is very likely to miss the reason for her approach, her vision that transcends the documentary as a simple objective or her contributions to that world that she began to consolidate in that Venezuela of welcome on her arrival in South America from her native Switzerland.
BARBARA BRÄNDLI, FROM THE OTHER SIDE
The trajectory of Barbara Brändli (Schaffhousen, Switzerland 1932 - Caracas, Venezuela, 2011) in photography requires a conscientious analysis of several points. Without stopping at them, it is very likely to miss the reason for her approach, her vision that transcends the documentary as a simple objective or her contributions to that world that she began to consolidate in that Venezuela of welcome on her arrival in South America from her native Switzerland.
Fondazione Donnaregina per le arti contemporanee – museo Madre present Vai, vai, Saudade, a collective exhibition which offers a poetic pathway, exploring a series of stories related to the art produced in Brazil since WWII. Curated by Cristiano Raimondi.
“VAI, VAI, SAUDADE”: BRAZIL’S TRAVEL NOTES
Fondazione Donnaregina per le arti contemporanee – museo Madre present Vai, vai, Saudade, a collective exhibition which offers a poetic pathway, exploring a series of stories related to the art produced in Brazil since WWII. Curated by Cristiano Raimondi.
La Panera Art Center of Lleida presents in its exhibition Descolonicemos el mundo(Decolonize the World) a conceptual tour through the production of Regina Jose Galindo (Guatemala City, Guatemala, 1974) in which a decolonizing approach prevails. Although in some cases of her work this process is not so evident, this view can be traced from the geographical experience of the artist's country of origin and its process of colonization and independence.
REGINA JOSÉ GALINDO AND HER DECOLONIZING VISION AT LA PANERA
La Panera Art Center of Lleida presents in its exhibition Descolonicemos el mundo(Decolonize the World) a conceptual tour through the production of Regina Jose Galindo (Guatemala City, Guatemala, 1974) in which a decolonizing approach prevails. Although in some cases of her work this process is not so evident, this view can be traced from the geographical experience of the artist's country of origin and its process of colonization and independence.
The Patio Herreriano Museum hosts the recent proposal by Sandra Gamboa (Bogota, Colombia) in which she outlines the necessary arguments to be able to analyse mental health, especially anxiety and depression. In Encapsulados, the Colombian-Spanish artist invites us to carry out this exercise of understanding, rapprochement and empathy with those who suffer from one of the great plagues of this century through the different related iconography that fills the exhibition hall of the Castilian institution.
ENCAPSULADOS, BY SANDRA GAMBOA, IN VALLADOLID
The Patio Herreriano Museum hosts the recent proposal by Sandra Gamboa (Bogota, Colombia) in which she outlines the necessary arguments to be able to analyse mental health, especially anxiety and depression. In Encapsulados, the Colombian-Spanish artist invites us to carry out this exercise of understanding, rapprochement and empathy with those who suffer from one of the great plagues of this century through the different related iconography that fills the exhibition hall of the Castilian institution.
