«Antarctica is the visible presence of change. Measured time is embodied in a never-ending sequence of sun and fog, of calm, of snowfall and stone fields exposed by wind, of tides, of the advances and retreats of ice floes and pack ice on the bay. It’s a landscape in motion, nothing lasts beyond this moment. Here in Antarctica every second has the value of the present. It appears and disappears before it can be remembered.» Mireya Masó

Mireya Masó mostly works in video and photography, and in recent years she has essentially concerned herself with the study of human beings through their action on the landscape. In her project ANTARCTICA. TIME OF CHANGE, however, she engages with a natural landscape barely touched by man, and focuses her investigations on the mechanisms of perception of the human being in an environment in continual transformation.

The exhibition, which sets up a dialogue with scientific research from the perspective of art, is the outcome of fieldwork carried out during the austral summer of 2006 at Argentine bases in Antarctica in collaboration with the marine ecologist Mercedes Masó.

The conversations between the artist and scientists from different disciplines provide the basis for an informal discussion session in parallel with the exhibition which will consider questions such as Perception in the Antarctic environment in terms of glaciology, biology, psychology, neurology and other disciplines, and The interpretation of Antarctic microorganisms from the perspective of bionanotechnology and architecture. These talks will thus trace two thresholds of perception — the macroscopic, in the expanses of ice and snow that make up the Antarctic landscape, and the microscopic, through the experimentation with diatoms, an abundant form of Antarctic phytoplankton.

With this show, marking the completion of a three-year cycle in which the artist’s work has centred on Antarctica, Arts Santa Mònica is presenting for the first time a body of new material produced especially for this occasion.

The exhibition will be complemented by a series of activities for a wide range of publics (including school groups) designed to enhance our understanding of Antarctica and stimulate reflection on the environment in general.

The project has benefitted from the support of the Dirección Nacional del Antártico in Argentina (DNA), the Institut de Ciències del Mar (CSIC) in Barcelona and the Institut d’Arquitectura Avançada de Catalunya (IaaC). The exhibition will be part of the ‘I Do’ programme, an EU project involving museums and cultural centres in collective action to prevent climate change during 2010 within the European Commission’s 7th Framework Programme.

«Antarctica is the visible presence of change. Measured time is embodied in a never-ending sequence of sun and fog, of calm, of snowfall and stone fields exposed by wind, of tides, of the advances and retreats of ice floes and pack ice on the bay. It’s a landscape in motion, nothing lasts beyond this moment. Here in Antarctica every second has the value of the present. It appears and disappears before it can be remembered.» Mireya Masó

Mireya Masó mostly works in video and photography, and in recent years she has essentially concerned herself with the study of human beings through their action on the landscape. In her project ANTARCTICA. TIME OF CHANGE, however, she engages with a natural landscape barely touched by man, and focuses her investigations on the mechanisms of perception of the human being in an environment in continual transformation.

The exhibition, which sets up a dialogue with scientific research from the perspective of art, is the outcome of fieldwork carried out during the austral summer of 2006 at Argentine bases in Antarctica in collaboration with the marine ecologist Mercedes Masó.

The conversations between the artist and scientists from different disciplines provide the basis for an informal discussion session in parallel with the exhibition which will consider questions such as Perception in the Antarctic environment in terms of glaciology, biology, psychology, neurology and other disciplines, and The interpretation of Antarctic microorganisms from the perspective of bionanotechnology and architecture. These talks will thus trace two thresholds of perception — the macroscopic, in the expanses of ice and snow that make up the Antarctic landscape, and the microscopic, through the experimentation with diatoms, an abundant form of Antarctic phytoplankton.

With this show, marking the completion of a three-year cycle in which the artist’s work has centred on Antarctica, Arts Santa Mònica is presenting for the first time a body of new material produced especially for this occasion.

The exhibition will be complemented by a series of activities for a wide range of publics (including school groups) designed to enhance our understanding of Antarctica and stimulate reflection on the environment in general.

The project has benefitted from the support of the Dirección Nacional del Antártico in Argentina (DNA), the Institut de Ciències del Mar (CSIC) in Barcelona and the Institut d’Arquitectura Avançada de Catalunya (IaaC). The exhibition will be part of the ‘I Do’ programme, an EU project involving museums and cultural centres in collective action to prevent climate change during 2010 within the European Commission’s 7th Framework Programme.

With:
Mercedes Masó, Marta Malé, Enric Puig Punyet, Patricia Homs


Related links:
about Antarctica
www.youtube.com/artssantamonica
www.youtube.com/artssantamonica1
www.youtube.com/artssantamonica2

On 5 July 1983, in the great round hall of the Saint Nicolas tower overlooking the port of La Rochelle, during 24 hours without a break Valère Novarina made 2,587 drawings in Indian ink and red pencil depicting the characters of his play «The Drama of Life», which was premiered at the Avignon festival in 1986.

«Why 2587? It’s a number like any other. But I tested it and it works: it’s a multiple of 13, like all the numbers in the Bible, it’s divisible by 4, which is Adam’s number, the number of matter, of the creation of the world. With 3 you get a surface and with 4 a volume. It’s a staging of the generic. It’s very simple: Adam is asked to say who went before him. He enumerates them.»

The exhibition THE THEATRE OF DRAWING will present all of these drawings, first shown in the Hall of Theology in the Palace of the Popes in Avignon in 1986. The complete series of drawings, a sound recording of 311 definitions of God (an extract from Novarina’s book La chair de l’homme) and the profiles of the characters from the play provide an introduction to one of the foremost creative talents in contemporary French and European art and theatre in his multi-faceted work as a writer, playwright, stage designer, painter and draughtsman.

On 5 July 1983, in the great round hall of the Saint Nicolas tower overlooking the port of La Rochelle, during 24 hours without a break Valère Novarina made 2,587 drawings in Indian ink and red pencil depicting the characters of his play «The Drama of Life», which was premiered at the Avignon festival in 1986.

«Why 2587? It’s a number like any other. But I tested it and it works: it’s a multiple of 13, like all the numbers in the Bible, it’s divisible by 4, which is Adam’s number, the number of matter, of the creation of the world. With 3 you get a surface and with 4 a volume. It’s a staging of the generic. It’s very simple: Adam is asked to say who went before him. He enumerates them.»

The exhibition THE THEATRE OF DRAWING will present all of these drawings, first shown in the Hall of Theology in the Palace of the Popes in Avignon in 1986. The complete series of drawings, a sound recording of 311 definitions of God (an extract from Novarina’s book La chair de l’homme) and the profiles of the characters from the play provide an introduction to one of the foremost creative talents in contemporary French and European art and theatre in his multi-faceted work as a writer, playwright, stage designer, painter and draughtsman.

Media partner Arxive: EL PUNT

Interesting links: www.espaibrossa.com | www.novarina.com

LA RAMBLA, a joint project that has emerged from the shared concerns of two highly acclaimed contemporary photographers, the Catalan Jordi Bernadó (Lleida, 1966) and the Italian Massimo Vitali (Como, 1944), sets out to portray present-day Barcelona by way of one of its most emblematic public spaces, La Rambla.

Each photographer, faithful to his own visual poetics, presents his personal vision of La Rambla: taken together, the photos show us two faces, two profiles, which are no less than two ways of looking and seeing.

Bernadó probes the interiors of buildings on La Rambla in contained, pared-down images of hidden or little-known spaces and other, more familiar spaces that strike us here as strange, ambiguous, almost grotesque. For his part, Vitali captures the more cosmopolitan, public face of La Rambla, the popular international thoroughfare, in panoramas of crowds in the urban space as a scenario of mass tourism.

By way of the specificity of the Barcelona Rambla, this photographic chronicle proposes a critical reflection on architecture, urbanism and the transformation of the contemporary city in the new global era.

LA RAMBLA, a joint project that has emerged from the shared concerns of two highly acclaimed contemporary photographers, the Catalan Jordi Bernadó (Lleida, 1966) and the Italian Massimo Vitali (Como, 1944), sets out to portray present-day Barcelona by way of one of its most emblematic public spaces, La Rambla.

Each photographer, faithful to his own visual poetics, presents his personal vision of La Rambla: taken together, the photos show us two faces, two profiles, which are no less than two ways of looking and seeing.

Bernadó probes the interiors of buildings on La Rambla in contained, pared-down images of hidden or little-known spaces and other, more familiar spaces that strike us here as strange, ambiguous, almost grotesque. For his part, Vitali captures the more cosmopolitan, public face of La Rambla, the popular international thoroughfare, in panoramas of crowds in the urban space as a scenario of mass tourism.

By way of the specificity of the Barcelona Rambla, this photographic chronicle proposes a critical reflection on architecture, urbanism and the transformation of the contemporary city in the new global era.

Link relacionat:
www.youtube.com/artssantamonica

REMOTE VIEWING aims to offer a sample of the most innovative work being done in the field of video art today together with a broad yet singular overview of the most representative areas of activity in video since 2000. The works have been selected from those presented by a variety of contemporary art galleries from around the world at the seven annual LOOP Barcelona video art fairs (2003-2009). The total of almost 50 pieces, including single-channel projections and videos shown on screens throughout the exhibition, explore different forms and formats — including methodologies derived from the world of film and other contemporary techniques — and themes such as the body, the idea of landscape, the social nature of art or humour as a medium for criticism.

Paul Young, curator of the exhibition, is a journalist and director of a dozen international award-winning shorts; his most recent book is Art Cinema (Taschen, 2009) and he is a regular contributor to newspapers such as The New York Times and The Los Angeles Times and magazines such as Rolling Stone and ARTnews, among others.

The exhibition REMOTE VISION. THE BEST OF LOOP: NEW VIDEO ART FROM EUROPE AND THE AMERICAS was presented at the Pacific Design Center in Los Angeles from October to December 2009.

REMOTE VIEWING aims to offer a sample of the most innovative work being done in the field of video art today together with a broad yet singular overview of the most representative areas of activity in video since 2000. The works have been selected from those presented by a variety of contemporary art galleries from around the world at the seven annual LOOP Barcelona video art fairs (2003-2009). The total of almost 50 pieces, including single-channel projections and videos shown on screens throughout the exhibition, explore different forms and formats — including methodologies derived from the world of film and other contemporary techniques — and themes such as the body, the idea of landscape, the social nature of art or humour as a medium for criticism.

Paul Young, curator of the exhibition, is a journalist and director of a dozen international award-winning shorts; his most recent book is Art Cinema (Taschen, 2009) and he is a regular contributor to newspapers such as The New York Times and The Los Angeles Times and magazines such as Rolling Stone and ARTnews, among others.

The exhibition REMOTE VISION. THE BEST OF LOOP: NEW VIDEO ART FROM EUROPE AND THE AMERICAS was presented at the Pacific Design Center in Los Angeles from October to December 2009.

Interesting links:
www.loop-barcelona.com
www.youtube.com/artssantamonica

A journey in pictures through the highly individual film-making process of director Albert Serra, by way of the photographs of Román Yñán and the documentary Waiting for Sancho by Mark Peranson. There will also be screenings of previously unseen footage.

The exhibition has been designed by the director himself together with some of the regular contributors to his films.

A journey in pictures through the highly individual film-making process of director Albert Serra, by way of the photographs of Román Yñán and the documentary Waiting for Sancho by Mark Peranson. There will also be screenings of previously unseen footage.

The exhibition has been designed by the director himself together with some of the regular contributors to his films.

Related link:
www.youtube.com/artssantamonica