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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com STAND / BOOTH 9C13 ALEJANDRA LAVIADA BERNARDO ORTIZ DÉNES FARKAS FRANÇOIS BUCHER JORGE YEREGUI JOSE GUERRERO IRA LOMBARDIA MP&MP ROSADO NICOLAS GROSPIERRE

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Page 1: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

STAND / BOOTH 9C13

ALEJANDRA LAVIADA

BERNARDO ORTIZ

DÉNES FARK AS

FRANÇOIS BUCHER

JORGE YEREGUI

JOSE GUERRERO

IRA LOMBARDIA

MP&MP ROSADO

NICOLAS GROSPIERRE

Page 2: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

ALEJANDRA LAVIADAMéxico DF, México, in 1980. Juarez #56 is a project based on the site of an abandoned building in Mexico City that is scheduled for demolition. project is an attempt to record pieces of history that are simulta-neously being erased and created, and investigates the dialectic between destruction and construction (the destruction of a site and construction of an image, but also the destruction of the site and the new construction that will replace it). It reflects a city that is growing and changing every day, struggling to reconcile past and future histories. In the process, new buildings grow old very fast and old buildings are left abandoned, modern ruins replace old ones and stand as empty monuments of progress. Laviada wants to capture this ‘in-between’ stage of things; that fleeting moment when the past and present collide and what once was, now fades away in its ruins.

She received a BFA at the Rhode Island School of Design in Providence, Rhode Island and subsequently completed her MFA at the School ofVisual Arts in New York City. Her work exam-ines the processes of construction-destruction in the center of Mexico City. Working in abandoned buildings, she stages interventions working with the traces that their last occupants left behind. Using the ordinary objects she finds in these spaces, she constructs ephemeral installation-sculptures that she photographs on location, creating an improvised studio. Alejandra leads us to modify our perception of reality, with the result that objects lacking in conceptual or formal entity serve to relate object (memory of the place), sculpture (the transformation of these elements into the mere disposition of themselves) and image (that is the final visual basis which remains through the medium of photography). Partly between installation, sculpture and contemporary photography, Re-Constructions (2011), compared to past series like Photo-Sculptures (2008), presents a shift of direction in which the objects appear to us with stronger evidence of accumulative principles, or De-Constructions (2009), in which the artist’s interventions in the place were an eroding agent, adding to the chain of the deconstruction of certain buildings. In her last project, Geometry of Space (2014), explores the intersection between painting, photography and sculpture using the photography’s potential to construct an image that would not exist in reality.

She has participated in relevant exhibitions and awards, including Across the Divide, Raiko Photo Center, San Francisco United States, 2011; commissioned by Todd Hido and Solo Project curated by Laurent Fievet and Silvia Guerra in SWAB Barcelona; Newcomer award Photo España 2009, and individual exhibition in PhotoEspaña, Comunidad de Madrid, 2010; Tobias Os-trander curated her first solo show in a museum in 2010, Museo Experimental El Eco, Mexico City; selected as one of the emergent photographers of America in 2009; selected in Hyeres Photography Festival, Villa Noailles, Hyeres, France; New York Photo Festival, Chisel, curated by Kathy Ryan, NY. 2008; Nominated Wallpaper Emerging Photographer in 2008; selected for the Festival of Photography PEEK/Art+Commerce 2007; honorary title of the XII Bienal de Fotografía en el Centro de la Imagen. Mexico City, 2006. Her editorial work has been published in the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page of the Culture of the World in a sepcial edition for ARCO. Her work had also been included in important publications as Art Photography Now (Second Edition) Susan Bright; Abstracción Temporal, Museo Experimental El Eco 2010; or Contemporary Art Mexico. Thames and Hudson.

Juarez #56 es un proyecto basado en espacio suspendido en el tiempo; un edificio de oficinas viejo en la Ciudad de México que se encuentra en total abandono y en espera de ser demolido por completo. Espacios como este abundan en la ciudad, y son el reflejo de una historia que al mismo tiempo que se está escribiendo está también desapareciendo. En la arquitec-tura de un lugar se manifiesta el paso del tiempo y su inevitable deterioro… los edificios nuevos envejecen muy rápido, los viejos quedan abandonados, las ruinas modernas reemplazan a las viejas y se convierten en monumentos olvidados. La fotografía permite a Laviada capturar este tiempo suspendido, un momento de transición en el que el pasado y el futuro se encuentran por un instante.

Alejandra Laviada, formada en Pintura por la Rhode Island de NY, investiga sobre los procesos de construcción-destrucción del centro de la ciudad de Mexico DF. Trabajando en edificios abandonados, interviene sobre los rastros dejados por sus últimos ocupantes. Construye, a partir de los objetos ordinarios que encuentra allí, instalaciones-esculturas efímeras que fotografía en el mismo lugar, empleado a modo de estudio improvisado. Alejandra nos conduce a modificar nuestra percepción sobre la realidad con el fin de que objetos desprovistos de entidad conceptual o formal sirvan para relacionar objeto (memoria del lugar), escultura (la transformación de esos elementos por la mera disposición de los mismos) e imagen (que finalmente es el poso visual que nos queda a través del medio fotográfico). A medio camino entre la instalación, la escultura y la fotografía contemporánea, Re-Constructions (2011), plantea un nuevo giro de tuerca a series anteriores como Photo-Sculptures (2008), en la que los objetos se nos presentaban con mayor evidencia bajo principios acumulativos, o De-Constructions (2009), en los que las intervenciones de la artista sobre el lugar era un agente erosionador más sumado a la cadena de destrucción de tales edificios. En su último proyecto, Geometry of Space (2014), explora la intersección entre pintura, fotografía y escultura, tomando el potencial de la fotografía para construir una imagen u objeto inexistente en la realidad.

Recientemente ha participado en Across The Divide. Raiko Photo Center. San Francisco. EEUU, comisariado por Todd Hido (2011), y Solo Projetct curado por Laurent Fievet y Silvia Guerra en SWAB Barcelona. Formada en la Rhode Island School of Design y en la maestría de Fotografía en la School of Visual Arts,(EE.UU). Fue Premio Descubrimientos Photo España 2009, y expuso individualmente en PhotoEspaña, Comunidad de Madrid, 2010. Tobias Ostrander cura su primera individual en un museo en 2010 Museo Experimental El ECo, México DF. Es seleccionada como una de las fotografas emergentes de América en el 2009. Seleccionada en Hyeres Photography Festival, Villa Noailles, Hyeres, Francia. 2010. New York Photo Festival, Chisel, curaduría de Kathy Ryan, Nueva York. 2008. Fue nombrada Wallpaper Emerging Photographer en 2008. Selecciónada para el Festival de fotografía PEEK / Art+Commerce. 2007. Mención de honor de la XII Bienal de Fotografía en el Centro de la Imagen. México DF 2006. Su trabajo editorial se ha mostrado en la Revista New York Times, Wallpaper, Capricious, y American Photo. En el 2011, su fotografía de la serie Deconstructions fue portada del Cultural del Mundo en el número especial de ARCO. Su trabajo ha sido igualmente incluido en importantes publicaciones como Art Photography Now (Segunda Edición), de Susan Bright; Abstracción Temporal, Museo Experimental El Eco 2010; o Contemporary Art Mexico, Thames and Hudson.

Page 3: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Stacking

Juarez 56

2007

C-print

74 x 63,5 cm

Ed. 5+2 AP

Page 4: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Telephones

Juarez 56

2007

C-print

74 x 63,5 cm

Ed. 5+2 AP

Page 5: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Fallen

Juarez 56

2007

C-print

63,5 x 74 cm

Ed. 5+2 AP

Page 6: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Checkers

Juarez 56

2007

C-print

63,5 x 74 cm

Ed. 5+2 AP

Page 7: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

BERNARDO ORTIZBogotá, Colombia, 1972.

“Amerikanische Lieder (Fragment)" is an unprecedented project made from the use of obsolete computer programs, revealing at the same time the precariousness of the image and the infinite translation capacity of its most basic components. It is devised from letters and characters located in a grid by virtue of their graphic density, assigning the space to the tone of lower density and the characters “G” or “8” for the darkest areas. The resulting image/text is taken as a template and subtly intervened with graphical interference that as transmission errors that question the transparency of these translation operations. The design is directly transferred on the wall using a vinyl stencil. On top of the mural, a series of giclées is overlaid and in which the typogram generates not only a form, but the transcription of the hummingbirds that the musical choruses interpret in famous songs of American popular music. Especially choruses that do not denote anything: e.g "Dee-dum-dee-doodum-Dum "or" she-bang-bang-she-doo " (which can be clearly seen that it means something).

Lives and works between Brazil and Colombia. He studied Art at Universidad de Los Andes in Bogotá and then got a Master’s Degree in Philosophy at Universidad del Valle in Cali. This year, he will participate in the XX edition of Biennale of Sydney, to be held between March and June in the australian city. His recent exhibitions include Borrar, an individual show on MAMBA (Museo de Arte Moderno de Buenos Aires) 2016, Biennale of Sydney (Sydney, Australia, 2016) Biennial of the Americas (Denver, USA, 2015), 43º Salón Internacional de Artistas (Medellín, Colombia), XXX Bienal de São Paulo (Brazil, 2012), XI Bienal de Lyon (Francia,2011) Ephemeroptarae (Austria, 2013), Game Piece (Noruega, 2013), MDE 07 (Colombia, 2007) Ortiz was co-curator of the 7th Mercosur Biennial (Porto Alegre, Brazil) and the 41 Salón Nacional de Artistas (Cali, Colombia).He worked as a professor at Universidad de Los Andes in Bogotá, at Universidad del Valle and at Instituto Departamental de Bellas Artes in Cali. Bernardo Ortiz’s art works revolve around the words, drawings and symbolic spots that compose a dialogue with the time and with its effects and events. Thanks to his formation as philosopher and his knowledge of literature, he investigates the connection, always tense, between the written word and the painting or the drawing, by using colors, typographies or textures. The bidimensional surface is his works integrates a materials overlaps, texts, folds.

Being looked over, these pieces show some decontextualized sentences through which the artist tries to relate images and language, making evident that words can evocate an image, but they also can work as pictorial object by themselves. His works take part of important collections as Colección Lara, Tate Modern Collection, London, UK; Museum of Modern Art (MoMA), New York, USA; CNAP Centre National des Arts Plastiques, France; Deutsche Bank, Frankfurt, Germany; Patricia Phelps de Cisneros Collection, New York, USA; Museo de arte Moderno la Tertulia, Cali, Colombia; Kadist Art Foundation, Paris, France; Private collections in USA, Brazil, England, Colombia.

"Amerikanische Lieder (Fragmento) es un proyecto inédito realizado a partir del uso de programas de computador obsoletos, revelando al mismo tiempo la precariedad de la imagen y la in-finita capacidad de traducción de sus componentes más básicos. Los tonos de la imagen son interpretados como letras y caracteres ubicados en una retícula en virtud de su densidad gráfica, asignando la tabulación al tono de menor densidad y una "G" o un "8" a las zonas de mayor densidad. La imagen/texto resultante puede ser tomada como la plantilla para ser intervenida sutilmente con interferencias gráficas que funcionan como errores de transmisión que cuestionan la transparencia de estas operaciones de traducción. El dibujo es transferido directamente a la pared usando un esténciles de vinilo. Sobre el mural se superponen una serie de giclées en los que el tipograma genera no solo una forma, sino la transcripción de los tarareos que los coros musicales interpretan en famosas canciones de la musica popular americana, especialmente aquellos coros que no significan nada: v.g. “dee-dum-dee-doodum-dum” o “she-bang-bang-she-doo” (que viéndolo bien, está a punto de significar algo).

Vive y trabaja entre Brasil y Colombia. Ha estudiado arte en la Universidad de Los Andes en Bogotá, obteniendo posteriormente una Maestría en filosofía de la Universidad del Valle en Cali. Participa en importantes eventos internacionales, como su exposición individual Borrar en el MAMBA (Museo de Arte Moderno de Buenos Aires) 2016, la Biennale of Sidney, 2016, Biennial of the Americas (Denver, USA, 2015), 43º Salón Internacional de Artistas (Medellín, Colombia), XXX Bienal de São Paulo (Brasil, 2012), XI Bienal de Lyon (Francia, 2011), Ephemeroptarae (Austria, 2013), Game Piece (Noruega, 2013), MDE 07 (Colombia, 2007).

Bernardo Ortiz ha sido co-curador de la VII Bienal de Mercosur (Porto Alegre, Brasil) y del 41º Salón Nacional de Artistas (Cali, Colombia). Además, ha ejercido de profesor en la Universidad de Los Andes en Bogotá, en la Universidad del Valle y del Instituto Departamental de Bellas Artes en Cali. El trabajo artístico de Bernardo Ortiz gira en torno a palabras, dibujos y manchas simbólicas que dialogan con el tiempo, con sus efectos y con sus acontecimientos. A partir de sus conocimientos de filosofía y literatura, investiga la vinculación, siempre tensa, entre la pal-abra escrita y la pintura o el dibujo, utilizando para ello colores, tipografías o texturas. Las superficies bidimensionales de sus obras se componen de superposiciones de materias, de textos, de dobleces. Al ser recorridas, estas piezas muestran frases descontextualizadas mediante las que el artista trata de relacionar imagen y lenguaje, evidenciando con ello que las palabras pueden evocar una imagen, pero también pueden funcionar como elementos pictóricos por sí mismos, llegando incluso a distanciar la imagen del texto con el que se relaciona. Al ser recorridas, estas piezas muestran frases descontextualizadas mediante las que el artista trata de relacionar imagen y lenguaje, evidenciando con ello que las palabras pueden evocar una imagen, pero también pueden funcionar como elementos pictóricos por sí mismos, llegando incluso a distanciar la imagen del texto con el que se relaciona. Su obra está presente en destacadas colecciones, entre otras, las de Colección Lara, Tate Modern Collection, Londres, Reino Unido; Museum of Modern Art (MoMA), Nueva York, USA; CNAP Centre National des Arts Plastiques, Francia; Deutsche Bank, Frankfurt, Alemania; Patricia Phelps de Cisneros Collection, Nueva York, USA; Museo de arte Moderno la Tertulia, Cali, Colombia; Kadist Art Foundation, París, Francia; Private collections, USA, Brasil, Inglaterra, Colombia.

Page 8: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Indicative image of the installation entitled "Amerikanische Lieder" / Imagen orientativa de la instalación titulada " Amerikanische Lieder"

“Amerikanische Lieder (Fragment)" is an unprecedented project made from the use of obsolete computer programs, revealing at the same time the precariousness of the image and the infinite translation capacity of its most basic components. It is devised from letters and characters located in a grid by virtue of their graphic density, assigning the space to the tone of lower density and the characters “G” or “8” for the darkest areas. The resulting image/text is taken as a template and subtly intervened with graphical interference that as transmission errors that question the transparency of these translation operations. The design is directly transferred on the wall using a vinyl stencil. On top of the mural, a series of giclées is overlaid and in which the typogram generates not only a form, but the transcription of the hummingbirds that the musical choruses interpret in famous songs of American popular music. Especially choruses that do not denote anything: e.g "Dee-dum-dee-doodum-Dum "or" she-bang-bang-she-doo " (which can be clearly seen that it means something).

"Amerikanische Lieder (Fragmento) es un proyecto inédito realizado a partir del uso de programas de computador obsoletos, revelando al mismo tiempo la precariedad de la imagen y la infinita capacidad de traducción de sus componentes más básicos. Los tonos de la imagen son interpretados como letras y caracteres ubicados en una retícula en virtud de su densidad gráfica, asignando la tabulación al tono de menor densidad y una "G" o un "8" a las zonas de mayor densidad. La imagen/texto resultante puede ser tomada como la plantilla para ser intervenida sutilmente con interferencias gráficas que funcionan como errores de transmisión que cuestionan la transparencia de estas operaciones de traducción. El dibujo es transferido directamente a la pared usando un esténciles de vinilo. Sobre el mural se superponen una serie de giclées en los que el tipograma genera no solo una forma, sino la transcripción de los tarareos que los coros musicales interpretan en famosas canciones de la musica popular americana, especialmente aquellos coros que no significan nada: v.g. “dee-dum-dee-doodum-dum” o “she-bang-bang-she-doo” (que viéndolo bien, está a punto de significar algo).

Mural painting on vinyl. Ink, graphite, spray paint on punched wax paper and inked typography on paper. Print Giclée print on paper Canson German 300 g. Measures: 350 x 705 mt

Pintura mural sobre vinilo de corte. Tinta, grafito,pintura en aerosol sobre papel mantequilla perforado y palabras tinta sobre papel.. Impresión Giclée print sobre papel Canson German 300 g. Medidas: 350 x 705 mt

*Proyecto finalista al Premio ILLY de ARCOMadrid 2017 / Finalist project of IILLY Award at ARCOmadrid 2017

Page 9: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Mural installation view by Bernardo Ortiz at the Museum of Modern Art of Buenos Aires, 2016

Painting and cutting plotter on wall. Inspired by the excerpt from Leonard Cohen's song: "The continuous suffer of the Word made into flesh" (detail).

Vista instalación mural de Bernardo Ortiz en el Museo de Arte Moderno de Buenos Aires, 2016

Pintura y plotter de corte sobre pared. Inspirado en el extracto de la canicíón de Leonard Cohen: “ The continuous suffer of the Word made into flesh”(detalle).

Page 10: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

"Amerikanische Lieder"

Untitled#01

S/t#01

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

50 x 70 cm

( detail/ detalle)

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Page 11: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

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-ooh baby, so so cruel

amerikanische-lieder.indd 2 2/16/17 1:03 AM

"Amerikanische Lieder"

Untitled#02

S/t#02

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

50 x 70 cm

( detail/ detalle)

Page 12: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

"Amerikanische Lieder"

Untitled#03

S/t#03

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

50 x 70 cm

( detail/ detalle)

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ooooh ooh

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oooh babyoooh baby

ooooh oohyou’re so weak

you’re so weakooooh ooh

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you’re so weakyou’re so weak

you’re so weak

you’re so weak

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oooh babyoooh baby

oooh baby

oooh babyoooh baby

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you’re so weakyou’re so weak

you’re so weak

you’re so weak

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you’re so weak

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oooh babyoooh baby oooh baby

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you’re so cruel

ooooh ooh

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ooooh ooh

ooooh oohoooh baby

oooh babylittle

little little oooh babyoooh babyooooh ooh

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you’re so cruelyou’re so cruel

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you’re so weak

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you’re so cruelso so cruel

so so cruelooooh ooh

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oooh baby

you’re so cruelso so cruel

so so cruelso so cruel

you’re so cruelso so cruel

so so cruelso so cruel

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you’re so cruelyou’re so cruel

you’re so cruelyou’re so cruel

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ooooh ooh

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you’re so cruelyou’re so cruel

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you’re so cruelyou’re so cruel

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you’re so cruelyou’re so cruel

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oooh babyyou’re so cruel

ooooh oohyou’re so cruel

you’re so cruel

you’re so cruelyou’re so cruel

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you’re so cruel

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you’re so cruel

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you’re so cruel

you’re so cruelyou’re so cruel

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oooh babyoooh baby

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you’re so cruel

you’re so cruel

so so cruelso so cruel

so so cruel

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so so cruelso so cruel

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feeble

[1] Frank O’Hara, “St. Paul and all That”

amerikanische-lieder.indd 3 2/16/17 1:03 AM

Page 13: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

martes f e b . 1 5 . 2 0 1m 7artes

amerikanische-lieder.indd 4 2/16/17 1:04 AM

"Amerikanische Lieder"

Untitled#04

S/t#04

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

50 x 70 cm

( detail/ detalle)

Page 14: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

"Amerikanische Lieder"

Untitled#05

S/t#05

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

50 x 70 cm

( detail/ detalle)

‘’ ‘ |’’;|2:’2|:|1111||;12; :2;;1|;12:|112;1222ñ2; ‘: ; :1 ;; ‘:; :1:11 ;1; ;201: ‘ ‘: ; | :$01 ‘10&1’’’’; ‘;0&&20$&&&022221:|: :’ ‘1|1 ‘; 111|:;1 :’ñ| :2&$22ñ2ñ0$&&2111||ñ000&01ñ&20|1ñ;;2ñ2;;;21:|11;|202222$$|11;ñ;;02’:212ñ0;2222 ‘;;1 ;ñ121|’’ ‘’ :::211:::ñ21;:’ :; ;: | ‘ 2’ :’:;:::;;’ ::||;;::;|1: ‘’:|11|||;|;’|11|1;;11|1|11|:’ ‘ ::’ :: :;::’ :::’ ;|: ‘’ : |12|: ::: :;1ñ1||1;’ :;11ñ&$&$&&&00&&$ñ1|:’ :;: ;:’;;:::1;:|;: ‘’:;;::;: |;|’ ‘;2&$212ññ2$&&&000$00ñññ$$ñ1ñ020ñ22111ñ222121|12||;12|211|1||20122ñ|1ññ2ñ21:;11|2;|2’;:12|’ ‘::||11 ‘;;11;;;;:’ ‘’’;;;;:: ‘’::;;;;: 11|1111111||||11111||;:::;111ñ12ñ1; ‘’:;;|: ;: ‘:’ ::’ ‘’::’’ :;::’’ :;2ñ||: ;11|;;;: ‘:|11|1220$$&$&$$ñ21;;;2111:’;’ 1| ;’ ‘;|;’;’|’ ‘:;::;’:;:’ : 2|1’ :12&&&$$$$ñññ200$02$$ñ211$ñ1ñ11111|1211|11||||1||11111111|1211::0|;:’211;;;:|21;|;11 ;1;:’: ‘:::;;’ ‘:;11|;;:’’|; ‘ ‘ ‘ ‘ ‘::: ‘: ‘ ‘’:;: ‘;11::|111111|1|11|;|||1;;:;::122222; :;1|;: ‘;: :’:: :;’ ::’’ ‘ :’’::’’:|; ;;;:’’: |ñ111;12ñ122120ññ$00021212|;;;; :;::’: |; :|::’’::;: ‘:::|:||;;;1|:;: ||;:;ñ1|: ‘11ñ&&&ññ00&&&0ññ&ññ$021111|21|;’’: ::’:|;||;;|;;;;|1;|||1111ñ1211||;:;1;::::;: ;21;:::’ ;22:’:’:11|;|;;::;: : :1 ‘ ‘ ‘; 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‘’ :2;:::’:|||1;|112||:: :: ;;:’::::;11111|;||;1|111; ;: |:’ ;: ‘’:|11ñ00ñ0$212002211121;’ ‘:;:: ::’:’:::: :; ‘ ‘ ‘:;::: ::::;’ ‘ ‘ : ‘;:’ $&&&0ñ2 ‘ñ$ñ|’ ‘ :|ñ21ñ&&&ñ21:112111;|2ñ;;;11111|::’’:22;1ñ1112$$11121|2;221|112|1121||:;1;;11||1;||; :;|;;;;1; :;|;:;1;|: ;: |ñ;’:;;|’ 1ñ:21;221;11;;|ñ;;;;;:|21;::’ 1|11|1;:::::;|11111||12: :: :11;:1220&0ññ0&$0211$ñ2$&&02221112:::;|; ‘ ‘: :’ ::’ ‘ :;;: ;; ‘ ‘ ‘;:: ‘::;::: ::::’ ‘:’ ‘ : ‘’ ‘’ 0ñ2211$2 ;&;’ ;;:|;:&$$$02221111|12211111|;;:;1|:;1|:11; ‘1;122|12|220ñ01111ñ;;:;|;|11;;|11;ñ;:|1;::: ::;;;||ñ1;:2111’ :|;|’ |1’ 111;:|2;|:::;;:;1;;1121;;||||;::::;;;:::::’ ::111111|;’ :;|;;11|1$| ;’ ; ññ111ñ$222&&0ññ$ñ$$22ññññ0&&221;ñ&ñ1222221: ‘ :::’ ‘ ‘ : :;: ‘ ‘’:’ :’ ::’’::’ :’’ : ‘:’;: ‘ 1&22112&:’&1|11:|||21;2&021|11111|;;1ñ;;211||2|:212|’2ñ;11;1ñ|:22ñ121111111|:11;12|1ñ2ñ;’;|10|;;;1||| :: :;:;:’:|::|11||; ;;: 21: ;: :11 : ‘ :;::;|:|2;::’ ‘||;’’’ : :112111|;’ :||1||122 ‘;: :’ ‘22112ñ02ñ2ñ0&&&01ñ$&$02$0ññ$$2ñ1ñ222222112ñ11; ‘’ ‘:;;’ ‘ ::: :: ‘;1;: :|:;: ;;;: ‘:’ ::’:::’’ : :: :’’ ‘; : ñ$ñ020&| ñ211ñ::|;12$&1|111111|;;11;:;|:|1:;2::’:1:;||202102|11;|21;::;21:’;1;|1|12||11:;:1ñ1|;|ñ2||;;|||;;;|:::;;: ‘;111;;;|12;::1ñ|;1|: ‘10: ‘ :;:;||:’||;;;:;;;:’11::::’ ;;;;;;:’ :|11||;||’ ;;||1ñ2 |2 ;1: :::: ‘ñ1121222$&011ñ&&021222ññ2&02ñ0$&0ñ220&02ñ11|12$2: : ;| ‘ :: ‘:: ::;’’: ‘’;:;1’;:;’ : ‘’ ñ&&&&&2 02|10:1;’0&0222222111;|ñ1:|1ñ1’11;;;;1|122211||11122111|111||2:|;;1;;;|;|1121221;;:21:;1;:;;:::’:;1|’’:’ :;;:12;;:’;1::2111 : :1;’’;:’’’ ‘: :;: : ‘ : ::;||;:’ :|111||;;;;|1ññ: :::’ : ‘:’ ‘ñ$2ññ20ñ0$&&02110&ñ1222ñ$&ññ&&$ñ$0ññ21ññ$&$211;ñ2ñ1 : ‘:’’:;:;; ‘:; ‘;;::’ ‘; ‘’:;:::’’::’;;:;:’ ;: ::12: : ‘$&&&&1:&121ñ|11ñ&ñ10211|11ññ121:1|1$2110ñ111;;1|1|11|;::;|121211|::2||111|;;:|;|121:::’;;112|1:’’’:;:’: :: ‘:: :;;:’:; 1|: : 11’ ñ2; : ‘ ‘ :;::;||||;’::;;;1|||1|11$| : ‘ :;;: |ñ$12$2122ñ0&&0$2120$$1112ñ&&&2ñ&&02ñññ212&&&1222ñ|ñ ‘::: :: :; ‘:|:: ‘1:’’:;: :’ ‘:::’ ‘:;:’ :’|2:’’ ;: 1&&$&ñ1$20110$&&2;|111;:|11211122;11|;1ñ1||;::: :::|;; ;:’’111211;111|;::;11;:: ‘;|11 ||’::’||;||;1;::::;:11;1|:’:;:;|:: ‘:’:’’ ‘ : ;2: ::;’ ; |;’:’’’’ ‘ ‘;;;;: ‘||;1;:::211;;;|11 |1ñ$ñ$01212$&$220ñ$0ñ&0122ñ&&&210$&&$ññ2ññ20&$ñ$1222 :’ :1: ‘ ;;: ‘:;’ ‘: ‘:;;’;1;;’ ;;: ‘$$0&ñ2$$22&&$2;:11|||||1||;||1;:;::’;: ‘ ‘:’:;121’:’;;|’;1;||:;;11::|;:;;:;:;’;|1;;1;::;:’ ‘;: :::; :1 :21; ;;:’’: : : ‘;1;;: |;:::’ 1’’’: ‘ ‘’ ‘: ‘’ ::; ;110&&&ññ0ñ200&ñ2ñ$$2ñ$02112ñ0$212ñ&&&&&&ññ210&0ññ01’ ‘:: ‘ ‘ ‘’’’’ ‘ :|;:’ ‘:: ‘:’;:’ ‘;::: :;:: :’ ‘’:: 2&1ññ0&&$&&011;;|1|:’ : ‘: ::: ‘;;;|;::;;;;;;;;’|;;;12|;:’’;;|12|;:’:111||11;:|;;;|2111::1|;:’:122;;:’’’ :;;;;::’’’11;;:: :2|;::’ ‘ ;;:::;;’’’ : : : ‘1;;’’’ : ; ; ::’:: ; ‘’’0&00&&&ñ2&21112ñ$&$11ñ$&$021120ñ2112ñ&&&ññ$0ñ210&ñ2ñ: ‘::’ :’ ‘: ‘;:;:;;:’|: :;’ :;: ‘ ;’ ‘ ‘::’ ‘’ 0$|;|2&&&&21: ::’ ‘’ ‘:||:;;;:;:;:;: ::;12|;11|::::11;;11|;:;;;;;|11;;::’’;;::|1;:121:::211;;;’’: ‘’: : ‘ ‘’’ ‘ ‘ :1 ‘|2;:;;|1|11;;::: ::’ ‘:;:;:: :’’:’ :’;;|22;:;;1’ :::’ : ;’ : ‘21$ñ$&&$200221122&$211ñ$&&$$$21222211ñ&&$ññ&0$22ñ$ññ$1: :::’ :: :’::: ‘ ‘’ ::|:1;|; |:;:;:’’ ‘::: ‘: ‘::’::’ ‘&0111|$&ñ1; ;:’ ‘: ‘’:1; ‘’’’;|;;;;;:’:: ;1111;’:;;111:;:’ ;|:;:’:;::11;;;’|;;;;;:;’’;;:::::2| ‘21 2; ‘|11’ :;’:;11|112ñ11211;|;:||: ‘ :’ ‘ ‘: 1;;1:: | : :: ; : 2ñ22&&$$&&0$$021212$20ñ222ñ22$&$211$&ñ120&&$ñ00ññ21&&ñ1ñ2 ‘’’’ :;’ || ;; ‘ ‘ :; ‘ ‘::’ ‘::’ : :::’ ‘ ;2122ñ21: :|:: ‘’ ::;|: ‘ ‘’:;;||;::|;’’ ;;: ‘’’ :|;: ‘111ñ112;0|10111;;:;|;1;’ ‘’ :’|;ñ1;;;|:;|1ñ222221|;:;|;1|1|121;;1011;:;: :’ ‘ ‘|: ‘ : :’ ‘ ‘ ‘212;ññ&ñ&&0&&21200$&0$$002111120$ñ110&$22$&&&$ñ&&&ñ22$ñ20||; ‘’ :’ ;:’ ‘ ‘: ‘’’ :;’ ‘’ |: ::’ ‘;: ‘’ 1; :;;: :; ‘’ :;;:::;||;;:::’:: ::’ :: :|’::::’’ ‘ :;;1:||222|102|;’:;2121;: ‘ ‘: |;;:111;:;;:;::12;’’ ‘’ ‘ ‘:’ ‘;21’ :::’ ‘’ ‘ ‘ : :’ ;’;’; :; |;12ñ$&ñ$$&&&&22$$$0$$&ñ$1222122202112ñ0&&&&&&&&&&&&ññ220011ñ11; ‘:: ;’ : ‘;;’ :’ ::’ :’ ‘ ‘ :’ ‘’’::’ ::’ :’ ‘::’;||;;;||;::|;;’’’ ::: : : |1:;|:’:111;; ‘|;::1::;;;;:11;11;22;:: ‘ ‘::1;;:’::|::1;;:’ ‘’’ ‘ | |1|;: ‘ ::’ |: ; |12$ñ00ñ&0$&&&&ñ2ñ$200&0&ñ&2ñ12111ñ0121120&&&&&&$&&&&0&02ñ22001|| ‘ ‘; :;’ ‘’: :; ‘ :’; ;2: : ‘;’ 1; :::;: 11;;| ::’ ‘:’ ‘’ :1;;1: ;;;:’::;: ‘:’ ‘;:;’:’:;:;211211:: : :1ñ111;:|1$1:’ ‘ ::: ‘ ‘ ‘ ‘;’11’ ‘’’: ‘ ‘ 22ñ000&0&$&&&&&0ññ2&0$ñ&2$ñ$2$ñ21122ñ011110&&&&&&&&&&$2012022ñ1|1::’ ‘’ ‘: ‘’ :: :: ‘;;;: ::’ : ‘: ‘’ ‘ ‘|:’|1;;:’ ‘ :’:’ ‘ :;: :;;;’ :1 ‘: : :’ ‘’: ‘:’’’:;;|22|;;::1: : :2||;’: ;2|;11|1|21|:: ‘:;111221121;;:’’ ;1;:’ ‘ ‘:’’’’ ‘ ;;::’ :; 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amerikanische-lieder.indd 5 2/16/17 1:04 AM

Page 15: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Bogotá

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amerikanische-lieder.indd 6 2/16/17 1:05 AM

"Amerikanische Lieder"

Untitled#06

S/t#06

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

50 x 70 cm

( detail/ detalle)

Page 16: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Untitled#06

S/t#06

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

90 x 90 cm

( detail/ detalle)

close up view

Page 17: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Untitled#07

S/t#07

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

90 x 90 cm

( detail/ detalle)ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

close up view

Page 18: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

Untitled #08

S/t # 08

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

90 x 90 cm

( detail/ detalle)

close up view

Page 19: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Untitled #09

S/t#09

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

90 x 90 cm

( detail/ detalle)

close up view

Page 20: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Untitled #10

S/t#10

2017

Giclée print on Canson German paper 300 gr

Impresión Giclée sobre papel Canson German 300 gr

90 x 90 cm

( detail/ detalle)

close up view

Page 21: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

DÉNES FARKAS

Budapest, Hungary, 1974

"An Unnecessary Woman" is a work linked to the current exhibition of Dénes Farkas in the EKKM (Contemporary Art Museum of Estonia). Farkas continues to cast doubt on the concept of truth by dealing with space as means for production of both truth and control. In this new project, the visual part is based on different stories, mostly related to seed banks around the world, but mainly to the Svalbard Global Seed Vault, the ICARDA seed bank in Lebanon and the Vavilov Institute of Plant Industry in St. Petersburg. The text used is from Rabih Alameddine’s book “An Unnecessary Woman”. The book is about a woman who translates books into Arabic and holds them in boxes in her apartment never showing those to anyone. In this case, the connection between the text and story is loose and abstract, focuses on the idea of archiving the normality (seeds and literature) despite of all the horrible things happening around (wars, climate change, human idiocy etc).

Lives and works in Tallin, Estonia. Dénes Farkas arrived in Estonia seventeen years ago, where he studied Printmaking at the Estonian Academy of Arts (2001), and there continued his stud-ies, receiving a Master in Media Arts, Photography in 2003. He has exhibited extensively in Estonia and across Europe. His work features in the collection of the Art Museum of Estonia, as well as in private collections across the world, in Europe, Asia, USA and Columbia. He has received twice (2010-2013) the Annual Prize of the Estonian Cultural Endowments Foundation for Fine and Applied Arts. In 2015, his work has been exhibited in the Contemporany Art Center in Vilnius, Lithuania, inside the show MEEL VATHRA FARKAS: function idealist, curated by Maria Arusoo. In 2014, the project Evident in Advance, was exposed in the Kumu Art Museum in Tallinn (Estonia).He participated in Traces -Contemporany Baltic Photography, Budapest (Hungary ), Art from Estonia, Yerevan (Armenia ) and Queezy Feeling?, exhibitions organized by Rebeka Poldsam Contemporany Art Museum in Tallinn, Estonia. In 2013 he was the Estonian repre-sentative at the 55th Venice Biennale, with his work “Evident in Advance”, curated by Adam Budak. He has worked as Associate Photography Professor at the Estonian Academy of Arts and as Program Manager at the Hungarian Institute in Tallinn, Estonia. Farkas first began making paper architectural models whilst taking drawing classes in Hungary – more concerned with learning to describe space, than to represent the human form.

He then began to photograph the models, disinterested with the technical professions of “good quality” photography, instead using the medium because it seemed to be the easiest way to achieve what he was trying to. His works draw from the tradition of conceptualism. His handling of material, his use of analogue technology and retro aesthetic – in the digital age – leaves a soft, nostalgic impression. The artist use of Laconic and pictorial language refers to a Minimalist tradition. Farkas is an artist that willingly embraces potential failure as an essential part of the communicative process, and thus, whose playful attitude towards the fragile and uncertain processes of language, communication and understanding, is both tentative and fearless. His works explore the limits, loops and elusiveness of language, the im/possibilities of translation and the logic of infinite re-translations.

"An Unnecessary Woman" es un trabajo inédito relacionado con la exposición actual de Dénes Farkas en el EKKM (Museo de Arte Contemporáneo de Estonia), donde se vuelven a cuestionar la relación entre texto e imágen para arrojar dudas sobre la idea de verdad o sobre determinados mecanismos de control de nuestra época . En esta ocasión la parte visual documenta diferentes bancos de semillas alrededor del mundo, como el Svalbard Seed Vault en Noruega, el ICARDIA de Líbano o el Vavilon Institute of Plant de San Petersburgo. La parte textual viene del libro de Rabih Alameddin "An unnecessary woman" traducido al español como "La mujer de papel". El relato trata sobre una mujer que se dedica a traducir libros al árabe y guardarlos en cajas en su apartamento sin enseñárselos a nadie. En este caso, la conexión entre los textos y las imágenes es más compleja y distante aunque convergenen la idea de preservar, bien semillas, bien obras literarias, a pesar de todas las cosas horribles que suceden alrededor (guerras, cambio climatico, la idiotez humana...).

Dénes Farkas vive y trabaja desde hace diecisiete años en Estonia, donde ha cursado los estudios de Artes Gráficas en la Academia de Bellas Artes de Estonia (2001), formación que completó con la realización de un Máster en Media Art y Fotografía en 2003. Su obra ha sido ampliamente expuesta tanto en Estonia como en numerosas exposiciones de carácter internacional. Ha trabajado como Profesor Asociado en la Academia Estonia de Bellas Artes, y como gestor de proyectos en la sede del Instituto Húngaro en Tallín, Estonia. Durante 2015, su obra ha estado expuesta en el Contemporany Art Center de Vilnius, Lituania, dentro de la muestra MEEL VATHRA FARKAS: idealist function, comisariada por Maria Arusoo. En 2014, el proyecto Evident in Advance, estuvo expuesto en el KUMU Art Museum de Tallin (Estonia).Participó en Traces-Contemporany Baltic Photography, Budapest (Hungría), Art from Estonia, Yerevan (Armenia) y en exposiciones como Feeling Queezy?, organizada por Rebeka Poldsam en el Contemporany Art Museum de Tallin, Estonia. En 2013, Farkas representó a Estonia en la 55th Bienal de Venecia con Evident in Advance, comisariado por Adam Budak. Mientras recibía clases de dibujo en Hungría, Farkas comenzó a realizar sus primeros diseños de motivos y detalles arquitectónicos, mostrando así más interés por la definición del espacio que por la representación de la figura humana. A partir de aquí, Farkas empezó a fotografiar modelos sin preocuparse demasiado por los conceptos técnicos de “buena calidad”, ya que lo que le atraía de este medio era la facilidad con la que gracias a él podría lograr los objetivos que se había propuesto.

Partiendo de la tradición de los conceptualismos, el tratamiento del material y el uso de una tecnología analógica y de una estética retro en la era digital, los trabajos de Farkas transmiten sen-saciones de levedad y nostalgia. En esta misma línea, se puede apreciar cómo su lenguaje, lleno de laconismo, está cargado de referencias a la tradición minimalista. En el trabajo de Farkas, la posibilidad del fallo se ha asumido como una parte esencial del proceso comunicativo, revelando así un especial interés por el frágil e incierto ámbito del lenguaje, de la comunicación y de la comprensión. Por ello, su trabajo explora los límites, los bucles y las elusiones del lenguaje, así como la im/posibilidad de la traducción y la lógica de las infinitas traducciones del lenguaje.

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Useless Desire

2016

Archival pigment print on paper

Impresión de tinta sobre papel

105x200cm

40 pieces/ piezas

13 x 9.8cm c.u.

Ed.5+1 PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Useless Desire

2016

Archival pigment print on paper

Impresión de tinta sobre papel

105x200cm

40 pieces/ piezas

13 x 9.8cm c.u.

Ed.5+1 PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

“How-to-calm-yourself-after-seeing-a-dead-body Techniques”

2017

Archival pigment print on paper

Impresión de tinta sobre papel

70 x 50 cm c.u

Ed. 3 + 2 PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

“How-to-calm-yourself-after-seeing-a-dead-body Techniques”

2017

Archival pigment print on paper and text

Impresión de tinta sobre papel y texto

18x13 c.u (30x20 cm enmarcado/framed)

10 piece installation

Ed. 3 + 2 PA

( detail/ detalle)

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

“How-to-calm-yourself-after-seeing-a-dead-body Techniques”

2017

Archival pigment print on paper and text

Impresión de tinta sobre papel y texto

18x13 c.u (30x20 cm enmarcado/framed)

10 piece installation

Ed. 3 + 2 PA

( detail/ detalle)

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

FRANÇOIS BUCHER

Cali, Colombia, 1972.

In "The form of Venus", François Bucher harmonises the different approaches that underlie the term Venus, immersing in a game of relations between science, alchemy, mythology and philos-ophy. The different elements that compose this installation, propose a simultaneous reading of the knowledge that the different epochs have contributed to the conceptualisation of the Venus : from the most reliable visual representations of the planet that are provided by satellites, to the idealisation of the female body in the neoclassical painting era, through obsolete diagrams of the movement of the planets, or various scientific instruments that seem to revive theories as arcane as that of the "Harmony of the Spheres" of the Pythagorean thinkers.+++

François Bucher lives and works in Berlin, Germany. Is an artist trained in Film by The School Art Institute of Chicago and was awarded with a research grant by the Whitney Independent Study Program in New York. He was a visiting professor at the Academy of Fine Arts in Umea, Sweden, where he is pursuing a doctorate in art practices within the same institution. His work and re-search covers a wide range of interests and means, which initially focused on issues relating to ethical and aesthetic questions raised by film and television, which have been central themes, both in his writings and in his artistic projects. Until 2008 his work could be described as having conceptual and political positioning.

Since then, Bucher´s ideas about the world have taken an abrupt turn and his new production is in relation with a position that can be described as interdimensional. Each one of the works are interrelated with the others, and each virtual splice is there to create multiple circuits of unpublished meaning. The pieces make ellipsis, new dimensions of thought that underlie the whole field. His artistic projects that seek to deconstruct a hierarchy of knowledge set in place by contemporary scientific materialism. hey seek to open an understanding of man and nature within a millenary cycle, in order to side step a unidimensional perspective, and to offer entrances to a multidimensional kind of thinking.

François Bucher participated in 2013 at the 55th Venice Biennale in the Italian Latin American Institute Pavilion, curated by Silvia Irrazábal and Alfons Hug, and 43 Salón Nacional de Artistas de Medellín curated by Mariángela Méndez. During 2014 he has been one of the selected artist for Cartagena Bienal, Colombia curated by Berta Sichel and Cuenca Bienal, Ecuador curated by Jacopo Crivelli.In 2016, Bucher participates in the section Photobooth Citi (arteBA), curated by Patrick Charpanel. o Recently, he participated in the FIAC Paris last edition 2014 with a specific project made for Musée d’Histoire Naturelle, in Centro de Inciativas Culturales de la Universidad de Sevilla, in Bildmuseet (Sweden) and in Museo de Zapopan (México).

François Bucher armoniza en “La forma de Venus”, diferentes aproximaciones que subyacen en torno al término Venus, sumiéndonos en un juego de relaciones entre ciencia y alquimia, entre mitología y filosofía. Los diferentes elementos que componen esta instalación proponen una lectura simultánea del saber que las distintas épocas han aportado sobre el concepto Venus. Desde la representación visual más fidedigna que los satélites nos permiten del planeta, hasta las idealización del cuerpo femenino a través de la pintura neoclásica, pasando por diagramas obsoletos del movimiento de los planetas o diversos instrumentos científicos que parecen reavivar teorías tan arcanas como la de la "Armonía de las Esferas" de los pensadores pitagóricos.

Vive y trabaje en Berlín, Alemania. François Bucher es un artista formado en Cine por The School Art Institute de Chicago y premiado con una beca de investigación por el Whitney Independ-ent Study Programe, en Nueva York. Ha sido profesor visitante en la Academia de Bellas Artes de Umea, Suecia, institución en la que realiza un doctorado en prácticas artísticas. Su trabajo e investigaciones abarcan un amplio rango de intereses y medios, que inicialmente se enfocaron en problemas que se relacionan con preguntas éticas y estéticas que plantean el cine y la televisión, temas que han sido centrales tanto en sus escritos como en sus proyectos artísticos.Hasta el año 2008 su trabajo puede ser calificado de conceptual y de posicionamiento político.

Desde entonces, las ideas de Bucher acerca del mundo han tomado un giro abrupto y su nueva producción está en dialogo con cuestiones que se pueden describir como interdimension-ales. En su obra todo está ínter relacionado, los distintos trabajos están asociados a los demás, formando múltiples suturas, que a su vez producen nuevos sentidos inéditos. Las piezas crean elipsis, espacios inéditos de pensamiento que subyacen el campo del conjunto. Sus proyectos artísticos tratan de deconstruir la jerarquía del conocimiento materialista contemporáneo, indagando también en la relación del hombre, su cuerpo y su entorno. François Bucher participa en el 2013 en la 55ª Bienal de Venecia en el pabellón de del Instituto Ítalo-Latinoamericano bajo la curaduría de: Silvia Irrazábal y Alfons Hug y en el 43 Salón Nacional de Artistas de Medellín curada por Mariángela Méndez.

Durante el 2014 ha sido unos de los artistas seleccionados en la Bienal de Cartagena de Indias curada por Berta Sichel y en la Bienal de Cuenca curada por Jacopo Crivelli y en 2016 ha partic-ipado en la sección Photobooth Citi de arteBA, comisariada por Patrick Charpanel. Ha participado en diferentes exposiciones internacionales como la última edición de la FIAC Paris 2014, con un proyecto específico para el Museo de Historia Natural, en el Centro de Iniciativas Culturales de la Universidad de Sevilla, en Flora Arts+Natura en Bogota bajo la curaduría de José Roca , en el Bildmuseet de Suecia y en el Museo de Zapopan (México).

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

La forma de Venus. La Duración del Presente (Notas sobre la frecuencia)

2013

Installation

Instalación

Ed. 4 and 5 of 5 + 2PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

La forma de Venus. La Duración del Presente (Notas sobre la frecuencia)

2013

Installation

Instalación

Ed. 4 and 5 of 5 + 2PA

Ed. 4- 5

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

La forma de Venus.2013

C-print

Image processed from the data compiled during the four years the Magellan satellite mapped 98% of Venus’ surface using radar waves, between 1990 and 1994

Imagen procesada a partir de los datos acumulados durante 4 años de órbita del satélite Magallanes el cual mapeó el 98 por ciento de la superficie de Venus a partir de ondas de radar entre 1990 y 1994

110 x 110 cm

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

La forma de Venus. 2013

Wallpaper

The Earth and Venus trace their orbits around the Sun, creating a choreography that lasts for eight Earth-years (and 13 Venus-years). The duration of the dance traces a virtual perfect pentagram in time. Grid of 0 to 2 mm pints in a frequency of 1.1 mm and an angle of 0°.

A medida que la Tierra y Venus trazan su órbita alrededor del sol se crea una coreografía que demora 8 años terrestres en completarse (13 años de Venus). La duración de dicho baile dibuja un pentagrama virtual perfecto en el tiem-po. Trama de puntos de 0 a 2mm en una frecuencia de 1.1 mm y un ángulo de 0 grados.

110 x 110 cm

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

La forma de Venus.

2013

The Helmholz resonators

Resonadores Helmholz

Thirteen cast Helmholz resonator

Trece moldes de resonadores Helmholz

Variable dimensions

Dimensiones variables

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

La Duración del Presente. (Notas sobre la frecuencia)

2013

According to biologist Rupert Sheldrake the blue tit bird learned how to pierce the lids of milk bottles that were traditionally delivered in the doorway of houses in Southamp-ton, at the beginning of the Twentieth Century. Other birds of the same species learned the same trick, almost simultaneously in other areas of England and also in continental

Europe. The blue tit bird is notorious for not wandering far from home,which means that this particular learning didn’t happen by imitation. This is a classic example of the theory of “Morphic Resonance” or “Morphogenetic Fields” that Sheldrake put forth in the 1960s,

Silkscreen; image conformed by a grid of dots at a frequency of 4 millimeters at 45 degrees. 106 x 96 cm.

Según el biólogo Rupert Sheldrake el pájaro Herrerillo Común (blue tit) aprendió a destapar las botellas de leche que se repartían frente a las puertas de las casas en

Southampton a principio del Siglo XX. Otros pájaros de la misma especie aprendieron el mismo truco, al mismo tiempo en otras zonas de Inglaterra y también en Europa con-

tinental. El Herrerillo es un ave que no vuela lejos de su casa por lo cual el aprendizaje no se dio a partir de la imitación. Este caso es un ejemplo clásico de la teoría de "reso-

nancia mórfica" o de "campos morfogenéticos" de Sheldrake, 2013

Serigrafía, imagen conformada por una rejilla de puntos en una frecuencia de 4 milímetros a 45 grados. 106 x 96 cm.

Ed. 4 and 5 of 5 + 2AP

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

JORGE YEREGUI

Santander, Spain, 1975.

The construction process of an urban plan usually begins by sketching on-site the structure of the neighbourhood. Streets, pavements, plots, roundabouts, etc. are drawn on the ground using prefabricated concrete blocks. Atajos [Shortcuts] begins with an action, with the development of a programed task in a construction site abandoned due to Real State crisis. For several days, these lines drawn on the plot with concrete are photographed compulsively.The work is presented by selecting 551 of these photographs and distributing them in a grid. Placing one beside the other with no pre-established order the concrete blocks reconnect forming a new geometry, a new urban layout. Every time the work is shown the 551 photographs are randomly distributed, generating different connections and new urban structures.

Jorge Yeregui studied architecture at the University of Seville, and later went on to become a teacher in the School of Architecture at the University of Málaga. His interpretation of the land-scape has evolved as man’s relationship with his surroundings progresses. At the current moment, the way of seeing is undergoing a notable transformation in the transition from discovery to recognition, to the point that it has become almost impossible to see with an innocent gaze.

Jorge Yeregui explores this way of constructing and representing the landscape, proposing a reflection on perception and the way we construct knowledge of our surroundings. His projects transcend the aesthetic of landscape and mine the confluence of the natural, cultural and social factors that condition it. Yeregui received awards at the Beca de Artes Plásticas Fundación Botín in 2015, Beca Casa Velázquez in 2013-2014 and the Premio Internacional de Fotografía Contemporánea Pilar Citoler 2011 with a work belonging to the series Minimal Landscapes, which the judges concluded “conforms a conceptual exploration regarding the symbolic value that nature adheres in the contemporary city”. He has also received several scholarships for Beca de Residencia de la Academia de España, Roma, Ministerio de Asuntos Exteriores and the Colegio de España en París, Ministry of Culture. His solo exhibitions have included those at Tabacalera Promoción del Arte, Madrid; Centro Andaluz de Arte Contemporáneo, Sevilla; Centro de Fotografía de la Universidad de Salamanca, Salamanca; Centro José Guerrero, Granada and Colegio de España en Paris.He has also participated in international shows in spaces such as Centro de la Imagen, México DF; Bienal de Arquitectura de Medellín, Colombia; Instituto Cervantes de Chicago; Festival Internazionale di Roma; Instituto Cervantes de Pekín; Pingyao International Photography Festival; Arts Santa Mònica, Barcelona; Matadero, Madrid; DA2, Salamanca; Centro Atlántico de Arte Moderno, Las Palmas de GC; Le Château d’Eau, Toulouse, France and Winterthur Fotomuseum, Switzerland. His work is represented in important collections such as Min-isterio de Cultura de España, Centro Andaluz de Arte Contemporáneo, Fundación Coca Cola, Centro de Fotografía de la Universidad de Salamanca, Fundación Cajasol, Colección Fundación

Una retícula de dimensiones variables compuesta por 551 fotografías de 10x13 cm. cada una. Las imágenes documentan pequeños fragmentos de un bordillo que aparece y desaparece, y que no separa nada, acera o calzada, solo dibuja líneas sobre el paisaje. Para la concepción de esta obra resulta determinante el propio ejercicio sobre el terreno, la acción de rastrear estas marcas de forma obsesiva. La formalización, masiva, pretende apartarse del catálogo, de la clasificación y varía en función del montaje. De esta forma, con cada exposición aparecen nuevas relaciones entre las fotografías: agrupamientos, vacíos, conexiones sin dirección y pequeños recorridos quebrados que cruzan el damero a modo de atajos.

Estudió arquitectura en la Universidad de Sevilla, ámbito al que sigue vinculado como docente en la Escuela de Arquitectura de la Universidad de Málaga. La interpretación del paisaje ha evolucionado a medida que el ser humano progresaba en su relación con el entorno. En la actualidad la transformación más notable se ha producido en la forma de mirar, en la transición del descubrimiento al reconocimiento hasta resultar imposible una mirada virgen. El observador se acerca a lo nuevo con un bagaje cada vez mayor de categorías aprendidas y predeterminadas, y tan sólo puede ver lo que ya sabe. En sus propuestas Jorge Yeregui profundiza en esta forma de construir y representar el paisaje y propone una reflexión en torno a la percepción y a la forma cómo se construye el conocimiento de nuestro entorno.

Sus proyectos trascienden la estética del paisaje para profundizar en la confluencia de condicionantes naturales, culturales y sociales que lo configuran. Jorge Yeregui ha recibido en 2015 la Beca de Artes Plásticas Fundación Botín y en 2013-2014 la de Casa Velázquez; el Premio Internacional de Fotografía Contemporánea Pilar Citoler 2011, con una obra perteneciente a la Serie Paisajes Mínimos, debido a que “conforma una exploración conceptual sobre el valor simbólico que adquiere la naturaleza en la ciudad contemporánea” según manifestó el jurado; la Beca de residencia en la Academia de España en Roma, Ministerio de Asuntos Exteriores, y en el Colegio de España en París, Ministerio de Cultura. Entre sus exposiciones individuales destacan: Tabacalera Promoción del Arte, Madrid; Centro Andaluz de Arte Contemporáneo, Sevilla; Centro de Fotografía de la Universidad de Salamanca; Centro José Guerrero, Granada; Colegio de España en París.Ha participado en exposiciones internacionales en espacios como el Centro de la Imagen, México DF; la Bienal de Arquitectura de Medellín, Colombia; Instituto Cervantes de Chicago; Festival Internazionale di Roma; Instituto Cervantes de Pekín; Pingyao International Photography Festival; Arts Santa Mònica, Barcelona; Matadero, Madrid; DA2, Salamanca; Centro Atlántico de Arte Moderno (Las Palmas de Gran Canarias); Le Château d’Eau de Toulouse y Winterthur Fotomuseum (Switzerland). Su trabajo está representado en importantes colecciones como las del Ministerio de Cultura de España, Centro Andaluz de Arte Contemporáneo, Fundación Coca Cola, Centro de Fotografía de la Universidad de Salamanca, Fundación Cajasol, Colección DKV y Colegio de España en París, Nueva Colección Pilar Citolery Colección Fundación Botín, entre otras.

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Atajos

2014

551 Photographs/ Fotografías

Chromogenic copies

Image: 10x13 cm each

Installation: variable dimensions

Copias cromogénicas

Imagen 10x13 cm c.u

Instalación: dimensiones variables

Unique

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Atajos

2014

551 Photographs/ Fotografías

Chromogenic copies

Image: 10x13 cm each

Estuche de conservación

Copias cromogénicas

Imagen 10x13 cm c.u

Conservation case

Unique

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Linde

2016

Jornada 5_45 photographs: 198,5x158 cm

Inkjet of pigment print on paper Hahnemühle Photo Rag Ultrasmooth on 305 gsm Adhesive on Dibond of 3mm

Individual photos measure 17x25,5 cm

Jornada 5 _45 fotografías: 198,5x158 cm

Inyección de tinta sobre papel Hahnemühle Photo Rag Ultrasmooth de 305 grs Adhesivado sobre Dibond de 3mm

El tamaño de cada foto pequeña es de 17x25,5 cm

Ed.3 + 2 PAALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

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Linde

2016

Jornada 6_45 photographs: 171x158. cm

Inkjet of pigment print on paper Hahnemühle Photo Rag Ultrasmooth on 305 gsm Adhesive on Dibond of 3mm

Individual photos measure 17x25,5 cm

Jornada 6_45 fotografías: 171x158 cm

Inyección de tinta sobre papel Hahnemühle Photo Rag Ultrasmooth de 305 grs Adhesivado sobre Dibond de 3mm

El tamaño de cada foto pequeña es de 17x25,5 cm

Ed.3 + 2 PAALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

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Montón, Arena.

Montón, Grava

2014

Archival pigment print on Hahnemühle Photo Rag Ultras-mooth paper 305 gr

Inyección de tinta sobre papel Hahnemühle Photo Rag Ultrasmooth de 305 grs

130x165cm c.u.

Ed. 3 + 2PA

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JOSÉ GUERREROGranada, Spain, 1979.ROMA is a collection of work in which the artist concentrates his research around the most hidden stratigraphy of the city and whose documentation ends up becoming the backbone of his investigation. An investigation that stops at interfaces, surface erosion, the paradox of the outdated character of the eternal city; the documentation of what was buried in the past, but also in recording what remains underground and hidden in the present. As on previous occasions, José Guerrero has devised his work from the imagery and the solid character of the city, but always in a manner that is in search of a 'universal vision'. On this occasion, the city of Rome gives the artist’s approach a greater significance and symbolism.

José Guerrero, lives and works in Madrid. Educated in technical architecture, works in the field of photography. The formal question his work derives from is the expression of human action in close-by places of the urban space, examining the evergrowing expansion of cities and the temporary circles these processes leave like sediments in the environment. His work structures itself into thematical series of local signs; regardless of the cohesion of the author’s visual concept, they allow constant arbitrary communication between them, in a way that finally designs a class of neutral places, devoid of identity, impossible to be clearly associated with a specific geographical context. In 2015, Guerrero received the scholarship of the Academia de España en Roma, realizing a project entitled Sette Colli , and has been awarded the scholarship Manuel Rivera 2010-2011 for developing a project in collaboration with Mark Klett, a Northamerican artist and lecturer at the University of Phoenix, Arizona.

To relate already photographed places, on his account deserted places like the Southeast of Andalusia. It deals with documenting Arizona, resulting in the possibility tGuerrero’s work is con-stantly refering to already existing photographs which reverberate in more recent works, bringing together series from 2002 California with works from 2006-2007 Desértica, To Come Back, 2011-2012, and this last series called New York , 2014. In 2010 won the First Prize Imaginera a la Memoria de Andalucía, Centro de Estudios Andaluces, Junta de Andalucía. Since 2007, his work has been shown in museums and institutions such as MUSAC, of Castilla and León, Centro Andaluz de Arte Contemporáneo, Museo Vostell Malpartida (Cáceres), Matadero (Madrid), Biblioteca Universitaria de Bratislava (Eslovaquia), Centro de Arte de Alcobendas, Tabacalera (Madrid), Centro de Arte Dos de Mayo de Madrid or Círculo de Bellas Artes. His work has been participated since in Art Situations project (2015-2016), curated by María y Lorena Corral and exhibited in at the MACRO in Rome,Villa Croce ( Genova ) , and at Matadero Madrid He was a finalist in the Citoler Pilar (2013) Prize and other awards obtained such as Purificación García (2008), Beca Generaciones CajaMadrid (2008), Beca Colegio de España en París (2008), Descubrimientos PhotoEspaña (2006), Beca Cajasol (2005). He has realised projects for institutions such as the MUSAC or the Fundación Banco Santander and he e was included in the publication Andalusion Art of the 21st century. Chief editor: Iván de la Torre Amerighi. His work is represented in international collections such as Amon Carter Museum of American Art, Arizona State University, Center for Creative Photography, Arizona, Lehigh University Art Galleries, Pennsylvania, Mirabaud Collection, Fundación MAPFRE, Centro Andaluz de Arte Contemporáneo, Colección DKV, Colección Los Bragales, Nueva Colección Pilar Citoler, Colección Centro de Arte de Alcobendas.

ROMA es una serie de fotografías cuya temática gira en torno a los estratos arquitectónicos e ‘imaginarios’ de una ciudad, Roma, cuyo significado trasciende sus fronteras y su propio tiempo. Se trata de un trabajo en el que el artista concentra su investigación en torno a la estratigrafía más oculta de la ciudad y cuya documentación termina por convertirse en el eje vertebrador de su discurso. Un discurso que se detiene en las interfaces, en la erosión de las superficies, en la paradoja del carácter caduco de la ciudad eterna, en la documentación de lo que estuvo enterrado en el pasado, pero también en registrar lo que continúa bajo tierra y oculto en el presente. Como en ocasiones anteriores, José Guerrero ha trabajado desde los iconos y el carácter concreto de la ciudad, pero siempre en busca de una ‘visión universal’. En esta ocasión, la ciudad de Roma le otorga a sus planteamientos una mayor significación y simbología.

José Guerrero, vive y trabaja en Madrid. Formado en Arquitectura técnica, desarrolla su trabajo en el campo de la fotografía. Los planteamientos formales de los que parte su trabajo es la puesta de manifiesto de la acción humana en los lugares limítrofes de lo urbano, indagando en el proceso de expansión de las ciudades y en los ciclos temporales que esos procesos van sedimentando en el entorno. Su trabajo se estructura en series temáticas con caracteres toponímicos; sin embargo la cohesión del esquema visual del autor, permiten constantes lecturas aleatorias entre ellas, de manera que finalmente plantea una especie de lugares neutrales, sin identidad, imposibles de asociar con certeza a un contexto geográfico determinado. En 2015, Guerrero ha recibido la Beca de la Academia de España en Roma, realizando un proyecto titulado Sette Colli.. Fué premiado con la Beca Manuel Rivera 2010-2011 para el desarrollo de un proyecto en colaboración con Mark Klett, artista norteamericano y profesor en la Universidad de Phoenix, Arizona.

El objetivo es documentar el estado de Arizona, para poder relacionar espacios ya fotografiados por él en lugares desérticos como el sureste andaluz. La obra de Guerrero es una constante referencia a fotografías ya realizadas que vuelven a tener eco en trabajos más recientes, hilvanando series del 2002 (California) con trabajos del 2006-2007 (Desértica) con esta serie llamada To Come Back (2011) y New York (2014). En el 2010, es Primer Premio Imaginera a la Memoria de Andalucía, Centro de Estudios Andaluces, Junta de Andalucía. Desde el 2007, su trabajo ha sido mostrado en museos e instituciones como el MUSAC, de Castilla y León, Museo Vostell Malpartida, de Cáceres, Centro Andaluz de Arte Contemporáneo, Matadero, Madrid, Biblioteca Universitaria de Bratislava, Eslovaquia, Centro de Arte de Alcobendas, Tabacalera Madrid, Centro de Arte Dos de Mayo de Madrid o el Círculo de Bellas Artes.Participa en el proyecto Art Sit-uacions 2015-2016, comisariado por María de Corral, Lorena Martínez de Corral, Vicente Todolí e Ilaria Gianni, expuesto en el MACRO de Roma, en Villa Croce Génova y en Matadero Madrid. Ha sido finalista en el Premio Pilar Citoler (2013) y obtenido otros premios como el Purificación García (2008), Beca Generaciones CajaMadrid (2008), Beca Colegio de España en París (2008), Descubrimientos PhotoEspaña (2006), y Becas Cajasol (2005).Ha realizado proyectos para instituciones como el MUSAC o la Fundación Banco Santander y fue incluido en la Publicación Arte Andaluz para el S. XXI. Dirección Editorial de Iván de la Torre Amerighi. Su obra se encuentra en museos y colecciones como el Amon Carter Museum of American Art, Center for Creative Photography, Arizona , Mirabaud Collection, Fundación MAPFRE, Centro Andaluz de Arte Contemporáneo, Arizona State University, Colección DKV, Colección Los Bragales, Nueva Colección Pilar Citoler, Colección Centro de Arte de Alcobendas.

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Carrara #03

2016

Archival pigment print on cotton paper - 59 x 74 ¾ in (image 46 ¾ x 62 3/8 in)

Impresión de tinta sobre papel de algodón 150 x 190 cm (imagen 120 x 160 cm)

Ed. 5 + 2PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Septimius

2015

Archival pigment print on cotton paper

59 x 74 3⁄4 in

(image 46 3⁄4 x 62 3/8 in)

Impresión de tinta sobre papel de algodón

Ed. 5 + 2PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Colle I

2016

Polyptich 5 photos. Archival pigment prints on cotton paper

Singles: 15 3/4 x 22 7/8 in (image 14 1/8 x 21 1/4 in) eachInstallacion: 82 5/8 x 51 1/4 in

Políptico 5 fotografías. Impresión de pigmentos sobre papel de algodón

Sueltas: 40 x 58 cm (imágenes 36 x 54 cm) cada unaInstalación: 130 x 210 cm

Ed: 10

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Pompei I

2016

Díptico / Dyptich

Archival pigment print on cotton paper - 12 ½ x 16 ½ in (image 7 7/8 x 11 ¾ in) each

Impresión de pigmentos sobre papel de algodón - 32 x 42 cm (imagen 20 x 30 cm) c.u.

Ed: 10

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Villa Livia

2016

Archival pigment print on cotton paper - 23 ¼ x 28 in (image 14 x 18 ¾ in)

Impresión de tinta sobre papel de algodón - 59 x 71 cm (imagen 36 x 48 cm)

Ed. 10

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

IRA LOMBARDÍAAsturias, Spain. 1977

After Art Theory es una pieza que nos invita a replantarnos la relación entre lo textual y las imágenes, a preguntarnos sobre el peso de lo teórico en la contemporaneidad, y a construir nuevas relaciones y discursos en torno a la reproducción, distribución y consumo de las obras de arte.

Para ello, este proyecto parte de la apropiación del emblemático libro "Arte desde 1900: Modernidad, Antimodernidad y Posmodernidad" de Hal Foster, Rosalind Kraus, Yve_Alain Bois y Ben-jamin Buchloh, pero sólo reproduce las imágenes y elementos gráficos, como iconos o la paginación, eliminado cualquier rastro de los textos y fechas que contextualizan las imágenes.

Ira Lombardía is an artist and researcher and works in different media such as photography, video, graphic design or sculpture. With her work she questions discourses, dynamics and rhetorics that have been assumed in the realm of contemporary art, image and philosophy. The production, both theoretical and practical, focuses on the transformation of the postmodern paradigm in relation to the digital visual culture. This line of research interest has led to generate proposals that challenge traditional forms of production, exhibition and documentation.

Her work has been exhibited internationally in venues such as the Liverpool Biennial in 2014 or The Billboard Creative in Los Angeles in 2016. At a national level she has exhibited among other spaces in the CCCB of Barcelona, the National Library of Madrid and the Center Of Young Art of the Community of Madrid. In addition, her doctoral research project, which she is developing at the Complutense University of Madrid under the title Transfotography or Post-photographic Derivative: a re-reading of photographic theory in the Post-Internet era, has received the support of institutions such as the Banco Santander Foundation, The University of Córdoba.

After Art Theory is a piece that invites us to replant the relationship between the textual and the images, to ask ourselves about the weight of the theoretical in the contemporary, and to build new relationships and discourses around the reproduction, distribution and consumption of works of art.

For this, the project starts from the appropriation of the emblematic book "Art from 1900: Modernity, Antimodernity and Postmodernity" of Hal Foster, Rosalind Kraus, Yve_Alain Bois and Benja-min Buchloh, but only reproduces the images and graphic elements, like icons or pagination, any trace of the texts and dates that contextualize the images have been removed.

Artista e investigadora, trabaja en diferentes medios como la fotografía, el vídeo el diseño gráfico o la escultura. Con sus proyectos cuestiona discursos, dinámicas y retóricas que han sido asumidas en el ámbito del arte contemporáneo, la imagen o la filosofía. Su producción tanto teórica como práctica, se centra en la trasformación del paradigma postmoderno en relación con la cultura visual digital. Esta línea de investigación intereses la ha llevado a generar propuestas que desafían formas tradicionales de producción, exhibición y documentación.

Su obra ha sido expuesta internacionalmente en lugares como la Bienal de Liverpool en el año 2014 o The Billboard Creative en Los Ángeles en 2016. A nivel nacional ha expuesto entre otros espacios en el CCCB de Barcelona, la Biblioteca Nacional de Madrid, o el Centro de Arte Joven de la Comunidad de Madrid. Además su proyecto de investigación doctoral, que está desar-rollando en la Universidad Complutense de Madrid bajo el título Transfotografía o la Deriva Postfotográfica: una relectura de la teoría fotográfica en la era Post-Internet, ha recibido el apoyo de instituciones como la Fundación Banco Santander o la Universidad de Córdoba.

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

After Art Theory

2016

Mineral pigments on offset paper

Impresión de tintas minerales sobre papel editorial

115x90 cm

Ed.5 monotypes/ monotipos +1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

After Art Theory

2016

Mineral pigments on offset paper

Impresión de tintas minerales sobre papel editorial

115x90 cm

Ed.5 monotypes/ monotipos +1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

After Art Theory

2016

Mineral pigments on offset paper

Impresión de tintas minerales sobre papel editorial

115x90 cm

Ed.5 monotypes/ monotipos +1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

After Art Theory

2016

Mineral pigments on offset paper

Impresión de tintas minerales sobre papel editorial

115x90 cm

Ed.5 monotypes/ monotipos +1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

After Art Theory

2016

Mineral pigments on offset paper

Impresión de tintas minerales sobre papel editorial

115x90 cm

Ed.5 monotypes/ monotipos +1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

After Art Theory

Mineral pigments on offset paper

115x90 cm

Ed.5 monotypes +1AP

Impresión de tintas minerales sobre papel editorial

Ed.5 monotipos + 1AP

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Interpretation Issues

2015-2016

Photographic installation

30 photographic prints on RC matte paper

Instalación fotográfica

30 impresiones fotográficas sobre papel RC mate

40x30 cm (c.u)

Ed. 3+1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Interpretation Issues

2015-2016

Photographic installation

30 photographic prints on RC matte paper

Instalación fotográfica

30 impresiones fotográficas sobre papel RC mate

40x30 cm (c.u)

Ed. 3+1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Interpretation Issues

2015-2016

Photographic installation

30 photographic prints on RC matte paper

Instalación fotográfica

30 impresiones fotográficas sobre papel RC mate

40x30 cm (c.u)

Ed. 3+1PA

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

MP&MP ROSADO

San Fernando, Cádiz, Spain, 1971.

Sujeto is a project which proposes as a support, of experiences, representations and sensations. The artists have raised a whole series of alterations in the nature, appearance and timing of their work (subject), with a view to bringing new meanings on which to reflect. The base maintain of the argument of their artistic project always surrounds a reflection on the social disposition of the individual and the collective Therefore, the works of MP & MP Rosado vary in artistic mediums ranging from drawing to sculpture, giving relevance to the process of revisitng and reviving previous works.

Miguel Pablo and Manuel Pedro Rosado work and live in Seville. They are two twin brothers who work under the name MP & MP Rosado. They have graduated in Fine Arts at the University of Seville and at the School of Fine Arts in Athens. They hold their doctorate in the University of Seville where they are currently associate professors. Since the mid-1990s they have developed a work based on the constitutive mechanisms of individual discourse. Their twin, paradoxical condition allows them to explore duality and alter ego, the construction of the self, individual and collective, "like an immense mirror in which we recognize ourselves." Perhaps for this reason, the most constant characteristics of his work has been the presence of the double, the ambiguity resulting from duplication, reflection and simulated repetition. Other characteristics of his projects are the exploration of life experiences, the private emotional substrate, the relationship be-tween form and surface, language and meaning, emotions, subjective choices, etc.

Through all this, it has managed to create a refined universe of conceptual references. They receive the Pilar Juncosa & Sotheby's scholarship. Fundació Pilar i Joan Miró de Mallorca, for the realization of a project in said headquarters (2014-2015). Among others, they have resided in the ISCP International Studio & Curatorial Program in New York, and have been awarded (Iniciarte) (2006-2007); V Award ARCO Madrid (2008) and the IV Iniciarte Prize of the Ministry of Culture of the Andalusian (2009). Scholarship The Pollock-Krasner Foundation , New York (2002-2003); Scholarship of Plastic Arts of the Marcelino Botín Foundation Santander (2008-2009) and 7th CAM Grants Collection of Fine Arts , Alicante (2009/2010) and VI Ibero - American Prize Courts of Cadiz Contemporary Artistic Creation 'Juan Luis Vasallo' 2012. Ayuntamiento Of Cádiz. They have been present in important exhibitions and international events such as the Lyon Biennale, Seville Biennial, Instituto Cervantes de Pekin.

Sujeto es un proyecto que se plantea como un soporte de vivencias, representaciones y sensaciones, en el que aparecen toda una serie de alteraciones en la naturaleza, apariencia y tempo-ralidad de sus obras (sujetos) con objeto de señalar nuevos sentidos sobre los que poder reflexionar. La base que sustenta el argumento del proyecto artístico circunda siempre una reflexión sobre la disposición social de lo individual y lo colectivo. Las piezas de MP&MP Rosado se extienden en registros artísticos que van de lo gráfico a lo escultórico, donde cobra especial protag-onismo un intencionado ejercicio de revisión de trabajos precedentes basados en la figuración.

Miguel Pablo y Manuel Pedro Rosado trabajan y viven en Sevilla. Son dos hermanos gemelos que trabajan bajo el nombre de MP & MP Rosado. Se han formado en Bellas Artes en la Uni-versidad de Sevilla y en School of Fine Arts de Atenas. Realizan su doctorado en la Universidad hispalense donde en la actualidad son profesores asociados . Desde mediados de los años 90 han desarrollado un trabajo fundamentado en los mecanismos constitutivos del discurso individual. Su condición gemelar, paradójica, les permite explorar la dualidad y el alter ego, la construcción del yo, individual y colectivo, “como un inmenso espejo en el que nos reconocemos”. Quizás por este motivo, las características más constantes de su trabajo ha sido la presencia de lo doble, la ambigüedad resultante de la duplicación, el reflejo y la repetición simulada. Otras características de sus proyectos son la exploración de las experiencias vitales, el sustrato emocional privado, la relación entre forma y superficie, lenguaje y significado, las emociones, las elecciones subjetivas, etc.

A través de todo ello, ha logrado crear un refinado universo de referencias conceptuales. Reciben la beca Pilar Juncosa & Sotheby’s. Fundació Pilar i Joan Miró de Mallorca, para la realización de un proyecto en dicha sede (2014-2015). Entre otros, han residido en el ISCP International Studio & Curatorial Program de Nueva York, y han sido galardonados con (Iniciarte) (2006-2007); V Premio ARCO Comunidad de Madrid (2008) y el IV Premio Iniciarte de la Consejería de Cultura de la Junta de Andalucía (2009). Beca The Pollock-Krasner Foundation, New York (2002-2003); Beca de Artes Plásticas de la Fundación Marcelino Botín de Santander (2008-2009) y 7ª Becas Colección CAM de Artes Plásticas, Alicante (2009/2010) y VI Premio Iberoamericano Cortes de Cádiz de Creación Artística Contemporánea ‘Juan Luis Vasallo’ 2012. Ayuntamiento de Cádiz. Han estado presentes en importantes muestras y eventos internacionales como la Bienal de Lyon, Bienal de Sevilla, Instituto Cervantes de Pekín.

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Sujeto

2016

Terracotta and charcoal

Terracota y grafito

160x60x50 cm

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Sujeto

2016

Terracotta and charcoal

Terracota y grafito

160x60x50 cm

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Sujeto

2017

Collage, acrylic on linen

Colage,acrilico sobre lino

46 x 33 cmALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

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Sujeto

2017

Collage, acrylic on linen

Colage,acrilico sobre lino

46 x 33 cmALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Sujeto

2016

Collage, paper and oil on canvas

Colage, papel y óleo sobre lienzo

40 x 50 cm

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Sujeto

2016

Collage, paper and oil on canvas

Colage, papel y óleo sobre lienzo

40 x 50 cm

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Sujeto

2016

Collage, paper and oil on canvas

Colage, papel y óleo sobre lienzo

40 x 50 cm

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ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

NICOLAS GROSPIERRE

Geneva, Switzerland, 1975

Beyond the White Horizon (the grid) is a viewing device, in the form of a minimalistic sculpture. The visual appearance of Beyond the White Horizon (the grid), hides a stunning vision: an infinite panorama, of two white and geometrically rhythmed planes, that only meet at the vanishing point. Perhaps surprised, the viewer will want to see the other sides of the box. He sees that all sides present the same matrixed and geometrical landscape of the two white planes, independently of the position he is looking at the box.The box contains an infinite horizon, expanding endlessly, and which is contained in a finite metallic structure.

Nicolas Grospierre lives and works in Poland. He is an artist who works and understands photography in an extensive way. Before focusing his career in the artistic field, he trained in the Institut d'Etudes Politique de Paris and the London School of Economic. His work as a photographer has been focused on both documentary projects and more conceptual works. The former have frequently explored the collective memory and hopes linked to modern architecture, in a time, the present times, in which the utopias linked to it have been demolished.

On the other hand, his more conceptual photography has to emphasize the mental games, while it displays attractive and sensual images or installations. Nicolas Grospierre has been awarded the Golden Lion of the 11th Edition of the Venice Biennial (2008) for the exhibition Hotel Poland at the Polish Pavilion, and has also received the Polityka Passport Award Artistic Residence at Stadtgalerie der Schedule, Bern (2012), the Prize of the Ministry of Culture of the Republic of Poland (2009) and Grant Graham Foundation in Chicago in 2014, His monograph, Open-Ended , has been published by Jovis Verlag (Berlin, 2013) and his work has been included in the New Phaidon book Shooting Space: Architecture in Contemporary Photography Elias Redstone and M odern Forms. A Subjective Atlas of 20th-century Architecture , edited by Elias Redstone and Alona Pardo. It has been part of solo and group exhibitions in different parts of Europe and America: All Pales Before The Book in PhotoEspaña (Art Center Alcobendas, Madrid) Modern Forms. A Subjective Atlas of 20th-century Architecture , Architectural Association School of Architecture in London, La Memoria finally dal Art in Poland 1989-2015 at the Galleria Civica di Modena (all in 2016) Viewfinder on the Signum Foundation of Poznan and Lost in Architecture.

Beyond the White Horizon (the grid) es un dispositivo con la forma de una escultura minimalista. La apariencia de esta obra esconde tras su superficie un efecto visual soreprendente: un panorama infinito formado por dos planos de reticula geométrica que solo se encuentran en el punto de fuga. Cualquier punto de visión que el espectador tome producirá la misma matriz, el mismo patrón geométrico infinito, paradójicamente contenido en una estructura metálica de proporciones finitas.

Nicolas Grospierre vive y trabaja en Polonia. Es un artista que trabaja y entiende la fotografía de un modo extensivo. Antes de centrar su carrera en el ámbito artístico, se formó en el Institut d´Etudes Politique de Paris y el London School of Economic. Su trabajo como fotógrafo ha estado centrado tanto en proyectos documentales como en trabajos más conceptuales. Los prim-eros, han explorado frecuentemente la memoria colectiva y las esperanzas ligadas al arquitectura moderna, en unos tiempos, los actuales, en los que las utopías vinculadas a ella han sido desmotadas.

Por otro lado, su fotografía más conceptual tiene a enfatizar los juegos mentales, a la vez que despliega atractivas y sensuales imágenes o instalaciones. Nicolas Grospierre ha sido galardona-do con el León de Oro de la 11ª Edición de la Bienal de Venecia (2008) por la muestra Hotel Polonia en el Pabellón polaco, y también ha recibido el Polityka PassportAward Artistic Residence at Stadtgalerie der Progr, Bern (2012), el Premio del Ministerio de Cultura de la República de Polonia (2009) y la beca Graham Foundation de Chicago en 2014, Su monografía, Open-Ended, ha sido publicada por Jovis Verlang (Berlín, 2013) y su obra ha sido incluida en el New Phaidon book Shooting Space: Architecture In Contemporary Photography de Elias Redstone y en Modern Forms. A Subjective Atlas of 20th-century Architecture, editado por Elias Redstone y Alona Pardo. Ha formado parte de exposiciones individuales y colectivas en diferentes puntos de Europa y América: All Pales Before The Book en PhotoEspaña (Centro de Arte de Alcobendas, Madrid) Modern Forms. A Subjective Atlas of 20th-century Architecture, Architectural Association School of Architecture de Londres , La Memoria finalmente Arte in Polonia dal 1989-2015 en la Galleria Civica di Modena (todas en 2016) Viewfinder en la Signum Foundation de Poznan y Lost in Architecture.

Page 65: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Beyond the White Horizon

2016

58x58x68 cm

Installation

Instalación

Lambda-D print lightbox and aluminium

Impresión Lamdda , en caja de luz y aluninio

Ed.3+1PA

Page 66: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Beyond the White Horizon

2016

58x58x68 cm

Installation

Instalación

Lambda-D print lightbox and aluminium

Impresión Lamdda , en caja de luz y aluninio

Ed.3+1PA

Page 67: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

Beyond the White Horizon

2016

58x58x68 cm

Installation

Instalación

Lambda-D print lightbox and aluminium

Impresión Lamdda , en caja de luz y aluninio

Ed.3+1PA

Page 68: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com

The library building

2016

Durantrans prints in four-sided lightbox

Impresión Duratrans en caja de luz

77x46.5x21 cm

Ed.7 + 1PA

Page 69: STAND / BOOTH 9C13€¦ · the New York Times Magazine, Wallpaper, Capricious and Amercian Photo. In 2011, her photography belonging to the series Deconstructions was the title page

ALARCÓN CRIADO. Velarde, 9. 41001. Sevilla España. +34 954 22 16 13. [email protected]. www.alarconcriado.com