For this first retrospective exhibition by Patricio Vélez (Quito, 1945; based in Barcelona since 1976), we have selected almost a hundred works of art from amongst a vast oeuvre of paintings, drawings, engravings and photographs, with the intention of offering a representative panorama of the work carried out by the artist over more than half a century.
Patricio Vélez studied architecture in Quito, Barcelona and Paris, but shortly after obtaining his degree, painting became a priority in his life. His first solo exhibition took place in 1977 in the Ciento gallery in Barcelona. His works are like atlases or mental and sensory cartographies of the natural world. Their author likes to say that they are “transfigurations of nature”.
The vegetal world is the base fabric of his work. In it, a framework populated by signs is formed in which every stroke organises and creates images of rich ambiguity. This in turn strikes a balance between a near and at the same time distant vision, resulting in a sort of “landscape writing”. He very often creates different works around a same theme.
In the exhibition we present some of these “variations”, which in certain cases become narrative sequences. In much the same way, we can observe that the exhibition addresses the constant matters of the visual arts: colour, line, surface, chiaroscuro, fragmentations and analogies, amongst others.
Fundació Suñol presents the exhibition ACTE 39: Antoni Abad. measure X measure. 1992’2015, a project specifically set for Nivell Zero, which includes Antoni Abad’s work from the 90’s up until 2010. All these works are directly related to his own research about the idea of measurement and language, and the relation between them.
In 1992 Antoni Abad met Josep Suñol in the building of Passeig de Gràcia that later became Fundació Suñol, but back then it wasn’t open as a museum. The artist had the opportunity to discover the Josep Suñol Collection at its early developing stages. He did an installation with measuring tape all around Butaca (1987) – an Antoni Tàpies’ piece of art that belongs to the Collection, which was exhibited at that time. This piece will be shown again at Nivell Zero along with many other works from Antoni Abad.
The curator of the exhibition, Eugeni Bonet, added an original text from 1995 that describes Abad’s work called Pesos y medidas that has been rewritten for the occasion. There will also be a downloadable online publication on the website with all the information and content shown in the exhibition.
The Fundació Suñol is pleased to present the project that Daniel G. Andújar (Almoradí, 1966) created for documenta 14, in 2017. Conceived as a visual protest against violence, it offers a present-day take on the representation of conflict in order to reveal its effect on people.
The first edition of documenta was held in 1955 with the aim of renewing the dialogue between Germany and the rest of the world that had been broken off by the Second World War, as well as making contact with the international art scene through a “presentation of 20th-century art”. The city of Kassel has played host to this event ever since and over time has become an indisputable benchmark for the evolving arts. The 2017 edition was entitled Learning from Athens, since it was not only held in Kassel, as usual, but was also on show beforehand in Athens.
The curators for documenta 14 invited the selected artists to think about the social and political situation in Europe and the rest of the world, as well as the palpable tension between North and South. This was the framework in which Daniel G. Andújar created the piece on display at the Fundació Suñol.
In Athens, the artist presented the first part of the project, entitled The Disasters of War: Repatriation Akademia, an interdisciplinary work centred on the ideas of nationality, public domain and cultural and intellectual property, as well as authenticity, reproduction, theft and the plunder of antiques. In Kassel, Andújar presented the second part of the project, The Disasters of War: The Trojan Horse, which explores ideas such as cultural identity and memory, as well as monuments, stereotypes and the concept of falsification and truth.
These two projects are being presented together for the first time, in conjunction with this publication, which contains texts by Imma Prieto and María Dolores Jiménez-Blanco.
Image: MASBEDO, Until The End, 2011
Fundació Suñol hosts an exhibiton organized by LOOP and In Between Art Film. On the occasion of its first collaboration with LOOP, In Between Art Film presents a video selection curated by Paola Ugolini, featuring works by international artists that variously deal with domestic architecture and the urban space. From the cold architecture of contemporary cities to the private dimension of a house, all works put forth the idea of the home as the “epidermis of the human body” – to say it with Frederick Kiesler’s. Furthermore, the chosen videos offer an overview of contemporary moving image creation, while they present a coherent aesthetics to the films produced by In Between Art Film. Formally launched in 2012 by Beatrice Bulgari, In Between Art Film is a film production company that explores the shifting boundaries between contemporary art, video art and cinema.
In Between Art Film, formally launched in 2012 by Beatrice Bulgari, is a film production company dedicated to providing artists, filmmakers, and directors with the possibility of freely exploring the uncertain territories of moving images.
In Between Art Film has been supporting leading institutions and promoting important cultural partnerships including: vice versa Italian Pavilion, 55th International Art Exhibition of Venice Biennale (Venice, 2013); Biennale de l’Image en Mouvement (Centre d’Art Contemporain Geneva, 2016); Miart (Milan 2016 – 2017-2018); Tate Film (London 2017); Maxxi Videogallery (Rome, 2017); Il Mondo Magico Italian Pavilion, 57th International Art Exhibition of Venice Biennale (Venice, 2017); Documenta 14 (Athens – Kassel, 2017); Lo Schermo dell’Arte (Firenze, 2017); Dhaka Art Summit (Dhaka, 2018); Manifesta 12 (Palermo, 2018).
For further information please visit: www.inbetweenartfilm.com
To consult the program of Loop 2018: http://loop-barcelona.com/loop-festival-2018/
The work of Sinéad Spelman (1978) focuses on the practice of drawing, writing and sculpture from a personal perspective which simultaneously investigates collective emotional states. Drawings with simple, bare, almost schematic strokes, embody characters who are in defiant resistence to ambiguous and disturbing situations to which subjects do not give in but do remain passive, with an indolence that, paradoxically, can be considered active; bodies often appear incomplete or amputated, rendering them useless for the production line. This dysfunctionality can be read, therefore, as a form of permanent strike.
For Nivell Zero, the artist explores these issues whilst experimenting with materials and formats and investigating the relationship between drawing and writing.