Burned wood and glass.
Tamara Arroyo “Año 59 de la Revolución” 2017. Enameled iron
Pep Vidal, Untitled (detail) pen on paper. 112×82 cm .
Derrumbe III, 2018. Oil on linen, 35×28 cm
Lúa Coderch “I need”. Sore throat, 2018. Framed digital color
print, tinted glass. Vynil audio “We can still be friends” (2018), 18
min. 70×50 cm. Ed 3.
Paisaje anatómico 7 (o 9)
23 x 30.5 cm
técnica mixta sobre papel
Reenactment 231 (blue), 2016. Tirage pigmentaire. 101 x 80 cm Edition 2/3. Courtesy the Artist & PIECE A PART project.
HERNAN SORIANO. El beso de Catalina II con Pedro el Grande.
Drawing and assembly. 47x62cm. 2016
Bodybuilding IV, Alfredo Rodríguez. 100 x 70 cm. Silver gelatin
and acrylic resin on wood. 2018.
Christto & Andrew “Reality Needs an Observer”, 2018. PVC Print,
mounted on scaffolding. 130×100 cm. Ed. 1/3 + 2AP
Une épaisseur de signes libres, 2018. Collage of remains of ancient
scenography on wall.
MANILLAR, 2018, 2018
Extruded polystyrene, polyurethane and paint
34 x 24 x 27 cm
POMO 3 (Giro, cuello, movimiento de cabeza, desdén), 2018
Extruded polystyrene, modeling paste and paint.
75 x 14 x 24 cm
Jorge Diezma “Arellano” 2017. Oil on canvas. 124×91 cm.
Guillermo Pfaff “OR_M03” 2018. Acrylic on canvas. 200x165cm.
José Miguel Pereñíguez “Los estoicos” 2017. Felt and wood.
Olga Bozhko. Hydra (detail). 2016. Acrylic yarn with lurex, light
garland. Height 190 cm. Courtesy Olga Bozhko & Galerie Iragui
Ewa Juszkiewicz, 2018, Untitled, oil on canvas, 80x60cm
Oscar Abraham Pabòn. Boundary problems. 36 clay blocks.
Exhibition View “Break of Day” at Goldberg Galerie, Munich in February
Verónica Calfat, Cabeza de chancho, 2017. Oil on cloth. 100x80cm.
Printed silk, steel
Axel Lieber, Short cuts, 2007-2010, fragments of furnitures,
48_08. 2017. Plicated paper. 70x70cm.
White marble, travertine marble and epoxy resin. 20,5×6,6×3 cm.
Ice cream (from the series “con la Comida no se juega”) 2018.
Regine Schumann, color satin and glow after madrid, 2018, Polymethyl
methacrylate (acrylic glass) fluorescent. Each piece
Painting – Corrado Levi, Schizzi per nudi, 2016, pen on canvas,
80x60cm. Sculpture – Oren Pinhassi, Towel Snake I, 2017, towel,
Oskar Romo, De la Serie Las Terroristas. Mixed on Canvas. 23×23 cm apron. 2016
Julia Llerena, La escritura y la diferencia, Installation. Objects
found on wood shelves, 225x540x5 cm (detail).
Mauricio Salcedo “Peripheral Integrations” Assambly And Masonry
(Mamposteria y ensamble a escala) 150x75x50cm. 2018
Kiko Escora “Kiss” 2017. Charcoal and acrylic on canvas.
59.5 x 40 cm
Sinae Yoo,Shadow Theater, 2016. Ceramic and fabric, 23x22x22cm.
Emilio Vargas Vera “Los Fuegos de Lima” 2018. Oil on protective
film. 1.80×1.40 meters.
Leo Dorfner “THEORY” 2017. Watercolor, graphite and oil on paper.
The Desert and the Cactus
Palm Shadow 2 (Angeles Forest, S. San Andreas), 2018
Carving and Chemigram on C-Print
Static Mount, Museum Glass, Maple Frame
21 x 17 inches, 53.34 x 43.18 cm
ink and gouache on paper
11.7 x 16.5 in (297 x 420 mm)
Burlap, gravel and resin
12 x 12 x 4 in.
Alan Prazniak, Pancho and Lefty, 2018, Oil on linen, 12 x 16 in / 30.48 x 40.64 cm
Emilie GossiauxSunset, 2017
paint on cloth
60 x 96 inches
152.4 x 243.8 cm
Orange Bowl, 2017
3 x 8 x 8 inches
7.6 x 20.3 x 20.3 cm
Measures (HyrynsalmiHaukijärvi), 2017
Digital print on fabric
200x100cm / 79×39″
Traças, pontos e linhas
fineart print in cotton paper
29 x 18 cm
Capa Livro – Traças, Pontos
e linhas 2017
sculpture in book cover and thread
14 x 18 x 03 cm
Serigraphy in one color, handmaid finish with pen in Canson 100% cotton
66 x 48 cm
Warercolour in paper
Dimensions 50 x 30 cm
Flavia Mielnik, dream and tiger, 2017, Rosa series, acrylic painting
on silk paper, rain, sun and wind of Bogota, 60x77cm.
Ruth Morán. Microperforation. Black perforated paper.
31,5×24,5 cm. 2017.
S./T. (Pompei Series) 2018. Oil and cement s/paperboard.
António Faria, Untitled (Floresta #9), 2016, link flow on Fabriano
paper, 145×200 cm.
From the Gutter, Installation; intervened paper, projection,
steel plate and etching.
Chingsum Jessye Luk. Souvenir (CHF 1.408,60)
Billetes de tren, pegamento, cinta
8 x 6 x 6 cm
Digital C Print
Andrés Frix Bustamante
La incipiente teoría romántica de la autoexpresión, 2018
Anudado en lana natural
50 x 75 cms
oil on cut out wood board
150 cm x 150 cm
38cm x 27cm x 10cm
dynamic relationship of shapes?paper
16 x 12 inches?
Insert Coin 1/100
Resina de Marmolina (una de las piezas de la instalación)
9 x 9 x 9 cms
Acrilico y óleo sobre lienzo
Oil on cotton
55 x 38cm each
Sleeping Beauty °III
acrylic on canvas (wooden stretchers + white wood floater frame), 65cm x 50cm
Sleeping Beauty °IX
acrylic on canvas (wooden stretchers + white wood floater frame)
65cm x 50cm
Untitled, Oil on canvas, 140×100 cm, 2017
Nuno Ferreira, Untitled, acrylic and pastel on paper, variable dimensions,
Primeira Desordem, Low pro, neck bag, mini HD camera, buttons and glue, variable dimensions, 2018
Aires de Gameiro, Study #2, spray paint and acrylic on paper, 30 x 20 cm, 2018
Videostill of Bernhard Holaschke’s “documents”, Kunstmuseum
Shapeless and all Shapes
How to think of a multiple voice from a situated body? of a voice that is not one, but many, not a voice, simply voice. Voice as a process of interaction, an entanglement, an accumulation of everything else. Of you, of me, of our environment, in present, past and future continuous. Like the voice of a medium through whom the dead speak, or the voice in streaming that travels without body, or the voice of your grandmother in your speech.
The performance “Rehearsal for an improvised monologue” uses elements from stand-up comedy to point up dynamics and vices of the artistic context we live in, always from an ironic and self-critic viewpoint. The artist will embrace the monologuist role to speak in public about the elements that are instrinsic to the contemporary artistic practice: trends, attitudes of certain characters in the sector, power relations, dynamics, etc. This implies a reconsideration of the used elements, while utilizing one or another reference depending on what is being said and done in that moment. In this context we will find sentences such as: “Decathlon is the new fine arts store” and “There are artists taking selfies to win likes”.
TRANS, TRANS, TRANS, TRANS, TRANS…
A group of five trans-binary or non-binary genres will carry banners made by El Palomar with various texts related to gender diversity in the field of culture. For Swab Barcelona 2018, the five performers will be inserted between the visitors of the fair, as a feminist irruption in a festive-cultural context. At the same time, other performers will read texts in the area reserved for performances.
This performance uses materials and personal associations that each specator is to stablish as conductive thread. It is an abstract narration, conducted by the artist around assemblies of sculptural objects that combine the fragility of the glass with the uncertainty of the proposed images.” title=”\”Birds-texts-waves\”
This performance uses materials and personal associations that each specator is to stablish as conductive thread. It is an abstract narration, conducted by the artist around assemblies of sculptural objects that combine the fragility of the glass with the uncertainty of the proposed images.” border=”0″ class=”img-responsive”/>
This performance uses materials and personal associations that each specator is to stablish as conductive thread. It is an abstract narration, conducted by the artist around assemblies of sculptural objects that combine the fragility of the glass with the uncertainty of the proposed images.
“No, No, No!” happens in a different temporal space, from which we can only see a portion, the propagation of what it is.
PINK NOISE is a series of performative actions and interventions in space and time. PINK NOISE is a body concert in a sonic landscape. PINK NOISE is a living state of corporeality experienced live. PINK NOISE is the pink elephant in the room. PINK NOISE is a tidal wave. PINK NOISE is still life in slow motion. PINK NOISE is a twilight ballet. PINK NOISE is a tye dye t-shirt in the wind. PINK NOISE is a Rubik’s cube of pink mirrors that face each other. PINK NOISE is a portal towards a vortex of the unknown. PINK NOISE is a shift in frequency to a new paradigm. PINK NOISE is a parallel universe. PINK NOISE is the evolutive power in the persistence of erosion. PINK NOISE is order and chaos dancing. PINK NOISE is delicate anarchy. PINK NOISE is a signal that makes no sense. PINK NOISE is an aesthetic. PINK NOISE is a feeling.
PINK NOISE is a trance. PINK NOISE is body control. PINK NOISE is the slap ’n’ tickle between synapses. PINK NOISE is an amoeba amplified. PINK NOISE is the pulse that runs through pebbles. PINK NOISE is the key to deciphering the mystery sealed in stone circles. PINK NOISE is a spell to awaken cellular memory. PINK NOISE is a song for concentration, an elixir for lucid dreaming. PINK NOISE is the antidote. PINK NOISE is mother nature’s roar in a whisper. PINK NOISE is an embrace in the form of an infrasound. PINK NOISE is a subliminal exorcism of the hypercapitalist patriarchy. PINK NOISE is a weapon of mass creation. PINK NOISE is the minimal techno that will play at the zombie apocalypse after party. PINK NOISE is alkaseltzer for the brain via the ears. PINK NOISE is a line of glitter dancing like a brilliant blizzard in the spotlight of your cortex. PINK NOISE is rose magic.
DUAE- Besòs: a Noble Ecosystem. Photograph taken in prospective walks through the Besòs riverbed, 2018.
Irma Marco – The void. Mural installation and audio, 2017
Julia Calvo – Installation Be Me, Nylon Ripstop and fiberglass, 2018?
Julia Gorostidi – Julia, Rosa, Angela and the Others After Her. Ceramic with sound. Audio: consultations with fortune-tellers, 2017.
Marina Rubio – Hiperobjetos, 2016
Michael Lawton, CRG. 2016
This edition will have a / b Books, a Swedish editorial proposal
that combines text, photography and collage.
Paranoia Publishig is a publishing house born in Estonia
that has points in several points of the globe. The house is
committed to creating the margin of conventions, its goal is the
destruction of reality and calls itself the most abnormal product
of the contemporary art market.