Welcome to Cristina Guerra Newsletter April 2017. ONGOING EXHIBITION
Cristina Guerra Contemporary Art, Lisbon, Portugal
Works from 1960's, 2016 and 2017
Closing 13 April
Robert Barry (Bronx, New York, 1936) exhibits for the first time in Cristina Guerra Contemporary Art gallery, in Lisbon. The exhibition "ROBERT BARRY: works from 1960's, 2016 and 2017" presents two different moments from his work: very late works, presenting a group of recent pieces, produced over the last two years, and a selection of very early works, presenting a few seminal pieces that Robert Barry produced in the 60s.
Barry's work has been developed through the research of resources and of very diverse materials, like sound, word, film, slides projections, colour, space as an inscription plan, and the edition of artists books in which the relation between text and the readers time reveals a very particular importance on the spatiality that the book represents.
In this point of view, language is an essential and functional element that the artist has been working with, integrating drawing, architecture and the photographic image. Even when the word is separated from a text, without losing its semantic value, it gets distant from a possible narrative, transforming itself into an activation object, opening other fields of possibilities by interpellating the spectator's space as a materialised object. The same occurs with the use of colour, strictly connected with the process in which language and the word becomes a puzzle, confronting the spectator that observes it. Sometimes, the word functions as a trigger once applied on a wall or a window, fragmented as a drawing or a group of signs, revealing each time a new visual composition.
Robert Barry's work offers a constant challenge for both the receiver systems of artistic production and the perceptive capacity of each individual. Regarding this process and procedures, characteristics of his artistic practice, Robert Barry published in 1998 in Flash Art magazine a brief text as a statement, questioning the art system, that I here reproduce:
"If there was anything important about conceptual art? If there was one thing? It was the way the work questioned the entire system. It really dug deep and revealed the relation between art and the viewer. What being an artist was about, and what conceptual art was about, was testing the limits of one's perception, pushing it so far as possible, to the point of invisibility. I think conceptual art was the end of modern art. I think modern art was going out on a limb and then cutting off the limb to see what would happen."
João Silvério, March 2017
Cristina Guerra Contemporary Art, Lisbon, Portugal
Opening 17 April | 22h00
"Boné is an exhibition of dead-synapses . Paintings, as always. A painting occupies an empty space on a wall. It stays there until someone replaces it or, in times of turmoil and unrest, throws it out of the window. Holding onto the wall, impassively resisting all blows - among which the most amusing and on the mark, until this day, was the throw of a modest piece of sanitary ware - is one of the greatest achievements, accomplished throughout the centuries with remarkable grace. This will not change.
If they were made of clay, I would throw them at the wall and leave them as they were: an inch above or below, an inch to the left or to the right, I don't give a damn. I focus my attention on the inside of the paintings, not on how I present them. Although it has a longer range (and much more flexibility) than most of the ideas we normally find haunting exhibitions, the measuring tape is used in excess and with too much gullibility. Corners and edges walls inadequately used, too crowded or too lacking: these are not relevant problems.
I never forget that everything we do will most likely end up in some mouldy storage room. And I welcome this more as a relief than as a problem. Time, that ubiquitous and judicious passer-by, will decide what to rescue from the grasp of oblivion - eventually. In this perspective, it is preferable for a work of art to emerge into its public life amid agitation and completely unprotected.
I have no plausible explanation for the fact that I dedicate most of my time painting rectangles with their destinations. Why would someone choose to paint, with tireless determination, apples on a table? For all the reasons, none of which plausible.
But I will not talk about the paintings. One way or another, they will be on the walls.".
José Loureiro, April 2017
 (T.N.) Reference to a manifesto by the author where he presents his own and singular artistic movement, Sinapsismo, point nr 12.
The exhibition 'Collaboration' presents a selection of works from De Bruin collection; the title of the exhibition follows the character of the works presented: works created by a duo of artists, in collaboration.
Filipa Oliveira is the first invited curator for this cycle of exhibitions _ this cycle is composed by four exhibitions; the last one will be in January 2018. Filipa Oliveira selected works by eight artists duos.
Among these duos, we highlight Matt Mullican & John Baldessari' participation. Other duos are for example John Altoon & Ed Ruscha and Thomas Schutte & Richard Deacon.
In 2013 Lawerence Weiner visited the Milwaukee Art Museum to select a site for a new large-scale piece.
Weiner chose the Windhover Hall, designed by Santiago Calatrava.
Using models of the building, Lawrence Weiner created two new installations for the Museum's Grand Hall.
Curators: Rita Gonzalez (LACMA Curator - Head of Contemporary Art), Michael Govan (LACMA CEO), Wallis Annenber (LACMA Director)
This year the Los Angeles County Museum LACMA celebrates its 50th anniversary. On this occasion, the museum organised an exhibition which selects gifts to the museum as part of a campaign without precedent, led by the American artist Catherine Opie.
The exhibition includes gifts from more than 40 artists. John Baldessari is the artist we highlight in this exhibition; Baldessari not only donated some of his works to the museum but also, throughout the years he made gifts of other artists pieces. L.A. Exuberance presents more than 60 objects including paintings, photography, drawing, prints, sculpture, mix medium, and time-based media. LACMA's modern and contemporary art collection has been built with the support and critical interaction of artists.
Throughout this last decade, these artists participation, including John Baldessari's, has been extended including a direct involvement from the artists in the definition and shaping of all museum experience; other artists that were involved in this project were Barbara Kruger, Jorge Prado, Franz West and Robert Irwin.
The exhibition is organised by themes; the works that share formal or conceptual approaches are presented together.
The Sibyl's Gaze - Corporality and Transfiguration
Opening 5 April | 6.30 pm
Curator: João Silvério
The exhibition 'The Sibyl's Gaze - Corporality and Transfiguration' presents sixty works where the body's metamorphosed is interpreted by artists from the XX and XXI century.
The exhibition assembles a selection of pieces from six institutional collections: Arpad Szenes - Vieira da silva Collection, Caixa Geral de Depósitos Collection, EDP Foundation Collection, Millenium BCP Collection, Oriente Foundation Collectin and PLMJ Foundation Collection.
Among the 35 artists featured in this exhibition, we highlight the participation of João Paulo Feliciano and Julião Sarmento.
Reference image: João Paulo Feliciano, Light Corner, 1990, Collection CGD Foundation
Curators: Daniel Gorres, Prof. Dr. Gunnar Heydenreich (Foundation Museum Kunstpalast), Beat Wismer (General Director, Foundation Museum Kunstpalast)
In a historic perspective, Lucas work was the first one to free itself from the weight of traditional iconoclastic in the period when Martin Luther bans imagery adulation. The Lutheran reform and the works by Cranach, opened the way to an art free from the religious burden. Thus, one might say that Luther and Cranach prepared the conception of modern art.
With this historical background, it's not surprising that some pioneer artists from modern art have included Cranach language and themes in their works; artists like Pablo Picasso, Otto Dix, Ernst Ludwig Kirchner, Marcel Duchamp and Andy Warhol.
Baldessari has worked with Lucas Cranach images in his 'masterpieces' collages. Having as starting point works selected from Cranach and other masters, Baldessari explored the relation between painting and photography and between image and language.
In this process, besides having selected a few specific details from some works of art, Baldessari also painted above the image of these details and combined these images with text, extracts from Hollywood scripts, creating large horizontal and vertical diptychs.
The result of the confront from pieces of the master Cranach with modern and contemporary art explore the language and themes from this master, culminates in a complex consonance and dissonance, that puts in relation ancient art and contemporary art, breaking with preconceived patterns of conception.
From this group show, we highlight the participation of John Baldessari.
The exhibition Modus Operandi explores art by delegation activating a well-known strategy of conceptual art done by instructions. The exhibition by Société explores the dematerialization of art and the activation around historic and current works.
This exhibition puts into perspective a type of conceptual art in connection with algorithmic art, a parallel that happened in 1970 during 'Software' exhibition, and as Sol LeWitt explains in Paragraphs on Conceptual Art (1967) "When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art ... the artist would select the basic form and rules that would govern the solution of the problem."
The work displayed in this exhibition only exists through its transmission, its execution and documentation of its reactivation.
The instructions of the artists deliberately leave room for the subjectivity of the person who realises the final work.
Even if the curator literally follows the instructions and is in the exchange with the artist, if the principle is fixed, the work varies slightly and gains significance at each interaction.
We highlight the participation of Robert Barry, Angela Bulloch, Luís Paulo Costa, Lawrence Weiner and Erwin Wurm.
"(...) The empty space becomes the place since it loses its limitation. Is in this hybrid mix that we can think/situate the space place somewhere. (...) From the body; men and life. In this context, the selection of artists and their pieces, point to these questions and indicate ways and/or different possibilities on the way these concepts relate to each other (...). With different artistic practices that range from sculpture (Diogo Pimentão), video, object and photography (Edgar Martins)".
Miguel Sousa Ribeiro
From this group show, we highlight the participation of Edgar Martins and Diogo Pimentão.
Project in collaboration: Aargauer Kunsthaus, Solothurn Film Festival
This group exhibition theme is like the title indicates Cinéma mon amour. Film in Art is the fascination of cinema.
This exhibition presents a selection of works from international artists that approach different aspects of the film in art.
Simultaneously, in Switzerland happens the 52nd edition of the Solothurn Film Festival.
Film and art have always been related. The works in this exhibition explore how cinema, film and the cinema industry are reflected in contemporary art.
Among the 25 artists represented in this exhibition, we highlight the participation of John Baldessari.
Thirty years after the Hommage à Ferrari exhibition, the Cartier foundation will focus once again in the automobile world with the exhibition Autophoto dedicated to the relation between photography and the automobile.
Since its invention, the automobile has transformed our landscape, extended our horizons and radically altered our concept of space and time, influencing the practical approach of photographers.
The exhibition Autophoto will explore how the car became a new theme for photographers, in a new viewpoint and perspective to explore the world.
Organised in series, Autophoto brings together 400 works by 80 international artists, historic and contemporary. Capturing de geometric drawing of roads, the reflections in the mirror or our relation with this object of desire, these photographers invite us to look to the world of cars in a new way.
The exhibition will also include objects lie models of cars series that were a reference in the history of car design. created especially for this exhibition.
Among the featured artists we highlight the participation of John Baldessari and Rosângela Rennó.
Reference image: Rosângela Rennó, Cerimónia do Adeus, 1997 - 2003
This exhibition presents a series of works by Austrian artist Erwin Wurm; these works reflect on the human body not only in his physicality but also on his psychologic and spiritual layers.
To Erwin Wurm, the house is part of the body; the house is a kind of skin that protects us, as a car or clothes do.
The animated elements become alive with a certain organic character - an obese villa, a thin toilet, a sausage with personality, a fat car. These transformed objects speak for themselves but also speak about each one of us.
Tatjana Doll received this year's Hannah Hoch Forderpreis.
Doll's large scale canvas explore the phenomenon of mass culture. The themes of her work include TGVs, weapons, F1 cars, transfer slips, pictograms and traffic lights. The starting point to the painting process are not the objects, though.
Doll works from photographic records, registering them in a realist manner trough gloss painting in large scale canvas.
The gloss drops happen without control, along with bubbles and clouds; Doll assumes this rough and direct aspect of this fast paint technique and integrates it in the final composition.
Filipa César & Louis Henderson:
Op-Film: an Archaeology of Optics
Opening 26 April | 18h30 - 20h30
Gasworks presents Op-Film: An Archaeology of Optics, a collaborative exhibition by artists and filmmakers Filipa César and Luis Henderson.
The exhibition will present a newly commissioned film and an installation exploring how optical technologies of military and colonial design- from lighthouse Fresnel lenses to global satellite navigation systems - both inform and are informed by Western models of knowledge.
This film is a research project co-commissioned by Gasworks; Contour Biennale 8, Mechelen; and the MAAT museum, Lisbon; and supported by Arts Council England; Fluxus Art Projects, London; and the Gulbenkian Foundation, Lisbon.
theDrawing Biennal 2017 presents a vision on how artists react to this world in rapid evolution and with disorientating fluxes.
This drawing exhibition presents examples of contemporary drawing practices, including more than 200 new and recent works on paper, from renowned international artists.
Among the 250 artists featured in this biennale, we highlight Diogo Pimentão and Julião Sarmento's participation.
Pearson's Open Call: The Poetic Impossibility to Manage the Infinite
Closing 23 April
A group exhibition presenting the work of photographers selected via an International Open Call for projects in response to FORMAT17 Festival theme: HABITAT.
Featuring work of sixteen selected artists, we highlight Edgar Martins's participation. The Poetic Impossibility to Manage the Infinite is the most comprehensive survey ever assembled about a leading scientific and space exploration organisation.
For the first time in history, the European Space Agency (ESA) granted a visual artist exclusive and unparalleled access to all of its facilities, staff, programs, technology, and private aerospace industry partners.
The project looks to crucially engage with ESA programs, whilst also reflecting on the new politics of space exploration.
Martins travelled and documented 15 separate facilities worldwide, including the UK, the Netherlands, France, Germany, Italy, Spain, Russia, Kazakhstan, and French Guiana.
Curator: Marc-Olivier Wahler
This exhibition organised by Eli and Edythe Broad Art Museum at Michigan state University explores the theme of magic.
The most phenomenal magic trick, ever seen is not magic in the real sense of the word but only in its appearance, and it's the trick that gives the title to this exhibition: the trick of The Transported Man.
The curator Marc-Olivier Wahler brings together a selection of pieces from five international artists; the pieces are in some way related to this theme.
With works by Ugo Rondinone and Piero Mazoni, we highlight Jonathan Monk's participation.
Foxy Lady is a provocation.
This exhibition with the title after Jimi Hendrix song presents works by eleven artists.
The projection of the iconic man from Hendrix becomes an image and a swirl object, in a dialogue between independent solitaries.
Among the featured eleven artists, we highlight Sabine Hornig's participation.