ART AGENDA FOR SUMMER’19: WHAT YOU CANNOT MISS THIS AUGUST

Summer is the ideal occasion to enjoy culture and art in a more relaxed way, outside the rush of the rest of the year. In addition to resting and regaining strength, it is good to take advantage of all the cultural activities scheduled at this time to help us stand the heat.

MADRID

Rogelio López Cuenca awaits us at the Reina Sofía Museum with the exhibition “Yendo leyendo, dando lugar”. This is the first monographic exhibition that the Centre dedicates to this creator of Nerja, obsessed with the power of language and plasticity that the message can adopt in its many forms and over time. From his beginnings in the 80s with collaborative works that merged different disciplines, until he changed direction in the mid-90s, becoming more reflective and critical with the system, López Cuenca shares his concern around essential topics for the individual of our time, such as the migratory flows, historical memory or urban speculation. Until August 26th.

Rogelio López Cuenca, “Traverser”, 1986. Yñiguez Aragón Collection (via museoreinasofia.es)

SEVILLE

In 2019, the memorable trip to the Moon turns 50 years, a unique event that marked the history of events of the twentieth century. CaixaForum joins the commemorations with a funny and close exhibition about the work of Hergé and his famous character Tintin. Because Hergé was a visionary and, years before the first human-crewed mission left the planet, he had already put these charismatic protagonists in orbit. “Tintin and the Moon” covers a large part of the most famous and well-known space missions, in addition to planning a journey through the history of space exploration by the hand of Tintin and Milú. Until October 27th.

VALENCIA

Any occasion is a good moment to review the work of Fernando Léger, one of the parents of modernism. The IVAM, in collaboration with Tate Liverpool, organises this exhibition that brings together fifty pieces of the author, as well as videos, fabrics and murals, with which to take a tour of the trajectory of this Parisian creator. Besides, the exhibition revisits some key points of his artistic role and emphasises his profile of political criticism, being Léger, as he was, a staunch defender of the social function of art for all.

Fernando Léger, “Le tableau Les Constructeurs”, 1950

SANTIAGO DE COMPOSTELA

Media has extensively covered the refugee drama in recent years. However, the approach to the problem has sensationalist dyes that emphasise the drama of the experience lived by its protagonists and the catastrophic consequences of many failed trips. The CGAC of Santiago de Compostela brings together the work of about twenty contemporary artists under the curatorship of Piedad Solans and Santiago Olmo, in an exhibition that addresses this human conflict with a historical perspective and with less emphasis on the journalistic dissemination of the situation. Because societies and identities are also built on the basis of the flows of people. Exile has been, is and will be a great engine of cultural exchange and must be faced as a reality not exceptional, but purely human. "We refugees", until October 13th.

Roland Fischer, “Refugees”, 2016. (via cgac web, courtesy of the artist)

BARCELONA

With educational vocation, the CCCB hosts the exhibition “Quantum”, a project that gathers the joint work of artists and scientists to facilitate the explanation of concepts related to quantum physics. The tour splits into two parts, on the one hand, the work of ten artists who introduce these notions in their work to demonstrate that quantum physics transcends the purely theoretical level of academicism, and, on the other, the development and results of nine research projects around this theoretical physics approach. The visitor faces a multitude of questions about our reality and the perception of the world in an enriching and different experience that will make us rethink the traditional postulates of the known. Until September 24th.

LEON

The exhibition “El giro notacional” of the MUSAC delves into the power of the notation systems in the different fields in which they apply, not only for academic purposes but also for reflection. The desire to limit something, to translate it into a universally understandable encrypted language is at the same time, a form of intervention that eliminates the arbitrariness and freedom of things that happen without a pre-established order. This collective exhibition brings together the work of a large group of artists under the curatorship of José Iges and Manuel Olveira. The route articulates around five main axes: the musical notation, the mathematical and scientific world, the notations of the kinetic movement, those of cartography and space and, finally, those of thought. Until September 15th.

Josep Maria Mestres Quadreny, “Aronada”, 1971.

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.