I Got You Under My Skin
We’ve heard Sinatra singing those words thousands of times on radio, records and movies from a Hollywood’s golden age. With this and other songs, “The Voice” conquered our minds and today we associate those melodies with a whole culture. But what or who had Sinatra under the skin? Obviously, a woman ... It was always a woman. However, we want to go a little further to show the motivation that leads us to this exhibition: within these loves, attachments, desires, which give rise to songs, poetry books, novels, cinema, photography, painting, art in short, stands a human fever that cannot be quenched beats. We think that for an artist, what really is under the skin, that force that itches and cannot be scratched, that need to create, to communicate, to share, to emerge and go outside, is both the origin and the very result of our essence. The essence of life, and more specifically, the essence of our species. The scorching itch of creativity is actually a key link in evolution itself. If not biological, which could also be analyzed elsewhere, we do believe we can venture that it is one of the keys to cultural and social evolution, which also leads us to the constitution of thought, to the origin of many of our convictions. It is no secret that art creates a collective conversation that ends up permeating culture and finally civilization.
I Got You Under My Skin focuses on that energy that is constantly moving us and can't be stopped: it is inherent to life. No, this creative fever is fueled by needs that probably respond to the very laws of the Universe. Like life, man is forced to walk forward: he engages in a constant need for creation and evolution. Even isolated, individually, the conversation that each artist generates grows towards the collective, often reaching broader frameworks within the art world, and as we have already pointed out, of civilization itself. For some reason, perhaps for the very survival of the social being, we tend to connect everything, to expand ideas and share them, something that is not only inherent in the art world. From our gallery dimension, we also follow the links of a chain that also connects practically everything globally, the same that allows us to present a virtual exhibition like this one. Beyond purely artistic interest, this exhibition should be read as a desire to converse with artists to whom we feel connected in different ways, to share this 'visual' conversation. Some works have a direct reference to creation, to process, to doing. Others, talk about the very nature of mankind or even to how men shape their world.
I Got You Under My Skin are those artists whose practice conquered, interests or fascinates us and was one day under our own skin. And it is also our need to share the discourse of their work. Because after all, we are also connected by the passions and conversations that we all carry under our skin.
I approach remote subjects because it has always been difficult for me to understand my closest environment. For this reason, I propose the possibility of delimiting the infinite space to give it a false livable appearance. I think I have a certain escapist tendency.
Julia Llerena (Seville, Spain, 1985) studied Fine Arts between Seville, Barcelona and Florence. Later she completed a Master in Research in Art and Creation from the Complutense University of Madrid.
Her recent solo exhibitions include La palabra, menos una, Cibrián Gallery, San Sebastián, Spain; In event of moon disaster, Fresh Window, New York, USA; El todo como objeto, RocíoSantaCruz Gallery, Barcelona, Spain; Estrato 0, Blueproject Foundation, Barcelona, Spain; Los lugares de un ardid, Hospital Real, FACBA, Granada, Spain; and Home, una cuestión global, INICIARTE, Sala Santa Inés, Seville, Spain.
Julia Llerena's work has been shown at the Biennial of Young Artists of Europe, Mediterranea 16, Ancona, Italy; MuVIM, Valencia, Spain; Contemporary Art Center of Salamanca (Da2), Salamanca, Spain; Espacio OTR, Madrid, Spain; Andalusian Center for Contemporary Art (CAAC), Seville, Spain; Spanish Embassy in Tokyo, Tokyo, Japan; Espacio Odeón, Bogotá, Colombia; Espacio Minimo Gallery (Entreacto), Madrid, Spain; Labor, Gijón, Spain, among others.
Among the prizes and awards she has obtained are the Blueproject Foundation, Barcelona, Spain; Brecha Laboratory, La Paz, Baja California Sur, Mexico; Injuve Creation Grant 2015, Plastic Arts Circuits XXVI or the Production Grant of the Community of Madrid.
For about 20 years now my main theme has been the model of human behavior under extreme conditions such as fear, violence, pressure or death. In this I am especially provoked by the artistic conflict of those neurological and cognitive processes taking place in man that it is difficult to record purely scientifically.
Bodo Korsig is a native-born German, who divides his time between Trier (Germany) and New York.
Bodo Korsig’s work is both funny and serious. Working in a variety of mediums and modes, including woodcut, Artist books, sculpture and videos. He plays with the subconscious, the familiar, the mundane, and the minuscule. He gets you though, hitting your head on with the periphery, turning things around, stretching, reorienting.
Bodo Korsig has exhibited extensively nationally and internationally including at Smart Museum of Art Chicago, USA; Arp Museum Bahnhof Rolandseck, Germany; Trussardi Art Center Milano, Italy and ZKM Karlsruhe, Germany.
His work is in over 50 museums and public collections include Blanton Museum of Art, Austin, USA; Brooklyn Museum of Art, New York; Museum Pfalzgalerie Kaiserslautern, Germany; Czech Museum of Fine Arts, Prague, Czech Republic.
He has received 20 international prizes and scholarships, including Artist Residency Inside-Out, Art Museum, Beijing, Grand Prix 4th International Triennial Prague, Stipendium Kunstfonds Berlin and a grant from the Max Kade Foundation, USA.
Fuentesal & Arenillas
We are dedicated, from the time we get up until we go to bed, to change the viewer's perspective.
Fuentesal & Arenillas
Fuentesal & Arenillas
Julia Fuentesal (Huelva, 1986) and Pablo M. Arenillas (Cadiz, 1989) studied at the University of Fine Arts in Seville. Their work explores the playful dimension of artistic practice as a production of signs whose topology requires the participation of the viewer to finish configuring the open composition they propose.
In this sense, their pieces intersect autobiographical aspects with formal resources such as the double figure and repetition, including chance as an essential component of what is at stake and, precisely for this reason, remains unfinished.
Their work has been awarded by the Community of Madrid-DKV, with the project Bright Cover / Slim margin (2020), also by the program of the space Initiate in Seville (2015) and the Blueproject Foundation (2018) with a residence that ends in the GameShow / PlayShow exhibition. They have also participated in different exhibitions such as What do they feel, what do the Andalusian artists think now? at the CAAC in Seville and recently in the Main Space of the Luis Adelantado gallery with his exhibition The resistance of the id / Blue as an orange. Lastly, they have participated in fairs such as ARCO and Artissima.
The distinctions between Art, design and decoration are no longer essential. If I chose the textile, it is that, from the clothing to the support of the painting, passing by the furniture and the decoration, it is one of the materials that life, constantly puts on our way.
The folds are sheared by two large diagonals which separate the emotions into two temporalities. The emotion of a tradition to perpetuate and another to move towards another future, new experiments.
Inspired by the sewing skills of his grandmother's family, one from Paris, the other from Breton.
Fascinated by the folds and curtains of Madame Grès, the dressmaker.
Transported by the images of other times that preserve the memory of the old Parisian markets in 1900 or the sails navigate the world.
Alexandre Gourçon applies all these emotions to the canvas. His sober canvas, pleated or gathered, hollowed out or stretched, like notes of life. Draw horizontal lines cut diagonally like the lines of the hand with our uncertain destinations. At the same time, carelessness and, above all, the certainty of sewing the work. *
In his last pieces for the Fite (Bargouin Museum, Clermont Ferrand, September 2020), Alexandre Gourçon questions family history. The story between deep love but also permanent disagreement. There its folds are cut by two large diagonals that separate the emotions into two temporalities. The emotion of one tradition to perpetuate itself and another to go towards a future of new experiments. This new series confirms their greed for textiles and their folds; but also a break for a new state.
His last experience in Madagascar (with Colonne I) with wood, today transports him to another practice that goes beyond textiles, sculpture in all its tradition. Its folds are implacable in wood with repetitive and elegant veins that confront his initial work with new destinations, with new geographies increasingly questioning about beauty and know-how.
History is renewed, and each time Alexandre Gourçon adapts to reveal the most beautiful impression of the present.
*Madame Grès by Olivier Saillard
Joseph La Piana
These sculptures really do represent some level of hope. We as a society and as a country are experiencing so many pressures at the moment, so many tensions based on everything that’s going on in our lives (…) I’m pushing the boundaries of the material, and yet I know that the sculptures aren’t going to collapse.
Joseph La Piana
For more than two decades, artist Joseph La Piana has drawn upon a diversity of scientific and mathematical theories to create an ongoing body of work that foregrounds materiality and process in its exploration of creative and deconstructive forces alike.
Encompassing a multi-media practice which includes paintings and works on paper, to site-specific installations and sculpture, La Piana’s pieces are defined by the sequences and processes — akin to the replication of DNA or the recursion of fractals — applied to their creation.
Drawing from his own archive of existing works, La Piana’s pieces are, in essence, off-spring of earlier works by the artist. Understood as inheritors of prior pieces, La Piana’s creative process has established an ongoing creative continuum that links his most recent works to the earliest. Each respective body of work — from his “Tension” to his “Photonastic” series — can be viewed as related variants to each other.
La Piana’s works have been included in numerous exhibitions and site-specific installations internationally, including solo-exhibitions at the Robert Miller Gallery (New York) and The Warhol Museum (Pittsburg). His site-specific installations have been exhibited at the Venice Biennale in 2011 as part of the Warhol Museum’s “The Venice Text Project and in 2019 his “Tension Sculpture Installation” were featured along Park Avenue in collaboration with the New York City Department of Parks & Recreation and The Fund for Park Avenue.
My work is divided into two aspects: one of my own imaginary and the other, the use of the imaginary of other artists. But I have also realized that my imaginary was already within the others. When I use it, it is all a continuous reproduction of my own imaginary, so, after all, I am also my own artist.
Piezas sueltas en la historia occidental III (retratos), 2017.
Oil on paper on board.
161 x 140 cm.
Sandra Gamarra studied Fine Arts at the Catholic University of Peru. Her practice alludes to cultural production as a balanced construction. Always camouflaged or hybrid, the constant use of painting in Gamarra acts as a mirror that alters the exhibition formats, the narratives and the concept of the property of culture. In 2002, she created the LiMac, a museum project, as a response to the cultural institutional vacuum in Peru. Since then the museum has been presented in different ways: souvenirs, publications, exhibitions, architectural plans, collections, paintings or on its website (www. li-mac.org). Since it lacks a permanent space, the museum is installed in different cities and adapts itself to the nature of each place of reception.
A Fleeting Moment of Dissidence Becomes Fossilised and Lifeless After The Moment has Passed II, 2015
Inkjet prints on cotton paper.
Framing glass including serigraphy.
34,5 x 51,5 cm.Inquire about this work
The artist's job is to do what seems appropriate. Another thing is that this is interesting or has some sense or relevance. Personally, I am interested in artists who have more active positions, who understand art as a platform to observe and work in other areas.
Paloma Polo is a Spanish artist and independent researcher based in Utrecht. Between 2007-2009 she attended De Ateliers art residency program (Amsterdam) and in 2010 the Gasworks residency program (London). In 2013, she was tenured as a visiting research fellow at the Center for International Studies, University of the Philippines Diliman, Manila. Her later research explorations were hosted in by Les Laboratoires D’Aubervilliers research and creation institution (Paris). Polo is one of the driving forces of the organization Moving Artists International, and a member of the International League of Peoples’ Struggles (ILPS).
She has exhibited her work individually at Museo Nacional Centro de Arte Reina Sofía (Madrid), Centro de Arte Dos de Mayo- CA2M (Madrid), Arts Catalyst (London), Kurimanzutto Gallery (Mexico City), Casa Barragan (Mexico City), Frieze Art Fair (London), Montehermoso Cultural Centre (Vitoria) and SKOR Foundation for Art and Public Domain (Amsterdam) among other venues. Her work has been featured at the International Exhibition of the 55th Venice Biennial, Turner Contemporary (Kent), Museo de Arte Carrillo Gil (México), High Line Art (New York), Le Commun - Bâtiment d'art Contemporain (Geneva), Stedelijk Hertogenbosch Museum (Den Bosch), Celje Regional Museum, (Slovenia), Artium Museum (Vitoria) or CGAC, Centro Gallego de Arte Contemporáneo (Santiago de Compostela) among others.
In 2018 Polo was awarded the Ojo Crítico prize given by the National Spanish Radio: Radio Nacional de España- RNE in recognition of her artistic trajectory. She has been awarded grants by the Mondriaan Funds, the Amsterdams Fonds voor de Kunst (AFK), Acción Cultural Española and MUSAC (Museum of Contemporary art of Castilla y León), among others.
She has been a recipient the Multiverso price for the creation of video art by the BBVA Foundation (Bilbao), the International Visual Arts Grant awarded by the Botín Foundation (Santander), the IV International Young Art Prize by Maria Jose Jove Foundation (A Coruña) or the First Price at the Visual Art Contest INJUVE (Madrid), among others.
Photo: Isabel Permuy
We see ourselves (Apparatus 22) as a transdisciplinary collective of dreamers, researchers, poetic activists and (failed) futurologists interested in exploring the intricate relationships between economy, politics, gender studies, social movements, religion and fashion in order to understand contemporary society.
Apparatus 22 is a transdisciplinary art collective founded in January 2011 by current members Erika Olea, Maria Farcas, Dragos Olea together with Ioana Nemes (1979 - 2011) in Bucharest, Romania.
Beginning with 2015 they are working between Bucharest, Brussels and Suprainfinit (utopian universe).
They see themselves as a collective of daydreamers, citizens of many realms, researchers, poetic activists and (failed) futurologists interested in exploring the intricate relationships between economy, politics, gender studies, social movements, religion and fashion in order to understand contemporary society. Starting with 2015 a major topic of research and reflection in their practice is SUPRAINFINIT universe: a world-making attempt to use hope critically in navigating present and future.
In their very diverse works - installations, performances, text based-shapes, reality is mixed with fiction and storytelling and all merge with a critical approach drawing knowledge & experience from design, sociology, literature and economics.
Apparatus 22 works were presented in exhibitions at La Biennale di Venezia 2013, MUMOK, Vienna (AT), BOZAR – Centre for Fine Arts, Brussels (BE), Museion, Bolzano (IT), Kunsthalle Wien (AT), Académie Royale des Beaux-Arts de Bruxelles (BE), Brukenthal Museum Contemporary Art Gallery, Sibiu (RO), Akademie Schloss Solitude, Stuttgart (DE), Contemporary Art Museum (MNAC), Bucharest (RO), KunstMuseum Linz (AT), La Triennale di Milano (IT), Loft - Servais Family Collection, Brussels (BE), TRAFO Gallery, Budapest (HU), Futura, Prague (CZ), Ujazdowski Castle – Centre for Contemporary Art, Warsaw (PL), Salonul de Proiecte, Bucharest (RO), Onomatopee Eindhoven (NL), TIME MACHINE BIENNIAL OF CONTEMPORARY ART, D-0 ARK UNDERGROUND, Konji (BIH), Osage Foundation (Hong Kong), Progetto Diogene, Turin (IT), Closer Art Centre, Kiev (UA), CIAP, Hasselt (BE), Barriera, Turin (IT), Suprainfinit Gallery, Bucharest (RO), GALLLERIAPIÙ, Bologna (IT), Lateral ArtSpace, Cluj (RO);
performances at MAK, Vienna (AT), Steirischer Herbst, Graz (AT), Stedelijk Museum with De Appel CP Amsterdam, (NL), Kunsthal Gent (BE), Yarat Academy, Baku (AZ), Württembergischer Kunstverein Stuttgart (DE), Drodesera Festival, Dro (IT), Villa Empain, Brussels (BE), SMAK Gent, (BE), Kunsthal Gent (BE) etc.;
They also work beyond institutions via performances in public spaces, interventions in private spaces and other hybrid forms.
I believe the main force of Abstraction is that it shifted focus from the subject towards the means of execution. Figuration is mainly about the subject (what to paint?), whereas Abstraction focuses on materials and processes (how to paint?). If we think about it, what we call “abstract” today should be called “concrete”. There’s nothing more concrete than traces of tools in materials… even if forms are non-figurative.
Art, as the best place of creation, is the particular field where none of the constraints of the working world seem to reign. Compared to a so-called «serious» activity, which would be that of proper work, art would be of the order of «play». This opposition is quite superficial because art is also a work, often thankless, which requires hard work. One of the essential differences resides in the fact that a worker (worker or craftsman) applies pre-existing rules to a production which is part of a defined framework - the constraints of production are much higher than his freedom of creation if has one - while the artist’s work does not fully respond to a specific plan. This is what Soulages asserts when he emphasizes that, unlike the craftsman, the artist «goes towards what he does not know, by ways he does not know.» In other words, the craftsman knows where he is going and how he is getting there; the artist doesn’t know where or how, at least not always. The formation of the work is therefore adventure. Artistic creation is a process in which one you have to do and perform without knowing in advance, precisely, what we have to do and how. We only discover and invent it as the work progresses. In fact artistic creation is a continuous experiment, and the work of art is never an end in itself, but always the beginning of a new one. In this sense, the exhibition is an opportunity for the artist, in his journey, to share his experiences.
Modern thought has always opposed the production of the worker to the creation of the artist. The famous proposal of Beuys, Each man is an artist intends to overcome this dichotomy. Creativity is in the potential of everyone, the ability to produce in general, to combine spirit and gesture in the transformation of matter, to regain its autonomous power as a free individual. It is essentially through creativity that the individual manifests and expresses his humanity. How not to reconnect with the great revolutionary utopias of the historical avant-garde in this sens: humans are the creators of works with the transformation of the world as desire and as utopia, with the aim of obtaining happiness.
Marlon de Azambuja
My practices as an artist start from the relationships of the individual with its environment and become increasingly complex as they move in different directions. The city, the museum, the building, the street, the night, the jungle, the architecture and the mental landscape. But regardless of the matter that is always addressed, the idea that the body learns autonomously, there is an intelligence and communication that does not go through our rationalist logics, and that is very beautiful and powerful.
Marlon de Azambuja
Marlon de Azambuja
Marlon de Azambuja was born in Porto Alegre, Brazil, in 1978. He studied at the Edilson Viriato Center for Contemporary Art in Curitiba, Brazil. Lives and works in Madrid since 2005. As a multidisciplinary artist among his main practices are drawing, sculpture, site-specific installations and interventions, video and painting.
His latest personal exhibitions include: Nocturna, Revolver Galeria, Buenos Aires, Argentina, 2020; La expresión Americana - “Sentir la visión, MEIAC, Badajoz, Spain; Medio Cuerpo, at Municipal Gallery Arsenał, Poznań. Poland, 2019; Campo, at Tasman Projects in Madrid, 2018; Brutalismo Americano, at the Kadist Foundation in San Francisco. USA, 2017;Cuerpo Presente, at Espacio Cultural El Tanque de Tenerife, 2017; Air and Light and Time and Space, Space Ódeon. Bogotá, 2016; Inheritance, Herreriano Patio Museum in Valladolid. Spain, 2016; Thoughts, NoMinimo in Guayaquil, 2015; Sobrevalor, at the Board of Architecture Space in Panama City, 2015; Brutalismo at the Max Estrella Gallery in Madrid. Spain, 2014; La Construcción del Icono Atlantic Center of Modern Art - Las Palmas. Spain in 2011 or Potencial Escultórico Matadero, in Abierto X Obras Matadero Madrid, 2009.
He participated in several group exhibitions such as: Dhaka Art Summit - Seismic Movement, Shilpakala Academy, Dhaka, Bangladesh, 2020; Estruturas Encontradas, Nara Roesler Gallery, São Paulo, Brazil; Museum of Modern Art and Western Antiquities, Section II Department of Carving and Modeling: Form and Volume, Cristina Guerra Contemporary Art, Lisbon; No has visto el final, Espacio OTR de Arte, Madrid, 2019; Front International: Cleveland Triennial for Contemporary Art, Cleveland Museum of Arts, USA, 2018; En Construcción, CGAC, Santiago de Compostela. Spain, 2018; Paradiso, Albumarte, Rome, 2018; Ação e Reação, Casa do Brasil, Madrid, 2018; The way you read a book is different to how I tell you a story, in JahnundJahn, Münich, 2018; Three Positions. Six Directions, at König Galerie Berlin, 2017; Towards a new Shore, NC Arte. Bogotá, 2016; Todo lo sólido se desvanece en el aire, Cultural Center of the PUC. Lima, 2016; Plagiar o Futuro, Hangar-Lisboa, 2015; Theorema, Mana Contemporary, New York. USA, 2015; Name It by Trying to Name It, Drawing Center - New York, 2015; On Painting, CAAM, Las Palmas de Gran Canaria. Spain, 2013; 11th Havana Biennial, Havana, Cuba, 2012; 11th Biennial of Cuenca, Ecuador, 2011; 8th Mercosur Biennial in Porto Alegre. Brazil, 2011, or 12th Cairo Biennial; 2010.
His works are in prominent collections such as of the CAAM - Centro Atlantico de Arte Moderno in Las Palmas, CGAC - Galician Center for Contemporary Art in Santiago de Compostela, Fundación Helga de Alvear in Cáceres, Ministry of Culture of Spain, Fundación Maria Cristina Masaveu Peterson in Spain, Banco Sabadell in Spain, Nomas Foundation in Rome, KADIST Foundation in San Francisco, Museu de Arte Comtemporanea do Paraná in Curitiba, Centro Itaú Cultural São Paulo in Brazil, among others.