The Acquisition Award of the SOLO Collection at the ARCOmadrid 2023 has been awarded to the work ‘The liberation of the myth (2022)’ by the Chilean artist Sandra Vásquez de la Horra, her work has been exhibited at the Galería Senda stand (9B21). This piece will be included in the upcoming Espacio SOLO exhibition titled “Protection No Longer Assured“, which will take place from March 10 and will explore different notions of the sublime.
The award was given by Pablo Martínez, CEO of the SOLO Collection, and Óscar Hormigos, its Chief Creative Officer, as well as Maribel López.
From left to right: Maribel López, Pablo Martínez, Óscar Hormigos and Carlos Durán.
Congratulations to the artist! We also want to express our gratitude both to the SOLO Collection for its commitment and support for contemporary art, and to the #ARCOmadrid fair for offering such an important platform for the art world.
SANDRA VÁSQUEZ DE LA HORRA, The Liberation Of The Myth 2022
The artist Evru/Zush has been awarded the 18th Electronic Art Arco-Beep prize for his work Opaulo (1990), a digital print on canvas exhibited at our stand (9B21 – Galeria SENDA). This award, established in 2006, and carried out in collaboration with the ARCOMadrid Fair, has been set as the origin, the triggering element , from the .BEEP { Collection;}, a pioneering initiative in the dissemination of electronic and digital art in Spain.
The work of Evru / Zush is a clear example of his ability to create art that transcends the limits of what is conventional. From the gallery we express our pride and satisfaction at having exhibited the winning work and at having collaborated with an artist who is a “universal pioneer in a world that promotes interactivity and viewer participation”.
Visit by Natalia Garriga, Minister of Culture of the Generalitat, Edgar García, director of the ICEC, Marta Gusta, Director of the Area of Visual Arts at ICEC, Ester Capella, delegate of the Generalitat (Madrid).
We congratulate Zush / Evru on their well-deserved award and thank the Beep Collection and the Newart Foundation for their important work in promoting electronic and digital art .
BERLIN FILES – UNAPOLOGETIC is a traveling art exhibition of the BAAR Art Journey and Residency program which took place in Berlin, Germany from October – November 2022. Works will be exhibited in the city of Barcelona February 15 – March 30, 2023 and available for public viewing at the following venues: The Cover, Senda’s Lab36 Gallery collaborating with Yurbban Trafalgar.
The works on view are inclusive of American artists who resided at Stiftung Starke during their residency, and other visual artists who participated in the BAAR Art Journey and Residency program, in a hybrid manner from across Europe and Africa. Out of 180 applications from African Diaspora, LatinX, Asian, and German artists across the globe, BiTHOUSE GROUP, the creators of BAAR Art Journey and Residency selected seven residency (actual and hybrid) participants and five BAAR+ Includes artists (underrepresented and hidden treasures in hybrid format). Artists were asked to identify two works of art created both during and/or post pandemic and to create two works during a six to eight week time period.
BAAR Art Journey and Residency was founded by Wilhelmina Jewell Sparks in order to protect, foster, and amplify the talents of emerging and established underrepresented, African Diaspora and LatinX artists who have traditionally had limited access to mainstream art markets, gallery representation, and / or integration into institutional collections. The program was created to challenge traditional art market dynamics in order to increase creator equity, generational wealth and redefine attitudes and mindsets pertaining to what is considered good art, quality art and mainstream contemporary art. Studies show that psychological safety allows for various degrees of risk – taking, creativity, and fearlessness, these elements have been known to lead to market breakthroughs (Harvard Business Review) and this was the motivation behind creating BAAR Art Journey and Residency.
The curator of this exhibit, Jewell Sparks, challenges viewers to look beyond what is seen with the naked eye and imagine the transformative state that each artist experienced during their stay in Berlin, their transformation during the pandemic, and their exploration of self and heritage as they create unapologetically. Artists were challenged to ask themselves the following questions as they created works over a six to eight week time period: What would you create if you reflected the impacts of the pandemic and the exploration of your personal journey as a creative? How much does one’s environment impact their creativity? These questions were answered and embedded into the canvases of the artists who are part of the traveling art exhibition which is currently being exhibited in Barcelona at: The Cover, Lab36, and Yurbban Trafalgar.
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BERLIN FILES includes works by BAAR Art Journey and Residency participants: A. Stoyke (Berlin), Adana Tillman (Atlanta), Alphonce Odhiambo (Nairobi), Carolina Romillo Marin (Berlin), Carl Hazlewood (Brooklyn), Cory Ford (New Jersey), Hamisi Mwangome (Berlin), Francisco “Totem” Perez (Berlin), Nanette Carter (New York), Rafaella Braga (Berlin). BAAR+ Includes artists: Alfred Mueller ( Pforzheim), Rebekka Macht (Berlin), Doriana Diaz (Philadelphia), Josephine Sagna (Bayonne), and Marina Rayzuki (Berlin).
After the recent inauguration of the monographic exhibition “Zush in Ibiza ”, at the Fundació Suñol in Barcelona, in collaboration with the Museu d’Art Contemporani d’Eivissa, Evru/Zush returns to exhibit part of his work conceived in Ibiza (1968-1983), a fundamental period for the artist, who experimented with very different formats and techniques never seen before. Precisely at that time, in 1968, the young artist Albert Porta decided to become Zush and carry out a creative self-healing strategy after he had passed through the phrenopathy hospital in Barcelona.
If we were to read in a prestigious medium in the art world that an artist has created a highly personal proposal that is absolutely coherent, ingenious, solid and bold in the metaverse, with avatars and codes, languages of the world video game or augmented reality, with stereoscopic images, colors and unreal worlds, providing a radically new scenario to the world of creation, we would launch ourselves to discover the proposal of this advanced Artist.
That is precisely what Zush already did, more than 40 years ago!
Booth view 9B21 (Artist Project) #1
Booth view 9B21 (Artist Project) #2
Evrugo Mental State, a world as real as our own, but existing in an uncertain place (which today we would probably translate as some sort of metaverse) with its own language, characters that inhabit it, currency, anthem and so many other characteristics typical of a real world, it was worked on and defined by him for years and presented in different contexts, we have seen it at MACBA, at the Reina Sofía, the São Paulo biennials or at Documenta, and even in the fantastic exhibition of the “Wizards of the Earth” at the Pompidou Center by Jean Huber Martin.
That real world, it has been and it is and that shows us how advanced in his time our honoree always was and is, who launched himself to investigate and create (through some devices, then called Personal Computers and that were unattainable except for a few professionals or researchers) and with them, through tools that would surprise us today, to continue creating their fascinating world. The WWW had not even been imagined then. Before our today.
Several words like Scanahrome or Infographics had to be invented. Works worked through digitalization and then in some cases printed on those rudimentary devices that today we would call plotters.
Zush is undoubtedly a universal pioneer in this world and that is why we want to pay tribute to his work.
“My thing is individual mythologies. I am someone who generates his own way of thinking, of seeing reality or of seeing the world. What interests me is being a bridge between sanity and madness”.
Evru/Zush
Renusa, 1989-1990
Acrylic painting on photography paper mounted on wood
200 × 100 × 5 cm
Thus, once again, the bells are once again the protagonists in space, this time accompanied by their famous nagas, Hindu deities with a human face and torso, generally of a woman, and the body of a snake. In this way, the desire to return to being Evru materializes, under the representation of snakes, beings that, like the artist himself, shed their skin in a natural process of renewal and growth. This desire for transformation is a constant in his career, through turning points that allow him to reflect on concepts such as identity, otherness or the passage of time. Thus, the desire for death and rebirth is the declaration of intent of a transgressive and unclassifiable artist who denies himself and reaffirms himself more and more emphatically and immortal.
This was already announced by Richard Wagner when he coined the term “Gesamtkunstwerk”, referring to opera as a total work of art that integrates the six arts: painting, sculpture, music, poetry, dance and architecture.
The Wagnerian ideal seeks a fusion between all the participatory elements of opera, as Jaume Plensa, known for his multifaceted artistic vision, has done. The Catalan artist has taken on the challenge of directing the stage production of the opera Gran Teatre del Liceu in Barcelona.
Verdi’s well-known opera premieres this February 16 under the direction of Josep Pons, with a powerful aesthetic and ritual presence of Jaume Plensa. Inspired by Shakespeare’s Macbeth, the artist confesses that “it is one of the most profound and interesting reflections on duality between body and soul, between abstraction and matter“.
Plensa affirms that “it is one of Shakespeare’s most mental plays, because we have all been Macbeth, Lady Macbeth and other characters in the play at one time or another“, which is addressed “to the deepest sense of the human being“. All in all, for Plensa, Macbeth represents a deeply introspective theatrical work that resonates with the universal human experience. He explains that each character in the play is a representation of diverse aspects of the human being, inviting the viewer to explore his or her own psyche through the operatic narrative.
“I wanted to make a completely mental opera, to see in each scene moments that are like us, we have all been characters in the piece at one time or another“. Through the costumes, with most costumes out of his time, working on the choreography with Antonio Ruiz and lighting with Urs Schönebaum, Jaume Plensa aims to bring the viewer a more spiritual vision of the work, capturing in the best possible way the journey through the imaginary characteristic of the sculptor. His goal is to take the viewer on a spiritual journey through the rich imaginary that characterizes his work as a sculptor.
An essential artist on the contemporary scene, Anna Malagrida, has been working in photography and videography since the late 90s with impressive consistency. Malagrida addresses political issues with great poetic delicacy and subtly works the staging, the play of light and chiaroscuro, confusing photography and pictorial art in the same gesture.
Anna Malagrida expresses the personal representation of the city of Paris through her images: the globalized city, on its walls and facades, appears as a skin that bears the traces of the events and crises it is going through.
Exhibition from January 17th to March 5th, 2023 at La Filature, Mulhouse Tuesday to Sunday from 2pm to 6pm + show nights (La Filature will be closed to the public from February 12 to 26.)
For more information you can visit the La Filature website through this link:
Last Wednesday, January 18, 2023 will remain engraved in the memory of the children of the Fundación Comtal, an organization that has been working tirelessly since 1994 to provide opportunities for the future to children, adolescents and young people in vulnerable situations and their families. On this special occasion, on the occasion of “World Selfie Day in Museums”, they had the privilege of visiting Galeria SENDA.
From the moment they set foot in the gallery, the young people were greeted with a warm welcome and a detailed explanation of the current exhibition: “Love Song” by renowned artist Elena Del Rivero. Excited by the opportunity to immerse themselves in the world of contemporary art, they listened attentively as the story and meaning behind each work of art on display at SENDA was narrated to them.
After absorbing all the information about the exhibition, came the most exciting moment of the visit. As part of the scheduled activity, each child was invited to choose one of the works on display in the gallery to study it closely. With pencils and paper in hand, they immersed themselves in a world of creativity and expression. With each stroke, they tried to capture the essence and beauty of the surrounding artwork. From the vibrant colors to the smallest details, each child let their imagination run wild as they brought their own interpretation of the works to life.
Amidst laughter and murmurs of excitement, the young people shared their creations with each other, enthusiastically describing every detail they had captured in their drawings. For many of them, this experience was much more than just an artistic exercise; it was a unique opportunity to express their emotions and unleash their creativity.
As the visit came to an end, the young people left Galeria SENDA with a sense of satisfaction and pride in what they had accomplished. For them, this experience was not only an opportunity to explore the world of art, but also a reminder that, despite the challenges they face in their daily lives, they have the power to create beauty and meaning around them.
In short, “World Selfie Day at Museums” was not only a celebration of art, but also a reminder of the positive impact art can have on the lives of children, especially those who need it most. Although it may seem like a global, absurd and little-known day, it is thanks to such oddities that art never dies. Moreover, thanks to initiatives such as the one proposed by Galeria SENDA for this celebration, art continues to be a beacon of hope and creativity for future generations. Because, as the German philosopher Friedrich Nietzsche, said: “Without art, life would be a mistake“.
Chus Roig, partner and co-founder of the gallery during the explanation with the Fundació Comtal group
Here are some of the most outstanding drawings that the children of the Fundació Comtal created for this initiative, along with their respective original work:
Jaume Plensa Martina (2022) Wood, 140 x 32 x 44 cm
Túlio Pinto Complicity #29 (2021) Steel and glass, 140 x 40 x 96 cm
Stephan Balkenhol Man with pink tie (2022) Wood, 120 x 95.5 x 11.7 cm
Elena Del Rivero #102 (2020) Collage with damaged and recovered fragments of acrylic on canvas, oil, thread and canvas plastered on museum board, 29 x 23 cm
Evru Zush Girls Of My Life (1988) Oil on paper, 92 x 184 cm
Fundació Suñol will present at the end of January 2023 a monographic exhibition dedicated to < a href=”https://galeriasenda.com/artista/evruzush/”>Zush, artist from the Suñol Soler Collection, in collaboration with Eivissa Museum of Contemporary Art, where the exhibition was presented between the months of June and November 2022.
Curatorship: Enrique Juncosa, Elena Ruiz (Museu d’Art Contemporani d’Eivissa) and Xavier de Luca.
LAB36 opens its 2023 exhibition calendar with two artistic proposals that have a common concept: thinking and building the landscape. Thus, in this first part of the year, LAB36 presents “Poètiques de la Destrucción” by Laia Noal, the winner of the Nasevo 2021 award from the Ernesto Ventós Foundation , and “Paradis Artificial” by Jordi Gispert Pi.
On the occasion of “Poètiques de la Destrucción”, Jordi Garrido, historian and art critic, has produced a text that reflects on the work of Laia Noal, introducing us to her artistic project and the exhibition.
“Laia Noal proposes a multisensory approach to the landscape, juxtaposing elements, decontextualizing them and isolating them to highlight the degradation that we can cause in nature” – Jordi Garrido
Elena del Rivero has generated new music sheets, compositions constituted in and from the fragment, a palimpsest of memories that create community and collective imagination. Each work is nourished by previous gestures and generates choreographies in which we can intervene from shared thought. All these works accompany each other and are constellations that make up her vital imagination.
In this stellar space other voices resonate, other internal and social movements. In this space that welcomes us today, intimate passages and collective revolts are presented in constant dialogue, all forging her visual writing. Images, words, sound, spaces, her universe flies over us and touches us.
Without this necessary friction, the movement that fosters conduction would not take place, which, in the composer’s words, becomes a universal vocabulary in which music becomes language, made up of gestures and cadences, of fragments and memories of a collective ritual.
Some of the fragments that make up these collages were part of other works that were on the floor of his old studio, located on Cedar Street in New York, the day the attack took place of the World Trade Center, on September 11, 2001.
We could imagine that, months later, after collecting the fragments, Butch Morris was being heard in some room in the city. Tunes that coexist and promote frequencies from almost forgotten remnants. It is interesting to point to that gesture before and after something, it is interesting to think together about that universal conduction.
It is convenient to attend to the generated landscapes, to the ritual that surrounds them and allows us to be united, with that pairing of images, rhythms and stories, with that simultaneity that promotes the performativity of the ritual.
