Gallery

Studio Visit with Anthony Goicolea

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VOLUME I

‘I normally start my day drawing,’ says Anthony Goicolea at his studio in Williamsburg, Brooklyn. ‘Eventually, one of those drawings will tell a story, then it becomes a painting.’

The New York based artist, first-generation Cuban-American, invited us to his luminous studio a Sunday afternoon in New York City.

Making use of a variety of media, Goicolea explores topics ranging from particular history and identity, through cultural tradition and heritage, to alienation and displacement.

His diverse oeuvre encompasses digitally manipulated self-portraits, landscapes, narrative tableaux executed in a variety of media, including black-and-white and color photography, sculpture & video installations, and multi-layered drawings on Mylar.

@anthonygoicolea x @galeriasenda

As I walk in, I am immediately captivated by the atmosphere of the studio. In the heart of Brooklyn, illuminated by a radiant mid-afternoon sun, we are greeted by some of Goicolea’s most recent pieces displayed around the space. All of them dialogue with one another creating at first an aura of contemplation and after a few minutes, of debate.

Goicolea at the studio, behind him: ‘Vigil, 2021’
The artist showing one of his recent projects

Anthony moves comfortably around the room picking out different paintings and carrying them from one place to another to get a better view. His active and energetic spirit gracefully guides us around the studio, showing us his latest creations and allowing us to enter his most personal creative space.

In ‘Crossing, 2021’, an oil on linen from 2020, four visible figures stand in front of an inflatable boat full of old bicycles, two other figures stand behind merging with the background.

Goicolea holding ‘Vigil, 2021’
The artists points at one of his recent works: ‘Crossing, 2020’

As an unresting curious artist, he’s always looking for innovating challenges. I noticed the great variety of sizes of the canvases and discovered that the dimensions weren’t random. Goicolea builds his own canvases to give life to his paintings, facilitating the process of projecting his drawings onto the fabric in a more personal and approachable way.

Goicolea’s pencil drawings on the wall
In the far back: ‘Portrait of A Franciscan Monk Giving A Confessional Reading to Aldo Londi Circa 1962, 2020’
The artist carrying ‘Fountain, 2021’

In past series, many of the images were devoid of humans. In those works, primitive lean-tos and crudely constructed shanties coexist in an uneasy union with the technological vestiges of an industrialized society. Suggesting a world on the brink of obsolescence, these chilling images further cement the pervasive undercurrent of human alienation—from one another as well as the natural environment—that can be traced throughout the artist’s work.

‘Odalisque with Kickstand, 2021′

However, it seems like Goicolea has officially entered –or, revisited– a phase in which his own personal history becomes the root of his inspiration by, once again, exploring his roots and family heritage with a different technical perspective.

These poignant, almost cinematic images are characterized by a fervent search for ancestral & social connections to his homeland: Cuba— revealing nostalgia for a past that the artist didn’t experience & a sense of cultural dislocation and estrangement.

‘Vigil, 2021’
Anthony posing for Galeria SENDA during our Studio Visit

See anything you like?

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Featured pieces:

Anthony Goicolea – Portrait of A Franciscan Monk Giving A Confessional Reading to Aldo Londi Circa 1962
Anthony Goicolea – Vigil
Anthony Goicolea – Soldierette with Wild Flowers

New sculptural doors of Jaume Plensa at the Liceu de Opera in Barcelona

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The stainless steel sculptural doors by Jaume Plensa at the entrance to the Liceu are already in place at the Rambla Coliseum. Although its final assembly has not yet been completed, this Tuesday it has already been possible to see how the three impressive trellises made by the Catalan artist, who has closely followed the work, will look.

Its placement has captured the interest of many passers-by due to the originality of the large structures, half a ton each. Its inauguration is scheduled for September, coinciding with the return to activity at the Lycée Until then, they will be covered with a tarp.

Baptized with the name of ‘Constelaciones’, they are “a homage to the Liceu, to music, to the bars of Gaudí and also to  Miró, which is close by”, commented Plensa in reference to the latter’s mosaic in Pla de l’Os, at the presentation of the project last May.

“It is also a tribute to the diversity of the Rambla, which is the artery of diversity in Barcelona.” For this reason, the reflected piece is made based on letters of alphabets from many cultures.

Beyond giving a special seal to the building the function of the doors will prevent people from staying in the arcade at night, as usually happens. Although he publicly apologized for his “unfortunate words”, that is how Víctor García de Gomar described the problems at the entrance to the Liceu as:

“Sometimes we find ourselves in hell. It is necessary to protect this space so as not to be complicit in things that happen here, from people who shoot heroin, people who want to sleep, situations such as rape and prostitution.“

Text, information and images:

https://www.elperiodico.com/es/ocio-y-cultura/20220809/puertas-escultoricas-jaume-plensa-liceu-la-rambla-primera-imagenes-14250609

https://www.lavanguardia.com/cultura/20220809/8458396/puertas-plensa-liceu-instalacion.html

Jaume Plensa’s doors are installed at the Liceu in Barcelona

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Jaume Plensa‘s stainless steel sculptural doors stand majestically at the entrance to the Gran Teatre del Liceu, marking a new era for this iconic coliseum on Barcelona’s Ramblas. Although their final installation is still in progress, passersby can already glimpse the magnificence of these monumental structures, each weighing half a ton.

On Tuesday, onlookers witnessed how the three imposing trellises designed by the acclaimed Catalan artist, who has closely supervised every stage of this ambitious project, will look. As the September opening date approaches, coinciding with the expected return of activity at the Liceu, these works of art will be temporarily covered with a tarp, further heightening anticipation among citizens and art lovers alike.

Image of the facade of the Liceu's steel doors

Christened with the evocative name of “Constel·lacions“, these doors represent much more than simple architectural elements. They are a tribute to the Liceu itself, to the music that has filled its halls over the years, to the emblematic grilles designed by Gaudí and to the nearby legacy of Miró, whose mosaic adorns the nearby Pla de l’Os.

But beyond their aesthetic value, the doors also have a practical function: to preserve the safety and integrity of the surrounding space. By preventing people from taking refuge in the arcade at night, these works of art play a crucial role in protecting the environment, as Víctor García de Gomar, artistic director of the Liceu, pointed out in a previous statement. “Sometimes we find ourselves in hell. It is necessary to protect this space so as not to be complicit in things that happen here, from people shooting heroin, people who want to sleep, situations like rape and prostitution“.

Plensa‘s art not only beautifies the Liceu, but also serves as a reminder of the diversity and cultural richness that defines Barcelona’s Ramblas. Made with alphabet letters from diverse cultures, these doors are a symbol of inclusion and respect for the plurality that characterizes this emblematic artery of the city.

In the midst of controversy and discussion about the fate of public space, Plensa‘s doors represent a balance between aesthetics and functionality, between artistic expression and practical necessity. With their placement, it is hoped that the Liceu will not only be a place of artistic excellence, but also a safe and welcoming refuge for all who visit it.

Interior image of the doors of the Liceu

Excerpt from El Periódico and La Vanguardia

The Museum of Reus exhibits Jaume Plensa’s work

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The Reus Museum exhibits at its headquarters in the Raval de Santa Anna the piece “Duna’s World II”, a work by the sculptor Jaume Plensa, which is part of a col private collection, lent to the city by the Senda Gallery.

Jaume Plensa born in Barcelona in 1955 is one of the greatest exponents of the current sculpture scene, and internationally known, especially for his pieces of art in public spaces.

“Duna’s World II” is another representation of Jaume Plensa‘s idea, a young face, sculpted directly on the marble, with an incredibly smooth surface that is a clear tribute to the purity of youth.

The face, with closed eyes transports us to the world of inner reflection, of introspection, of peace, like a utopian portrait of human thought. With its contemplation Plensa invites us to better feel our deepest being and abandon ourselves to the time of thought.

The face, with closed eyes, transports us to the world of inner reflection, introspection, peace, like a utopian portrait of human thought. With its contemplation, Plensa invites us to feel better our deeper being and leave us in the time of thought.

El rostro, con los ojos cerrados, nos transporta al mundo de la reflexión interior, de la introspección, de la paz, como un retrato utópico del pensamiento humano. Con su contemplación Plensa nos invita a sentir mejor nuestro ser más profundo y abandonarnos en el tiempo del pensamiento.

“Duna’s World II” is a unique piece of marble, 183 x 67 x 58, created in 2015

With the sale of this piece, Reus will have two works by Jaume Plensa. In 2003, the sculptor created the piece ‘Body of Light’ which is installed at the entrance of the Xavier Amorós Central Library.

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Museo de Reus receives “Duna’s World II” by Jaume Plensa

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Museo de Reus has opened its doors to present a true jewel of contemporary art: the exceptional piece “Duna’s World II” by acclaimed sculptor Jaume Plensa. This work, part of a private collection on loan from Galeria SENDA, has found its home in the historic headquarters of the Santa Ana district, adding a new and vibrant cultural dimension to the city.

“Duna’s World II” transcends the mere category of sculpture to become a gateway to the artist’s fascinating universe. It is a living testimony of his artistic ideology and a celebration of eternal youth. Masterfully carved in marble, the delicacy and smoothness of its surface invite the viewer to approach and be enveloped by its mystical aura. The face, with eyes closed in a gesture of serene contemplation, suggests a state of deep reflection, an irresistible invitation to explore the innermost recesses of our own consciousness.

Jaume Plensa, renowned for his ability to capture the very essence of the human being in his works, leads us on a journey of self-discovery towards inner peace and spiritual harmony. “Duna’s World II” reminds us of the vital importance of introspection and invites us to immerse ourselves in the time of thought, where we find the serenity and balance so longed for in the tumult of modern life.

Sculpture of a marble face by Jaume Plensa
Sculpture of a marble face by Jaume Plensa
Image of a person photographing a sculpture of a marble face

“Duna’s World II” is a unique marble piece, 183 x 67 x 58, created in 2015

The transfer of this masterpiece represents an invaluable gift for Reus, which can now boast of having two works by the renowned sculptor in its city In 2003, Plensa left an indelible mark on the city with his monumental creation “Body of Light“, which majestically adorns the entrance of Biblioteca Central Xavier Amorós. With the incorporation of “Duna’s World II“, Reus consolidates its position as an unavoidable cultural destination on the map of contemporary art, attracting visitors and art lovers from all over the world.

If you want to explore more closely “Duna’s World II“, in addition to approaching Museo de Reus, you can watch this video of Canal Reus where the details of the work are explored, in addition to hearing a few words from the councilor of culture of the City of Reus, Daniel Recasens, and the delegate of the Government of the Generalitat in Camp de Tarragona, Teresa Pallarès.

To keep up to date with the latest news and activities of Galeria SENDA, you can follow us on our social networks. Don’t miss any updates about our exhibitions, special events and much more. Join our community and be part of the exciting world of contemporary art!

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MINA HAMADA’s project for LA ROCA VILLAGE: ‘Un Paseo Colorido’

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The artist based in Barcelona has just presented a new series of sculptures in the shopping center La Roca Village. The collection represents a novelty for the artist who usually works on large-scale public murals.

Striking sculptures by American-born Japanese artist Mina Hamada dot the streets of the space. In June, the creator inaugurated a project conceived together with La Roca Village and the gallery LAB36. The idea behind Colorful Walk, conceived ex profeso for that place, is to support local talent.

Three colorful geometric sculptures and a set of hanging wooden mobiles can now be seen at the entrance of La Roca Village. A final three meter tall sculpture will be installed later this summer. Mina talks about her work process, her iconic style and how she approaches a new medium.

Hamada transmits its good vibrations through its free and organic forms, in a style characterized by color, rhythm and improvisation. Although it is mostly known for its mural art of enormous dimensions, the artist explores other formats such as canvas or sculpture without abandoning the artistic language that identifies her. You can currently enjoy his circular and rectangular canvases in an individual exhibition that he has done for the gallery LAB36 titled Transition.

The La Roca Village project began to take shape in 2021 and, after several meetings, Hamada and the team created for the occasion, chose to develop strong>works with volume. The artist, who has worked in various disciplines, from paintings to murals or work on paper, is the first time that she has developed such large works in three dimensions:

“It’s a new challenge for me. With Paseo Colorido I can bring people closer to my work and make them interact with it.”

Hamada’s proposal is articulated through three groups of sculptures: Dream Passage, with large-scale works (300 x 200 x 150 cm) ; Summer whims, which are three small format pieces; and Aerial landscape, a mobile installation. The artist is excited about the opportunity to give volume to her creations, because “they look like characters that come out of my paintings and have a soul.”

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Fragments of:

https://www.lavanguardia.com/gente/20220630/8372598/estallido-color-roca-village.html

https://www.revistaad.es/lugares/articulos/arte-urbano-mina-hamada

https://metalmagazine.eu/en/post/interview/mina-hamada

ZUSH at the Museum Of Contemporary Art Of Ibiza

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From June 3 to November 30, 2022 | Museum of Contemporary Art of Ibiza
Curators: Enrique Juncosa, Xavier de Luca (Fundación Suñol) & Elena Ruiz.

Collaborator Galeria SENDA

The Councilor for Culture of the Eivissa City Council and president of the Board of Trustees of the Eivissa Museum of Contemporary Art, Pep Tur, the director of the Eivissa Museum of Contemporary Art, Elena Ruiz, and the artist Zush have presented the exhibition “Zush en Eivissa” which was inaugurated on Friday, June 3 at 7:00 p.m. and will remain on display until November 30, 2022.

The Councilor for Culture and President of the Board of Trustees of the Pep Tur Museum of Contemporary Art has stated that:

“Zush is one of the essential artists to understand the evolution of Spanish art in the 70s and 80s mainly. We are lucky that a large part of this production was made on the island of Eivissa. Getting a part of it together makes it one of the most important exhibitions of the season, not only in Ibiza or the Balearic Islands, but throughout the country. This exhibition demonstrates the increasingly ascending line that MACE has had in recent years.“

The exhibition focuses on the period between 1968 and 1983 in which Zush resided on the island of Ibiza, a period that became a moment of intense creativity for the artist, who experimented with very diverse formats and techniques, such as fluorescent painting illuminated by black light. This exuberant diversity of artistic proposals will be reflected in an exhibition that will present more than a hundred works, some seventy from the Suñol Soler Collection, which will be exhibited in the Arms Hall of the Ibizan museum.

The artist Zush has stated that: “ The works that can be seen in this exhibition correspond to the period of 18 years that he lived on the island. He has also added that what gives him the most joy is thinking that his works give people joy. “

The curator of the exhibition, Enrique Juncosa, has highlighted that Zush is an artist who:

“Has known how to create an inner world, creating characters and turning them into myths; He is a pioneering and current artist, as is the study of identity, his relationship with drawing, collaborations with other artists, his relationship with electronic music, and he is an advanced figure in the artistic currents of surrealism and pop art.”

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Evru Zush Praydru
Evru Zush – Naga 081: Naga Nivlod

UNORDINARY OBJECTS: Laia Amigó & Alicia Voguel for ARTNOU 2022 in LAB36

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UN-ORDINARY OBJECTS proposes an exhibition proposal linked to the home, everyday life and the functionality of objects . A reinterpretation of everyday objects and home furnishings that aims to highlight their own functions, as well as the relationship (in itself) that is established between these objects and the subject.

At LAB36 starting Thursday, June 30

Alícia Vogel and Laia Amigó are the digital native generation, from the last millennials and, despite this, when they represent the home they select non-technological objects: a clock with hands, a lamp with a plug… Objects that could be dragging from the houses that saw them born. No reference to technology.

As if everything technological was understood and there was no longer any need to mention it, because it is innate. A curious vision of the reality that coexists, transgeneration is no longer a matter of being digital or not, analog or not, but of which are the objects with which you identify, which are the ones that turn a space into a home to live in , where to share life and personalize it, individualize it.

Granada, 1996 (@laiaamigoayats) Laia Amigó, & Olot, 1991 (@aliciavogelvogel) Alícia Vogel.

These pieces, produced from technical experimentation, break with the traditional materiality of objects. The fragility of ceramics is perfect to point out that the times they live in these homes are also ephemeral. The functionality of the pieces is not lost, but their composition is a provocation: Why are homes made? The experimentation process has resulted in the production of pieces that invite us to rethink our surroundings.

Thanks to an almost sculptural language, the two young artists living in Barcelona resignify the spaces of the domestic environment and build pieces full of symbolism. Always hanging by a thread, without stable ties and only ideas that are transportable from one space to another, and at each stop a candle around which that nondescript space becomes the meeting point.

Opening, 06.30.2022 – 19hrs

Carrer de Trafalgar, 36 – 08010 – BCN

James Clar for ISEA 2022 in Barcelona

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ISEA, the International Symposium on Electronic Art, is one of the most important annual events worldwide dedicated to the crossroads where art, design, science, technology and society meet.

The event has been held over 26 times all over the world, and after more than 10 years since it last graced European soil, it touches down in Barcelona. With it comes an enthusiastic international and local community, ready to work together to develop this interdisciplinary field.

From Galeria SENDA we propose James Clar (1979, Wisconsin, EEUU) with two pieces that pay homage to the theme of this edition: ‘Possibles‘.

James Clar installing Half Submerged, 2022 in the mezzanine of Galeria SENDA

The North American artist James Clar, after having studied telecommunications, cinema and animation at New York University, began to experiment with light and television. He developed his own visual systems, transforming pixels on the screen into sculptures. His work stems from the purpose of “digitizing” human, socio-cultural, and political conditions. In this way, he analyzes and observes the effects of the media and technology in modifying human behavior and society, with a focus on our perception of culture, nationality, and identity.

‘Possibles’, the main theme of the 2022 ISEA edition, not only opens up an unfinished world of futures before us, but also presents and pasts behind us.

The ‘Possible’ is openness and movement, a horizon of change that unfolds and organizes the world. The Possible shapes our reality, and precisely for this reason it is a political problem in itself. From “everything is possible” to “being realistic and asking for the impossible”, from an “infinity of possible worlds” to “this is not possible and it is not possible”. Sometimes we are trapped in a world of pre-designed Possibles – “this is everything” – where it seems that nothing could have been left out, there are no alternatives. Sometimes it is living an illusion of freedom in an impossible world where criticism simply disappears. How to open up to contingency, not only to becoming but also to its uncertainty?

James Clar presents two installations that pose the challenge of how to draw new Possibles to come, and not just confirm those that are there waiting to be confirmed, experienced and thought of as Possibles. How can that be brought into existence in our worldview?

How to go from the impossible, the fable or the utopia to directly bite our reality?

– Half Sumberged, 2022

– Cloud Seed, 2022

In the mezzanine of Galeria SENDA from July 1st until the end of the month.

James Clar: Half Submerged

At the symposium you are sure to find exhibitions, workshops, open-air projects, round tables, talks from artists, school initiatives and a variety of other activities, all with the involvement of different organisations and communities from the city of Barcelona.

MINA HAMADA presents “Transition” in LAB36

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The artist Mina Hamada, known in Barcelona mainly for her street art, presents an exclusive solo exhibition for the gallery LAB36: “Transition”.

The opening will be next Saturday, May 21 from 11AM to 2PM at Carrer de Trafalgar, 36 (Barcelona, 08010).

Fase lunar 1. Acrylic in wood. 90cm diameter. 2022

“Transition“, produced for LAB36, the Japanese-born artist continues to develop the artistic language that identifies her & nbsp; and presents us with a universe of colors and forms a sign of her identity. Dynamism and movement are features that in Mina’s work create a dialogue with the geometric games characteristic of her paintings. This time on circular and rectangular canvases that she has chosen precisely for the exhibition.

It is thanks to the balance of her works that Mina Hamada is today one of the great representatives of international urban art. In contrast to the harshness of the streets, her paintings convey softness, emotion and a rhythm that breaks with the brutality of the everyday landscape.

“Transition” builds a world of fantasy-realism and brings to light multiple elements, some abstract and some figurative, of Mina’s gaze. Her works invite us to enter a new universe of colors, shapes and energies.

¡See you in LAB36!

Mina Hamada – Fase Lunar 3
Mina Hamada – Fase Lunar 4

For more information you can check out the website or follow LAB36 in social media.