Gallery

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.”

Follow the full story on our social networks @galeriasenda #galeriasenda

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.”

We invite you to follow us on social networks so you don’t miss any news or activities of the gallery.

Share your experience with us using #galeriasenda!

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.

JAUME PLENSA: The new sculptural doors for the Liceu on its 175th anniversary

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The doors that the Catalan artist Jaume Plensa has designed for the entrance of the Gran Teatre del Liceu in Barcelona in homage to music, Antoni Gaudí, Joan Miró and the “diversity” of La Rambla in Barcelona, ​​join the celebration of the 175th anniversary this year of the inauguration of the Liceu.

Plensa has assured that with the doors of the lobby he wants to pay homage to Gaudí’s railings and also Miró’s constellations, which is why it has baptized them as Constel·lacions, as well as the “artery of diversity” of Barcelona, ​​which for him is La Rambla. Constel·lacions will be installed in the three arcades of the main entrance of the theater and It will be integrated without affecting other elements incorporated prior to the Oriol Mestres façade from 1874 and recovered in 2019.

Jaume Plensa’s doors that will be incorporated into the entrance of El Liceu.

Plensa has underlined that these doors are a conglomerate of letters that grows, with the color of moonlight, and has remarked that humanity is marked by language, and that in this creation he pretends to show “alphabets of many cultures”.

“You already know my world of texts and alphabets. I like to mix different cultures because I think we are very good when we are together, keeping our individuality and small differences, but how good we are when we are together! And I think these doors are a tribute to diversity, even more so on the Ramblas, which are the artery of diversity in Barcelona.”

Jaume Plensa

Despite admitting that he hates doors as well as everything that closes, the artist has remarked that the more he sees the design the more he likes it -the doors will open vertically- and it has been a success, and he has remarked that they will also be used to ;“dignify the area” in what has been defined as a gift from the Liceu to the city and become the new face of the theatre. Asked if he fears the doors might be damaged, he has said it will provide a finish that supports restoration very well without fuss.

These are “quite light” pieces in the words of the artist, about 500 kilograms each and a thickness of 1 centimeter of steel, which gives them rigidity and lightness at the same time. The president of the Liceu, Salvador Alemany, and the theater’s artistic director, Víctor Garcia de Gomar, have trusted that the doors will be installed at the start of the 2022-2023 season at the end of September. They have cost around 750,000 euros -Plensa has not wanted to collect the fees-, of which 50% is assumed by the ACS Foundation, 35% through Feder funds and the remaining 15% for the theater, reports Europa Press.

Excerpt from El Mundo

The model of Plensa’s work for the Liceu. (Photograph: FERRAN NADEU)

 “The doors presented two extraordinary challenges” – adds Plensa. “One is the building itself, which everyone says is horrible but I think that when the horror accumulates it ends up being wonderful. I would not touch a comma of this building, I love it. I love the lamps at the entrance. And the second is that we are facing an extraordinary work by Miró on the Ramblas that I think has marked many things in the city in a very strong way, including the tragic moment of the attack in the city, which ended up just ahead.”

“In these Constel·lacions I wanted to pay homage to the Liceu, to music, but also to think of an architect who has given us many days of glory in the city, Gaudí, and I choose the title precisely because of this world of Miró’s constellations, which is the one I especially want to pay tribute to,” he said.

Excerpt from La Vanguardia

Plensa, with the model of his work for the Liceu. (Photograph: FERRAN NADEU)

The new sculptural doors for the Liceu on its 175th anniversary by Jaume Plensa

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The doors that the Catalan artist Jaume Plensa has designed for the entrance of the Gran Teatre del Liceu in Barcelona in homage to music, Antoni Gaudí, Joan Miró and the “diversity” of Las Ramblas in Barcelona, join the celebration of the 175th anniversary of the inauguration of the Liceu.

Plensa said that with the lobby doors he wanted to pay homage to Gaudí’s grilles and Miró’s constellations, which is why he has named them “Constel·lacions“, as well as to the “artery of diversity” of Barcelona, which for him is Las Ramblas. “Constel·lacions” will be installed in the three arcades of the main entrance of the theater and will be integrated without affecting other elements previously incorporated into the facade of Oriol Mestres of 1874 and recovered in 2019.

Photograph of the facade of the Gran Teatre del Liceu in Barcelona

Jaume Plensa’s doors to be incorporated at the entrance of the Liceu

Plensa stressed that the doors are a conglomerate of letters that grow, with the color of moonlight, and remarked that humanity is marked by language, and therefore, in his creation, he wanted to show “alphabets of many cultures“.

“You already know my world of texts and alphabets. I like to mix different cultures because I think we are very good when we are together, keeping our individuality and small differences, but how good we are when we are together! And I think these doors are a tribute to diversity, even more so in Las Ramblas, which is the artery of diversity in Barcelona“.

Jaume Plensa

Despite admitting that he hates doors, as well as everything that closes, the artist has remarked that the more he sees the design the more he likes it – the doors will open vertically – and believes that they have been a success. In addition, he has remarked that they will also serve to “dignify the area” in what he has defined as a gift from the Liceu to the city and become the new face of the theater. Asked if he fears that the doors may be damaged, he said that it will provide a finish that supports very well the restoration without complications.

These are “quite light” pieces, in the artist’s words, weighing some 500 kilograms each and with a thickness of 1 centimeter of steel, which gives them rigidity and lightness at the same time. The president of the Liceu, Salvador Alemany, and the theater’s artistic director, Víctor García de Gomar, are confident that the doors will be installed at the start of the 2022-2023 season, towards the end of September. They have cost about 750,000 euros – Plensa has not wanted to collect his fees -, of which 50% is assumed by ACS Foundation, 35% through Feder funds and the remaining 15% by the theater, as reported by Europa Press.

Excerpt from El Mundo

Image of the model of the doors of the Gran Teatre del Liceu in Barcelona

The model of Plensa’s work for the Liceu | Photograph by FERRAN NADEU

“The doors presented two extraordinary challenges” adds Plensa. “One is the building itself, which everyone says is horrifying, but I think that when horror accumulates, it ends up being wonderful. I wouldn’t touch a comma of this building. I love the chandeliers at the entrance. And the second is that we are looking at an extraordinary work by Miró on Las Ramblas that I think has strongly marked many things in the city, including the tragic moment of the attack in the city, which ended right in front of the building“.

“In these «Constel·lacions» I wanted to pay tribute to the Liceu, to music, but also to think of an architect who has given us many days of glory in the city, Gaudí, and I chose the title precisely because of this world of Miró’s constellations, who is the one I especially want to pay tribute to” he added.

Excerpt from La Vanguardia

Photograph of Jaume Plensa with his model of the doors of the Gran Teatre del Liceu in Barcelona.

Plensa, with the model of his work for the Liceu | Photograph by FERRAN NADEU

Jaume Plensa – ALCHIMISTES I
Jaume Plensa – SLUMBERLAND II
Jaume Plensa – Verdi

MORROSKO VILA-SAN-JUAN en el festival BARQ

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El documental “BCN-BXL. Coderch-De Koninck. Más allá del tiempo”, de Morrosko Vila-San-Juan, que establece un diálogo entre la arquitectura racionalista del belga Louis Herman de Koninck y la del barcelonés José Antonio Coderch, participará en el próximo Festival BARQ (International Architecture Film Festival Barcelona) y en el Brussels Capital Film Festival.

Dos universos, dos formas de entender la luz, el tiempo y el espacio: Coderch y De Koninck. Ambos, arquitectos y diseñadores, trabajaron para la burguesía de su época y crearon una estética y un imaginario de la sociedad de consumo y la vida cotidiana que ha llegado hasta nuestros días. Aunque pertenecen a generaciones distintas, Coderch (1913-1984) y De Koninck (1896-1984), los dos han dejado huella y su obra se admira y estudia en la actualidad.


De Koninck está considerado el mejor arquitecto belga de entreguerras y Coderch despuntó en la España de la posguerra como el arquitecto de la modernidad. Sus obras se han revalorizado y reivindicado con el paso del tiempo. Ambos racionalistas, ambos analizaron y entendieron muy bien la sociedad en la que les tocó vivir y sus necesidades. Y ambos trascendieron con sus obras. José Antonio Coderch en Barcelona y la costa mediterránea y Louis Herman De Koninck en Bruselas y alrededores.

Esta pieza documental de Morrosko Vila-San-Juan ofrece el contexto a través de diversas filmaciones y entrevistas con arquitectos (como el belga Bruno Erpicum y el español Óscar Tusquets) y diversos propietarios de algunas de las casas de Coderch y De Koninck, que nos explican su historia y la experiencia de habitar una casa icónica.


El documental forma parte de un proyecto artístico y expositivo expuesto en Bruselas durante 2021 y 2022. La pintora Bea Sarrias y el cineasta Morrosko Vila-San-Juan llevan tiempo pintando y filmando arquitectura icónica. El proyecto se ha expuesto en el centro artístico de LaVallée (Bruselas), en la galería Martin’s Atelier y en el espacio Spain Arts & cien LAB in Belgium. En 2023 se expondrá en Madrid, coincidiendo con Arco, de la Mano de Lab36 (Galería Senda) y Bulthaub. La proyección en el BARQ Festival, dentro de la Sección Oficial, será el próximo miércoles 11 de mayo, a las 19’30 en los Cinemes Girona de Barcelona. Y el viernes 13, a las 18’30, se podrá ver en LAB36 (GALERÍA SENDA), en el marco de MODEL (Festival d’Arquitectura de Barcelona). Por último, el día 26 de mayo se proyectará en Bruselas, dentro del Brussels Capital Film Festival.

Galeria SENDA at ART BRUSSELS 2022

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28.04 – 01.05.22, Tour & Taxis | Booth A50

This year we celebrate with great enthusiasm our twentieth participation in ART BRUSSELS, from April 28th to May 1st 2022, with the following selected artists:

Stephan BALKENHOL

Peter HALLEY

Yago HORTAL

Irán DO ESPIRITO SANTO

Glenda LEÓN

Túlio PINTO

Jaume PLENSA

Sandra VÁSQUEZ DE LA HORRA

You can find us at BOOTH A50, Tour & Taxis in Brussels.

Portal, 2022
Sandra VÁSQUEZ DE LA HORRA
Graphite, watercolor, and gouache on wax dipped paper
76 × 56 cm
Escuchando la Luna, 2020
Glenda LEÓN
Cowhide and wood
50 × 200 × 10 cm
Z51, 2022
Yago HORTAL
Acrylic on canvas
230 × 190 cm

BIENNALE ARTE 2022

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THE MILK OF DREAMS

VENICE, 23.04 – 27.11 2022

We are pleased to have three of our artists represented in the 59th International Art Exhibition: Roger Ballen, Sandra Vásquez de la Horra & Jaider Esbell will be shown in La Biennale Arte in Venice, from April 23rd to November 27th, 2022 (pre-opening on 20, 21 and 22 April), curated by Cecilia Alemani.

“As the first Italian woman to hold this position, I intend to give voice to artists to create unique projects that reflect their visions and our society”, Alemani has declared.

“The Milk of Dreams takes its title from a book by Leonora Carrington (1917–2011) – Cecilia Alemani stated – in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. It is a world where everyone can change, be transformed, become something or someone else. The Exhibition The Milk of Dreams takes Leonora Carrington’s otherworldly creatures, along with other figures of transformation, as companions on an imaginary journey through the metamorphoses of bodies and definitions of the human.

Roger Ballen is one of the featured artists that is currently representing South Africa at the Venice Biennale Arte 2022. The South African stand was conceptualised around the sub-theme of “Into the Light.” Thus, instead of showing photographic prints from his series, “The Theatre of Apparitions”, he will alternatively showcase these carefully selected works on lightboxes to accentuate the metaphoric relationship between light and dark.

(Fellow artists are Lebohang Kganye and Phumulani Ntuli, Curator Ame Bell)
(Roger Ballen Stand in La Biennale Arte Venezia 2022)

Chilean artist Sandra Vásquez de la Horra has been invited to participate too in this edition of the famous Venice Biennale, currently on show. Her particular intimate imagery, in which controversial issues such as religion, sex, mythology or the afterlife predominate, becomes the perfect setting for this 59th edition of the festival.

The artist, recognized for her ability to evoke foreign worlds with the mere stroke of charcoal on paper, later dipped in wax, invites the viewer to enter her universe of fantastic and enchanted creatures and carnal and psychological concerns.

(Sandra Vásquez de la Horra Stand in La Biennale Arte Venezia 2022)

We remember the recent loss of the artist Jaider Esbell while continuing his fight for the recognition and appreciation of indigenous peoples, their knowledge, technologies, and arts. Esbell‘s participation will include the presentation of a set of paintings that will carry to La Biennale di Venezia the presence of his great grandfather Makunaimî, ancestor of the Makuxi people and of the native peoples of the Monte Roraima region.

Indigenous plastic artist Jaider Esbell
(1979 – 2021)