“Novos trabalhos, velhos territórios” will be the fourth solo exhibition by José Pedro Croft in Galeria SENDA. His work is based in sculptures and drawings, where he explores with different materials, colos and perspectives to create new volumes and an altered sense of space. The artist was the representative of Portugal on the las edition of the Venice Biennale of Architecture in 2016 and he will also represent his native country at this year’s Venice Biennale.
Galeria SENDA will participate in ARCOMadrid with works by Peter Halley, Anna Malagrida, Ola Kolehmainen, James Clar, Yago Hortal and Francis Lisa Ruyter. We will also exhibit pieces by Miralda and José Pedro Croft, participants of this year’s edition of the Venice Biennale. Finnaly, we will have works by major sculptors such as Jaume Plensa and Stephan Balkenhol.
Stand 9F08.
LAB 36 presents Gino Rubert’s latest and most ambitious work “Open House”, a site specific piece commissioned by a good friend and art collector.
The complicity and confidence between artist and patron – “you have complete freedom” Vicenç told him – and the large format of the commissioned work – two meters wide by almost nine meters long – has hinted at Rubert’s work process, reformulating and making his language more sophisticated in order to display a gallery of people and situations that do not have former precedents.
Open House is a family portrait in which references, allusions, quotes, and winks to the patron are conjoined with the characters and distinguished environments that the artist portrays. The personal emblem of the commissioner – a V resting over the valley of an M – designed by Gino for the occasion, is carved in iron on the door and etched into the wood of a chair. Some of their family members appear with a sweetly perverse irony: the mother-in-law, converted into a little girl/old woman who drags her daughter-doll; the father, transformed in a little boy/old man with three eyes; or the wife and son, reincarnated into Andalusian puppets. And, of course, Vicens is portrayed as a party guest who offers a “mermaid cauldron” posing in a gesture that reminds us of the figures of patrons that appear in the medieval polyptychs.
Opening times:
Friday, February 17: 16-20h
Saturday, February 18: 16-20h
Tuesday, February 21: 16-20h
“Sketches of Spain” outlines a decade of studies by Kolehmainen of the most emblematic contemporary buildings in Spanish territory. Through his particular perspective, the artist reflects on the dialogue between building and light and the influences found in the works by Bofill, Mies van der Rohe or Ambasz.
Galeria Senda will participate on the 11th edition of Contemporary Istanbul with a selection of works by artists such as Peter Halley, AES+F, Francis Lisa Ruyter, Ola Kolehmainen, among others. Join us at Booth A1-115!
Galeria Senda will have its first collaboration with the acclaimed Turkish photographer Ahmet Ertug in Istanbul, his hometown, with a show of his renowned large-format photographs of the Byzantine and Ottoman architecture and art.
With 112 galleries from 28 countries, viennacontemporary, is the largest and most prominent art fair in the region, the highest concentration of Eastern European galleries worldwide. Senda participates for the first time in these event, presenting a solo show of the recognized Russian artists Oleg Dou.
Jaume Plensa presents a work of friendly confrontments: between what is shown and what is hidden, between the imprints of the past and the opening towards the future, between nature’s formations and man’s creation; and between sonorous vibration and the most intimate realms of silence. After seven years without exhibiting in a gallery in Barcelona, the artist will have his first solo show at Galeria SENDA, coinciding with our 25th anniversary.
Entrails of an allegorical forest are revealed through sculptures of young female faces. A face is like a tree: within the forest of social collectiveness, each one maintains its individuality. The girls close their eyes and their fleeting beauty stays immortalized. The sculptor elongates the heads in order to distance them from their materiality, presenting them with a more totemic and spiritual quality. This way, he portrays introspection and contemplation towards man’s most profound inner self.
The white pieces Lou, Duna, and Isabella are sculpted in a wooden mold, which then is transferred to bronze and covered with a white patina. Sustained on a base, the faces lose their weight and seem to be floating on the ground. His Isabella, made with basalt, suggests a blend between organic materials and human intervention, and the dark tones create chromatic contrasts with his white pieces. This way, Plensa completely encloses the show by extending the paper support to the wall, integrating the gallery’s space with his work to explore the possibilities of fusion between drawing, sculpture, and architecture.
With this exhibition, Plensa wishes that the audience connects with the pieces in the same way that he finds inspiration to work. “It is an exhibition that demands solitude. Sculpture is a pathway that comes from yourself, goes towards yourself, and is with yourself.”
With 112 galleries from 28 countries, viennacontemporary, is the largest and most prominent art fair in the region, the highest concentration of Eastern European galleries worldwide. Senda participates for the first time in these event, presenting a solo show of one the icons of 80´s Lisa Ruyter.
Simulacrum is Anthony Goicolea’s second solo exhibition at Galeria Senda. Known for his versatile profile, this artist focuses on a wide spectrum of medium in his creation that range from digitally manipulated landscapes to paintings that reflect beautiful bodylines. He is inspired by the interaction with nature and themes about identity and migration. The artist fully immerses himself into his work to demonstrate the good and evil, capturing both what is beautiful and what is intensely grotesque, -things that can attract and repulse.
By mastering the techniques of graphite and oil in his recent series Anonymous Portraits, dedicated to the human body, the artist depicts it, representing its gestures and lines in movement. On the other hand, his landscapes range from dream-like woodland environments to vast urban and industrial wastelands. The use of Mylar paper, a semi-translucent material, allows Goicolea to play with layers of shades and paint for both the creation of colourful landscapes and the exploration of gracious delicate movements.
