Two exhibitions
dal 29/3/2012 al 30/6/2012
Segnalato da
29/3/2012
Two exhibitions
Centro Galego de Arte Contemporanea CGAC, Santiago de Compostela
"Gravity and Disgrace Ep. 1" is based on the principle of processual and theoretical instability, the works presented in this first episode originate from practices that question the contemporary conditions of social construction. "La bandera en la cima" presents the project that Rafel G. Bianchi began in 2007: painting in a detailed manner the 14 highest mountains in the world.
Gravity and Disgrace Ep. 1
30 March - 1 July 2012
Curated by Miguel von Hafe Pérez
Paraphrasing the title of the exhibit Gravity & Grace: The Changing Condition of Sculpture 1965-1975, held in London in 1993, Gravity and Disgrace Ep. 1 is based on the principle of processual and theoretical instability that characterises contemporaneity to make an observation on the creative moments that represent a world in vertiginous mutation. Thus, the works presented in this first episode of an event that later unfolds into other moments of exhibition, publication, and consideration, originate from practices that question the contemporary conditions of social construction, contrasting the notion of balance and harmony with the most fruitful questions regarding failure as a process, contextual flow as a critical tool, and the revision of the aporias of modernism as basic elements for a broader understanding of the present.
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Rafel G. Bianchi. La bandera en la cima
30 March - 24 June 2012
Curated by David G. Torres
La bandera en la cima is the first full presentation of the project that Rafel G. Bianchi began in 2007: painting in a detailed manner the fourteen highest mountains in the world, the fourteen eight-thousanders. A feat that in the world of mountaineering is brimming with heroism and which, in its reiteration as an artistic project, betrays the role of the artist involved in an absurd task. In addition to the fourteen final paintings, drawing a comparison between the documentation of mountaineering and the documental strategies of conceptual art, La bandera en la cima also collects the traces of its process through drawings, photographs, films or posters, many of which have been developed in collaboration with other artists.
Image: Carla Filipe: Bristol, 2010-2012
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