A pesar / A saber / A tientas (In spite / In short / In darkness)

ExhibitionIVAM Centre Julio González

The exhibition Mar Arza. A pesar / A saber / A tientas (In spite / In short / In darkness) is a specific project by Mar Arza for Gallery 3. Designed as an installation, which has brought together archaeological pieces that are displayed in dialogue with works by Julio González and works by the artist herself. By juxtaposing some of these examples of cultures of different geographical and temporary origins, you can perceive one continuous thread in the gestures and nuances of the human condition. Successive clues are shown that hold they hypothesis of the continued existence of shapes: those that are transmitted through time and coexist in the shared imagination.

With a time span comprising seven millennia, the set of pieces brings together diversity and similarity. The body lists its potential and, at the same time, moves to areas of conflict that are related to contemporaneity and where feminine subjectivity plays a fundamental role, not just from the present.

The selection of works by Mar Arza reveals a line of work where reflection of the pregnant body includes a substrate which has been prolonged over the years in a transversal way, taking different approaches and using different materials. Brought together in this exhibition through a device which conditions your perception and reading, the sculptures broaden the echo of their dysfunctionality.

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IVAM ProduceIVAM Centre Julio González

Part of the exhibition Anni and Josef Albers. Art and life, we have invited artist Andrea Canepa to hold a talk with the work of Anni Albers, the result is a specific piece, On weaving, which can be seen in the hall at IVAM

“I love the idea of writing with threads, of reading by touch. When humans began to write, language – which, at the time, only existed in our body (our mind, our voice) – acquired a separate existence as an artefact, as an abstraction. I think about the material nature of paper and how ink doesn’t alter its structure. I think about information stored digitally, and about how its material support is almost irrelevant: the same data can be stored nowadays on a chip, yesterday on a magnetic tape and before that on punch card. I imagine writing with threads as a way of anchoring the language of the material world, giving it a single body that it can no longer be separated from, because the structure that shapes the fabric is the information on it.

The piece On Weaving is part of that desire to write with threads. To do this, I use the connection between the history of textiles and the history of computing. The art of weaving is a mathematical question, it is about understanding patterns and structures. Weaving is the original binary system: warp and weft, passing over and under translate easily into on and off, ones and zeros. In this piece, the characters of the alphabet are transferred to a textile pattern based on binary code to transcribe the first chapter of the book On Weaving by artist Anni Albers.” Andrea Canepa

Andrea Canepa
On weaving
Two pieces of loom-woven textiles with cotton thread
600 x 78 cm y 400 x 78 cm
2022

Andrea Canepa (Lima-1980) began her studies in Fine Arts at the Catholic University of Peru and completed them at the Polytechnic University of Valencia, where she graduated with a master’s degree in Visual Arts and Multimedia. In 2020, she received a research grant from the Senate Department for Culture and Europe in Berlin. In 2014, she received the ARCO Community of Madrid Award for Young Artists and the Miquel Casablancas Award; in 2013, she won the Generaciones Award and the Endesa Grant for Plastic Arts in Spain. She has worked as an artist in residence at Gasworks- UK, MATADERO – Spain, Cité des Arts – France, Tokyo Wonder Site –Japan, Beta Local- Puerto Rico, Bauhaus Master’s Houses– Germany, Jan Van Eyck Academie – Holland and at the Spanish Academy in Rome – Italy. Her works form part of collection such as CA2M, IVAM, the Provincial Museum of Teruel, and of Foundations such as Endesa, Montemadrid, DKV and Inelcom (Spain), Bauhaus Dessau Foundation (Germany) and MASM (Peru).

Programa d’Art i Context (Art and Context Program)

Art i ContextWorkshopsIVAM Centre Julio González

Claudia Dyboski, an artist from the Art and Context Program, invites the Valencian sculptor Óscar Carretero to share a workshop to rethink the materials and discourse that they each share in their art practice.

«Trash» is a sculpture workshop using recycled materials and found objects. Óscar Carretero and Claudia Dyboski propose an approach to art production without resources, without rules, without technique. They affirm that «the use of waste objects within their projects is very common among young artists, as much because of an evident scarcity as a real fascination for waste, and to show the public the potential that it has as a medium for sculpture».

Óscar Carretero marks his art practice with his roots, a town on the Valencian coast that is both traditional in character and set in its ways. After an avalanche of ideas and the need for new ways of expression, the backbone of his work revolves around the mechanization of emotions through sculptural prosthesis that interacts with its corporeality in an intimate and visceral way, and which has a performative and aesthetic nature. Through industrial and mechanical materials, he manifests a synergy between a more calculated functionality and a record that is open to error.

Poliglotía

OthersIVAM Centre Julio González

Grammatical gastronomies with @cocinasmigrantes (migrantkitchens)

@cocinasmigrantes proposes gastronomy as a tool for opening spaces for dialogue and intercultural gatherings. The ingredients, flavors, recipes and culinary processes help to energize this experiential and participatory session in which we reflect on identity, migration and memory through food.

This activity is proposed as an experiment with grammatical gastronomies, those inner structures that, in the same way as language, operate to give meaning and order to our social and natural experience. We use different sound, visual, tactile, linguistic and, of course, tasting applications as ways to mediate among the participants and the elements of migrant gastronomies to build new grammatical structures as potentially fluid and open identities.

We address the case of the Afghan diaspora through the technical and culinary support provided by Najib and his family, who will invite us to sample their gastronomy at the end the activity.

There will be printed copies of the Gastronomic Guide of migrant Valencia, a project that captures the research process that preceded this activity, and we will give these out to every participant.

Practical information:

  • Duration: 2 hours.
  • Aimed at: those over 16 years of age.
  • Maximum places: 20 persons.
  • Dates: Saturday 9 April, 12 p.m.

A Project by Ricardo Ruíz

ConversationsIVAM Centre Julio González

IVAM presents El llibret de falla: una oportunitat cultural, a cultural project directed by Ricardo Ruíz. Halfway between a temporary library and an archive under permanent construction, the llibret de falla contributes to placing value on a rich and vast collective heritage that lies hidden in the presence of other manifestations of the falla. This library gathers examples of different houses and country houses spread around the town, it underlines these productions as a genuinely local literary genre, as a space for free expression which has given and continues to give a space to poets, writers, illustrators, photographers, designers… but above all, that it is born and is sustained by the impulse of the collective.

The opening conversation for the installation is led by Ricardo Ruiz, along with Josep Lluis Marín, the director of the exhibition “El llibret de falla (1850-2015). Explicació i relació de la festa” (Explanation and relationship of the festival), Miquel Platero, the developer of the Centre de Documentació d’Art Efímer, Iban Ramon, llibrets designer, Julia Pineda, member of the Asamblea de Falles Populars i Combatives, Elena Muñoz, ex-president of the Falla Mossén Sorell – Corona y Armand Llácer, communications manager at LaImprenta CG.

Tuesday, 19:00 hrs. Carmen Alborch Auditorium

Confluències. Artistic interventions in the towns of Route 99

VisitsIVAM Centre Julio González

Visit the art interventions of Alto Mijares with Fent Estudi and Carlos Izquierdo. Villamalur-Fuentes de Ayódar (Castellón)

  • Bus departs at: 10 a.m. from the main entrance at IVAM. (Guillem de Castro, 118. València).
  • Returns at approximately: 6 p.m. Main entrance at IVAM.

We will connect with the landscape of the Sierra de Espadán Natural Park through the art interventions developed by Fent Estudi en Villamalur and Carlos Izquierdo in Fuentes de Ayódar.

Serás Villamalur invites us to swing in one of the village plots. Your momentum will activate the balance through which you can enjoy the marvelous views of the hills and the locality. At the same time, Fent Estudi will explain their vision of the swing as a memory device connected to childhood and the passing of time.

Cauce Aural is a soundpiece through which you walk through Fuentes de Aýodar while listening, connecting and mixing the sounds with the current sounds around you. During the visit, Carlos Izquierdo will talk to us about the inspirations and intentions of his work.

IVAM’s invitation to discover the art interventions in these two small Alto Mijares municipalities is part of the Confluències programe, a project that is being developed from within the line of action L’IVAM al territori.

NOTE: There will be a stop of approximately one hour for lunch. You can either take your own food or try the local gastronomy.

Confluències. Artistic interventions in the towns of Route 99

VisitsIVAM Centre Julio González

Visit the art interventions of Alto Mijares with Sandra Mar and LUCE. Torrechiva-Espadilla-Vallat (Castellón)

  • Bus departs at: 9:30 a.m. from the main entrance at IVAM. (Guillem de Castro, 118. València)
  • Returns at approximately: 6 p.m. Main entrance at IVAM.

We will leave the city and visit the art interventions in three small municipalities of Alto Mijares that have been created within the context of Confluències, a program that is being developed from within the line of action L’IVAM al territori.

From September 2021, the smallest towns of the Alto Mijares region have brought together a selection of artists that have created specific interventions in each locality, after having stayed in the towns for a period of time and having actively listened within these contexts.

In the company of Sandra Mar at Torrechiva and LUCE at Espadilla, we will stroll through these localities to discover the reflections and the results of their research, which have materialized in the respective art interventions of Un Tesoro and Espadilla y su entorno.

During the day, we will visit a third town, Vallat, to sit on the chairs that form part of the art installation Tres arbres i tretze fruites by Laura Palau. This is, most certainly, a space that is conducive to conversation and the exchange of impressions about everything that has occurred throughout the day before returning to the city.

NOTE: There will be a stop of approximately one hour for lunch. You can either take your own food or try the local gastronomy.

Programa d’Art i Context (Art and Context Program)

OthersIVAM Centre Julio González

The Art and Context Program offers a session which is led by those invited from the Omsk Social Club. Worlding as Workshop uses the Omsk methodology of Real Game Play, trancing and bodying to create a participatory worlding experiment. Using an infrastructure of decentralized visualization and ways of think for the participants, Omsk Social Club proposes to start a new kind of small group vision, a work which they call “perception as participation”.

The concepts that drive Omsk Social Club are based on questions such as, who has the authority to create reality? Is there subconscious consensus?, and themes such as collaborative narration, immortality without birth and the bleeding space.

You do not require any previous experience to take part in the workshop, it will not be documented, and you will need to be present for the complete duration of the workshop.

Please bring your own yoga mat with you.

Biography

The work of Omsk is created between two vivid worlds: that of life as we know it, and that of role play. These worlds merge into one. This is where Omsk positions its speculative fictions, through immersive installations that move within the space for which, in 2017, they coined the name Real Game Play (RGP). Their work attempts to induce states which could potentially be a fiction or a reality that has not yet been lived.

Omsk works in close collaboration with spectator networks: everything is unique and unrehearsed. The installations they create examine virtual egos, popular experiences and political phenomena, allowing the works to become a dematerialized hybrid of current culture, along with the unique personal experiences of the participant. In the past, Real Game Play at the Omsk Social Club has introduced landscapes and themes, such as otherkin, the rave culture, survivalism, catfishing, desire&sacrifice, positive trolling, algorithm strategies and decentralized cryptocurrencies.

They have exhibited in numerous institutions, galleries, theatres and spaces throughout Europe, such as the Martin Gropius Bau, House of Electronic Kunst Basel, HKW, Berlín, Seventeen, London Volksbühne, Berlín, Stroom den Haag, Den Haag Netherlands and Light Art Space Berlín. They have taken part in the CTM Festival (2021), 34th Biennial in Liubliana (2021) 6th Biennial in Athens (2018), Transmediale Festival (2019), The Influencers (2018) and Impakt Festival (2018). In 2021, they were co-curators of the 7th Biennial in Athens with Larry Ossei-Mensah.

Presentes Densos (Dense Presents)

Presentes DensosWorkshopsIVAM Centre Julio González

In the second cycle of the Presentes densos. En torno a las artes de vivir en un planeta herido (Around the arts of living on a damaged planet), we are learning to listen. Our intention is not merely to be spectators in the disaster of ecological collapse. Being in a position to listen allows us to distinguish certain invisible vestiges of the disaster, and it also allows us to listen to what certain beings that normally escape from our visual spectrum are saying –or no longer saying. If the concept of the Anthropocene refers to the epoch in which human beings have become a geological agent that is capable of changing the planet’s environment, the concept of the Phonocene defines the era in which human beings have become capable of listening to other beings with which we share this environment. “Living our epoch by calling it the Phonocene -Vinciane Despret tells us– is learning to pay attention to the silence that the song of a blackbird can bring about, but it is also not forgetting that the imposed silence could prevail”.

To learn to listen in this series, we are going to create a series of activities around the practice of field recording and soundscapes. A practice in which we pay attention to the sounds we produce or are caused by humans, but also to the sounds produced by animals or climatic events. These sessions are coordinated by the sound artists Edu Comelles, María del Castillo and Kamen Nedev.

DATES AND TIMES:

CONFERENCE ON USOS CREATIVOS DEL PAISAJE SONORO Y LA FONOGRAFÍA, POR EDU COMELLES (CREATIVE USES OF SOUNDSCAPES AND PHONOGRAPHY, BY EDU COMELLES)
11 March
18:30 hrs. Carmen Alborch Auditorium, IVAM
Free entry until capacity is reached

TALLER DE PAISAJE SONORO Y GRABACIÓN DE CAMPO (SOUNDSCAPES AND FIELD RECORDING WORKSHOP)

Sessions:

  • Taller de paisaje sonoro y grabación de campo (I) (Soundscapes and field recording workshop), led by María del Castillo.
    26 March
    9 a.m. (Parc Natural de l’Albufera)
    Pre-registration. Limited capacity
  • Taller de paisaje sonoro y grabación de campo (II) (Soundscapes and field recording workshop), led by Kamen Nedev.
    2 April
    9 a.m. (Parc Natural de l’Albufera)
    Pre-registration. Limited capacity
  • Taller de paisaje sonoro y grabación de campo (III) (Soundscapes and field recording workshop) (World Dawn Chorus Day). Led by Kamen Nedev.
    1 May
    3 p.m. (Parc Natural de l’Albufera)
    Pre-registration. Limited capacity
  • Taller de paisaje sonoro y grabación de campo (IV) (Soundscapes and field recording workshop), led by Edu Comelles.
    5 May
    4 p.m. IVAMlab
    Pre-registration. Limited capacity

START OF THE WORK PROCESSES CARRIED OUT IN THE SOUNDSCAPE WORKSHOPS, LED BY EDU COMELLES + SERIES WORKING GROUP.
6 May
19 hrs. IVAM
Free entry until capacity is reached

Edu Comelles is an artist, musician and cultural ambassador. His work combines sound art, music production and sound design within various cultural spheres. http://www.educomelles.com/2019/01/about.html

María del Castillo has channeled her interests towards radio, fiction and soundscapes rooted in community culture and feminism. Between 2013 and 2020, she was part of the Sangre Fucsia podcast. Today, she produces the Efluxión podcast for Etopía.

Kamen Nedev is a freelance cultural producer. Since 1986 he has worked and tried to live in Madrid. From 2005, under the name of Acoustic Mirror, he has developed a line of research and production in phonography and sound art – with emphasis on the soundscape, the social production of sound, situated listening and militant sound.

The artists collaborate with the Sculpture Department at the Polytechnic University of Valencia and the Creative Laboratory Intermedia.

A project by Ricardo Ruíz

IVAM ProduceIVAM Centre Julio González

The Great Library of Alexandria was, in its time, the largest in the world. It is estimated that it was founded at the start of the 3rd century BC. It emerged from the ambitious idea of founding a city that contained universal knowledge, accommodating all culture and belief. In this way, it aimed to gather together all of the works of human ingenuity, which had to be included in a sort of immortal anthology for posterity. Its tragic end, a result of the flames and numerous disasters, meant that only a few parchments are preserved that were kept in the shelters of ordinary people, who kept them for safekeeping, protecting them from the persecution of the authorities and conquerors.

By centralizing the culture in once place, what happened there remains, the knowledge acquired. Time verses the book. But the library isn’t even necessarily an enclosed warehouse of books, and fire is not inevitably a destructive phenomenon. The library can be an entire town, just like fire can be an excuse to build.

In Valencia, fire brings us together around the temporary construction of new things; of the extraordinary and the surprising. We build the fallas (effigies), a temporary museum that forces us and demands that we go outside, turning the impossible into the everyday. We decentralize knowledge, we spread it around each neighborhood, around each corner. And we publish publications around our sculptures which, once the flames have gone, tell us about our own history, which remains recorded in the books about the falla: our library on a town-wide scale.

Indeed, what was once the Great Library of Alexandria today equates to what are the large databases that make up the virtual world; the internet. There lies all of the condensed knowledge: the universal knowledge and its amalgamation of cultures and sensitivities…that was the dream of the city of Alexandria.

But let’s imagine the internet goes down, it burns. let’s imagine the internet as a falla (effigy) burning; turned to ash, like the ancient Library. Indeed, as in the case of normal people, we keep our manuscripts on the shelves of our homes, safeguarding them from the fire that made us build them. Each specimen, of each falla, in each home: on a shelf or in a drawer, new or broken, read or to be read… Like a large library that stretches throughout the region.

And, in our bedroom, which is our most private space, we read it and share it with those who are nearest. We open it to discover that mix of reflections and also memories together with our loved ones. Also a temporary reality, that someone will read about in the future and about which, in the end, only the llibrets will be left.

Desde el primer Adán que vio la noche
Y el día y la figura de su mano,
Fabularon los hombres y fijaron
En piedra o en metal o en pergamino
Cuanto ciñe la tierra o plasma el sueño.
Aqui está su labor: la Biblioteca.
Dicen que los volúmenes que abarca
Dejan atrás la cifra de los astros
O de la arena del desierto. El hombre
Que quisiera agotarla perdería
La razón y los ojos temerarios.
Aquí la gran memoria de los siglos
Que fueron, las espadas y los héroes.
[…] Declaran los infieles que si ardiera,
Ardería la historia. Se equivocan.
Las vigilias humanas engendraron
Los infinitos libros. Si de todos
No quedara uno solo, volverían
A engendrar cada hoja y cada línea,
Cada trabajo y cada amor de Hércules,
Cada lección de cada manuscrito.
[…]

Extract from the poem “Alexandria, 641 AD” by Jorge Luis Borges.

ConversationsIVAM Centre Julio González

Presentation manager Julia Garimorth, exhibition curator; Nicholas Fox Weber, Executive Director of The Josef and Anni Albers Foundation, and Nuria Enguita, Director of IVAM.

The exhibition presents the work of two great artists, Anni and Josef Albers, who were pioneers of 20th century modernism through their art production lines.

The display fully covers their careers in art, both individually and together, being the first time that the work of the artists as a couple throughout their different creative phases has been exhibited in Spain. The exhibition is organized chronologically and consists of almost 350 works, among them paintings, photographs, design and textiles, films, documentary material, as well as a selection of pieces of furniture from the Bauhaus phase that represent fundamental landmarks in the careers of this artist couple.

Exhibition opens: Thursday 24 February at 20:00hrs

ExhibitionLibraryIVAM Centre Julio González

For Teresa Lanceta (Barcelona, 1951), the act of weaving constitutes a triggering of critical imagination beyond the confines of materiality. For her, weaving is an open-source formula of repetition and rupture, from which it is possible to read, transform and convey a knowledge that is always complex and plural. It is a procedure for which there is no rough outline to follow; where figure and ground, object and language, medium and image, come together at the same time, assuming the unexpected, along with error and success. Accepting the unexpected is for Lanceta a way of learning a primordial and universal source or code that clearly manifests an internal law; a law that transcends physical, temporal and cultural frontiers. For weaving is a techné – a ‘technical’ knowledge dependent on a specific geographical, cultural and human context, be it, in her case, Barcelona’s Raval neighbourhood, where she lived, or the Middle Atlas, which she visited every year for three decades. Both of these places fed her fascination for women’s work and the non-verbal communication of stories and emotional bonds.

Teresa Lanceta. Weaving as Open Source traces the artist’s trajectory from the 1970s through to the present day and includes a broad selection of tapestries, weavings, fabrics, drawings, photographs and videos, offering the most comprehensive overview of her work to date. The exhibition also explores Lanceta’s interest in collaborative work formats based around dialogues that she establishes with the help of ‘creative accomplices’, including Olga Diego, Pedro G. Romero and Xabier Salaberria; the curator Leire Vergara; the art collective La Trinxera; the filmmaker Virginia García del Pino; the artist and thinker Nicolas Malevé who, together with members of the Museum’s Education Department and pupils and teachers from Miquel Tarradell secondary school, has spent the last few years developing the project The Trades in the Raval.

Co-production of the MACBA-Barcelona Museum of Contemporary Arte and IVAM Valencia Institute of Modern Art

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