Places categories: IVAM Centre Julio González

We continue the series of conversations between artists whose aim is to connect works and projects that are similar in some way –or which present differences- with the intention of laying key concepts on the table, which will allow people to understand the contemporary artistic practice. Our intention is to be able to create a dialogue, to rethink, to imagine or to compare ideas, so that these, and their specification in several art forms, become again a consubstantial element of the debate on culture and contemporary art.

Also, so that the artists themselves can present them.

Ana Navarrete (Valencia, 1965) Bachelor of Fine Arts from the Polytechnic University of Valencia, Doctor of Fine Arts from the University of Castilla – La Mancha, which is a Member of the Council of Culture and the University Senate and Professor of the Department of Art, Faculty of Fine Arts. He was dean of the faculty from April 2008 until May 2014. He is principal investigator of INDEVOL group and has made numerous national and international exhibitions. His recent projects include: N340 Globalfem: http://n340.org/inicio_n340.html and Nobody remembers us while we are alive: http://nadieseacuerdadenosotras.org. He combines his artistic, educational and research work, with the publication of texts and the organization of events. His interests focus on various fields related to cultural practices and feminist politics.

Pepe Miralles (Xàbia, 1959) Visual artist and professor at the Faculty of Fine Arts in Valencia. Doctor of Fine Arts from the Polytechnic University of Valencia. In his artistic activity, he has made several individual exhibitions, which are: To try to understand where we are or what happens, (Espai d’Art A. Lambert, Jávea, Alicante, 1994); Ethnography of a social disease, (Museum of Anthropology, Madrid, 1994); Maintain, sustain, sustain, (Medieval Cistern, Quart de Poblet, Valencia, 2000); Give me (Colorelefante Gallery, Valencia, 2002 Factory Licors, Palma de Mallorca, Illes Balears, 2003); Social AIDS Project / 3 Bilbao (Yohn Jaureguia, Bilbao, 2007); Social AIDS Project / 4 Manacor (SACMA, per l’ar i Sala culture, 2009); Social AIDS Project / 5 Bilbao (public libraries, cultural Casals and Youth Centers, 2009). He has also participated in the creation of groups of artistic work as Project December 1, (Valencia, 1991) and Collective Local Neutral, (Valencia, 1996), both dedicated to the fight against AIDS. Currently he is director of the Department of Art and Disease Polytechnic University of Valencia.

We start a series of conversations between artists, whose aim is to connect works and projects that are similar in some way –or which present differences- with the intention of laying key concepts on the table, which will allow people to understand the contemporary artistic practice. Our intention is to be able to create a dialogue, to rethink, to imagine or to compare ideas, so that these, and their specification in several art forms, become again a consubstantial element of the debate on culture and contemporary art. Also, so that the artists themselves can present them.

Toño Barreiro (Zamora, 1965) has been developing since the mid-eighties, a multidisciplinary work that alternates between photography, painting, sculpture and digital processes. The questioning of the limits of the pictorial medium, through play with sculptural elements, breaking the traditional frame of painting and digital techniques, is a constant in the work. In his work you can see a number of new methodologies and creative processes that lead to winding and synesthetic paintings, playing with the concept of deconstruction, the symbiotic, or the most basic biological processes.

Sergio Barrera (Valencia, 1967). “Painting is a way to learn from the findings of others, as Science says. Something that from the perspective of tradition and its modes of transmission is more than obvious, of course. In this regard and in front of the doubt the ideas raised on copyright and authorship, although management option is only as Dada and conceptual game and drift, if one prefers to make a painting that, despite my presence in practice, cut themselves off from the personal. the paint and wallpaper are not shown on the idea of ​​ownership over what is done, but in any case, the possibility, in the opening direction. Remarkably, this reflection is the product of a series of observation pictorial gestures that are repeated as a constant, both in paintings that I did and many others. Gestures, in a broad sense, whose appearance can be seen almost the same frequencies and intensities. ” (From the press release of the exhibition RECORD A SCENE, overlapping and intertwining. Gallery SET)

We continue the series of conversations between artists whose aim is to connect works and projects that are similar in some way –or which present differences- with the intention of laying key concepts on the table, which will allow people to understand the contemporary artistic practice. Our intention is to be able to create a dialogue, to rethink, to imagine or to compare ideas, so that these, and their specification in several art forms, become again a consubstantial element of the debate on culture and contemporary art. Also, so that the artists themselves can present them.

Conversation between artists Salomé Cuesta and Maria Jose Martinez de Pison, professors at the Faculty of Fine Arts, Polytechnic University of Valencia and member of the Laboratory of Light.

Since 1990 the Laboratory of light located at the Faculty of Fine Arts in Valencia, works as a meeting, study and research of aesthetic and expressive principles linked to image-light. Currently, laboratory components belong to different departments and their participation varies depending on the proposals that are being developed: working between the collective and the individual, between university research and artistic activities, including the production of projects and word spread, and open to those who want to develop their work under this structure interdisciplinary field.