'Lullabies'. Eloy Arribas, Fabrizio Cotognini, Laura Hermanides, Jan Monclus
https://thecuratorsroom.com/Esther Gatón. '—Blanc, El Fang. La Màquina Solar Més Suau'
https://www.instagram.com/raccoonprojects/'Pedra i material' / 'Piedra y material' / 'Stone and material'. Barbara Fluxá, Clara Montoya y Rafa Munárriz
https://www.dilalica.com/esEmma Walker, Grayson Cooke, Matthew Engelbrecht. 'Ābhāsa'
https://www.cascadasartspace.com/Àngels Ribé. ‘Caminar sobre el gel’ & ‘Clouds, Bubles and Waves’
https://www.anamasprojects.comQuico Estivill. 'Androgin'
https://www.instagram.com/tpkartipensamentcontemporani/'Video proyección'. Joely Lorenzen, Cristina Reid
https://metafora-studio-arts.org/Ton Sirera películas y fotografías en torno a la abstracción en 1960
https://juannaranjo.euPilar Quinteros. 'Senyals de fum' / ' Señales de Humo' / 'Smoke Signals'
https://espaisouvenir.comDeborah-Joyce Holman. 'Moment 2' / Ligia Lewis. 'deader than dead' Performances 16 & 17 - 20h
http://cordova.world/'sssssh – cicle de cinema de cambra / ciclo de cine de cámara / chamber film cycle'. Judith Adataberna, Valentina Alvarado Matos, Marie Losier, Callisto Mc Nulty, Bárbara Sánchez Barroso
https://chiquitaroom.comPati Hill, Pere Noguera, Jordi Mitjà. 'Tot Objecte Repetit Ocupa Un Espai Únic' / 'Todo objeto repetido ocupa un espacio único' / 'Every Repeated Object Occupies A Unique Space'
https://bombonprojects.comHomeland. 'A través de la llum i l'ombra' / 'A través de la luz y la sombra' / 'Through Light and Shade'
http://www.alalimon.orgGalleries, artistic venues, organizations and collectives based in Barcelona join LOOP Festival scheduling exhibitions, curatorial programes and special projects that complement the agenda of the contemporary video creation.
This video involves 30 individuals of Cuban origin who reside in the vicinity of the Sierra Maestra mountains, a historically significant location in the Cuban Revolution. These inhabitants recreate the revolutionary soundscape using objects and materials found in their precarious environments. The project aims to expose the gap between past political ideology and the current reality of disillusionment and decay, creating a contrast between what is seen and what is heard in a context of outdated ethical and aesthetic values.
'Fuel to Fire' is a video that brings the viewer into a 'pagamento' or payback of gold to a body of water. This ritual was performed for the wellbeing and conservation of the 'Páramo de Santurbán', a moorland ecosystem of North West Colombia, which holds large -soughtafter- deposits of gold. The 'pagamento' is an indigenous ecological and economic fundamental protocol, that maintains the flow and balance of life cycles on earth. When accumulation happens, sickness arrives, and so it's necessary to give back by letting go of something that is dear, that implies labor, or that is highly symbolic.
Eden and Babylon 2023, is Rob Garbutt's single-channel audio-visual response, with accompanying text, to Eden Creek in north-eastern NSW, Australia. The work explores the limits of language (whether visual, sonic or written) to understand a land that is far from solid; a land in creation over eons, intimately understood by First Nations Bundjalung people through knowledge developed over millennia, and radically transformed by colonists from the United Kingdom during the last 180 years. A descendant of these colonists, Rob struggles to express a connection with the babbling fluidity of Eden Creek. Curated by Fiona Fell.
“Stabat Mater” is a film about motherhood and separation. It is built upon the repetition of an eighteen seconds film. The nude portrait of the artist herself is a painting by the artist’s former husband. The audio of the film is the mix of a dialogue in Italian, between the artist’s daughter and the artist’s former husband, with the first movement of Pergolesi’s Stabat Mater. The text of the dialogue is superimposed over the footage in a gigantic sized type which grows smaller with each repetition until it disappears, while the voices subside and the music takes over. Curated by: Sophia Ma.
A tree that saw history go by, saw the creation of a world, saw the first Mapuche indigenous people spend time under its shadow, saw the first wars between colonizers, a tree that speaks with its branches. The camera scans its skin, its trunk and its intimate and powerful history, slowly until discovering it in its immensity. Known as Lañilawal or Millennial Larch, it could be the oldest tree on the planet. One researcher estimates that it grew more than 5,000 years ago, long before the construction of the Great Pyramid of Giza.
The Pelele (Deán Funes, Córdoba, Argentina, 1993) is an artist/character, a phantasmagorical entity that transcends dimensions. THE NETWORK OF THE WIND is configured as a Bestiary. A selection of strange beings is presented as evidence of a fiction, as a vital component of a diegesis.
Love Collapse is a site-specific installation that arises from the collaboration between the artists Nathalie Rey, Enric Maurí and the theorist Federica Matelli. In this sense, it represents a reverse curatorial experiment, in which from a text written by the curator about desire and love mediated by technology, the artist duo has created the unpublished work that we can see at Espai Souvenir.
The exhibition "A l'oest del mar... els carrers i la gent" will show works of art by the artist Claudio Zulián. The pieces in this project address various issues. Some of the creations deal with different groups at risk of social exclusion, others with groups that claim their rights and others that are directed to newcomers from different countries.
Through an autobiographical piece, the author explores the poetics of the hidden image in a space of tension that debates the desire to remember as opposed to the right to forget, in relation to the political events of her country of birth, Iran. With an extremely austere language, in a video accompanied by drawings, the author pushes the image to its limits, questioning it between what is exposed and what is hidden. Both in the erased drawings and in the video testimony on the unexposed family photographs, the dense emptiness is translated into a highly symbolic matter.
The Captain inspects the ship... The deck shines under the setting sun. Diagonally, with golden reflections. It emerges over the waters towards a new voyage. False, orthogonal and polyhedral... Reality as I knew it will never be lived again. The crew ends up numb... He alone, with his ship adrift... Sail to infinity. And... further... if I could.
The mind takes the form of the external object, just as the water that comes out of a tank takes the form of the ditch. OTRORA is a video installation by Argentine artist Florencia Ramón. The artwork is constructed at the intersection of color, body, and nature. Florencia approaches her creations through site-specific techniques, land art, and instant composition. She uses the video format as a vessel to exhibit a glimpse of her explorations and research on movement, improvisation, and the present state.
In his treatise on melancholy, Aristotle distinguished between symmetrical and asymmetrical humors. Whether melancholy was a disease or a quality of extraordinary men depended on the preeminence of one or the other. XXX, I is a journey along a mysterious road that explores the relationship between symmetry and its rupture; a journey through melancholy.
The exhibition showcases art installations, inviting viewers to reconsider the concept of the Mediterranean as an integral part of our culture and way of thinking. It explores the intersections and inevitable processes of hybridization, bridging the gap between imagined pasts and potential futures. Through immersive multimedia installations, spectators are transported into a Mediterranean universe, a space where lands and seas converge and diverge, creating unique connections. The art works depict the sea as a liminal place that brings together diverse cultures and peoples through continuous transformation and interaction, serving as an inspiration for developing imagination and creativity. Curated by: Elena Posokhova.
In her film practice, Leyli Alakbarova investigates the influence that the place of birth and inhabitance may have on the way we perceive the world. Her films presented in the frame of the LOOP festival explore the long-term effect that being a part of the Soviet Union had on the people of Azerbaijan. Her work is based on daily scenes, domestic situations, educational institutions, and their role in people’s lives in Azerbaijan in the 80s and 90s when everything and everyone was highly influenced by the Soviet Union regime and later its collapse. Curated by Jette Bjerg and Marc Larré.
Place the body in the center, but not to categorize and fix it, but to generate a movement of digression, an attempt to think of forms from which to constitute it. Images that, in their collisions and vibrations, also want to coalesce as a significant body, images, on the other hand, that are welcomed by our bodies in their multiple resonances. Traversing the space of the gallery as a passage of images that stand open and where to look also means the encounter with a limit or a fracture, an opening where the bodies take position, without reconciling their mismatch. Curated by: Andrea Soto Calderón
"Un_i[n]verso" is an audiovisual sculpture, combining sound, video, rebar sculptures, lights, and shadows in a site-specific installation. It explores the concept of matter, merging various media types to create an artistic form where the viewer experiences a cohesive whole. The work takes the viewer on a dramaturgical journey, starting from macroscopic digital landscapes, delving into deconstructed cities, and floating between reality and imagination in a constant, slow zoom. Curated by: Francesco Ozzola
Simona Žemaitytė (1984) is a Lithuanian artist-filmmaker. Her work was previously awarded at 15th Tallinn Print Triennial and nominated at Sheffield Doc Fest. She exhibited internationally, including Oberhausen, 13th Kaunas Biennial; Centrala Birmingham, Kasa Gallery Istanbul; Galata Perform Istanbul; BAFTA, RichMix, London, CAC Lithuania; Galleries Vartai, Malonioji and Kaire-Desine in Vilnius; Riga Cinema Shorts; CreArte traveling exhibition in Pardubice, Linz, Genoa. She recently (April 2024) defended her PhD thesis at the Vilnius Academy of Arts. She is teaching at Vilnius Art Academy. She lives and works in London and Napoles.
Intermittent is an alert signal, and it is also a type of Spanish labor contract. It is the rhythm of an artist who must juggle their art practice with another job. Intermittent is Maíra das Neves’ first solo show in Barcelona, where she will present her most recent artworks: the video-essay Life Span, two self-portrait photographs, and the dark watercolor sets Workdays. Intermittent offers a subjective perspective from personal experience as a cognitarian worker, the proletarian class of the late capitalism and its data economy.
Artificial intelligence vs. painting on canvas, a debate and an active and latent conversation, constant and limited by the spatial temporality of the physical environment. Curated by: Uxval Gochez and Daria Nikit.iuk
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