Carrer de Trafalgar, 36, 08010 Barcelona, Españahttp://galeriasenda.com
C/ Pintor Fortuny, 27, 08001, Barcelonahttp://www.angelsbarcelona.com
Carrer de Trafalgar, 32, 08010 Barcelona, Españahttp://galeriasenda.com
Carrer d'Àlaba, 58, 08005 Barcelona, Españahttp://lbcontemporaryart.com
Passatge de Mercader, 8, 08008 Barcelona, Españahttp://projectesd.com
Gran Via de les Corts Catalanes, 627, 08015 Barcelona, Españahttp://www.rociosantacruz.com
Carrer Isaac Peral, 7, 08902, L'Hospitalet de Llobregathttps://trama34.tumblr.com/
Carrer de Ricart, 19, 08004 Barcelona, Españahttp://projekteria.net
Carrer de Papin, 29, 08028 Barcelona, Españahttp://metafora-studio-arts.org
Carrer de Casanova, 136-138, 08036 Barcelona, Españahttps://juannaranjo.eu
Carrer de la Creu dels Molers, 15, 08004 Barcelona, Españahttp://www.homesession.org/wordpress/
Passatge de Mercader, 10, 08008 Barcelona, Españahttp://www.zielinskyart.com
Carrer d'Espronceda, 326, 08027 Barcelona, Españahttp://www.espronceda.net/es/
Travessia de Sant Antoni, 27, 08012 Barcelona, Españahttp://espaisouvenir.com/
Carrer de Badajoz, 46, 08005 Barcelona, Españahttp://chezxefo.com/site_files/
Cortines 23 Bajos 2, 08003 Barcelonahttp://www.cagebcn.com/
Carrer de Trafalgar, 36, 08010 Barcelona, Españahttps://www.uxvalgochez.com/
Galleries, artistic venues, organizations and collectives join LOOP Festival scheduling exhibitions, curatorial programes and special projects that complement the agenda of the contemporary video creation.
ELLA, EL OJO, EL DEDO, LA MANO establishes a dialogue among a selection of works by three artists of different nationalities and generations: Margaret Harrisson, María María Acha-Kutscher and Núria Güell. Apart from the specificities and singularities of their works, and despite their generational and contextual differences, it is easy to identify similarities in the approach, discursive lines, and themes used by these three creators.
STANZAS is made up of a group of sequences that are reproduced randomly. A piece in which space, light, time and movement are mixed, linked and united. Each sequence is a game of spatial and temporal overlays, fractalizations and complexity, palindromes, mirror images, curvatures. The search is pictorial and musical, in a loop never the same, leaving the combination of the parts to chance, and with it, the possible narration.
PAISAJE INTERIOR CON MARINA is a project that activates our senses, while questioning the relationship between the spectator, the images and the space they generate, and for which the artist has counted on valuable contributions. This work reflects on the public and the private, the concept of the body (this being, either the fragmented body of cinema and its own shared body, or the body that affects the body of others). As well as other ideas around the notion of freedom and its association with imagination and synchrony. PAISAJE INTERIOR CON MARINA has also had the collaboration of Maia Koenig, an Argentinean experimental multi-artivist and the South African painter Jake Aikman.
The film’s title refers to humanity’s “captivity” within the logic of capitalism, which seems to carry extractivism onward to the point of no return. CARBON AND CAPTIVITY is structured in four chapters, introducing various perspectives through spoken voices. The film interweaves shooting at and around Technology Centre Mongstad (The world’s largest facility for testing carbon capture technologies) with a tour through the site, a poetic-political narration text and a dense sound design.
DIGITAL | CORPORAL is an exhibition project that brings together the video works of six artists with the aim of exploring the communicative potential of those stories that are produced from the representation of the body (whether human or not) and the use we make of the languages that emerge from our interaction with the new technologies in the present information age.
Two video monitors, turned 90º to portrait format, are positioned in front of each other within an enveloping space. On the upper part of one of the monitors, we see a feline gaze; on the other, at the same height, a human gaze. Both are surrounded by a black surface that erased all other details, rendering the differences between them less explicit. These sets of eyes observe each other for an infinite duration that determines a point of equilibrium, from which the title of the installation seems to flow.
HOMELAND ‘BORDERLINE’ deals with the idea of boundary and border. A border, a dividing line, or indeed the borderline between friendship and love. Borders are marginal, problematic and uncertain in the new times of Covid19. The exhibition is composed by two programs: a selection of videos created by Irish artist and a program composed by videos that participated in LOOP festival 2019 edition.
The only film that is preserved by the photographer Humberto Rivas. A fictional story where a shy and scrupulous character mistreats another buried up to the neck, which expresses in a premonitory way the Argentine dictatorship that would take place three years later.
UBI CONSISTAM means stable point and it is part of phrase Archimedes allegedly uttered after discovering the law of the lever. Literally: “Give me a place to stand and I will move the earth". The project is about the building and the blurring of identity. It began in 2017 when Marina Sagona acquired her American citizenship after living in the US for 22 years. The artist felt the new identity filled the void of the previous one to fall into chaos right after. With the support of Instituto Italiano de Cultura de Barcelona - IIC Barcellona.
Duo Exhibition with collaborative work by artists Mooquidi Annerose and Opoku Taylor. It is Inaugural exhibition at new Zona Franca location.
Espronceda presents ART FOR SOCIAL CHANGE TOWARDS THE ART OF DEMOPRAXIA, an exhibition inspired by the THIRD PARADISE by Michelangelo Pistoletto and Cittadellarte. The exhibition will bring together artistic practices of social transformation that are significant, strong and in full coherence with the THIRD PARADISE and THE ART OF DEMOPRAXIA. The exhibition will also include the work BLANK NOISE by Jasmeen Patheja, winning artist of the 2019 Visible Project the first international production award devoted to artwork in the social sphere, that aims to produce and sustain socially engaged artistic practices in a global context founded by Pistoletto Foundation and Zegna Foundation.
Ro Caminal explores the possibility of interstitial places through audiovisual production. In the artist trilogy MOI, UN NOIR. RELOADED (2015), UNFOLDING PENOLOPE (2017) and SHIP OF FOOLS / HOOK A BOAT (2017) –which we present together for the first time– the artist challenges the construction of the other from Western ethnography and its representation devices, at the same time that she addresses the different approaches and realities of the migration process.
To hide the massacre on which this land was founded, they had to destroy all the soil and the mountains, mining, liquefying, lixiviating ground and bodies…. transforming them into a monument. Only a trace remains, an empty scar. They killed for ten generations.
How do we become subjects in a system of individual exploitation? Essential parts of life are relegated to the periphery: childhood, old age, illness, women's work. Behind the overexploitation of bodies that need care and take care of, hides a sentimental relationship of domination and usufruct, which generates a loving patina on the invisibility of those works. The artists gathered here explore the corners of the politics of care. Image: CARE, Ana Alvarez-Errecade.
Light puts pressure on the things it illuminates. It is a slight but not irrelevant thrust, which out of the atmosphere can accelerate spacecraft to speeds much higher than those obtained so far. Dionis Escorsa reflects on the scope of light pressure in everyday life and its physical and psychological consequences, the antagonism between the radiant and the illuminated and the temporal mismatch suffered by the shadows. Project produced by Halfhouse & Fundació Suñol.
It's a research project that begins with the artist's trip to Patagonia. There she works on a chronicle inspired by the Magallanes expedition, which took place exactly 500 years ago. Upon her return to Europe, the artist comes across the collection about Tierra del Fuego at the Museum of Anthropology in Florence. Drawings, videos and texts imaginatively counter the narratives of the 16th century "discoverers", as well as the 19th century anthropologists.
The exhibition PRIMERA LÍNEA by Fernando Prats shows his most recent work, made in the context of the protests that took place in Chile during the months of October and November 2019. Fernando Prats, who was in Santiago de Chile, decided to get involved by living an experience that allowed to record the confrontation of the protesters and the realization of a series of actions that takes shape in the video and the works we present.
Filmed in the Amazon rainforest, CAPITÃO DO MATO by Regina Parra takes its title from the popular name of a bird that lives in South America. Known for its high-pitched, shrill cries that reveals the presence of strangers, the bird used to guide settlers on their silent walk through the woods in search of escaped slaves, in the late 19th century. In CAPITÃO DO MATO the camera becomes a gaze, both violent and poetic, that scans the forest in search of images and sounds from the past, trapped in the natural landscape of the contemporary Amazon.
Noemi Sjöberg's work revolves around essential issues such as perception, the alteration of reality or the human condition. In it, the relationship between image and sound with reality is questioned, highlighting the subjectivity and conditioning of the experience of reality. For this the artist uses travel as a tool. In CHANGES OF PLACE, she proposes to place ourselves in that space between the observer and the observed; a place between two in which reality and the subject mutually transform themselves, moving from their usual space.
THE WITCHES: HOW SPLENDID! is a group exhibition by the artists Vera Chaves Barcellos, Virgina Patrone and Romy Pocztaruk. The exhibition is composed of films, photographs and drawings exhibits the production of three women artists from different periods and contexts, which takes as its starting point a gender perspective: naming themselves to exist in the world, acting to give shape to something and imagining a future different to stay alive.
At the beginning of this project, the intention to show the depths of Gabber gatherings was linked to the study of synthetic communication devices under development in the 90's. 3 TRANSITIONS D'UNE MÊME FIGURE is born from a collaboration in which the mixing of sensitive experiences related to partying and active listening are shaped into a video-sound. It contains a crossing into psychomagics and is invented between the snoring of a car tuning jar and the hydrophonic listening of the ide fish.
Margarita Zafrilla Olayo, choreographer and video artist, explores in PRELUDE the relationship of movement between dance and drawing, creates the choreography for a performance in which, together with the painter Pato Bosich, they build a unified dialogue within the same frame of vision for the encounters and interactions of the Margarita Zafrilla Olayo movement and the Pato Bosich ink strokes that coexist when engraved creating new appearances.
Vanessa Pey invites us to accompany her in an incisive and hypnotic inquiry concerning the most intangible and most perplexing facet of the human being: our identities. An advocate of ambiguity as a poetic stance, Pey contorts the faces and bodies of her subjects, she freezes specific states of various atmospheric moods and captures climates of horror, eroticism, ecstasy and delirium. This exhibition hosts a selection realised by the artist and curator Gabriel Virgilio Luciani of her 2017-2020 repertoire, composed of still images on photographic support as well as a series of videos created specifically for the occasion. The show also includes sound work created by North-American composer Magic Candy.
The videos of SINCRONÍAS present a series of ‘physical accidents’ synchronized with events happening elsewhere at the same time. News, reports, and important local or international dates dictate the exact time when domestic events happen in front of the camera.
A storage is a place physical or digital for the saving of stuff and can be in the same way used for saving memory and ideas (good or bad ones). It can be a hide away, save haven, protected or sometimes prohibited zone. It can be a handy place for simply having too many things. WHAT’S IN STORAGE FOR US? II is an exhibition that plays with the idea of “what the future will bring” to this works, in combination with what it already brought. What’s in storage for these pieces roofed in the storage? Artworks at Nogueras Blanchard, waiting for an audience.. The duo Gracias por su visita has selected one of these pieces (in audio-visual format) that have been in the storage, to be projected again. In this case, it will be seen in its current context (the storage of Nogueras Blanchard gallery); and along with all the boxes with artworks from other artists represented by the gallery. During one weekend the work can be viewed in dialogue with a work from the artist Jaume Clotet.
A storage is a place physical or digital for the saving of stuff and can be in the same way used for saving memory and ideas (good or bad ones). It can be a hide away, save haven, protected or sometimes prohibited zone. It can be a handy place for simply having too many things. WHAT’S IN STORAGE FOR US? I is an exhibition that plays with the idea of “what the future will bring” to this works, in combination with what it already brought. What’s in storage for these pieces roofed in the storage? Artworks at Nogueras Blanchard, waiting for an audience.. The duo Gracias por su visita has selected one of these pieces (in audio-visual format) that have been in the storage, to be projected again. In this case, it will be seen in its current context (the storage of Nogueras Blanchard gallery); and along with all the boxes with artworks from other artists represented by the gallery. During one weekend the work can be viewed in dialogue with a work from the artist Andrea López Bernal.
On the occasion of the celebration of the LOOP Festival in Barcelona, between 10 and 21 November, ProjecteSD proposes the online viewing of the video work of Dora García LOVE WITH OBSTACLES, with a version of the film commented by the artist in Spanish. With the help of its author Dora García, the audience will be able to enjoy an intimate tour full of details and information about the work. To obtain the links for viewing the work and its version commented by Dora García, please contact ProjecteSD. Contacts: Oriol Aribau: firstname.lastname@example.org or Silvia Dauder: email@example.com
"I ride rough waters and shall sink with no one to save me." Virginia Woolf, THE WAVES. Where some can breathe, others drown. Life and death are intertwined, both structure our existence, knowing that the one cannot exist without the other. Oceans of air establishing a challenge to forced sinking, where the dichotomy is between fighting or stop floating. To escape, try with all my might to be a fish.
Núria Manso presents three of the latest videos: The first of them, Y SI SON COSAS NUESTRAS [IF THEY ARE OUR THINGS](2019) contemplates the theme of madness based on experiences or memories of the artist. In XIUXIUEJANT [WHISPERING] (2020) she makes an allegory of laughter and states of joy, and QUAN TOT S'ACABA (WHEN IT ALL ENDS) she presents us with a serene speech about the end of life. The year 2020 will be remembered in history for the consequences of the coronavirus pandemic. All artistic creation will be impregnated with this unwanted situation. Two of the videos were made before the start of the pandemic, and the last one, QUAN TOT S'ACABA, was made in the post-conclusion denomination and deals with death.
On the occasion of the premier of the director’s new film, NIEVA EN BENIDOR, RocioSantaCruz presents NO TE VA A QUERER TODO EL MUNDO, a documentary by Jennifer Cox about the filming process of the film, as well as a selection of shorts films by Isabel Coixet.
Raechel Teitelbaum's video work MICROBIAL LAND II works to queer and reimagine our current model of ecological hierarchies and societal norms. In magnifying the micro, we can work to shift our perspective on what is natural by considering the potentialities for connections and transformations within and among humans, plants, animals, and technologies. This video is one component of an installation that will be exhibited in Tangent Projects gallery in 2021.
LOS COLECCIONABLES DEL KIOSCO SOLITARIO (I) is a series of artistic interventions at a disused kiosk. trama34 wants to reactivate this space with artist installations. Thus proposing another functionality without forgetting what the kiosks represented in their heyday: modernity, culture and a meeting place for the people of the neighborhood. Within the framework of the LOOP, Matteo Guidi proposes some video-recipes evoking the classic collectibles that were found in the kiosks, among which there were recipes. The video recipes is a compilation of recipes made by female inmates in Brians 1 prison, the result of a workshop that Guidi carried out where the participants expressed themselves through the culinary environment. This work is part of a broader cycle COOKING IN MAXIMUM SECURITY where Guidi shows how the mechanisms of confinement are manifested in restrictions that might seem soft measures but that undermine the autonomy and empowerment of people.
LOS COLECCIONABLES DEL KIOSCO SOLITARIO (II) is a series of artistic interventions at a disused kiosk. trama34 wants to reactivate this space with artist installations. Thus proposing another functionality without forgetting what the kiosks represented in their heyday: modernity, culture and a meeting place for the people of the neighborhood. During the LOOP Mireia c. Saladrigues shows VIRTUAL –PROJECTED– TOUR. The kiosk becomes a display where to project and recontextualise the experimental digitization of the Research Pavilion in Venice that Saladrigues made in 2017. VIRTUAL TOUR is a doctoral project in progress. It acquires new meanings now that the gallery spaces have hybridised and it is common to visit exhibitions on screens.
The power of sound includes a selection of eight artists. The videos have a common denominator: emphasizing the importance of sound related to the image. A+G, Éric Antonell, Balanza, Albert Bayona, Clemente Calvo, Salvador Herrera, Enric Maurí and Behdad Rezazadeh make use of several perception and image pastimes, making us enter into intimate and personal moments that lead us to, without any doubt, profound afterthoughts. The videos will also be screened at the Fundaciò Marguerida de Montferrato.