NEXT OPENINGS

7 JULY, 2010 – 19h
Condensed matter. Cooking science
Pat Andrea and Alice
Niu d’estiu (Summer nest)

14 JULY, 2010 -19h
Barceló before Barceló. 1973-1982
The London punk tapes

NEXT OPENINGS

7 JULY, 2010 – 19h
Condensed matter. Cooking science
Pat Andrea and Alice
Niu d’estiu (Summer nest)

14 JULY, 2010 -19h
Barceló before Barceló. 1973-1982
The London punk tapes

Pat Andrea’s paintings inspired by Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass are being presented by Arts Santa Mònica in the first major institutional show in Catalonia by this Dutch artist, considered to be one of today’s most important Figurative painters.

The exhibition, which has already been presented in France, Greece and the Netherlands, consists of 24 works based on Alice’s Adventures in Wonderland and 24 based on Through the Looking-Glass (150 x 180 cm each).

Pat Andrea’s paintings inspired by Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass are being presented by Arts Santa Mònica in the first major institutional show in Catalonia by this Dutch artist, considered to be one of today’s most important Figurative painters.

The exhibition, which has already been presented in France, Greece and the Netherlands, consists of 24 works based on Alice’s Adventures in Wonderland and 24 based on Through the Looking-Glass (150 x 180 cm each).

Relacionated links:
www.youtube.com/artssantamonica
www.youtube.com/artssantamonica1
www.youtube.com/artssantamonica2

Condensed matter. Cooking science invites us to look at cooking, gastronomy and nutrition through the scientist’s eyes and see them as a truly cultural activity which brings a wealth of knowledge into play. Challenging the predominance of visual culture, our eating habits and the pleasure of food privilege the senses of taste, touch, smell and even hearing. Smell is capable of filling a sensory space with as much or more force as any other sense. Taste awakens a complex anatomy in which our genes play a part in predisposing us to follow a more or less healthy diet. Cooking also shapes the landscape, and the landscape in turn, with its specific geography and climate, determines the basic features of our diet. Perception and landscape define our cooking, but cooking also has a component of reflection and innovation based on scientific and technological research. Informed by this awareness, the new Catalan cuisine as exemplified by the Fundació Alícia is a major force for culinary innovation. Cooking transforms matter to and from its states of solid, liquid and gas to make it not only edible but also creative, surprising and suggestive. Nutrition and gastronomy work according to a phase diagram with a soft and ductile condensed matter which can trap gas in a liquid or liquid in a solid, reducing that liquid to a highly concentrated form.

Condensed matter. Cooking science turns the Laboratory space into a place of experience at all levels — a chance to take part in scientific research into why things taste bitter or the olfactory memory, to sample wine preserves and honeys, to feed your curiosity with a web site accessible to mobile phones and QR bar codes or to do some virtual cooking with the ingredients in the exhibition. The project also includes a range of activities such as workshops and lectures designed to raise our awareness of all the science there is in the kitchen.

Condensed matter. Cooking science invites us to look at cooking, gastronomy and nutrition through the scientist’s eyes and see them as a truly cultural activity which brings a wealth of knowledge into play. Challenging the predominance of visual culture, our eating habits and the pleasure of food privilege the senses of taste, touch, smell and even hearing. Smell is capable of filling a sensory space with as much or more force as any other sense. Taste awakens a complex anatomy in which our genes play a part in predisposing us to follow a more or less healthy diet. Cooking also shapes the landscape, and the landscape in turn, with its specific geography and climate, determines the basic features of our diet. Perception and landscape define our cooking, but cooking also has a component of reflection and innovation based on scientific and technological research. Informed by this awareness, the new Catalan cuisine as exemplified by the Fundació Alícia is a major force for culinary innovation. Cooking transforms matter to and from its states of solid, liquid and gas to make it not only edible but also creative, surprising and suggestive. Nutrition and gastronomy work according to a phase diagram with a soft and ductile condensed matter which can trap gas in a liquid or liquid in a solid, reducing that liquid to a highly concentrated form.

Condensed matter. Cooking science turns the Laboratory space into a place of experience at all levels — a chance to take part in scientific research into why things taste bitter or the olfactory memory, to sample wine preserves and honeys, to feed your curiosity with a web site accessible to mobile phones and QR bar codes or to do some virtual cooking with the ingredients in the exhibition. The project also includes a range of activities such as workshops and lectures designed to raise our awareness of all the science there is in the kitchen.

In conjunction with:
Olga Subirós, Zeta Espacial, Museu d’Arqueologia de Catalunya, Harvard School of Engineering and Applied Sciences, Centre de Regulació Genòmica, Museu de la Confitura, IN3-Universitat Oberta de Catalunya, Telstar, J.P.Selecta, Facultat de Física-Universitat de Barcelona, Facultat de  Química-Universitat de Barcelona, Ajuntament de Capellades, Universal Margin, Gulalab, Buresinnova, Petit Comitè, Anella Cultural, Darío Sirerol, Rubén García, Pol Esteve, Anne-Sophie de Vargas, Marianna Koppmann, Davide Cassi, Claudi Mans, Carme González, Santi Vallmitjana, Luiza Tristao de Araújo, Patrícia Homs, Paula Fonollà, Agustí Torelló Mata.


Related links:
www.youtube.com/artssantamonica

Niu d’estiu (Summer Nest) is a proposal for an intervention/installation in the Arts Santa Mònica façade by Emiliana Design Studio. The idea is to use the ramp temporarily as a great pedestal on which large totemic ‘dwelling-objects’ clearly visible from the Rambla below will act as a visual focus, drawing attention to the front of the building.

These dwellings, places to meet in, rest and chill out, insinuating a measure of privacy in a public space, will present themselves as mediating relational objects: a meeting place where the people who happen to be inside at the same time can socialize.

Far removed from the coldness and hardness so typical of today’s street furniture, they will be tactile and permeable, made with soft fabrics, and thanks to their geometry and materials their appearance will change in the course of the day, with the movement of the sun and the shadow of the building and artificial lighting at night. The people sitting inside will see the sky through the open roof.

The intervention/installation is conceived as a step forward in the search for new typologies of objects and relational spaces, ‘flexible’ places for informal meetings, exploring new possibilities of form and construction and making the most of the physical and expressive potential of their materials. In recent years these lines of work have characterized the projects developed by Ana Mir and Emili Padrós, who also work with artefacts which use cuts, holes and overlaps to mark out spaces without closing them off, insinuating transparencies and filtering lights and shadows.

Niu d’estiu (Summer Nest) is a proposal for an intervention/installation in the Arts Santa Mònica façade by Emiliana Design Studio. The idea is to use the ramp temporarily as a great pedestal on which large totemic ‘dwelling-objects’ clearly visible from the Rambla below will act as a visual focus, drawing attention to the front of the building.

These dwellings, places to meet in, rest and chill out, insinuating a measure of privacy in a public space, will present themselves as mediating relational objects: a meeting place where the people who happen to be inside at the same time can socialize.

Far removed from the coldness and hardness so typical of today’s street furniture, they will be tactile and permeable, made with soft fabrics, and thanks to their geometry and materials their appearance will change in the course of the day, with the movement of the sun and the shadow of the building and artificial lighting at night. The people sitting inside will see the sky through the open roof.

The intervention/installation is conceived as a step forward in the search for new typologies of objects and relational spaces, ‘flexible’ places for informal meetings, exploring new possibilities of form and construction and making the most of the physical and expressive potential of their materials. In recent years these lines of work have characterized the projects developed by Ana Mir and Emili Padrós, who also work with artefacts which use cuts, holes and overlaps to mark out spaces without closing them off, insinuating transparencies and filtering lights and shadows.

Related link: www.youtube.com/artssantamonica

During 1976 and 1977 Jordi Valls recorded live on nine audio cassettes some of the early punk gigs in London. These tapes, featuring The Sex Pistols, The Clash, The Damned, Subway Sect, Billy Idol & Generation X, The Slits and Buzzcocks, capture the true sound of punk — raw, countercultural and subversive — as a phenomenon that had a radical impact on popular music and fashion, first in Britain and America, and then worldwide.

Arguably the most interesting aspect of punk is its vital, visceral energy, and the demonstration that the only thing that really matters is the intention, the power of the imagination, and nothing more. Sound, photographs, an audio-visual with punk iconography by Franc Aleu-Urano Films and an installation combine here to profile a rebellious attitude firmly committed to its time.

During 1976 and 1977 Jordi Valls recorded live on nine audio cassettes some of the early punk gigs in London. These tapes, featuring The Sex Pistols, The Clash, The Damned, Subway Sect, Billy Idol & Generation X, The Slits and Buzzcocks, capture the true sound of punk — raw, countercultural and subversive — as a phenomenon that had a radical impact on popular music and fashion, first in Britain and America, and then worldwide.

Arguably the most interesting aspect of punk is its vital, visceral energy, and the demonstration that the only thing that really matters is the intention, the power of the imagination, and nothing more. Sound, photographs, an audio-visual with punk iconography by Franc Aleu-Urano Films and an installation combine here to profile a rebellious attitude firmly committed to its time.

Concept:
Jordi Valls with Franc Aleu, Pedro de Cos, Marc Valls i Marc Viaplana

Projection:
Franc Aleu/Urano Films, Erika Lust/Lust Films, Marc Viaplana

Acknowledgements:
PacoAlvarado, Rosa Arruti i Mike Ibañez, Monte Cazazza, Morfi Grei, IreneGuga, Eliseu Huertas i Cos, Antoni Mateu, Jordi Mustieles, GenesisP-Orridge, Pau Riba, Cecília Soler, Oriol Soler, Guim Valls, Roc Valls,Arturo Xalabarder

Special acknowledgements:
RayBurns, Ben Browton, Hannah Collins, Paul Cook, Salvador Costa i MontseFerré, Xavi Cot, Rich Defame, Jean Genet, Vic Godard, Jeff Jacquin,Daisy Hugh, Tony James, Shane MacGowan, Julius Name, Mark Perry, SilviaResorte, Tricia Ronane, Ray Stevenson, Rosa Tharrats i Carolina Caralt,Lucy Toothpaste, Ari Up, Zeus Valls, Zoë Valls i Marc Folch, Katy VivesPhipps i Rai Escalé. THE SEX PISTOLS, THE CLASH, THE SUBWAY SECT, THESLITS, THE DAMNED, THE BUZZCOCKS, GENERATION X, SNIFFIN' GLUE.

Relacionated link: www.youtube.com/artssantamonica

The exhibition BARCELÓ BEFORE BARCELÓ, 1973-1982 presents a selection of the early and largely little-known work of Miquel Barceló (Felanitx, 1957), dating from 1973 until the year of his breakthrough on the international art scene with his participation in the Kassel Documenta in 1982.

The main purpose of the exhibition — which is articulated in six sections: Bestiary, Vanitas, Experimental Poetry, Books, Portraits and Self-portraits, and Elements of Landscape.  — is to showcase a set of over a hundred works, many never seen in public before now, which offer an early glimpse of some of the most significant and enduring traits of Barceló’s subsequent artistic development.
The pictures on show are from Barceló’s own collection, from various public and private institutions of Spain and France and from private collections.

The joint production by the three art centres reflects the significance of three cities in the initial stages of the artist’s career: Palma and Barcelona, as respectively providing the main cultural contexts, and Toulouse as the city where he had his first solo exhibition abroad.

The exhibition BARCELÓ BEFORE BARCELÓ, 1973-1982 presents a selection of the early and largely little-known work of Miquel Barceló (Felanitx, 1957), dating from 1973 until the year of his breakthrough on the international art scene with his participation in the Kassel Documenta in 1982.

The main purpose of the exhibition — which is articulated in six sections: Bestiary, Vanitas, Experimental Poetry, Books, Portraits and Self-portraits, and Elements of Landscape.  — is to showcase a set of over a hundred works, many never seen in public before now, which offer an early glimpse of some of the most significant and enduring traits of Barceló’s subsequent artistic development.
The pictures on show are from Barceló’s own collection, from various public and private institutions of Spain and France and from private collections.

The joint production by the three art centres reflects the significance of three cities in the initial stages of the artist’s career: Palma and Barcelona, as respectively providing the main cultural contexts, and Toulouse as the city where he had his first solo exhibition abroad.

Related links: www.totbarceloabarcelona.com | www.cercle.cat/barcelo | www.youtube.com/artssantamonica | www.youtube.com/artssantamonica1 | www.youtube.com/artssantamonica2 | www.youtube.com/artssantamonica3

Links d’interès: www.palma.miro.cat | www.lesabattoirs.org

Catalogue produced by: Cercle de Lectors / Galàxia Gutenberg