BCN Producció

BCN Producció 2015 has begun its selection process of proposals for the ninth edition. Aimed at the artistic community of Barcelona and its area of influence, this open call for entries fosters the execution of projects that call for production resources and institutional support in order to be brought to fruition.

By means of this programme, La Capella offers support to meet artists’ financial and production needs while remaining attuned to the discourse of contemporary art, true to its role of public facility for contemporary art.

Selected project list:
Espai Cub

- I Came From There / Firas Shehadeh
- (Salón de lo intocable) / German Portal Garbarino
- Frames Rocío / Federico García Trujillo
Sala Gran
- Realisme / David Bestué
- 75º / Mar García Albert
- Cultura de dormitorio: Narraciones de adolescencia femenina / Xiana Gómez Díaz
Deslocalised projects
- El visitant ideal d’una col.lecció sentimental / Enric Farrés Duran i Joana Llauradó Farrés
- Proyecto Rosoum, estrategias para un cómic árabe independiente / Salah Malouli
Curatorship Project
- Visceral Blue / Anna Manubens

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Firas Shehadeh
Wednesday, 27 May, 2015 to Sunday, 5 July, 2015
Espai Cub

I came from there is a visual and sound installation that posits another type of answer to the most common question you are asked when you arrive somewhere new: “Where are you from?” As a Palestinian refugee, Firas Shehadeh explores biographical and political issues in his work, which deals with questions such as origin, identity and alienation. Taking as his starting point the poem of the same title by the Iraqi poet Sargon Boulus, Shehadeh attempts to answer the question in a different way: “I come from whence I have been brought by an entire political, social and economic history.”

David Bestué
Wednesday, 27 May, 2015 to Sunday, 5 July, 2015
Sala Gran

Realismo stems from research into the history of engineering in Spain and focuses on the central themes of the format of exhibitions and the language of sculpture. Midway between an architectural intervention in a public square and a builder’s merchants, the work consists of various structures and volumes distributed about the room, presenting an urban environment determined by the criteria of weight, balance and force.

Planned activities:

- Guided visits to the exhibition with the artist David Bestué
   Wednesday, June 17, at 6.30pm

- Guided visits to the exhibition with the artist David Bestué and the architect Robert Brufau
  Wednesday, July 1,  at 6.30pm

- Exhibition's ending with performance by Aimar Pérez Galí
  Sunday, July 5,  at 12am

Free activities without booking

 

David Bestué
Friday, 26 June, 2015 to Sunday, 5 July, 2015
Visita / Performance

Guided visits with David Bestué and Robert Brufau
Exhibition's ending with Aimar Pérez Galí

Firas Shehadeh and David Armengol
Tuesday, 30 June, 2015
Talk

The artist Firas Shehadeh and David Armengol will talk about the exhibition, I came from there (2015), the installation, the poem and the post-catastrophic identity

Tuesday, June 30, 2015 at 7:00pm
Free entry, without booking

La Capella
Friday, 3 July, 2015
Presentació

Friday, 3d of July, at 10.30 a.m., breakfast–presentation in La Caníbal bookstore (Carrer de Nàpols 314, 08013 Barcelona) of the first two books from the collection BCN Producció’15. A collaboration between La Capella and Folchstudio.

Germán Portal Garbarino
Wednesday, 15 July, 2015 to Sunday, 6 September, 2015
Espai Cub

Salón de lo intocable is a project that recreates an exhibition space from the time of the Avant-garde: a reconsideration after the fact in which the display deconstructs and reformulates some of the significant works of modernity by means of practices deriving from do-it-yourself and the objet trouvé. Germán Portal thus offers a personal rereading of some of the key artworks of the 20th century, blurring their aura and reinterpreting in a critical and parodic manner the dramatic nature of their formalisations.

Mar García Albert
Wednesday, 15 July, 2015 to Sunday, 6 September, 2015
Sala Gran

75 º is a pictorial project that explores the process and time-related nature of painting through a singular, performative gesture, which consists of showing a series of painted works only while they are still wet, thereby adapting the exhibition dynamic to the strict duration of this process. Part painting, part sculpture and part performance, 75 º gives rise to a vast installation defined by colour, angle and time.

Germán Portal and Mar García Albert
Friday, 4 September, 2015
Guided visit / Presentation

Guided visits to the exhibition with the artists:

- 18h Germán Portal / Salón de lo intocable

- 19h Mar Garcia Albert / 75º - Guided visit and talk with David Armengol 75º exhibition's process and results 

- 20h BCN Producció’15 books' presentation with the authors Mar Garcia Albert and Germán Portal and their tutors, Mery Cuesta and David Armengol at the bookstore Múltiplos (Joaquim Costa 30)

Free activities and free entrance

Xiana Gómez Díaz
Wednesday, 16 September, 2015 to Sunday, 1 November, 2015
Sala Gran

 

This exhibition is a fascinating exploration of the themes of secrets, identity and social roles that delves into the cultural output produced by teenagers in the privacy of their bedrooms when they close the door to their parents and the world. It is the result of the research conducted by the filmmaker and visual artist Xiana Gómez-Díaz, together with Carla Calleja, in 2013 into private literature and ‘bedroom cultures’, the umbrella term for everything that teenagers produce in privacy. The concept of bedroom culture was introduced by the feminist sociologist Angela McRobbie in the late 1970s in response to the need to document the practices of female teenagers at home given that male teenagers’ habits were more commonly discussed and studied.

Secret diaries, folders stuffed with stickers and photos, drawn self-portraits, envelopes bearing messages in code, rooms decorated as motley universes, etc., all private output that the exhibition focuses on from the viewpoints of disciplines such as anthropology, sociology, art, psychology, semiotics, narratology and even graphology. As a result, these private teenage practices reveal the symbolic systems of values and authority (family, school, community, the media, etc.) of those who engage in them and also provide insights into the way factors of cultural conditioning operate from adolescence, pointing us towards an appraisal of society as a whole.

Cultura de dormitorio: Narraciones de adolescencia femenina (Bedroom Culture: Teenage Girls’ Narrations) features photographs, videos and a significant selection of original private documentation donated by a number of women for the purpose of the research. To date, Xiana Gómez-Díaz has collected over 60 private diaries written during their teenage years by women who are today aged between 22 and 55. The research is still ongoing.

Two fundamental themes run through the entire exhibition: secrecy and self-representation. Secrecy is an important concept as these cultural works, which provide an outlet for a private impulse, are produced behind closed doors: they are extremely unusual creations as they are not intended for an audience but instead employ secrecy to avoid being revealed or read by anyone. Commercially produced diaries aimed at girls are usually sold with a lock and key, and the girls that write in them – as this exhibition highlights – invent codes, hieroglyphs and encoded and encryption systems to conceal their thoughts. Both aspects expose a particular type of learning acquired from a tender age on how to manage shame and the added value of secrecy.

In addition, the exhibition looks at adolescence as a period of the self-construction of identity in progress. During this stage of our lives, a growing but undefined individuality struggles and strives to find a way through a maze of projected ideas and images: those foisted on us by our family, those conveyed by the media and those we come up with ourselves. Drawings, questions, games and self-portraits on the past, the present and what ought to be are experiments that serve as a means to find ourselves in this contentious stage of life. Drawings are today being gradually supplanted by selfies and other practices directly related to the internet and the digital environment. The exhibition does not ignore these contemporary languages of self-representation in privacy despite the fact that they are intended to be shown, unlike the more traditional practices that have thus far been pursued under a pragmatic veil of secrecy.

Culturas de dormitorio: Narraciones de adolescencia femenina is imbued with startling sincerity and includes works produced without protocol, permeated by utter naturalism and honesty and created in a context of our lives that is as tragic as it is high-spirited. Girls’ accounts, with their codes, projections and conditioning factors are telling, divulging the system and the values it instils in the individual, but they also invite us to reflect more generally on the stages that we all go through in life.

Federico García Trujillo
Wednesday, 16 September, 2015 to Sunday, 1 November, 2015
Espai Cub

 

In July 1980 Fernando Ruiz Vergara’s film Rocío premiered in the Bellas Artes cinema of San Sebastian. This documentary recorded the famous Rocío religious pilgrimage from an anthropological standpoint from which, in turn, emerged the sociopolitical backdrop of a country undergoing historical transformation. Critics and audiences alike immediately recognised the quality and artistic value of the film, which very soon began to receive acclaim and prizes. First, it was awarded the prize for the best feature film at the First Seville Film Festival, after which, together with Fernando Trueba’s Ópera prima, it was selected by the Ministry of Culture to represent Spain at the Venice International Film Festival. However, after these initial reactions, a series of incidents brought to light covert action by certain elements among the powers-that-be inherited from the dictatorship in a Spain which appeared to be irresolute about going through with its various kinds of transition. The Ministry of Culture’s announcement went no further than that. It stopped at a headline. On 23 February 1981 (yes, the selfsame day of the attempted coup d’état) the family of José María Reales Carrasco filed a criminal complaint alleging serious slander against, and contempt for the Catholic religion. The judge finally ordered the seizure of all copies of Rocío which is still, to all intents and purposes, an unhappy example of a film that was censored in a democratic regime.

The symptomatic aftermath of this story accentuates still more the unbroken silence, which must still be sustained, of the so-called Spanish democracy in its attempt to muzzle a longing for justice which clamours to be heard in terms of historic memory. If the oblivion imposed by the ruling establishment in the waning years of the Franco regime is expressed in the court ruling arguing that, “the experience of the Spanish Civil War is so tremendous that it precludes thinking about the events that occurred therein as being part of history”, the most obtuse aspect of the matter is that this pronouncement is still enshrined in the law, even today, because the ruling, which is still legally valid, ended up being ratified by the Supreme Court. Hence, the legal argument holds that, in order for history to exist, oblivion must precede it. This is the logic which Federico García Trujillo has always confronted and which he has meticulously dissected in Frames Rocío.

Oblivion is a second death. The interesting, truly paradoxical and hair-raising part of this episode is that the censorship was applied to material that was previously censored by none other than the director and his postproduction team and it appears as such, surprisingly and with no attempt at concealment, in the original version of the documentary. There is a moment when the film focuses on the question of how a symbolic trade-off occurs, whereby the temporary tumult of the frenzied crowd expressing its fervour for the Virgin is permitted in exchange for tacit obedience, throughout the rest of the year, to the hierarchies and structures of social exploitation which have existed in the region for centuries. The tension is evident, especially when Pedro Gómez Clavijo, a longstanding resident of Almonte – where the Rocío pilgrimage is held – gives details of certain crimes committed by the fascists during the Civil War and identifies José María Reales Carrasco, a well-known landowner and founder of the Royal Brotherhood of Our Lady of El Rocío of Jerez de la Frontera, as a perpetrator. When his name is uttered, the director cuts the sound and shows on the screen a photograph of Reales Carrasco with a black strip across his face, thus protecting his identity. Nevertheless, everyone knows who the killers were. These things are never forgotten.

Yes, oblivion is a second death and, when it is imposed by force, we should see it as a kind of murder too. On coming across this corpus delicti, Federico García Trujillo hastens to revive it. He knows that bringing these memories back to life is always a Frankensteinian process, one that is implicit in the cinematographic structure which, in fact, entails stitching together bits and pieces so that we are once again presented with things as if they were alive, over and over again, with the pure doggedness of what is never forgotten. For García Trujillo, the resuscitation of these two minutes of censored material entails a first-rate manual task, not only as an attempt to elude the still-valid court ruling which prohibits presenting censored material in public, but also as a strategy of resistance to the display and banality deriving from easy access to consumption. There are matters of memory that cannot be turned into simple, vulgar hard currency in this political horse-trading where the offer is, “if you forget you can have democracy”.

Federico García Trujillo (La Laguna, Tenerife, 1988) has attracted the attention of the Barcelona art milieu with work offering new meaning and context by taking present-day media content – especially that produced by historical circumstances and struggling to be represented in the present – and transferring it to a handcrafted format, usually painting and drawing. He has a Fine Arts degree from the University of Barcelona and he also studied for a year at the Manchester Metropolitan University. His La pintura como lenguaje documental was exhibited at the Miscelanea Gallery in Barcelona and was also selected for the Young European Creation international biennale of contemporary art, an exhibition which has been shown in several European countries. He has taken part in numerous collective exhibitions, notable amongst which are Aparteu les cadires (Can Felipa Arts Visuals, Barcelona), Escenaris de realitat (re)ficcionada (Fundación Arranz-Bravo, L’Hospitalet de Llobregat), Memorias de contrabando (Centro de Arte La Recova, Santa Cruz, Tenerife) and Artificiala (Cyan Gallery, Barcelona).

Xiana Gómez and Federico García Trujillo
Friday, 23 October, 2015
Guided tour / Presentation

La Capella
- 6.30pm Commented visit by Federico García Trujillo of the exhibition Frames Rocío, Espai Cub
- 7.00pm Xiana Gómez-Díaz presents her project Dormitory culture. Narrations of feminine adolescence, Sala Gran

The bookshop, Múltiplos
- 8.00pm Presentation of the books BCN Producció'15 with their authors: Xiana Gómez-Díaz and Federico García Trujillo and the tutors of the projects, Mery Cuesta and David Armengol

Enric Farrés y Joana Llauradó
Friday, 23 October, 2015 to Sunday, 21 February, 2016
Deslocalised project

El visitant ideal d’una col•lecció sentimental (The perfect visitor to a sentimental collection) is a research project about the collection and the figure of Frederic Marès. In the Museu Frederic Marès, we can find 50,000 objects forming part of a series of ensembles, such as measuring apparatus, Iberian ex-votos, hair, and shell vases. These and many others make up the sentimental collection, which is the result of the apparent arbitrariness of the subject who decides what the collection should comprise and how it should be displayed. The complexity of this collection poses a confrontation of different methodological stances in order to get an answer to the following question: What might the ideal visitor of a sentimental collection’s attitude be?

Activities:

- From 23rd October 2015 to 21st February 2016:
Audio-guides available at the Museu Frederic Marès. These audio-guides have been especially created to offer a new interpretation of the Museu Marès and of the contemporary works of art from the "la Caixa" Collection that is being exhibited in some of the rooms of the Museum

- Thursday 5th and 19th November and 3rd December at 5.00pm:
Guided visits to the Museu Frederic Marès, given by Enric Farrés Duran and Joana Llauradó Farrés Limited places, bookings by mail to lacapella@bcn.cat or by telephone at 932562044

- Saturday 12th December from 10.00am to 7.00pm :
Congress and presentation of the publication "The ideal visitor of a sentimental collection", BCN Producció'15 Venue: Museu Frederic Marès Limited places, bookings by mail to lacapella@bcn.cat or by telephone at 932562044

Enric Farrés and Joana Llauradó
Friday, 23 October, 2015 to Sunday, 21 February, 2016
Deslocalitzat

El visitant ideal d’una col•lecció sentimental (The perfect visitor to a sentimental collection) is a research project about the collection and the figure of Frederic Marès. In the Museu Frederic Marès, we can find 50,000 objects forming part of a series of ensembles, such as measuring apparatus, Iberian ex-votos, hair, and shell vases. These and many others make up the sentimental collection, which is the result of the apparent arbitrariness of the subject who decides what the collection should comprise and how it should be displayed. The complexity of this collection poses a confrontation of different methodological stances in order to get an answer to the following question: What might the ideal visitor of a sentimental collection’s attitude be?

Activities:

- From 23rd October 2015 to 21st February 2016:
Audio-guides available at the Museu Frederic Marès. These audio-guides have been especially created to offer a new interpretation of the Museu Marès and of the contemporary works of art from the "la Caixa" Collection that is being exhibited in some of the rooms of the Museum

- Thursday 5th and 19th November and 3rd December at 5.00pm:
Guided visits to the Museu Frederic Marès, given by Enric Farrés Duran and Joana Llauradó Farrés Limited places, bookings by mail to lacapella@bcn.cat or by telephone at 932562044

- Saturday 12th December from 10.00am to 7.00pm :
Congress and presentation of the publication "The ideal visitor of a sentimental collection", BCN Producció'15 Venue: Museu Frederic Marès Limited places, bookings by mail to lacapella@bcn.cat or by telephone at 932562044

Xiana Gómez
Thursday, 29 October, 2015
Presentation / Talk

Dormitory Culture: the project. Past, present and future” Thursday 29th October at 7.00pm:

1. “Dormitory Culture”/ “Project D”. Presentation of the project, reviewing the works already produced and the future of this work.

2. Projection “Preview: PROJECT D”, documentary film. Fragment of 8’ approx., film in production.

3. Live reading of diaries of adolescence.

4. Discussion with the audience.

Salah Malouli
Friday, 27 November, 2015 to Wednesday, 6 January, 2016
Deslocalised project

Projecte Rosoum, estrategias para un cómic árabe independiente (Rosum project, strategies for an independent Arab comic) addresses the growing phenomenon of Arabic publications for adults that reflect on the political, social and day-to-day reality of the Arab world using a cartoon style. In Barcelona, the project brings together four renowned Arab cartoonists (from Beirut, Cairo, Tunis and Casablanca) so that they can jointly produce cartoons, relate to other agents in the local context and explore strategies for the creation of an artistic network of groups producing comics in Arabic languages.

Activities:

27th November at 7.00pm, MACBA, auditorium:
Roundtable with Salah Malouli, Mery Cuesta and the invited artists: Mohamed Shenawy, Cairo, Mehdi Annassi, Casablanca, Lena Merhej, Beirut and Noha Habaieb, Túnez. Moderator: Francesc Ruiz, Barcelona

28th November at 6.00pm, at the bookshop Fatbottom:
Inauguration of the exhibition about independent Arab comic Rosoum Project. Strategies for an independent Arab comic Exhibition from 29th November 2015 to 6th January 2016

Salah Malouli
Friday, 27 November, 2015 to Wednesday, 6 January, 2016
Deslocalised project

Projecte Rosoum, estrategias para un cómic árabe independiente (Rosum project, strategies for an independent Arab comic) addresses the growing phenomenon of Arabic publications for adults that reflect on the political, social and day-to-day reality of the Arab world using a cartoon style. In Barcelona, the project brings together four renowned Arab cartoonists (from Beirut, Cairo, Tunis and Casablanca) so that they can jointly produce cartoons, relate to other agents in the local context and explore strategies for the creation of an artistic network of groups producing comics in Arabic languages.

Activities:

27th November at 7.00pm, MACBA, auditorium:
Roundtable with Salah Malouli, Mery Cuesta and the invited artists: Mohamed Shenawy, Cairo, Mehdi Annassi, Casablanca, Lena Merhej, Beirut and Noha Habaieb, Túnez. Moderator: Francesc Ruiz, Barcelona

28th November at 6.00pm, at the bookshop Fatbottom:
Inauguration of the exhibition about independent Arab comic Rosoum Project. Strategies for an independent Arab comic Exhibition from 29th November 2015 to 6th January 2016

Curator: Anna MANUBENS. Artists: Andrea BÜTTNER, Valentina DESIDERI, Quim PUJOL, Sidsel MEINECHE, VERMEIR & HEIREMANS, Derek JARMAN, WERKER MAGAZINE, Isaías GRIÑOLO, Julia MONTILLA, Sergi BOTELLA, Roc JIMÉNEZ DE CISNEROS, Equipo Re
Friday, 5 February, 2016 to Sunday, 17 April, 2016
Curatorship project

-- Absent from other people’s meaning, accidental alien with respect to naïve happiness, I owe a supreme, metaphysical lucidity to my depression. On the frontiers of life and death, occasionally I have the arrogant feeling of being witness to the meaninglessness of Being, of revealing the absurdity of bonds and beings.-- (Julia Kristeva, Black Sun: Depression and Melancholia, 1987)

‘Being blue’ is an expression used to refer to an imprecise conglomerate of emotions that may signify sadness, dejection, melancholy, gloominess or depression. The argument put forward by Visceral Blue draws on the critical possibilities that arise from attributing a colour to a feeling. ‘Being blue’ avoids the inertia of incriminatory or normative terms and thereby makes it more difficult for us to consider ourselves as permanently safe from the blues. The exhibition stems from a wish to understand the current prominence of feeling blue and proposes an explanation that interprets the tendency to the blues as a collateral effect of the neoliberal paradigm.

Every economic model shapes a type of subject who, it goes without saying, benefits its dynamics and even embodies them. In the case of financial neoliberalism, principles such as speculation on value and the logic of credit are the gearing principle of economy, but also that which governs the construction of subjectivity. Adding another twist to the analysis of the consequences of cognitive capitalism, we could say that every facet of the subject and sociability are oriented towards the increase of appreciation in order to instigate investment.

This constant negotiation of one’s own value in the public sphere puts self-appreciation at risk and places us within specific mental and somatic co-ordinates. In the words of Michel Feher, it is possible to “associate speculation on value to an affective field polarised between depression and plenitude; between self-shame and self-esteem”. In this context, the possibility of failure when it comes to ratifying one’s own value before social, labour or political powers-that-be has a direct impact on self-esteem and steers us to the supposed negative end of the spectrum, that emotional conglomerate of ‘being blue’: shame, disorientation and endangered self-appreciation.

Given that the speculation on one’s own value is negotiated using external and systemic criteria, Visceral Blue goes against the privatisation of psychic suffering in the belief that it is perverse to hold the subject solely responsible for an unease that is linked to prevailing circumstances.

The exhibition is, firstly, an act of publicising. It is an attempt to facilitate a public and shared space for feeling low, for being not as attractive, efficient or eloquent as it is required of us. Secondly, the exhibition stresses the connection between feeling blue and financial exigencies, including pieces in which the visceral – a notion that blends the mental and the physical – is linked to economic or political in place. In many of the works, political struggles have a part of their battlefield in the mind and in the body.

Exposing this connection is intended not only to provide an understanding of and to democratise feeling low as the collateral damage of a model, but also – and above all – to think of it as a space of dissidence against that very model. Visceral Blue seeks to restore belligerence within fragility; to make it possible for the blue to become visceral; to suggest that fragility or weakness can be a space of lucidity and action, which often involves common agency; and to view the inadequate not only as something that does not suit the system but as that which deliberately refuses to adapt.

Artists who dare to inhabit and accept fragility, antiheroic gestures of empowerment, works that hold economic powers responsible for psychic vulnerability, and narratives that open up spaces – albeit holes – in which to indulge from the downer that comes after the constant high and over-stimulation of the cokeheads of Wall Street.

 

Valentina Desideri
Wednesday, 2 March, 2016 to Sunday, 6 March, 2016
Session

Activities: Visceral Blue

Valentina Desideri: Political Therapy
Dates: 2, 3, 4, 5  at 4pm, 5.30pm or 7pm and 6 March at 11.30am or 1pm
Place: La Capella 
Valentina Desideri: Political Therapy, individual therapy sessions 
Bookings: La Capella – lacapella@bcn.cat (one person per session) (only in English or Italian language)
In collaboration with Bar Project
Language: English or Italian

Political Therapy, explained by the artist:

What is Political Therapy?
* An individual session of approximately one hour (or more if we enjoy the conversation).
* A set-up for discussing politics that tricks the usual dialectic dynamics by placing a moment of fake healing in the middle of it.
* A therapy for those who do not need fixing but rather consider “problems” as generative of thoughts and forms of life.

How does a session go?
You come to the session with a “political problem” to be discussed.
A “political problem” is any problem, thought or issue that has a political dimension and that you experience directly. It may be something that bothers or preoccupies you, regardless of whether it is primarily lived out on a practical, personal, ideological, conceptual or existential level.
The session is very simple.
At first we briefly discuss the problem in order to find a clear and concise formulation of it as a political problem in the form of a question.
You are then asked to embody the problem – to keep it in mind – as you lie down for the “healing” part of the therapy. The healing is what I call fake therapy, a very simple practice of healing that is not based on any belief or knowledge and that can be practiced by anyone.
Afterwards we discuss the problem again, this time starting from the sensations and thoughts that have emerged during the healing. As we speak we construct together a conceptual map of the problem by connecting it with the sensations, words and images mentioned.
Apart from the map, which remains anonymous, the session is not recorded in any way and it takes approximately one hour.

More info

Valentina Desideri is an Amsterdam-based artist. She trained in contemporary dance at the Trinity Laban Centre in London (2003-2006) and subsequently completed her Master’s degree in Fine Arts at the Sandberg Institute in Amsterdam (2011-2013). She does Fake Therapy and Political Therapy, co-organises the Performing Arts Forum in France, speculates in writing with Prof. Stefano Harney, and writes biographies by reading people’s hands. She also engages in poetical readings with Prof. Denise Ferreira da Silva.

Quim Pujol
Thursday, 10 March, 2016
Presentation

Activities: Visceral Blue

Quim Pujol: BDSMmm
Date: 10 March
Time: 7.30 pm
Place: La Capella
Presentation of the theoretical and practical framework for individual sessions that will take place from 11 March to 3 April

Sergi Botella, Isaías Griñolo i Antonio Orihuela
Friday, 1 April, 2016
Action

Sergi Botella and Isaías Griñolo will present and ramify the projects that they produced for Visceral Blue. Despite using different materials and universes, their works share the same poetics and overlap somatically. Both work on words and text in close dialogue with musical patterns (techno in the case of Botella and Flamenco in Griñolo’s) in order to produce apparatuses that shatter meaning and feeling.

La casa de Dios – Nano mix stands half way between the spoken word and a (micro) techno session stemming from the conjunction of two records. On one turntable, La Casa de Dios (the sound and text work included in the exhibition); and on the other, Musick by T. Raumschmiere (Marco Haas) on Kompakt. The mix respects the original timings in both works except for occasional repetitions as a form of nano-mixing.

Debla de la noche (2016) is the third volume in a collection of books to which Isaías Griñolo is giving the titles of Flamenco song forms. After Romance de las plazas (2013) and Martinete de las calles (2015), the ‘debla’ is a form of singing that is “melancholic, desolate and hurt that inhabits the outskirts of the night”. This series of publications is part of a long-term on-going project that aims to produce a critical record of the “Rajoy Era” after the financial crisis and constitutional reforms such as the “Ley Mordaza” (Gagging Law). The presentation of the book will include a reading by the poet Antonio Orihuela, whose words punctuate Griñolo’s collection, as well as many of his films.

Friday 1 April, 7.30 pm

Julia Montilla
Sunday, 3 April, 2016
Action

Activities Visceral Blue:
Date: 3 April 
Time: from 1 pm to 3 pm 
Place: Plaça de la Trinitat (Sant Andreu) 
Festive encounter on the initiative of Julia Montilla, with a swap market, an aperitif, and an open mic for everyone