Sculpture becomes itself Architecture

per kirkebyPer Kirkeby
Permanent work in the landscape
Brick construction
Cabañera de la montaña, Plan


June 26th to October 18th 2009

Curated by Marga Paz

Organizes: CDAN
Open 26th, june, 20 pm. CDAN

Sculpture is normally understood as a solid volume closed in on itself. Sculpture has traditionally been carved by taking away fragments of material, or been modelled by adding material, until a figure emerges or is formed. On the other hand, architecture defines habitable spaces by means of construction, in such a way that both the antagonistic qualities of impenetrability or habitability as well as the techniques used by both arts have always seemed to allow for an easy differentiation, even though many great sculptors have also been architects.

Per Kirkeby’s works not only push back the limits of sculptural techniques towards construction, appropriating brick, the core charismatic material of architectural creations, but they also allow the spectator to enter into their defunctionalised interiors. These works neither celebrate nor commemorate events but instead signpost a place and call attention to the surroundings in which they are located.

This work created specifically for Plan is based on the intersection of two equal squares whose intersection creates another smaller square inside, in such a way that, with this simple play of geometry, three spaces are created which can be entered through a series of openings mimicking the doors of a house. In this regard, and though it lacks any functional potential, we could draw a parallel between the openings in the upper part and the idea of windows, even though it is impossible to look through them. One should not seek for the meaning of the work in architecture, its styles and construction techniques. This sculpture’s relationship with architecture is purely incidental, and its meaning must be sought in the postmodern development of abstract forms that have stepped beyond the limits of the arts and the premises of the avant-gardes in order to reinforce the autonomy of a work of art with respect to other objects in the world. Nonetheless, this work is already inseparab le from the place, and through its openings we discover fragments of Peña Mediodía, Peña Lisa, Peña Cuezo, Punta Llerga and the sky in the Pyrenees, further enhancing its singularity.

“Kirkeby’s work is the seventh project in the Art & Nature collection-route already including works by major international artists like Richard Long, Ulrich Rückriem, Siah Armajani, Fernando Casás, David Nash and Alberto Carneiro.”

Biographi Per Kirkeby

CDAN. Centro de Arte y Naturaleza
Doctor Artero s/n
22004 Huesca (Spain)

T. +34 974 239 893
F. +34 974 223 762

Opening hours:

Summer (May 1 to October 1)
Mornings: 11 am to 2 pm; afternoons 5 pm to 9 pm

Sundays and public holidays: 10 am to 9 pm
Closed Mondays

Groups: arranged visits (scheduled to suit each group)

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Review by Ben Thompson on,
The Observer

If you hadn’t ever heard a record by this Malian husband and wife duo, but had only read of their initial meeting at Bamako’s Institut des Jeunes Aveugles in the punk rock year of 1976, and the heart-warming showbiz odyssey that led them to their current exalted status as improbable figureheads of African music’s commercial upsurge, it would be all too easy to think of Amadou and Mariam as a kind of Afropop Peters and Lee. But while the ability to dispense feelgood vibrations from within a doubly reinforced stockade of blindness and domestic felicity has been a feature of their ever-widening allure, it is the spindly irresistibility of their music that is the most important thing about them.

Both the powerhouse blues-rock guitar of Amadou Bagayoko and the sweetly stentorian voice of Mariam Doumbia contain severity as well as gentleness. The potent personal chemistry through which these impulses are resolved places the Malians firmly in the lineage of such charismatic outriders of yin/yang balance as the Carpenters, Sonic Youth and the White Stripes. And such is the inviolate solidity of the duo’s high-tensile core that none of the consequences of the success they’ve enjoyed – not even Amadou suffering the indignity of being called ‘a fucking geezer’ by Damon Albarn in this mag last month – seems to have had the slightest impact on it.

Compare this new album’s most obvious stylistic departure – the opening single ‘Sabali’, in which Albarn’s spookily disembodied production boldly relocates Mariam’s whispered sweet nothings within a musical landscape that somehow evokes both Mercury Rev and Jean Michel Jarre – with the apparently more homespun recordings on the superb 2006 compilation 1990-1995: Le Meilleur Des Annees Maliennes. For all the novelty value of Damon’s wonky electro-pop arpeggios, the earlier work has just as much to offer.

The bridge between these two very different sounds was 2005’s breakthrough Dimanche à Bamako. Say what you like about Manu Chao’s terrible fashion sense, but there’s no denying he did a great job of introducing Amadou & Mariam to a wider audience via the addition of strategic background noise.

And the great thing about this follow-up is the way it builds on that foundation without lapsing into self-consciousness. Amadou & Mariam glide smoothly through gear changes that would strip the teeth of a less well-tuned musical motor: from the garage-rock of ‘Ce N’est Pas Bon’ to the comical disco-drums of ‘Djama’, from ‘Djuru”s solemn kora to the euphoria of ‘Africa”s ‘West Coast/East Coast collaboration’ with Somalian rapper K’Naan.

Talking in last month’s OMM about how much he enjoyed Deep Purple and Led Zep as a teenager, Amadou said ‘to us it didn’t sound British, it sounded African’. He means this not in some sense of all music being African, but as a reflection of the universal applicability of Ian Gillan or Jimmy Page’s very specific attributes. And that is how Welcome to Mali will be appreciated by an audience of millions: not as ‘world music’, but as the product of an authentically global pop phenomenon.


The African duo met at a school for the blind and have since written a song for the 2006 World Cup and their latest album features production by Damon Albarn.

LABEL: Nonesuch
RELEASE DATE: 24 March 2009
DISCS: 1 disc
GENRE(S): World

NOTES: Original European has been released in 17 Nov 2008.

3 Jul 2009 20:00
Hyde Park : supporting BLUR, London

7 Jul 2009 20:00
Manchester International Festival, Manchester, UK

8 Jul 2009 20:00
Manchester International Festival, Manchester, UK

10 Jul 2009 20:00
The Amphitheater at Clark County (supporting Coldplay) Portland, Oregon

11 Jul 2009 20:00

The Gorge Amphitheatre (supporting Coldplay) George, Washington

13 Jul 2009 20:00
Shoreline Amphitheatre (supporting Coldplay) San Francisco, California

16 Jul 2009 20:00
Cricket Wireless Amphitheatre (supporting Coldplay) San Diego, California

18 Jul 2009 20:00
Home Depot Center (supporting Coldplay) Carson, California

21 Jul 2009 20:00 Center (supporting Coldplay) Dallas, Texas

22 Jul 2009 20:00
Cynthia Woods Mitchell Pavilion (supporting Coldplay) Houston, Texas

22 Jul 2009 20:00
Cynthia Woods Mitchell Pavilion (supporting Coldplay) Houston, Texas

24 Jul 2009 20:00
Verizon Wireless Amphitheater (supporting Coldplay) Maryland Heights, Missouri

28 Jul 2009 20:00
iTunes Festival at the Roundhouse, Camden, London, UK

6 Ago 2009 20:00
Fiesta Sète Sète

7 Ago 2009 20:00
Nuits du Sud Vence

8 Ago 2009 20:00
Porto Latino Saint-Florent

9 Ago 2009 20:00
Big Chill Festival Eastnor Castle

Official Site:

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Mugatxoan – Artist Residence Project 2009

Artist Residence Project

Laboral, Gijón: 17 > 21 June, 2009
Fundação Serralves, Porto: 25 > 29 June, 2009
Arteleku, San Sebastían: 1 > 20 September, 2009

Press-release | PT

Programa | PT | ESP | ENG (not available)

Active since 1998, Mugatxoan is an art project created by Entrecuerpos – Mugatxoan Asociación Cultural. The name is borrowed from a Basque word meaning “on the borderline”, playing with the idea of situating the project in a conceptual territory eschewing any drive towards demarcating a closed space.

Mugatxoan is built around the notion of intermediate space as a place where codes circulate, redefined by the continuous movements and shifts they undergo. For this reason, it reaches its true significance when it travels to its three host cities. Since the beginning, Arteleku (Donostia-San Sebastián) has lent its solid support to the project and has acted a producer and venue for Mugatxoan. The need to create relationships in singular places for experimentation led to the collaboration in 2001 with Fundação de Serralves (Porto) and in 2008 with Teatro de la Laboral from Gijón.

Mugatxoan 09 organises a three week programme, one week in each city, with various representative examples of the contemporary arts (performance, visual arts, dance, theatre) and opening up room for research, reflection and the production of new works.

Fundação de Serralves will present five of the pieces produced between 2001 and 2008, shown together for the first time. These young artists were chosen through different international competitions and open calls made over recent editions, participating in workshops and developing their own individual projects.

Projects are supported by Mugatxoan in order to ensure their continuance and presentation. We are now presenting an overview of these works, with the idea of re-visiting our recent memory in order to situate ourselves in the present and to think about the future that is beginning in Gijón. The programme of activities is rounded off with conferences and meetings.

Practical information

Fundação Serralves
Rua D. João de Castro, 210
4150-417 Porto

T. +351 22 615 6500

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There Goes the Neighbourhood

Cao Fei,
Digital c-print.
47.2 x 63 inches (120 x 160 cm)

There Goes the Neighbourhood

Artists |
Willie Birch, Kristin Bly, Amy Casey, Cao Fei, Dionisio Gonzàlez, Leslie Grant and Nina Pessin-Whedbee, Matthew Kolodziej, Eva Struble, Clemens von Wedemeyer, Catherine Yass

Curated by Megan Lykins Reich

MOCA – Museum of Contemporary Art Cleveland
On view until August 16th, 2009

Press-release summer 2009 | ENG | PT (não está disponível)

There Goes the Neighbourhood explores the evolution of communities here and abroad. The exhibition focuses on how architecture and landscape embody a neighbourhood’s past, present, and potential future. The work on view examines places amid growth or decline, sites that hover somewhere between construction, deterioration, and renewal. The artists reveal how physical sites symbolize the human experience of change, whether simple or complex, invited or forced. Linking actual and anticipated shifts in communities across the globe, There Goes the Neighbourhood emphasizes the evolving structures and compositions of neighbourhoods in the twenty-first century.

The exhibition features artists from different regions and cultures who are responding to shifts in communities around the world. Some focus on particular sites. Representing blighted neighbourhoods in New Orleans, Cleveland, and Leipzig, the works of Willie Birch, Amy Casey, and Clemens von Wedemeyer uncover political issues embedded in the architecture of these places. Eva Struble and Dionsio Gonzàlez focus on marginalized Spanish, Brazilian, and Vietnamese communities and their complex relationships within their regions. Leslie Grant and Nina Pessin-Whedbee, with support from Carolyn Strauss of slowLAB and artistic contribution by Leah Beeferman, examine the Domino Sugar Factory and its evolving neighbourhood in Brooklyn, New York.

Other artists look beyond particular neighbourhoods to explore overarching factors effecting change. Catherine Yass examines the Three Gorges Dam, which has radically displaced or destroyed hundreds of Chinese communities. Kristin Bly uses a common structure – the front porch – to consider critical economic and social issues affecting neighbourhoods here and throughout the country. Matthew Kolodziej abstracts scenes of architectural construction and destruction to emphasize their allegorical value. Cao Fei expands the boundaries of community into the fluid environment of virtual reality.

As Cao Fei’s work suggests, neighbourhoods are not just constructed environments; they are performative spaces in which we build lives and memories. Yet, our experiences are tied to the physical architecture and landscape of our communities. Ranging in tone from alarm to ambivalence to hope about the evolution of these places, There Goes the Neighbourhood emphasizes the cycle of change, in which deterioration is inevitably followed by renewal and revitalization. In doing so, the exhibition asks us to consider our relationship to, and influence upon, the present and future expressions of our neighbourhoods.

Practical information HERE

Email MOCA


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Being Time

Two WomenTwo Women, 2008
Color High-Definition video on plasma display mounted on wall
Performers: Pamela Blackwell and Weba Garretson
Photo: Kira Perov

Being Time
UNTIL 5 September 2009

Bill Viola – Being Time is to be shown as part of the ARTIST ROOMS tour. ARTIST ROOMS on Tour with The Art Fund supported by the Scottish Government is an inspired partnership with the UK’s independent art charity and national government enabling Tate and National Galleries of Scotland to display ARTIST ROOMS throughout the UK.

Three of the works in the exhibition, Catherine’s Room 2001, Four Hands 2001 and Silent Mountain 2001 are from the Passions Series: an exploration of human emotions that express suffering and transcendence, inspired in large part by Viola’s study of devotional paintings of the Middle Ages and Early Renaissance and by his experience of personal loss.

While the Passions pieces are silent the fourth work in the exhibition, Ascension 2000, is a large-scale projection that fills the room with image and sound. It illustrates the cyclical nature of birth and death as a figure plunges into the water from above, accompanied by a roaring sound. He then moves slowly through an aqueous world ascending to the surface, only to descend involuntarily once again, disappearing into the darkness below the edge of the frame. Then the cycle begins anew.

Practical Information

The Pier Arts Centre
Victoria Street
KW16 3AA

T. 01856 850209


Opening Hours

Monday – Saturday
10.30am – 5.00pm

12.00pm – 4.00pm (July – Sept)

The exhibition is presented in collaboration with
BILL VIOLA STUDIO supported by Haunch of Venison.


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China in Four Seasons

4 July – 6 September 2009

Curated by Rhana Devenport

International Artist in Residence Jin Jiangbo is the first artist to feature in a sequential series of four exhibitions and residencies spanning a year entitled China in Four Seasons. Over the past twenty years art practice in China has undergone tremendous shifts making 2009 a potent moment to examine the extraordinary power and scope of artists working in the country today. This century has witnessed unprecedented attention on Chinese contemporary art from the (western) international arts community while arts production and infrastructure within China has radically expanded and redefined itself. The current global financial crisis has now provoked a dramatic deflation of the Chinese art market.

It is against this backdrop of worldwide economic malaise that Jin Jiangbo presents his most recent series of photographic works. Begun in late 2007, his vast and penetrating photographs offer an immediate response to recent seismic economic, political and cultural shifts. Using series titles such as Great Economic Retreat, China Market Scene and Shanghai, Shanghai, these current works reveal complex layers within the unique socialist economic landscape of China.

As the Govett-Brewster’s 2009 International Artist in Residence Jin Jiangbo will also explore related concerns by examining disused architectural sites within a New Zealand context through a residency in Taranaki.

A single publication will accumulate over the four seasons to trace and document the generation and discussion of practice as the project unfurls.

The Artist in Residence programme is offered in partnership with Western Institute of Technology at Taranaki and with support from Creative New Zealand. This exhibtion is also supported by Asia New Zealand Foundation, Radio Network Taranaki and Te Kairanga Wines.

Partical information

40 Queen Street,
Private Bag 2025,
New Plymouth,
New Zealand

T. +64-6 759 6060


Opening hours

10.00am – 5pm daily

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The 2009 Incheon Women Artists’ Biennale explores women artists’ understanding and perception of space; where they reside, struggle, and strive to realize their dreams. It embraces their psychological, personal, and individual spaces as well as the socio-political and cultural realms that affect and influence their existence as artists and women.

The global stage imposes upon us quantum leap transformations, often those escaping even our personal radar, one that is vital to our survival. Women artists as individuals are faced with competitive physical, social, and cyber-space situations. The 2009 Incheon Women Artists’ Biennale welcomes international contemporary artists who embrace these issues to exhibit under three subsections entitled “Personal Space,” “Fluid Interior,” and “Contested Space.”

The Incheon Women Artists’ Biennale Organizing Committee
Zip 400-190, 34-5 Jeon-Dong, Jung-Gu, Incheon, Korea
Tel. 82-32-772-7727 Fax. 82-32-772-7274

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Dissonância Surreal [Surreal Dissonance]

27 de Junho a 19 de Julho

Emergência Vulcânica Emergência Vulcânica,
50cm x 70 cm

No texto do Catálogo, por MANUEL DA SILVA RAMOS, pode ler-se:

“… Todos os quadros onde reina o formidável pastel de Luís Athouguia, são janelas abertas para a emoção. São janelas que nos fazem ver vidas guilhotinadas mas que gozam de uma faculdade de locomoção desmesurada. São janelas essenciais que deixando para trás o quotidiano mais prático se abrem a velozes mares de pensamento. São janelas incessantes que dão para montanhas movediças de sonhos. Não tenhamos medo de o dizer: o pastel substancial de Athouguia ilumina a nossa noite e traz-nos a pureza dos primitivos tempos em que podíamos tocar as estrelas com as mãos.

Diga-se: ninguém actualmente em Portugal faz uma pintura destas. O Luís Athouguia é único e inclassificável (não é surrealista nem deixa de ser quando afirma a sua reticência!) e é toda esta volúpia do sonho que faz a sua força. E também o seu equilíbrio. Agora que morreram o Mário Botas, o Cesariny, o Álvaro Lapa, resta-nos o Luís Athouguia para nos conduzir ao país onde os coelhos usam relógios de pulso e as meninas têm mais de dois seios no peito.

Luís Athouguia é natural de Cascais, diplomado pelo IADE, Instituto Superior de Design de Lisboa, participou em relevantes Exposições Internacionais, Bienais de Arte, encontros de Arte Postal e integrou diversos grupos multi-disciplinares e plurinacionais de Artistas. Desde 1983 realizou mais de duas centenas de exposições em Portugal, Espanha, França, Alemanha, Itália. Está representado em museus, instituições e importantes colecções nacionais e estrangeiras e foi premiado em certames de Arte nacionais e internacionais.

Avenida Dr. Lourenço Peixinho

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O 9.º Festival de Teatro Clássico em Alcana de Hanares vai apresentar até dia 28 de Junho de 2009, um grupo de peças de teatro que reavivam as peças clássicas com uma abordagem contemporânea. Burgher King Lear (BKL) é uma peça que representa uma das tragédias mais importantes da história do teatro – “King Lear” de William Shakespeare. A peça foi adaptada para um “formato em pequena escala” reduzindo o enorme elenco de Shakespeare a um par de Actores. Esta é uma adaptação premiada que é dirigida pelo autor João Garcia Miguel.

Lear é nesta peça o simbolo da fragilidade, uma personagem que resgata o essencial da peça original, um Rei que às margens da morte, quer partilhar os seus bens equitativamente pelas suas três filhas, prometendo-lhes um terço do seu reino a troco de confessar qual delas ela amava mais.

Burgher King Lear de João Garcia Miguel foi premiado com o prestigiado prémio de artes cénicas FAD Sebastià Gash 2008. Esta actualização da peça de William Shakespeare exigiu alguma excentricidade que relacionou a personagem principal King Lear à famosa cadeia alimentar de fast-food Burgher King.

A tradução, adaptação e Direcção ficou a cargo de João Garcia Miguel, professor de Teatro e Animão Cultural especializado na área performativa e instalações. Anton Skrzypiciel e Miguel Borges são os dois únicos actores desta peça, actuam nos próximos dias 19 Sexta-feira e 20 Sábado no Corral de Comedias de Alcalá de Henares, às 20:00 horas. A peça Burgher King Lear tem aproximadamente 2 horas de duração, e marca presença na nona edição de espectáculos internacionais que participam no Clásicos en Alcalá.


Written by Jorge Reis

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Cádiz has a Second Wind


James Turrell iniciou a sua carreira artística no estado da Califórnia, em princípios dos anos 60, e cedo se tornou líder de uma novo corpo de artistas que trabalhavam a luz como matéria no espaço. A sua trajectória foi reconhecida com exposições em museus como o Guggenheim, o Museu de Arte Americana Whitney de Nova Iorque, Museu de Arte Contemporânea de Los Angeles ou a Colecção Panza di Biumo em Carese, Itália. O trabalho de James Turrell desprende-se com preocupações como as de criação de um objecto. Não se ocupa com imagens para se libertar do pensamento simbólico associativo, não se preocupando tão pouco com algum objectivo ou ponto de vista e com as suas obras ele atropela o nosso pensamento como uma questão; para o que é que afinal estás a olhar? Actualmente reside em Flagstaff (Arizona) com o único objectivo de supervisionar as obras de “Roden Crater”; um volcão extinto que está a ser transformado num observatório celestial e que estará disponível às visitas públicas, sensivelmente em meados de 2011.

Na Fundação Montenmedio Arte Contemporâneo em Cádiz, James Turrell mostra aquela que é senão a maior obra do artista na Europa. “Second Wind” é o título da obra que está patente ao público permanentemente no jardim de exposições da Fundação NMAC. Esta obra levou três anos a ser construída com um grau de complexidade arquitectónico elevado. Pertence à série de trabalhos “Sky Spaces”, e surge com raiz nos estudos realizados ao logo de três décadas em Roden Crater. Second Wind trata-se de ser uma obra subterrânea que se torna quase imperceptível no seu exterior confundindo-se com a natureza do jardim que a circunda. O acesso é feito através de um túnel para dentro de uma pirâmide onde são enaltecidos os elementos da terra, água e ar. Dentro desta mesma pirâmide, descobre-se uma imponente cúpula de pedra que se faz rodear por àgua. A cúpula arredondada que se apresenta numa espécie de arquitectura budista da qual, através da sua forma e posição, é produzido um efeito de projecção do observador para o cosmos. O acesso apresenta-nos um quarto que se abre para a luz do céu, onde o observador pode contemplar as mudanças de luz e a ambivalência respectivamente aos limites da percepção. Tanto neste como na maioria dos seus projectos, James Turrell mostra que a luz não só tem textura como também adquire substância e materializa-se posicionalmente.

Second Wind torna-se especialmente interessante ao pôr do sol, convertendo-se numa experiência única que aproxima o observador a um infindável espectro de cores e que dá a sensação que o céu está ao alcance da sua mão.


Practical informations


The essence of James Turrell’s project, Second Wind becomes more relevant at Sunset. It is at this moment of twilight when looking at the sky, perceiving its colour spectrum becomes a unique experience as one can feel that the sky is hand reachable.


Summer solstice: 9.30 p.m. – 10.30 p.m
Winter solstice: 6.30 – 7.30 p.m.


Summer: Tuesday and Saturday 15€ ( 12€ for resident in Cádiz, students, pensioners) /rest of the days: 30€
Winter: Saturday 15€ ( 12€ for residents in Cádiz, students and pensioners) / rest of the days: 30€


Written by Jorge Reis

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