Selected by Christopher Phillips, this exhibition comprised works by Vito Acconci, Judith Barry, Geneviève Cadieux, Jochen Gerz, Gary Hill, Pierre Huyghe, Kristin Oppeosch.
We all have memories that are difficult to clearly recall. Our mind works in a way that may seem enigmatic: it retains some things, forgets others and stores almost everything in a curious language of signs that is difficult to explain and, often, we prefer not to investigate.
Espai Obert Call for EntriesEspai 131997-98 Invisible Circles seriesAs part of the Invisible Circles series, which Espai 13 is hosting during the 1997–98 season, the Fundació Joan Miró invites all artists to participate in the Espai Obert call for entries, running from 14 to 31 May 1998.
Selected by Alain Sayag, this exhibition comprised around 100 photographs from the Centre Georges Pompidou in Paris, with the aim of reflecting the fictitious or equivocal discourse inherent in every photographic image, whether it be artistic, documentary or for advertising.
“To speak of a path is to speak of humanity, for in the very need to move forward, what emerges is one’s own existence,” declares Yaya Tur in introducing Vies de cadència (Paths of Cadence).
The first showing in Spain of a selection of works from the Fondation Cartier in Paris, comprising paintings, sculptures, photographs and installations produced between 1964 and 1997 by 23 contemporary artists.
about "ALBUM. A selection from the Fondation Cartier pour l'Art Contemporain"
Joan Miró Punyet was the curator of this exhibition to commemorate the centenary of the birth of Alexander Calder (Philadelphia, 1898), a close friend of Miró’s.
We often forget the differences between reality and its representation. In a world where we are exposed to thousands of images every day, we sometimes come to believe that what we see reproduced truly exists.
about " Leopoldo Ferran i Agustina Otero. The trench liquid"
1997-1998 SeasonCurator:Ferran Barenblit, [email protected] the 1997-1998 cycle, Invisible Circles has analysed the landscape — both physical and social — that makes up our environment, that invisible line that we draw around us to separate us from the outside world.
These 40 pieces from a Japanese collection reflect Miró’s contacts with oriental art and its influence on his output at the time, as well as the interest that Japan has always shown in his work.
Joan Miró: Equilibrium in Space ‘Balance’. This was Joan Miró’s answer to the question of the secret of his work. As in Oriental art, Joan Miró’s painting is the result of a wise balance between surface and line, full and empty, black and colour, and so on.
