El curtmetratge Jerusalem “ID: semàfor racista” realitzat per Mapasonor i per en Domènec ha estat seleccionat al XII Festival de Cine y Derechos Humanos de Donostia. Es projectarà el dijous 10 d’Abril a les 19:00 al Teatro Victoria Eugenia.
20.03.14 – 16.04.14
Sala d’Art Jove and Homesession collaboration.
Sala d’Art Jove. Calàbria 147. BCN
Debate assembly: Art and social movements: the voice of the curator
Miguel Amado, Alba Benavent, Lucía Piedra G, Aria Spinelli
Exhibition curated by Aria Spinelli.
Francesc Abad, Rolando d’Alessandro, Studio Azzurro, Angelo Castucci, Domènec, Fernando De Filippi, Nuria Güell, Ugo La Pietra, Laboratorio di Comunicazione Militante, Leland Palmer, Daniela Ortiz & Xose Quiroga, Rhaze, Giovanni Rubino, Roberto Taroni, Claudia Ventola.
The exhibition is the last appointment for the curatorial residency independent curator Aria Spinelliconducted at Homesession in Barcelona. As curator in residence and member of Radical Intention, Aria Spinelli proposed a culturally specific and local investigation in the region of Barcelona. Collateral Effects – Beyond Radical Milan initiates a discussion concerning the relationship between art and politics within a european and local framework. As a tangent project to Radical Intention’s ongoing research, Collateral Effects – Beyond Radical Milan looks at issues that were raised throughout Radical intention’s year-long project Milano Radicale (2011-2012). These issues regard in particular art’s engagement with social movements, the social impact of movements on artistic profession, forms of alternative knowledge and the impact of technology, the notion of the political and its relation to practice.
The show Aria Spinelli has curated for the Sala d’Art Jove consists of a series of artworks, which were produced and presented in Milan for Milano Radicale, as well as audiovisual documentation of 2014 and 2011 public programs, which took place respectively at Homesession in Barcelona, and Medionauta in Milan. By hypothesizing possible common historical and cultural continuities between practices from different socio-historical backgrounds, the exhibition creates a collective conceptual framework, within which relations between artworks and documental material unfold common groundings. The show takes on the form of the “assembly”, referring specifically to an intergenerational dialogue: opposing ideas, conceptual barriers, ‘agonism’ and ‘conflict’ are in fact the guidelines to understanding these artistic practices, whether under the form of artworks or documentation.
Collateral Effects – Beyond Radical Milan is funded by Loughborough University as part of the practice-based PhD program.
Aria Spinelli is an independent curator and researcher. She holds a BA in Contemporary Art History from the La Sapienza University of Rome and an MA in Visual Arts and Curatorial Studies from the New Academy of Art in Milan (NABA). She is a practiced-based PhD candidate in the School of Arts at Loughborough University (UK). Aria Spinelli’s primary area of research is the relationship between art and activism, focalizing on the impact of the social imaginary on contemporary artistic and curatorial practices. Aria collaborated with institutions and galleries such as the Museum of Contemporary Art Castello di Rivoli in Turin (2005-2006) and Christian Stein Gallery in Milan (2008-2009). In 2009 She also founded art and curatorial collective Radical Intention, with whom the past four years she has been creating long-term research projects on socio-political issues related to art and its practices. Aria has also been invited to curate and collaborate on community art and socially engaged projects and shows, such as Taking Positions – Identity Questioning (Fare arte, Milan, Italy w/ACSL – Art and Cultural Studies Laboratory, Yerevan, Armenia); Horror Vacui – Occupying the present, (Isola Art Center, Milan, April – June 2010) G for Gentrification, (Isola Art Center, Milan, May – July 2011); Being Visible – Contemporary ways of signification (CHAN arte, Genoa, Italy).
Dennis Adams, Ariella Azoulay, Ellelab, David Elliott, Alberto Fregenal, Michal Heiman, Jens Haaning, Peter Lang,Laurent Malone, Josep-Maria Martín, Boris Mitic, Stalker-Osservatorio Nomade, Erick Beltrán, Sabine Bitter, Raimond Chaves, Pep Dardanya, René Francisco, Wendy Guerra, Tadashi Kawamata, Andreja Kuluncic, Gilda Mantilla, Helmut Weber, Francesc Abad, CLUI, Ivan Bercedo Sales, José Miguel de Prada Poole, Terence Gower, Jorge Mestre de Bordons, Mônica Nador, Tiago Lopes, Mauro Pinto de Castro, Pia Rönicke, Xavier Arenós, Delícia Burset, Wellinton Cançado, Simone Cortezão, Tedy Cruz, Domènec, Mané Espinosa, Pau Faus, Sylvan Felizat,Toni Giró, Núria Güell,Jordi Mitjà, Martí Peran, Ita Puig, Quim Puig, Glòria Safont-Tria, Lisbeth Salas, Laia La Laia Sole Coromina, Cristiano Sérgio, Mar Sorribas, Marko Stamenkovic, Katherina Tielsch, Rirkrit Tiravanija, Desirée Vidal, Debora Zanette,Activestills, Shuruq Harb, Sandi Hilal, Nathalie Kertesz,Sagar Malé, Ze’ev maor, Mapasonor, Adi Ophir, Alessandro Petti, Jan Tichy, Eyal Weizman, Alexander Apóstol, Luz María Bedoya, Walmor Corrêa, Abraham Cruzvillegas, Nelson Garrido, Magdalena Magda Jitrik, María Lovino, José Pulido, Luis Romero, Maruch Sántiz Gómez, Jorge Satorre, Taller Popular de Serigrafía, Pablo Brugnoli, Kathryn Gillmore, a77 ( Gustavo Dieguez / Lucas Gilardi), Heidrun Holzfeind, Ximena Labra, Rogelio López Cuenca, Cuauhtémoc Medina, Ana Teresa Ortega, Erkan Özgen,Javier Peñafiel, Jürgen Bock, Fernando Bryce, Jeff Derksen, Ângela Ferreira, Andrea Geyer, Marion von Osten, Joaquín Barriendos, Edgar Endress, Ramon Parramon, Tomás Ruiz-Rivas, Adriana García Galán, Amor Muñoz, Ana Dumas,Anna Recasens, Antimuseo, Cinéma Numérique Ambulant (CNA), CLUI, Colectivo Cambalache, Colectivo Descarrilados, Colectivo Kabaret Machine, Cristian Añó y David Armengol, Diego Pérez, Fabiana de Barros, Fanzinoteca Ambulant, Felix Mathias Ott, Floating Lab Collective, Iñaqui Larrimbe, Iván Puig y Andrés Padilla, LaFundició, Fanzionteca Ambulant, Makea, Marksearch, Miquel Ollé y Sofía Mataix, Nuria Montiel, Pablo Helguera, Pablo Rojas Schwartz, Platoniq, Public Works, Rallyconurbano, Raumlabor, Sabrina Artel, Soundlab, Straddle3 y Todo por la praxis, Theo Craveiro, Toni Tomàs y Carles Porta, Virginia de Medeiros, Vitor Cesar, Anna Artaker, Jean-Baptiste Decavèle, Yona Friedman, Dani Montlleó, Daniela Ortiz, Juan Paris, Pedro G. Romero, Benjamin Tiven, Banu Cennetoglu, Ursula Schulz-Dornburg, Los carpinteros, Maria Papadimitriou, Miki Kratsman, Gregorio Brugnoli, ACM Associació per a la Cultura i l’Art Contemporani, SPAM_arq, Can Xalant, CCCB, ACVic, Ajuntament de Mataró, Múltiplos, AC/E, CoNCA, etc…
Spanish Architecture, 1939 -1975
(2014 – 2018)
Curator: Àlex Mitrani.
Series of 20 images, digital copies on aluminium each measuring 45 x 60 cm.
A Production of MAC Mataró Art Contemporani (2014) and MACBA (2018).
After the civil war hundreds of thousands of Republican prisoners were sentenced to forced labour. Terri de Mataró (artist and cultural activist), explains in his memoirs his experience in the Battalions of Punished Workers: “I lived scenes of bloody violence, epic drunkenness, cruelties spawned from whims. I came into touch with human degradation. In Africa I wished to die as never before.” Numerous public infrastructures and government buildings, from the Guadalquivir Canal to the sinister Valle de los Caídos, were built by the State or by private companies with the relevant concession, employing a cheap workforce held in captivity.
Francisco Prieto-Moreno wrote the presentation of the architecture section in the catalogue of the III Biennial of Latin American Art held in Barcelona in 1955: “What [architecture] now needs is only the creative genius of the individual.” Francisco Prieto Moreno, who was to head the National Devastated Regions and Repairs Service among other positions, defended traditionalist aesthetic with an idealistic hazy rhetoric. But, above all, his quote on the genius of the architect is just one example of the perverse cynicism of Franco’s discourse, where propaganda hid the fierce repression and a pompous heroism protected the most ignominious shame.
Domènec offers us a catalogue of some of the public works made with the sweat and blood of Republican prisoners that is both accurate and disturbing and which is perfectly outlined and depicted with luminous clarity. The black he has chosen for this prolongs the existentialist and demanding darkness of informalist abstraction, and also forms a link with the tradition of the dark side of Spain. The cold and uncomfortable cataloguing reveals for us the architectural traces of human and political crime in its objectivity and contrast. (Àlex Mitrani)