Domènec | Ni aquí ni enlloc

Visita de Domènec amb els i les alumnes de l’EASD Pau Gargallo de Badalona a l’exposició “Ni aquí ni enlloc”al MACBA amb motiu del futur workshop conjunt amb el M|A|C.

 

L’Esprit Le Corbusier

Mardi 9 octobre a 20.00 a Firminy la projection en avant-premierè du film “L’Esprit Le Corbusier”.

Le film de Gilles Coudert « L’esprit Le Corbusier » raconté par Charles Berling, croise l’expérience vécue du réalisateur pendant son adolescence à Firminy dans le plus grand ensemble construit par Le Corbusier en Europe avec les témoignages de nombreux créateurs contemporains, Jean-Louis Cohen, Daniel Buren, Xavier Veilhan, Frédéric Flamand, Dominique Perrault, Alain Dumas, Christelle Poyade, Pierre Grange, Neal Beggs, Philippe Avron, Kengo Kuma, Marc Barani, Pascale Jakubowski et Domènec, entre autres…

Domènec at Kochi-Muziris Biennale 2018

Kochi-Muziris Biennale 2018
Possibilities for a Non-Alienated Life
December 12, 2018–March 29, 2019
Kochi, India.

Expanded artist list
Aernout Mik (Netherlands), Akram Zaatari (Lebanon), Arunkumar HG (India), Anju Dodiya (India), Annu Palakunnathu Matthew (India/US), Anoli Perera (Sri Lanka), Araya Rasdjarmrearnsook (Thailand), BV Suresh (India), Bapi Das (India), Barthélémy Toguo(Cameroon/ France), Bracha Ettinger (Israel/France), Brook Andrew (Australia), Chandan Gomes (India), Chitra Ganesh (USA/India), Chittaprosad (India), Dennis Muraguri (Kenya), Domenec (Spain), EB Itso (Denmark), Goshka Macuga (Poland/UK), Guerrilla Girls (USA), Hassan Khan (Egypt), Heri Dono (Indonesia), Ines Doujak + John Barker (Austria + UK), Jitish Kallat (India), Julie Gough (Australia), Jun Nguyen-Hatsushiba(Japan/Vietnam), Juul Kraijer (Netherlands), KP Krishnakumar (India), Kausik Mukhopadhyay (India), Madhvi Parekh (India), Marlene Dumas (Netherlands), Martha Rosler (USA), Marzia Farhana (Bangladesh), Mrinalini Mukherjee (India), Mochu (India), Monica Mayer (Mexico), Nathan Coley (UK), Nilima Sheikh (India), Otolith Group (UK), PR Satheesh (India), Pangrok Sulap (Malaysia), Prabhakar Pachpute(India), Priya Ravish Mehra (India), Probir Gupta (India), Radenko Milak (Bosnia and Herzegovina), Rana Hamadeh (Netherlands/Lebanon), Rehana Zaman (Pakistan), Rina Banerjee (US/India), Rula Halawani (Palestine), Santu Mofokeng (South Africa), Shambhavi Singh (India), Shilpa Gupta (India), Shirin Neshat (Iran/USA), Shubigi Rao(Singapore), Song Dong (China), Sonia Khurana (India), Subhash Singh Vyam + Durgabai Vyam (India), Sue Williamson (South Africa), Sunil Gupta + Charan Singh (India/UK), Sunil Janah (India), Tabita Rezaire (France/French Guyana/South Africa), Tania Bruguera (Cuba), Tania Candani (Mexico), Tejal Shah (India), Temsuyanger Longkumer (India/UK), Thomas Hirschhorn (Switzerland/France), VALIE EXPORT (Austria), Veda Thozhur Kolleri (India), Vicky Roy (India), Vinu VV (India), Vipin Dhanurdharan (India),Vivian Caccuri (Brazil), Walid Raad (Lebanon/USA), William Kentridge (South Africa), Young-Hae Chang Heavy Industries (South Korea), Zanele Muholi (South Africa)

Pasos. Memorias del agua

Domènec, Kati Horma, La Trinxera, Loïs Patiño, Miriam Isasi, Taxio Ardanz, Ibon Aranberri, Teresa Lanceta y F. López Heptener

Del 19 de Julio al 21 de octubre de 2018

Fundación Cristina Enea
Donostia / San Sebastian

“L’estadi, el pavelló i el Palau” a L’Espill 58

La mirada de Domènec
Domènec, L’estadi, el pavelló i el Palau
Manuel Guerrero, Domènec, Mies van der Rohe, el Pavelló, les barraques

https://www.uv.es/lespill/actual.html

BKF. Cynegetics and Modernity

2018

ADN Platform

For this exhibition in ADN Platform, Domènec presents another product of the so called Modern project. It is the iconic BKF chair, an aesthetic and functional proposal also known as “Butterfly chair” because of its morphological resemblance to the insect. The prototype consists of two symmetrical tubular pieces welded and covered by a piece of leather. A simple and soft design that also evokes the natural in its curved and sinuous forms. A morphological object that acquires an almost sculptural, even architectural, value while fulfilling its main function, that of the seat.

Created between 1938 and 1939, the BKF was designed by exiled Catalan architect Antoni Bonet Castellana and the Argentines Juan Kurchan and Jorge Ferrari-Hardoy. They met each other while working at Le Corbusier’s office in 1936. Two years later the three architects created the Austral group (1938 – 1941).

The BKF become one of the most famous designs in history. In 1944, Edgar kaufmann, MoMA’s director of Industrial Design collection at that time, acquired one BKF for the museum’s collections and two more for the iconic “Waterfall House” (Frank Lloyd Wright), example par excellence of this rationalist Modern architecture. Austral group’s proposal turned out to be another perfect example of avant-garde design and would soon become part of its history.

As usual in Domènec’s processes, with this installation the artist examines the iconic design from a new point of view. The two BKF chairs appear without their coating, the piece of leather that covers them and making us possible to sit on them. Its original function is thus nullified and now the structures are ready for being used in different ways. One of these alternatives of use could be the one we see in the dictator Francisco Franco that appears near the chairs. The dictator uses the naked frames of the chairs to proudly display his hunting trophies: two deer heads whose baroque antlers oppose the soft and synthetic lines of the BKFs’ skeletons. Ortega y Gasset said once that hunting, (also called “cynegetics”) consist of everything that is done before and after the dead of the animal, being the death a key part in the process. We can find here a certain resemblance with the evolution of modernity, an idealistic project that suffered from constantly harassment until its very crisis. The entire installation causes in its viewers a strange confusion resulting from the clash between and object based on a very specific social ideals (progress, improvement of quality life and the development of an equitable community) versus some conservative, even retrograde standars.

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