RESISTANCE DEVICES
The international artists who participate in Devices of Resistence, the exhibition presented by Lab36_Galería Senda, are part of the latest promotion of the Master on Production and Artistic Research, in the Art and Intermediate Contexts line (2020-21) of the Faculty of Fine Arts. University of Barcelona.
The title of the exhibition appeals, on one hand, to the ability to adapt to certain circumstances, while also referring to a set of works developed in a time suspended in the unpredictability of this situation of uncertain parenthesis. The plurality of the artistic investigations presented reveal a great diversity of exploration processes of our daily life and environment with a critical overview at the world.
ORGANIZED BY: Master of Artistic Production and Research, Art and Intermediate Contexts, University of Barcelona in conjunction with Lab 36
DONNY AHUMADA POBLETE - Chile, 1986
El MACBA como centro de reunión
Artist's Book
6 x 21.5 cm Unfolded 29.7 x 64.9 cm
Edition that is part of the project ‘Three exercises in space. Looks at the meeting spaces ”, and that by means of a tour of Barcelona, collects different ways of capturing the spaces of the city in which the meeting arises spontaneously and recurrently in adverse conditions, movement restrictions and reduction of recreational activities .
It is an unfolding book that compiles, as a synthesis, and from the MACBA esplanade, three ways of seeing the space that result from the exercise of going out to observe and draw how the meeting happens through 3 different dimensions: the objects, the footprint and the space or scope.
Donny Ahumada Poblete, Chilean designer and artist, studies under the wing of thought at the School of Architecture and Design of the Ponticia Universidad Católica de Valparaíso. He participates in teaching as a teacher in different subjects and has worked in research projects at the aforementioned school. He collaborates as a designer for the Alberto Cruz Covarrubias Foundation. During April 2017 and May 2018, he carried out an investigation around textile leisure in the technical-professional schools of Santiago de Chile, which culminated in a series of artistic works exhibited at the Cousiño Palace.
His line of research focuses on the study of the origination of the creative process, considering it as a universal capacity, necessary in the development of processes that involve a dialogue between a mental purpose and its materialization.
SALUA ARCONADA - Burgos
Llegandum, 2021
Installation
Folded iron, steel and zinc
8 pieces of variable measures (60 - 120 cm long x 10 cm wide)
Llegandum reflects on the concept of “arriving.”
The Heisenberg Indeterminacy Relationship establishes the impossibility of certain pairs of observable physical quantities of a given object (such as position and linear motion), being known with arbitrary precision. The gerund invented to title the work already tells us that every event happens in a continuous present.
In other words, the more certainty one seeks in determining the position, the less its momentum is known.
Born in Burgos (Spain). She has a degree in Social and Information Sciences from the University of the Basque Country. She has a degree in Fine Arts and a Master’s in Artistic Production and Research at the University of Barcelona. He has lived in different countries, where he redirected his professional interests towards various fields of art with a postgraduate degree in International Art Market at the “Institut D´Études Supérieures des Arts” (L´IESA) and training in antiquarianism with Daniel Cohen ( It leaves from Ventes D´Stora and Antiquités Comte) both in Paris. For years she has run restoration workshops in The Hague and Dijón.
Similarly, she began to develop her artistic practice focused on temporal asymmetry, the subjective experience of time and the diffuse relationship of the modern individual with chronological and linear time, connecting her work with fields such as physics, neuroscience or psychology. It is in this area that she focuses her research, both in her personal work and in the theoretical analysis of temporality as a critical condition in contemporary art.
She has had two solo exhibitions and participated in numerous group exhibitions and festivals. She has work in private collections.
She currently lives and works in Barcelona.
ADRIÀ GAMERO CASELLAS - Olot, Girona, 1988
La foto (WhatsApp Imatge 2019-02-07 at 15.14.18)
Drawing
Pencil on graph paper Gvarro
80 x 93 cm
This project is a search on the impact that images have when they lose contact with reality. I focus on digital images from the virtual sphere, causing a change in our conception and experience of the real. The screens provoke a delayed experience where the world is replaced by its signs, which Baudrillard names as hyperreality.
It is in this virtual space that I recover the images that I reconstruct using analog techniques, such as drawing, the artist’s book or the construction of dioramas, to return them to the physical world. In the process of giving a new materiality to these images, their structures emerge to the surface, how they are formulated and their fictitious nature become visible.
Graduated in Fine Arts from the University of Barcelona in 2016. I live and work between Barcelona and Olot, from where I carry out my artistic production around the image and the reproduction techniques of these; through drawings, engravings, models and paintings. Currently I focus my work on the ways in which we construct and consume images, and the change they cause in our perception. My works have been exhibited in spaces such as the Barcelona Contemporary Culture Center, the Parés Hall, the Esther Montoriol Gallery, the Vila Casas Foundation, the Felícia Fuster Foundation, the Maristany Art Center, the La Mercè Cultural Center in Girona, the Tsukuba Museum of Art, Ibaraki and the Acdademia di Belle Arti di Bologna, Bologna, among others. I have also been able to enjoy a residency at Fabra i Coats, a creation factory; to Tinta Invisible Ediciones; and the scholarships for the training of the Pilar and Joan Miró de Mallorca Foundation.
OSCAR GARTÍN - Roses, Girona, 1982
Proyecto 1, M1 y M2, 2021
Mixed technique (blanket on wooden structure)
151 x 100 cm
I carry out my activity through the action of displacement, a term that I appropriate in its broadest sense, for conversion in my processes. Through the modification, I articulate a series of actions where the different abstract areas and categories that prevail in the creative process of the work emerge.
I use displacement not only as an action itself on the material, but also as a concept, using that action as a displacement of the state, the form and the context of the different materials with which I work. An artistic practice that questions the very result of the pieces, displacing the limits of the work through the interaction between the different materials. This allows me to move between different artistic expressions, producing continuous mutations that end in a hybrid manifestation between installation, painting and sculpture.
I was born in Roses in 1982. I studied Arts and Design at the Escola Massana, which I finished in 2017 and currently I have just completed a master’s degree in artistic production and research at the UB. The production of my work starts from an artistic practice from the reality that surrounds me. I work in different visual languages. I carry out my activity through the action of displacement, a term that I appropriate in its broadest sense, for conversion in my processes. Through modification, it articulates a series of actions where the different abstract areas and categories that prevail in the creative process of my work emerge. In the formal sphere of my work we can observe a clear intention not to settle for the simple canvas. I seek to break with it and create new languages of expression through different uses of fabric or other materials. From the most traditional techniques such as oil or acrylic, to breaking canvases, sewing them, using transfers, sprays and new forms of representation. I am always in a constant search to add a new aesthetic to the work.
FELIPE GARCÍA SALAZAR
Bogotá, Colombia, 1986
Manifiesto y ruina, 2021
Iron, brick and paint
20 x 24 x 20 cm
Series of small-format sculptures made through the juxtaposition of elements such as brick and iron. These bricks are remains of the massive demolition of buildings in the city of Barcelona. The pieces were created with the aim of reproducing minimalist structures of the architecture of the city, in this way iron bases were created in a way that transforms each brick and gives it an identity, creates a character in itself.
However, this characterization does not celebrate any specific personality from the past. They are antimonuments for stories that have been left behind: the viewer can only try unsuccessfully to guess what kind of homage this ruined monument could return. Faced with these pieces of demolished buildings, no moral judgment is imposed nor is the viewer expected to have a peculiar understanding of the renovation processes that affect the city. The work, on the other hand, tries to be formulated as a question: What are these messages that we cannot decipher?
What do these ruins of the past tell us in the construction of the future?
Felipe García Salazar, visual artist and cultural manager, graduated from the School of Visual Arts in New York and is currently studying for a Master’s in Art Production and Research at the University of Barcelona. His work explores in an autobiographical way his relationship with time, history and his own identity. Based on the installation, Felipe seeks to create spaces for thought and dialogue with the viewer, which invite us to reflect on the contemporary status quo and what we understand as reality. Felipe García Salazar has exhibited his work in solo and group exhibitions including Mollet Art 2021-Abello Museum, Primal Distance-Looking Forward London / Sant Andreu Contemporani, La Rioja Young Art Show. – ESDIR – La Rioja, Art Emergent Sabadell – Acadèmia de Belles Arts, Sabadell, Traslación – Galería Peña, Buenos Aires, Argentina, Crossover – Western Gallery, Washington, USA, Minders – Visual Arts Gallery, New York, USA, Octet – Pera Museum, Istanbul, Turkey, Lo Mejor que Podemos – Embassy of Colombia in Buenos Aires – Argentina, Mixtape – Visual Arts Gallery New York, USA, among others.
ANDRIA NICOLAOU - Lemesos, Chipre, 1992
Estudios de luz: registros lumínicos, 2021
Vídeo. 2 ́4”
The piece is about perceiving the information that the empty space has, observing an exterior white wall and giving value to the invisible, to the imperceptible through natural light.
A light that changes space, that changes the colors of a surface that exists invisibly in that space. Analyzing the information on a nondescript wall and observing what is in the void, the perception of that space, of that light, changes. That projected light changes the space and creates a delicate reality. Light and the entire spectrum of colors it hides can create a space, transform it, undo its materiality and exist in the perception of the parallel reality that it offers.
This piece is the study of the information and the colors that light has in an empty space for 12 hours.
Multimedia artist and VJ, born in Cyprus, the artist has studied in Florence, Venice and Minneapolis, finishing a degree in Fine Arts at the Academy of Fine Arts in Florence.
His projects want to explore the change in the perception we have of a space by creating new realities and new visual, virtual and sound worlds, seeking the relationship that light, projections, image, sound and other tools have with space, artwork and body. Her projects often have a site-specific, multidisciplinary and collaborative character that experiment with new languages and new artistic realities. She currently lives in Barcelona and is finishing the Master’s Degree in Artistic Production and Research at the University of Barcelona.
Las paredes hablan, 2021
ROMINA PEZZIA - Lima, Perú, 1988
Hand embroidery on white organza fabric, thread and pins
84 x 119 cm
This research uses housing as a base and foundation, to understand how the functional relationships and formal characteristics of the spaces we inhabit determine our behavior and way of acting in the world. In The Walls Speak (2021), four planes of inhabited dwellings appear embroidered and superimposed. Labels have been placed on them with the memories of inhabiting those spaces. The phrases represent memories of situations and elements common to all houses, so holding them with a pin allows them to be moved around and travel through time. This work, which uses memory, is another way of explaining the diagram of inhabiting.
Romina Pezzia (Lima, Peru. 1988) is an architect from the Peruvian University of Applied Sciences, has worked as such for ten years and has been a teacher at the Faculty of Architecture at the same university for five years. At the same time, she has developed her artistic practice, focused on living in the public sphere with a gender perspective. Currently, she is studying the Master’s Degree in Artistic Production and Research (PRODART, 2020-2021) at the University of Barcelona, where she continues to further develop the subject of living, this time in the private sphere, from the housing unit.
SERGIO QUIROGA - Bogotá, Colombia 1993
Errante, cansado, entusiasta, fatalista, 2021
Mixed media
Series 4 drawings
Variable measures
The compilation of situations / moments is perhaps the simplest way to talk about them, From the material, or the concept itself, it is that form that can become or take the space of another regardless of its structure or material to give meaning, makes reference in turn to an infinity of possibilities that are capable of adopting different formats (languages) depending on the context.
GABRIEL TONDREAU - Santiago de Chile, 1989
Pareidolia trash, 2021
Oil on canvas
100x80cm
Photographs - Pereidolia Trash Series (2021)
40x30cm
The ‘Pareidolia trash’ series speaks through painting, drawings and small-format elements, about different aesthetic associations as an infinite process, which in turn is the engine of doing. These pieces highlight the trace of human work, the vestige and the fortuitous encounter.
Gabriel Tondreau Geisse, Santiago de Chile (1989) Graduated in Visual Arts U. Finis Terrae 2014, eradicated in Barcelona since 2017. Visual director and co-founder of the company “Neither naked nor descending the ladder” 2015-21. Master in Production and Artistic Research University of Barcelona 20-21.
I understand artistic practice as a permanent rehearsal, where issues pertinent to composition, color, theme and various materialities are constantly taken risks, constantly reviewed and adjusted in a cyclical way. The greatest learning I have had in recent times is detachment from a single discipline. There are an infinity of means to carry out an idea, a concept and the diversity of techniques help it to manifest itself in a multilateral way, covering a broader spectrum in terms of the communication of an idea and the development of a poetics.
YING YE - Fujian, China, 1992
That period of time, 2021
Video. Duración 1 ́57 ́ ́
The experience of the pandemic and confinement has changed our perception of time and space. I felt very depressed in isolation and at the same time, I became incapacitated for the outside world. I decided then to seal that space-time experience by enclosing it in a glass container in which I recorded my struggle and frozen it. But possibly it will die. That glass container contains a change in a limited space and time. Time stagnates in a narrow space, I perceive its altered speed and the futility of my inaction bothers me.