Eduard Arranz-Bravo Francesc Parcerisas

    Current exhibition

    The Arranz-Bravo Foundation shows an exhibition dedicated to reviewing the artistic and literary quality relationship between the poet Francesc Parcerisas and the painter Eduard Arranz-Bravo, throughout
    more than Forty years of friendship. It is one of the most prolific collaborations between painter and poet in Catalan contemporary art: with about thirty joint works, mainly in the format of an artist’s book, but also in the form of illustrated poems, portraits. , Catalogs, and all 1 flow of Epistolary Exchange, unique witness of the yearnings for freedom and artistic experimentation of the final years of the dictatorship.

    The most intense period of artistic collaboration between Arranz and Parcerisas is in the late sixties, when the Gaspar Gallery promotes the edition of emblematic artist books: Mes Plec (1967), Dibuix-dibuix (1968), Granollers Low Leaf (1973); initiatives that were accompanied by independent projects, such as Escultures de Mar (1969) or La gallina il ‘adolescent (1973), the latter carried out in Libertarian Ibiza in the seventies.

    The exhibition also shows more recent works, such as the set of poems and engravings On éreu (2009), a self-critical review of the utopian gaze of youth. The exhibition is complemented by videos, portraits and objects that seal 1 friendship sustained over time, fruitful and fraternal.

    Francesc Parcerisas (Begues, 1944) is a poet, translator and literary critic. A prominent member of the literary generation of the 70s, he has published many books of poems and has received numerous awards, such as the Carles Riba of 1966, the Joan Alcover of 1975, the Critics of Catalan Poetry (1983 ) and that of Catalan Literature of the Generalitat de Catalunya, the same year. 1991 Triumph of the present, collection of his poetic work, He received the Lletra d’Or prize. With his first book of prose, La primavera a Pequín (2013), he won the 2013 Narrative Bookseller Prize. In 2015 he was awarded the National Culture Prize “for the relevance of his poetry, his translated work and his work. work as a literary critic »

    Exhibition curated by: Albert Mercadé
    Exhibition opening: Thursday 3 December from 5pm (with anti-Covid prevention measures)

    Arranz-Bravo Foundation.
    Thursday to Saturday: 5pm to 8pm. Sunday: 11 am-2pm
    Av. Tarradellas, 44. L’Hospitalet. CC Room Key (M: L1 Tower)

    Negativeland 2

    Current exhibition

    Negativeland 2 es la segunda parte del proyecto que el artista Joan Pallé (Lleida, 1989) presentó al Instituto de Estudios Ilerdenses (IEI) el 2018. En ambos episodios Pallé emprende una reflexión plástica sobre la idea de ‘negatividad’ y la exploración de los efectos de este concepto al espacio urbano. El principio de ‘negatividad’ es uno de las ideas troncales del pensamiento contemporáneo, concebido por el filósofo sudcoreà Byun-*Chul Han (Seúl, 1959), quién ha hecho el eje de su cuerpo filosófico desde su primer ensayo La sociedad de la transparencia (2012).

    El concepto de Han es una reacción a primeros de hiperpositivitat que rige la sociedad contemporánea: la sociedad de los smiley, de los win-*win, de los super!, de los seguimos!, expresiones que aparecen en los ojos de Han como el último disfraz léxico del siempre camaleònic ideario neoliberal, ahora en manos de la nueva economía digital. El principio de negatividad que defiende Han es el reverso de la moneda: es la vivencia profunda, lenta, disidente y misteriosa de la realidad desde la conciencia trágica, aceptando la angustia, la diferencia y el conflicto como principio motriz de la vida y la existencia.

    A Negativeland Joan Pallé le ha interesado investigar las posibles derivas de la negatividad en el espacio público. Tal y como explica el antropólogo Manuel Delgado, el espacio público es una idea abstracta y que se asocia fácilmente al neoliberalismo: un ideal utópico y positivo de orden, salubridad, ocio y civilidad en que la arquitectura y el urbanismo modernos se inspiran para erradicar el desorden, la disidencia y la negatividad de una realidad social determinada. A Joan Pallé le interesa explorar el que Delgado denominaría las formas ritualísticas y con potencial simbólico que surgen de los conflictos surgidos al espacio público. El principal: el fuego, surgido de la crema de autobuses y coches por parte de las guerrillas urbanas que se defienden ante el adelanto de la autoridad defensora de la orden y el negocio. En este sentido, la exposición está articulada por esculturas y dibujos de autobuses, furgonetas y cuerpos en llamas, encendidos durante diferentes disturbios y conflictos urbanos. Pallé también le interesan los fenómenos de virulencia contra las estructuras de comunicación del capitalismo que ocupan el espacio público, como las antenas de comunicación -la pieza principal de la muestra, al patio de la fundación- o las estructuras de los paneles publicitarios.

    La exposición Negativeland2 forma parte del programa oficial del BcnGalleryWeekend al Hospitalet y cuenta con la colaboración del IEI (Instituto Estudios Ilerdencs)

    Joan Pallé (Lleida, 1989). Vive y trabaja en Barcelona. Obtuvo el grado en Bellas artes (2017) por la Universitat de Barcelona. El año 2017 se convierte en artista residente a Fabra y Coats (Barcelona) a través del programa de residencia de San Andreu contemporáneo (SACO_FIC). En los últimos años ha recibido la beca de residencia de la Panera en colaboración con el CDAN y Centro de Arte y Natura de Farrera; la beca de creación artística para el festival MAU de Rocaumbert fábrica de las artes (Granollers); la beca de investigación artística de la Sala de Arte Joven de la Generalitat en colaboración con el Macba; la beca de investigación de la Escocesa; la beca de producción artística de Baumannlab (Terrassa); la beca de producción de Banco Sabadell Arte Sala Parara (Barcelona); y ha estado ganador del certamen de artes visuales Bienal Larva, I.E.I., Lleida. Ha participado en exposiciones colectivas, en centros artísticos como Fabra y Coats (Barcelona), Museo Can Framis (Barcelona), Le Beffroi Ville de Montrouge (París), Kunstbygningen y VRA, Højskolevej (Dinamarca), entre otros.

    Bernat Daviu. Garrofistes

    Current exhibition

    Exhibition, April 27 – September 24

    Bernat Daviu (Girona, 1985) is a restless figure on the Barcelona art scene today. Both artist and dealer, Daviu combines running the Passatge Studio and the Bombon Projects gallery with prolific artistic production, as well as his activities as a founder-member of the Forever Blowing Bubbles group. Trained at the Central Saint Martins art school in London, he focuses his work on reviving the utopian, revolutionary spirit of the avant-garde movements through an approach that is romantic, ironic and rebellious. It was with this goal in mind that Bernat Daviu founded the Garrofista (“Carobist”) movement, a group of up-and-coming painters, musicians, writers and poets brought together around the carob as a metaphor for resistance and all that which is precarious. In the activities of this group, the members inhabit a fictitious avant-garde context imaged by Bernat Daviu, working in different formats: painting, video, writing, performance and so on.

    After the presentation of the Garrofista group at Fundació Joan Miró (2016 Loop Festival) and MACBA (at Antoni Miralda and Montse Guillen’s L’Internacional in April 2016), Bernat Daviu now introduces this third project at Fundació Arranz-Bravo. Garrofistes is an exhibition of portraits of group members by Daviu himself. The portraits include artists like Aldo Urbano, Marcel Rubio, Patricia Fernandez, Enric Farrés, Daniel Moreno and Lluc Baños, as well as the singer Martina Borrut, the gastronomist Susana Sunçais, the art dealer Joana Roda, the curator Caterina Almirall, the guitarist Gerard Serra, the writer Victor Balcells, the film director Marc Roca and the producer Sira Roda.

    Parallel activities

     At this year’s Loop Festival (May 18-27), Marc Roca (a founder-member of the movement and co-director of its film, Guanyar-se les garrofes), will present a new film, El néctar de la inflació (“The Nectar of Inflation”, 2017). Roca will be accompanied at this presentation by Artur Tort, Marc Cuscó and Gabriel Ventura.

    Arranz-Bravo 75-75

    Current exhibition

    The Foundation decided to celebrate Eduard Arranz-Bravo’s 75th birthday with a project to suit this important occasion. Accordingly, seventy-five personalities from the world of culture and civil society were invited to select and comment on a work of art by our artist. We suggested a choice of seventy-five pieces, consisting of fifty-nine new, unseen works by Arranz-Bravo, six objects from his personal collection and ten pieces from the collections of the Arranz-Bravo Foundation. One way or another, all of Arranz-Bravo’s artistic phases are represented in these seventy-five works, which will be exhibited, alongside their seventy-five interpretations, at the Foundation, and are reproduced in the publication you now have in your hands.

    The contribution made by each participant has helped us to build up a most unusual artistic biography of Eduard Arranz-Bravo: his creative awakening in the nineteen-sixties, evoked by members of that generation (Isidor Prenafeta, Antoni Llena, Francesc Parcerisas) and critics from those times (José Corredor-Matheos); the euphoria of the nineteen-seventies, seen through the eyes of leading protagonists from those days (Lluís Bassat, Antoni Marí, Jordi Garcés); the opinion of expert historians (Àlex Mitrani) and the experience of dealers (Gaspar); the luminous creativity of the nineteen-eighties in Cadaqués reflected in the critical authority of Vicenç Altaió and the first-hand knowledge of the dealer Àlex Nogueras; internationalisation in the nineteen-nineties through the large group of American admirers linked to the Franklin Bowles galleries in San Francisco and New York; tFranklin Bowles galleries in San Francisco and New York; the discovery of Arranz- Bravo’s work today by the Catalan critics, both veteran (Sílvia Muñoz, Núria Poch, Ricard Planas, Conxita Oliver, Martina Millà, Jèssica Jaques, Josep de Calassanç Laplana, Mercè Pomers, Joan González and Lluís Nacenta) and younger (Jordi Garrido, Bernat Puigdollers, Georgina Parrilla, Aina Mercader, Marta Sánchez), and Arranz-Bravo’s own connection with younger artists (Marcel Rubio, Raúl Páez, Francesc Ruiz Abad, Pere Llobera, Miquel Gelabert, Martí Cormand, German Consetti, Albert Arribas, Artur Muñoz and Bernat Daviu) and art teachers (Mar Redondo and Roser Masip); and, finally, the close links with the city of L’Hospitalet and the many contacts established, since the nineteen-eighties and through the activities of the Foundation itself, with schools, teachers, pupils, artists, museum directors, associations and the local authority.

    Falla by Ayelen Peressini & Aldo Urbano

    Current exhibition

    FALLA (fault) is the title of Ayelen Peressini (1986) and Aldo Urbano’s (1991) exhibition at the Arranz-Bravo Foundation. Both awarded with the scholarchip for Creation and Production by the Guasch-Coranty Foundation, their work’s characteristics have led to collaborate in this project, which is curated by the art critic and historian Jordi Garrido (1991), who makes his debut in curating with this exhibition.

    “Is contemporary the one who perceives the fault of its time; […] who makes from this fracture a meeting point among time and generations” says the philosopher Giorgio Agamben. This fault (FALLA) is the very point where Aldo and Ayelen’s work meet, an uncomfortable place in which the lacks of our present – ever hostile – are shown. It is from this hostility, inherent to a late postmodern society that has condemned everything that goes beyond reason and extreme materialism, that both Ayelen and Aldo face a human need: an inner necessity that connects the individual with a lost spirituality.

    Line, movement and space are the three basic elements we find in the combination that gives birth to the work found in FALLA. On one side, Ayelen Peressini situates herself halfway between architecture and sculpture; a mixed environment made of tridimensional structures that in spite of its dimensions – bigger than human-scale in most occasions – are enormously faint, almost volatile. This contradistinction between visual lightness and large size is the duality that gives power to Ayelen’s work: the space occupied by the structures becomes an invisible but noticeable presence, which makes vibrate the silent void suspended within, ready to be spiritually inhabited. On the other side of the coin we find Aldo’s work, emplaced in an undetermined point – which does not need any more definition than the one it has – with one foot set on painting and the other on drawing. In both cases, he shows a clear determination of interpellating the other, whether it is through form, with vibrating lines, or through dislocated planes from the bidimensional surface of the painting, thus invading space. This interpellation is seen very clearly in painting, he himself speaks of provoking “cognitive shortcuts” in the observer with acid chromatic combinations and uneven strokes.

    By means of the tools given by Ayelen Peressini and Aldo Urbano, FALLA begins a discussion about contemporaneity and its lack of spirituality through art.