Madrid - Interviews

Teresa Solar Abboud : Madrid Through an Artist’s Perspective

3 days ago

On the occasion of our special issue on ARCOmadrid and the art week, we asked artist Teresa Solar Abboud to draw up a special artistic itinerary around Madrid.

Teresa Solar Abboud ( born 1985, Madrid, Spain) graduated with an MA in Cultural Studies from the UEM (Universidad Europea de Madrid) in Madrid in 2009. Solar Abboud’s work has been shown at the CA2M Madrid, Fundación Marcelino Botín in Santander, the MAXXI in Rome, Villa Croce in Genoa, the General Public in Berlin, and Kunstverein München in Munich.
In 2017 Solar Abboud participated in the 9th edition of KölnSkulptur curated by Chus Martínez.
She has just opened her solo show “Cabalga, Cabalga, Cabalga” at Matadero Madrid, she currently participates at “The Future” section at ARCO and will participate in the show “Blind Faith” at Haus der Kunst Munich in March 2018.

An Art Itinerary of Madrid by Teresa Solar Abboud

“If you are wandering around Madrid to spend your leisure time, you should definitely start having breakfast at the beautiful terrace of the Museo Romántico, at Tribunal’s neighborhood. Then head to Convento de las Descalzas to get a good taste of Madrid traditional architecture and an amazing of baroque art. After that, keep walking to visit San Antonio de la Florida church, to see Goya’s famous frescoes.
By that time, it would probably be time for a lunch break! If you are at San Antonio de la Florida, having lunch at Casa Mingo is a must. There you can eat their delicious chicken with cider in an authentic Madrilian atmosphere.
After lunch head to the Retiro area. Walk towards the Museo Arqueológico Nacional, as it has been remodeled recently and the visit is amazing.
Then go to Parque del Retiro and visit el Palacio de Cristal that is managed by Museum Reina Sofía, where you can see great site-specific interventions. Within the park you can also visit Palacio de Velázquez, also managed by Museo Reina Sofía and that now has an excellent exhibition by Spanish artist Esther Ferrer. If you’re looking for something new or unconventional, then I suggest you to go to Yaby, a new artist- run space with a fresh and unconventional program (by appointment only).
I am sure that art lovers will love Madrid’s Museo Geominero, it is one of the most charming museums of Madrid, the architecture is amazing and the collections are also great. For dinner I would go for tapas at La Latina, or you could go to Juana la loca restaurant. After dinner, drinking cañas at La Latina is a great plan, I suggest you go to El Madroño, a restaurant where you can order licor de madroño, a typical Madrilian fruit.
Before leaving Madrid, don’t forget to have a walk around one of the most charming areas of the city, which is pretty near El Madroño: have a walk through Conde de Barajas square and cross Calle Mayor. There is a group of small streets next to la calle el Biombo and San Nicolás church, that I really love, it has all the taste of Madrid’s classy, narrow and old flavour”.

My Art Guides Editorial Team

  • Teresa Solar, Teresa Solar, "Pumping station", 2017, Courtesy of the artist
  • Teresa Solar, Teresa Solar, "Crushed by pressure debris", 2017, Courtesy of the artist
Palermo - Interviews

We Are Two Abysses – a Well Staring at the Sky: an Interview with Ignazio Mortellaro

1 week ago

On the occasion of his solo show currently on view at Francesco Pantaleone Gallery in Palermo, we interviewed artist Ignazio Mortellaro. Curated by Agata Polizzi, the exhibition brings together two series of works and an installation. The works give body to a dynamic vision describing landscapes and contexts as though they were experiences “in transit.”

Ignazio Mortellaro (Palermo, 1978) is an artist, architect, and engineer. His background brings him to investigate, with an experimental approach, the various settings of knowledge. His work is open and looks at possibility as method.

Mara Sartore:  Where do the roots of your artistic production lie and what does your research tend towards?

Ignazio Mortellaro: My work is nothing other than the reflection of thorough research, which identifies itself in the syncretistic processes, typical to the Mediterranean and Middle Eastern area, the foundations of a melting pot culture where knowledge and visions fuse. The Mediterranean has always been a place of exchange in different forms, a space where dialogue is inevitable due to the fluidity of this liminal space, its liquid borders and the osmotic surface, which stretches out between three continents, Europe, Asia and Africa.
The path is long and tiring, the interdisciplinary nature of my research requires intense study, but this is the price you should be prepared to pay when one ventures into unknown territory, into the others space and when we go beyond our familiar ground. But it is a small price to pay when the rewards reaped are so rich, that of freedom, the freedom to lose oneself, the freedom to move, not only from country to country but also from culture to culture. It is in the depths of our freedom we find the power of thought. 

M.S.:We are two abysses – a well staring at the sky” explain the origins and the meaning of the title to your most recent exhibition at FPAC in Palermo…

I.M.: The title, which in its original language reads “Somos dois abismos – um poço fitando o céu”, is a quote taken from the “Book of Disquiet” by Fernando Pessoa, a Portuguese writer who has always been greatly influential in my work, his concepts of limits and distances, in geographic and existential terms, are central to this reflection, the problem of our positioning within space, the orientation of our gaze, and of measurement. Within this quote, which in truth comes from two, we find ourselves between two infinitely distant and opposing spaces, one that verges on the centre of the earth and the other somewhere in deep space. We can move to the depths of these wells and look up at the sky, as the main character in Murakami’s “The Wind-Up Bird Chronicle” did, or otherwise look back at the earth from a lonely spaceship as Tarkovskji suggests in his film “Solaris”. I consider these two places the undefined extremes of an internal hiatus in which we can really perpetrate the meaning of our existence, a space of freedom in which not only can we radically invert our positions but also the way in which we turn our gaze.

M.S.: Luca Mortellaro has titled his essay “A New Sisyphus”, which he has dedicated to you in the exhibition catalogue. Luca, other than being a musician and producer is also your brother, so he knows you well. In your opinion what parallels does he find between you and Sisyphus, he who was condemned by the gods to eternally climb a mountain carrying an immense boulder? 

I.M.: Reality is manifold and open-ended, the victim of disorientating blur, a sea in which we have been immersed since birth. Despite this we go about our daily lives engaged in operations of measurement, delimitation, definition, coordination and our ongoing relationship with things. This all feels like an immense effort which is forced upon us everyday, always measuring where we are, to understand where we might end up and others may begin. Perhaps this is human nature, to live in context, feeding ourselves via contamination, a continuous state of adaptation to new conditions. Even our thoughts, which appear to be so volatile and abstract, belong to place, and by belonging become concretised, they are not stable but dynamic forms, which move and it is this mobility, which constructs geometries and spatial architecture. I am fascinated by this dual nature of ours, of being both concrete and abstract, I find comfort in this inseparability which nullifies the distance between things, bringing them together and interpenetrating each other. This sharing of matter and particles confuses me; a word, which leaves our mouth, is embrangled with a breath we take in. We often talk about things we can’t see as though they don’t have body, but when things get serious they endure the forces of physics, it makes me think of the wind which surrounds us and whose presence can be revealed by a simple fist of sand thrown into the air. 

M.S.: The island where you live and its surrounding seas often infiltrate your work, tell us about your relationship with Sicily and Palermo?

I.M.: Sicily is the Island where I was born, my roots are here. It is an Island like myself, but also part of an archipelago. It’s earth made of from hard and pungent black rock destined to erode until it becomes dust, as I will do too. My relationship with Sicily is based on a natural identity, not only a cultural one. 

Ignazio Mortellaro: We are two abysses – a well staring at the sky“, curated by Agata Polizzi, is on view at Francesco Pantaleone gallery, Palermo until February 17, 2018

Mara Sartore

  • Ignazio Mortellaro © Fausto Brigantino Ignazio Mortellaro © Fausto Brigantino
  • Ignazio Mortellaro, Exhibition view, 2017, FPAC, Palermo © Fausto Brigantino Ignazio Mortellaro, Exhibition view, 2017, FPAC, Palermo © Fausto Brigantino
  • Ignazio Mortellaro, Ignazio Mortellaro, "Land XVI, Cap de la Chèvre to Ponte de la Corses", 2017, FPAC, Palermo © Fausto Brigantino
  • Ignazio Mortellaro, Land XXI [Approaches to Bengàsi], 2017 © Fausto Brigantino Ignazio Mortellaro, Land XXI [Approaches to Bengàsi], 2017 © Fausto Brigantino
Berlin - News

Gallery Weekend Berlin 2018: Galleries Announced

1 week ago

The 14th edition of Gallery Weekend Berlin presents exhibitions by emerging and established artists in 46 Berlin galleries. The weekend, running April 27 -29, is a celebration of the galleries, showcasing contemporary art in the places where the gallerists’ commitment is made manifest: in the galleries themselves. As they discover artists, maintain lasting relationships with them, and continually mediate their work worldwide, the galleries are a focal point for curators, critics, and collectors. This year-round work culminates in Gallery Weekend Berlin and its unique interplay of exhibitions, Berlin experience, and annual social event.

The participating galleries and artists:

Galerie Guido W. Baudach | Thomas Zipp
Blain I Southern | Frank Thiel, Liliane Tomasko
Isabella Bortolozzi Galerie | Danny McDonald
BQ | Leda Bourgogne
Galerie Buchholz | Cheyney Thompson, R. H. Quaytman
Buchmann Galerie | Fiona Rae, Bettina Pousttchi
Capitain Petzel | Kelley Walker
carlier I gebauer | Cecilia Edefalk
Contemporary Fine Arts | Raymond Pettibon, Huma Bhabha
ChertLüdde | Patrizio Di Massimo
Mehdi Chouakri | Hans-Peter Feldmann
Dittrich & Schlechtriem | Andreas Greiner
Galerie Eigen+Art | Tim Eitel
Lars Friedrich | Peter Wächtler
Konrad Fischer Galerie | Stanley Brouwn
Michael Fuchs Galerie | Melli Ink
Gerhardsen Gerner | Dirk Stewen
Gillmeier Rech | Jim Thorell
Galerie Michael Haas | Marwan
Galerie Max Hetzler | Thomas Struth, Loris Gréaud
Kewenig | Leiko Ikemura
Klemm’s | Sven Johne
König Galerie | Claudia Comte, Evelyne Axell
KOW | Los Carpinteros
Kraupa-Tuskany Zeidler | Yu Honglei
Tanya Leighton | Oliver Laric
alexander levy | Julius von Bismarck
Daniel Marzona | Magnus Plessen
Meyer Riegger | Franz Ackermann
Galerie Neu | Yngve Holen
neugerriemschneider | Mario Garcia Torres
Galerie Nordenhake | Stanley Whitney
Peres Projects | Rebecca Ackroyd
Galeria Plan B | Becky Beasley
PSM | Christian Falsnaes
Aurel Scheibler | Norbert Kricke, Ernst Wilhelm Nay
Esther Schipper | AA Bronson, General Idea
Galerie Thomas Schulte | Pat Steir
Société | Jeanette Mundt
Sprüth Magers | Andro Wekua
Galerie Barbara Thumm | Fernando Bryce
Galerie Barbara Weiss | Monika Baer
Wentrup | Nevin Aladag
Barbara Wien | Mariana Castillo Deball
Kunsthandel Wolfgang Werner | Willi Baumeister
Żak I Branicka | Tomek Baran

Save the date – Gallery Weekend Berlin
April 27–29, 2018


My Art Guides Editorial Team

  • Gallery Weekend Berlin 2018 Gallery Weekend Berlin 2018
Bologna - Interviews

Arte Fiera 2018: an Interview with Angela Vettese

2 weeks ago

On the occasion of the opening of Arte Fiera, My Art Guides has interviewed the Artistic Director to learn more about the 42nd edition of the fair.

My Art Guides: Why should a collector from abroad make the journey to Arte Fiera?

Angela Vettese: Because Italian art is both important and ever yet underestimated. The success of Italian sales in auctions abroad has demonstrated this for a number of years now. A few Italian galleries still fervently take on the role of an artisan, it is this quest for the well-made which makes the distinction between primary and secondary markets, the relative distance from a financially driven art world which reduces a work of art to a mere investment opportunity.
It goes without saying that Bologna is also beautiful, boasting a historic city centre which brings together centuries of history and reveals many surprises to those who are not only on the hunt for restaurants. The Polis/Artworks section was created for this purpose: around the city, above all in the wonderful university recesses, in its libraries and museums one can discover an itinerary of both modern and contemporary works of art in dialogue with both history and science

MyAG: In the second year of the fair under your direction, in your opinion what is it that makes Arte Fiera a reference point for Italian art production?

A.V.: Arte Fiera is not only a reference point for Italian art production, but it is also for galleries which know how to successfully converse with foreign art production. In this light, we are not talking about a purely national exhibition-market, but mostly about the occasion for an international overview too. 

MyAG: In your opinion what are the must-sees for a collector during Arte Fiera 2018?

A.V.: We all have our different tastes. For those who are after Modern Art, they will find something to bite into at Galleria dello Scudo or at Matteo Lampertico. Those who love the sixties will find a wall of photographs by Mario Schifano at Galleria Mazzoli, heart sinking stuff which takes us back to the time of analogue photography. Those who prefer objects will find delight when faced with Gianni Piacentino‘s vehicles, a mechanics maniac in the world of motors, but above all the creator of synthetic and futuristic shapes which we are only now beginning to fully understand. Another re-discovery, Irma Blank, thanks to one the most energetic galleries of the last generation, P420.

MyAG: What does the new section Modernity focus on?

A.V.: On the grouping together of important works by a solo artist, provided that he has demonstrated maturity and modernity, regardless of both market trends and personal data.

Arte Fiera runs February 2-5, 2018 with vip and press preview on February 1st (by invitation only).

My Art Guides Editorial Team

  • Angela Vettese Angela Vettese
Venice - News

Venetian Artist Ida Barbarigo Dies at 92

2 weeks ago

Venetian artist Ida Barbarigo Cadorin died at the age of 92 – on January 15th in her house on the Grand Canal, Venice where she had lived for a long time together with Zoran Music, companion of art and life

Ida Barbarigo was born in Venice in 1925. His mother was a painter and poet, her father the painter Guido Cadorin. Ida continued the humanist tradition of a family in which sculptors, architects, painters, scholars and writers alternated for centuries.

My Art Guides Editorial Team

  • Ida Barbarigo, 2011 ©JP Gabriel Ida Barbarigo, 2011 ©JP Gabriel
Milan - News

miart 2018: Details Announced

2 weeks ago

On the occasion of the press conference, held today January 29, 2018 at Palazzo Marino, Milan, miart has announced its news, program and list of galleries as well as the program of the art week, running April 13-15, 2018.

Titled “The Present Has Many Stories“, miart is hosting 186 galleries from 19 countries and 4 continents, 7 Awards and a 100,000 € acquisition fund.

Alessandro Rabottini, Artistic Director, stated: “miart has developed a formula in which the Italian art system, national and international galleries, collectors from many continents and the public and private institutions of Milan recognize and support is the result of this choral work, of a multiplicity of voices that represent an enormous wealth and plurality of visions: ours is a complex present that requires both a historical memory and imagination on the present and the future, and it is this diversity and inclusion that the many international galleries present at miart will bring to our audience”.

Check out the full list of participating galleries here.

Save the date – miart 2018
13 – 15 April 2018
Preview 12 April from 11 am to 7 pm (by invitation only)

My Art Guides Editorial Team

  • Courtesy of miart 2018 Courtesy of miart 2018
Singapore - News

Art Stage Singapore: Sales, Key Figures and Numbers

2 weeks ago

Running four days from 25 to 28 January 2018 at the Marina Bay Sands Expo & Convention Centre, ART STAGE Singapore closed its eighth edition yesterday, January 28. The Fair brought to Singapore a strong international art community including collectors and leading artists. The fair saw stronger sales results in all price categories. Galleries reported brisk sales and noted numerous reservations made by buyers and collectors from Southeast Asia, Asia, Australia, the Middle East, Europe and the United States.

“I am very pleased with the Fair this year. ART STAGE has exerted a prodigious influence on Singapore’s contemporary artistic life. It has become the anchor for the city’s annual art week, and Sundaram Tagore Gallery is proud to have been associated with the Fair since its inception,” said Mr Sundaram Tagore, gallery director of Sundaram Tagore Gallery.

“Based on the opening day, the sales were stronger than last year. We have sold a painting by Indonesian painter Yunizar, as well as the up-and-coming Erizal As, and some works by younger artists who are new additions to the Gajah Gallery family,” said Mr Jasdeep Sandhu, gallery director of Gajah Gallery.

ART STAGE will return with its sister edition, ART STAGE Jakarta at Sheraton Grand Jakarta Gandaria City from 7 to 9 September 2018.

Carla Ingrasciotta

  • Courtesy of Art Stage Singapore Courtesy of Art Stage Singapore
Madrid - News

My Art Guide Madrid 2018 Editorial Committee

3 weeks ago

My Art Guide Madrid is a digital issue dedicated to ARCOmadrid and the art week in Madrid, available online and on iOS app.

This edition has been developed thanks to an incredible editorial committee formed by Lucia Casani (Director of La Casa Encendida), Elena Ochoa Foster (Founder and CEO of Ivorypress), and Carlos Urroz Arancibia (Director of ARCOmadrid).
The committee has been working to select the best and most interesting art spaces and exhibitions in town as well as the coolest restaurants and hotels.

Lucia Casani graduated from the Complutense University of Madrid (UCM) with a BA in Audiovisual Communications. Between 1997 and 2001 she participated in numerous film and advertising shoots within the Film Directing Department. In 2002 she joined the arts staff of the recently founded cultural centre La Casa Encendida and helped to launch the Audiovisual Department, which she coordinated from 2002 to 2009. In 2010 she began to supervise the centre’s cultural programme, and in September 2014 she became director of La Casa Encendida, a solid initiative with a stellar reputation in both Spain and abroad. Since then, she has maintained the centre’s commitment to contemporary creativity in the areas of art and culture, education, the environment and solidarity.

Elena Ochoa Foster is a publisher and curator of contemporary art. In 1996 she founded in London Ivorypress, a private initiative that carries out publishing and curating activities, which comprises an art gallery, a publishing house specialising in artists’ books and a bookshop specialising in photography, architecture and contemporary art. Elena Ochoa Foster is the CEO of Ivorypress, where she has collaborated on publishing, educative, and artistic projects and has curated international exhibitions.
She was a tenured lecturer in Psychopathology at Madrid’s Complutense University for almost two decades and was honorary professor at King’s College in London until 2001. She has worked at RNE and Televisión Española and has been a regular contributor to several newspapers.
She is a member of the board of art directors of the Mutual Art Trust and of the Advisor Board of the Prix Pictet photography award. She has been the president of the jury of the Swiss photography award Alt+1000. She was the president of the Tate International Council for five years and member of the Tate Foundation’s board of directors from 2004 to 2008 as well as that of the Noguchi Foundation.  She runs the C Photo project, whose aim is to promote photography through publications, exhibitions and academic and institutional support. She is the Chair of the Council of the Serpentine Galleries, London, UK, and serves as Correspondent Academician in Switzerland for the Real Academia de Bellas Artes de San Fernando, Madrid, Spain.

Carlos Urroz Arancibia is the director of ARCOmadrid since May 2011. The International Contemporary Art Fair is dedicated to creating a market for contemporary art in the country. His contributions to this project include forging the link with Latin America through the section dedicated to solo artist stands (Solo Projects), the new section for young galleries (Opening) and the “ARCO Professional Meetings”, the new activity format linked to the fair and reserved for experts in the different fields, which has brought over 100 museum directors, biennials and professionals to Madrid each year.  He is the natural-born chairperson of the ARCO Foundation, for which he has put forward new activities such as the “Gallery Walks”, aimed at organising visits to contemporary art galleries, and the “ARCO Foundation Platform Lunch” through which funds are raised yearly for the purchase of works during the fair and the return of the Collection to Madrid.
From 2005 to 2011, he created and directed UP (Urroz Proyectos), a company aimed at designing and implementing projects within the cultural organisation and communication context, collaborating with the Loewe Foundation, the Biennial of the Canary Islands, SEACEX (State Society for Cultural Actions Abroad), Thyssen-Bornemisza Art Contemporary, the Murcia Region. From 1998 to 2006 he was director of Galería Helga de Alvear, where he worked with important international artists. Carlos Urroz is a Corporate Legal Adviser (ICADE E-1 Universidad Pontificia Comillas).

Carla Ingrasciotta

  • Lucia Casani, Director of La Casa Encendida Lucia Casani, Director of La Casa Encendida
  • Elena Ochoa Foster, Founder and CEO of Ivorypress © Salva López. Courtesy Ivorypress Elena Ochoa Foster, Founder and CEO of Ivorypress © Salva López. Courtesy Ivorypress
  • Carlos Urroz, Director of ARCOmadrid Carlos Urroz, Director of ARCOmadrid
  • My Art Guide Madrid 218 Editorial Committee My Art Guide Madrid 218 Editorial Committee
Madrid - Interviews

Audemars Piguet ARCOmadrid Prize: An Interview with Belen Uriel

3 weeks ago

Belén Uriel (Madrid, 1974) has won the VI Audemars Piguet Prize for the production of a work of art at ARCO Madrid. Her work, “In Dandanah“, is a project presented by the Lisbon gallery Madragoa and will be exhibited, within the Audemars Piguet space, during its celebration from 21 to 25 February 2018.

On the occasion, we interviewed the artist to learn more about her practice and the project she created taking inspiration by the glass game Dandanah: The Fairy Palace, designed by the German architect Bruno Taut in 1920.

Carla Ingrasciotta: Your practice is linked to architecture and design as you mainly work with sculpture. How did you develop the dialogue with these disciplines?

Belen Uriel: My work is probably influenced by my curiosity in both of these disciplines. It was through the medium of photography (which in the past was my main artistic medium) I could bring together the diverse elements both of these disciplines have to offer. I used to create scenarios, spaces filled with architectural elements and de-contextualised objects which I built with the purpose of being photographed. Over time I became aware that I was more interested in the sculptural potential of the objects themselves and on how their properties were transformed. Then I started to isolate these objects or structures and work with them individually, exploring new possibilities or readings where constructing, assembling and staging are intertwined. In this way, the original design and function or the object is reconsidered – both materially and in terms of the ideas carried through their use.

C.I.: In your research you investigate everyday objects, their sculptural potential and their possible conversation with the surrounding environment. This allows us to presume that you have a broad knowledge of art, often associated with several different social and human fields. Could you tell us about your practice and how would you define your concept of art?

B.U.: My works frequently point to real, everyday objects (for example, elements from architecture or furniture). They interest me for different reasons: their forms, materiality, shapes, uses, etc. The way we are supposed to relate to them is the starting point and to consider their social, cultural and functional meanings in the process of making. The manipulation of materials, the construction of forms and surfaces, and the re-definition of dimensions and scales, are worked/thought about in relation to the histories embedded in these objects and structures. My sculptures and installations incorporate a diverse range of materials, from glass to papier mache, metal structures, fabrics… that often replicate recognisable objects, belonging to well-known forms and designs and repeated in our every-day lives, enacting different types of behavioural codes, every-day conventions and protocols, as a way to reflect upon the use of the object, as well as our experiences and “expectations” in regard to them.

C.I.: What about your involvement with Audemars Piguet Art Commission? Could you tell us something about “En Dandanah”, the project you’re presenting during ARCOmadrid? How did this idea come about? Could you tell us about the creative process behind this specific artwork?

B.U.: My piece “En Dandanah” is inspired by my long-term interest in the German architect Bruno Taut (an utopian expressionist architect, I have already done other works related to his work), specifically by a set of glass building blocks, a game designed by him in the 1920’s, named Dandanah, The Fairy Palace. The Dandanah appears to be a unique toy case made of glass, produced at a moment in the history of Design that incorporated the game as a channel for artistic experimentation. It is an object where technological and utopian discourses merge through the medium of glass. Taut considered glass a potential agent of social change (he truly believed glass architecture would improved human life). This game realises and exemplifies Taut’s utopian and mystical beliefs, which somehow, are condensed in this small-scale object.
I’m mainly interested in the unrealistic character of the Dandanah (its usability as a toy is questionable: it was considered to be unsafe). The different constructions, depicted in the six instruction sheets attached to the game, are impossibly idealistic representations, illusory designs that cannot be constructed with the contents of the box. This unreal character and the act of play have for me a lot to do with the art making process, or at least with the way I work.
My intention is to re-recreate part of a construction/tower that appear in one of the instructions sheets to a human scale. The sculpture is the result of the re-creation of modular architecture in metal, with angular form, each side is composed of 24 pieces of the game and covered with a glass panel, as in the original game. The glass pieces are each hand made, one by one. In the production of the glass pieces I try to give each of them the texture of glass, which is either broken or about to break and it is protected by masking tape… I like the uncertainty between something that is broken or could break: fundamentally it gives off the idea that it is the taped glass which holds together the building blocks, evoking the fragility of the original game and its dubious usability.
The structure is divided into two chromatic parts, the left side is produced with a yellow transparency finish and the right part is made with a pinkish colour scheme. For me is like the light at sunrise or sunset which reflects in a glass façade, this alludes to the passing of time…. A fragile, dreamy and imaginary piece of architecture, which lacks any kind of functionality.
Over the last few years I had the opportunity to work with glass. I am an artist in residency at Vicarte (Glass and Ceramic for the Arts, Faculty of Sciences and Technology of the Universidad Nova de Lisboa, Lisbon). With the support and patience of the great professionals there, I have been working with and learning glass techniques since 2015, and this is where I am producing this project.

C.I.: You were born and grew up as an artist in Madrid and later moved to London and Lisbon. What do you think about the city’s art scene and how do you find the city now? Which are the places you enjoy the most and the ones you would suggest to art lovers?

B.U.: Lately I have spent much more time in Lisbon than in London, mainly because it is here where the glass studios (Vicarte) are located. In Lisbon, as well, I have the opportunity to work in an amazing studio that is supported by the Lisbon Council (that supports many artist working in the city); the conditions are really good in which to work and produce, time expands here. I had also the chance to work with great professionals, it is in Lisbon where I have had the most opportunity to develop and for my work to mature…
I would say that Lisbon offers a high quality art scene for its small scale, it offers very good concerts, contemporary and classic, great contemporary dance performances, theatre, plays, exhibitions. My favourites are ZDB and Maria Matos Theatre for their concerts programmes, Culturgest for its great contemporary dance programme, Gulbenkian Foundation programme for classical concerts …there is also a very dynamic art scene, with new spaces opening very often. I love living in Lisbon, I like to walk around and still be able to get a little bit lost and discover things and places, it is a beautiful city. The people, the light, the river etc, make it a very human city.

C.I.: Any upcoming projects or exhibitions we can look forward to seeing?

B.U.: Apart from the project I’m showing at ARCO with the generous support of Audemars Piget, I’m working on a solo exhibition in Porto, which will open on May the 4th at Sismógrafo (a very interesting non profit art space running by a group of writers, designers, artists.. ) with the curator Miguel Wandschneider with whom I had the great pleasure and opportunity to work with before for a large solo exhibition in 2016 (“Segunda Feira”, at Culturgest, Lisbon). At the same time I’m working for another exhibition in Lisbon, a project by Portuguese young curator Claudia Ramos. It is a two-artists exhibition (eight artists, four exhibitions) in four different non-contemporary art related museums in Belem. In my case I’m exhibiting alongside a young Portuguese artist Ana Santos at the Museu da Marinha, opening on May the 18th.

Carla Ingrasciotta

  • Belen Uriel, Installation view, 2017. Courtesy of Audemars Piguet and ARCO Belen Uriel, Installation view, 2017. Courtesy of Audemars Piguet and ARCO
  • Belen Uriel, Portrait. Courtesy of the artist Belen Uriel, Portrait. Courtesy of the artist
  • Exhibition view, Descanso, Madragoa, Lisbon, 2017. Images courtesy of the artist and MADRAGOA, Lisbon Exhibition view, Descanso, Madragoa, Lisbon, 2017. Images courtesy of the artist and MADRAGOA, Lisbon
  • Exhibition view, Descanso, Madragoa, Lisbon, 2017. Images courtesy of the artist and MADRAGOA, Lisbon Exhibition view, Descanso, Madragoa, Lisbon, 2017. Images courtesy of the artist and MADRAGOA, Lisbon
  • Exhibition view, segunda-feira, Culturgest, Lisbon, 2016. Images, © 2016, DMF, Lisboa Exhibition view, segunda-feira, Culturgest, Lisbon, 2016. Images, © 2016, DMF, Lisboa
  • Exhibition view, segunda-feira, Culturgest, Lisbon, 2016. Images, © 2016, DMF, Lisboa Exhibition view, segunda-feira, Culturgest, Lisbon, 2016. Images, © 2016, DMF, Lisboa
Santa Monica - News

Art Los Angeles Contemporary Returns in Santa Monica

3 weeks ago

Art Los Angeles Contemporary, the International Contemporary Art Fair of the West Coast, returns for its ninth edition at the Barker Hangar, Santa Monica from January 25–28, 2018.

The fair presents a selection of over 60 established and emerging galleries from around the world, with a particular focus on galleries based in Los Angeles. Participants for the 2018 edition include newcomers from Europe and Latin America as well as the third edition of the Freeways section featuring young galleries less than four years old.

“As the international art community looks towards Los Angeles as a new global epicenter, it is essential to have an event that draws upon a comprehensive notion of the city,” said Tim Fleming, founder and director of Art Los Angeles Contemporary.

Save the date – ALAC 2018
January 25-  28, 2018
The Barker Hangar, Santa Monica.

Public hours
Thursday, January 25, 7–9pm
Friday, January 26, 11am–7pm
Saturday, January 27, 11am–7pm
Sunday, January 28, 11am–6pm

Carla Ingrasciotta

  • Jon Miller at Peter Blake Gallery, 2017. Photo by Gina Clyne. Jon Miller at Peter Blake Gallery, 2017. Photo by Gina Clyne.