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Gonzalo Elvira

Bauhaus Women

 

Gonzalo Elvira’s proposal: Bauhaus1919, modelo para armar, refers to the level of history in relation to women’s access to art. Elvira’s installation constitutes a site-specific mural, which was to be presented at the Mercosur Biennial but, since it could not actually happen, it will be presented for the first time at ARCOmadrid 2021. With this piece, the artist takes up the history of the women who were part of of the Bauhaus, but that have been scarcely represented. Elvira reproduces on paper a series of portraits of them.

 

One of the aspects that caught my attention about the [Bauhaus] school was the only female presence of Günta Stolz within the faculty. Therefore, I wanted to highlight the role of women within the Bauhaus movement since they were somehow segregated into the textile and ceramic workshops. They were not allowed to participate in the blacksmithing, carpentry and architecture workshops, they alleged that the women had certain problems with three-dimensionality after the exam to enter the school.

 

Gonzalo Elvira. GS. 2019. Tinta sobre papel. 50 x 35 cm

 

Take a look at the exhibition Idilio by Gonzalo Elvira in RocioSantaCruz. The artist received the GAC Award to the Artist for the Best Exhibition in Gallery for this show.

Gonzalo Elvira. Idilio. RocioSantaCruz. 2019-2020

Mar Arza

Armario de aristas / Suertes

Mar Arza continues the dialogue of women in history and presents her series called Suertes. There is a meaning of the word LUCK (SUERTE in Spanish) that refers to the earth: ’11 .f. Part of arable land, separated from another or others by its boundaries’, can be read in the Spanish dictionary. In the SUERTES series the fragments of arable land, cultivated and cultivable spaces are concentrated. End of book chapters written by women, Carmen Laforet and Santa Teresa in this case. Where a chapter ends with a final sentence in suspense, that already present space of latent targets is concentrated, waiting for resonance.

Mar Arza. Suertes (Laforet). 2020. Puntos y aparte, final de capítulo. 85,8 x 65,8 cm. Detalle

This first E-XHIBITION proposal closes with the installation Armario de aristas, a corner shelf in homage to Jorge Oteiza’s chalk shelves, where Mar Arza arranges words on pieces of paper creating unexpected reading angles.

Mar Arza. Armario de aristas. 2020. Textos recortados sobre estantería-vitrina de DM. 160 x 222.5 x 27 cm. Detalle

Los trabajos de Mar Arza participan de algunos antagonismos —silencios contra proclamas, objetos frente a oquedades, homenajes y exabruptos—, pero un momento antes de que estos se cierren, volviéndose concluyentes, hay un giro desde el cual podemos reinscribirlos en nuevas encrucijadas discursivas. No llamaría desvelamiento a dicho proceso; por el contrario, le diría desidentificación o discrepancia.

Antes que una belleza sensible, antes que la belleza de comprender, hay algo extraordinaria y epistemológicamente hermoso en desunir eso que hasta entonces había quedado sellado a su reverso. Hay algo políticamente libre en desautorizar que una certeza tenga como antónimo una incertidumbre, que la perplejidad no sea esa forma que tenemos para mantener equidistante lo afirmativo de lo que se resiste a afirmarse.

– Valentín Roma

Take a look at the exhibition LE HASARD JAMAIS by Mar Arza at RocioSantaCruz.

Mar Arza. UN DÉ TOMBE TOUJOURS DU MÊME COTÉ. 2020. Poema en cuatro tiempos. 180 x 180 x 180 cm

 

 

 

Here, watch the new video about the exhibition Me multipliqué para sentirme by Pepo Hernando, in our YouTube channel.

 

 

Inside the program of activities around the exhibition Fina Miralles. Soc totes les que he sigut, Mar Arza talks about the artist on the MACBA podcast Parlmen de … Fina Miralles.

La proposta vol reflexionar i aprofundir en el pensament de Fina Miralles, en la veu interior que impulsa el fer de la seva vida i la seva obra, que és un mateix fer. Una meditació en la qual les paraules de Clarice Lispector acompanyen també aquest viatge. La passió segons Fina Miralles. I, des d’aquest punt, reconèixer un pou de saviesa en la veu i la mirada d’un ésser d’aigua.

Here you can listen to the full podcast.

 

Fina Miralles at RocioSantaCruz

Mar Arza at RocioSantaCruz

In the article The best photography books of 2020 at ElPaís, Gloria Crespo Maclennan asks various cultural professionals to recommend their two favorite photography books of 2020.

Read the full article here

We share with you the recommendations of Rocío Santa Cruz:

 

Woman Go No’Gree deGloria Oyarzabal.RM. 176 pag

With this book Gloria Oyarzabal has just won the prestigious Paris Photo-Aperture 2020 Best Book of the Year award. Carefully edited and with an innovative, risky and at the same time very beautiful graphic design, the artist draws up an excellent dialogue around the deconstruction of the idea of ​​the gaze and “the other”. She explores, through the use of found images, archives, and her own photography, colonialism and white feminism in West Africa. Her images, fleeing from “exoticism”, dilute the lines that separate photojournalism from artistic and conceptual photography. According to the author, “it would be a question of decolonizing feminism by questioning the Eurocentric rational theoretical frameworks that construct gender categories in a universalist way.” Through her own photographs and the historical documents that he colors, Oyarzabal challenges us to face our own prejudices and assumptions.

Get the book here in the ArtsLibris online store.

 

La caja roja de Antoni Campañà. Comanegra. 328 pag.

Antoni Campañà was born in Arbúcies (Girona), in 1906, along with Photojournalism, a field in which he earned a well-known reputation as sports reporter and pioneer of the tourist postcard. Before the age of thirty, Campañà had achieved national and international recognition for his refined mastery of bromoleum techniques. In the years before the Spanish Civil War, he received numerous awards and consolidated his position as an artist. In 1933 he travelled to Munich to train with the photographer Willy Zielke He carried out an impressive body of work involving experimentation and innovation, thus transcending the parameters of pictorialism and becoming an unparalleled reference point for experimental photography in Spain. During the years of the Civil War, Campañà took more than 5,000 photographs. He portrays a tragic and contradictory reality, with which he traces a huge frieze of unpublished images of the highest quality that he buries in the garage of his house at the end of the war. His visual testimony remained hidden for decades. Thirty years after his death, his family found the pictures stored in red boxes, which are now brought together in La caja roja

The MNAC (Museu Nacional d’Art de Catalunya) announces for the dates of March 18 to July 18 the exhibition La guerra infinita. Antoni Campañà, an exhibition curated by Toni Monné, Arnau Gonzàlez i Vilalta, Plàcid Garcia-Planas y Roser Cambray.

La guerra infinita will discover the different facets of the work of the photographer Antoni Campañà (Arbúcies, 1906-Sant Cugat del Vallès, 1989), focusing on the photographs he took during the Spanish Civil War, photographs that the family found fortuitously in 1918. This set of images, of great artistic quality and historical relevance, were hidden by the artist himself in a box, and they remained in it for more than seventy years, from the end of the Civil War until their discovery.

 

Access the information about the exhibition here.

 

RocioSantaCruz represents the artist Antoni Campañà and works with the family to manage his legacy.

On the occasion of the Lucha libre exhibition by Lourdes Grobet, and in collaboration with ArtsLibris, we present the special proposal:

 

Signed work by Lourdes Grobet
35,5 x 28 cm
Print on cotton paper

+

Book ‘Lucha Libre. Retratos de familia’
Ed. RM

Price: 500 € + IVA (21%)

 

Choose your photograph and take advantage of this opportunity, in the online store or in the ArtsLibris bookstore

 

 

Still not feeling like taking pictures, sometimes, I put a roll on this tiny camera, which looks like a spy camera, and I put it in my pocket and I go around taking pictures to cheer me up. I’m not still there, but my world is this.

Gemma Malvido signs El valor de los ‘re’, a review of the career of artist Vari Caramés, in which the photographer talks about the possibilities of light, new technologies, memories and work in the studio.

I really like the texture, the atmosphere, the climate … and that is what the film gives me, with the grain and the digital would not give it to me.

Read the full interview here

Great article by Elena Pita for The New Barcelona Post in which Rocío Santa Cruz talks about the role of the book, contemporary art, ArtsLibris and deep thinking. Rocío takes a tour of her career and tells about the projects of the future.

The digital tool, far from ending the physical book, has saved it: it has never been edited with such detail, so much appreciation for paper, inks, prints.

The full interview here.

 

Jean Denant appears at AD magazine (Frebuary 2021 issue) with his work ‘Anarchitecture XL’.
The work belongs to a private collection.

Read the full article here.

Acquire a Jean Denant’s piece for your collection.

Lourdes Grobet (Mexico City, 1940) is one of the most renowned contemporary photographers on the current art scene. Her work on Mexican wrestling has earned her wide international recognition, consolidating her view of the country’s urban culture. RocioSantaCruz brings together a careful selection of her work in the exhibition Lourdes Grobet. Lucha libre, which can be visited at the ArtsLibris bookshop, located inside the gallery, from the 6th of February. On the occasion of the publication of her photobook, Lucha libre. Retratos de familia, published by RM and available at ArtsLibris, RocioSantaCruz is preparing an extensive programme of activities and dialogues on the photographer’s work in the gallery’s courtyard.

Lourdes Grobet uses photography to undo the seams of power and censorship. Her art resorts to interdisciplinary, or rather, antidisciplinary practices: film, installation and performance come together in the visual experimentation of this photographer, whose gaze is always directed towards the blind spots of representation. Her work is a constant search for new artistic languages, as well as a defiance of any kind of formal or conceptual authority. It is not technique that sets the pace, but the affirmation of freedom.

Grobet unfolds an intuitive, as well as coherent, gaze. Hers is not a coherence born of convention, but born of the desire to show what remains hidden, set apart, relegated to the margins of society. Su trabajo sobre la lucha libre explora las raíces culturales del México urbano. Her work on wrestling explores the cultural roots of urban Mexico. For decades, she has portrayed the most emblematic characters in and out of the ring.

Grobet’s portraits stem from a childhood prohibition. Her father, a wrestling fan, refused to take her to the fights because she was a woman. Her reaction, years later, was to make enter the scene armed with a camera, and to make a place for herself. From this symbolic transgression, a strange and tender archive was gradually woven. A repository of lives, rituals and masks.

 

Lourdes Grobet’s available works