Transitory Observations. Cristián Silva-Avária

__Transitory Observations__ is an exhibition by [Cristián Silva-Avária| alt=”cristian], artist in residence at Homesession in January and February 2013. It consists in a variation on urban forms and signs that the artist has developed in different environments. Just like the “flânerie” as W. Benjamin understands it, Cristián’s art practice combines an analytical observation of the city and an experience of the promenade that relates to both senses and forms. The relation between leisure and work which the “flâneur” features is actually a key point in his projects where he gives a special prominence to the social division of labor that characterizes the postmodern and mass-tourism-focused cities. Based on this dual approach, the exhibition will present photographic and video works that have been developed in Barcelona as well as in other contexts. [Opening|”>: February 22 at 19h30

Exhibition: from 23/02 to 6/03, Wednesday to Saturday from 17h to 19h30 Homesession, [C/ Creu dels Molers, 15 – Barcelona|,or.r_gc.r_pw.r_cp.r_qf.&bvm=bv.42080656,d.d2k&biw=1177&bih=805&um=1&ie=UTF-8&sa=N&tab=wl|en|homesession map] See also [Laura Marsiaj Gallery|] (Rio de Janeiro)

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What’s wrong with visual pleasure? – A project by Andrea Liu

What’s Wrong With Visual Pleasure?

The Naxal Belt in Barcelona Jan Verwoert once said in Notes From an Art School that October journal killed painting. A stronghold of art critics and historians in the 80’s inextricably linked visual pleasure with the corruption of the art market, the modernist notion of medium specificity, the false consciousness engendered by the myth of the autonomy of aesthetic experience, the despised “retinal art”. The 90’s and 2000’s then saw the Discursive Turn, the Social Turn, the Ethical Turn, the Pedagogical Turn, the Participatory Turn and the Performative Turn, with each of these leaving the traditional art object more marginal. It seems an ethical/micro-utopic camp has formed in opposition to, or in the wake of the obsolescence, of “visual pleasure.” Perhaps we can speak of an AVP (Against Visual Pleasure) Complex–a constellation of “counterpower” that regard themselves as besieged minoritarians in their rejection of seductive art objects to, instead, an emphasis on a discursive site of debate grounded within a given discourse as the basis for art. Are visual pleasure and criticality mutually exclusive? Are seductive art objects inherently conservative and retrograde? Is visual pleasure inherently cynical? Are the hollow shells of antagonistic gestures against visuality of artists in the 60’s and 70’s merely ventriloquized and disemboweled of any critical content by today’s neo-avante garde? “What’s Wrong With Visual Pleasure?” is an exhibition that seeks to map the parameters of the discourse and the communities that have produced the obsolescence of the solipsistic art object, individual authorship, and the studio. It seeks to address the polemical ebb and flow, both for and against, the gradual shift from the ocular regime to the discursive regime as the most dynamic site in contemporary art today. Artists: Leone Contini, galeria perdida, Cooper Holoweski Curated by Andrea Liu/ Naxal Belt Exhibition: December 7-16 (wednesday to saturday from 5 to 8pm) Opening December 7th, 7-10PM

At Homesession: C/ Creu dels Molers, 15 – 08004 Barcelona

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“Les Idoles” by Gabriel Desplanque

The film “Les Idoles” (The idols) has been realized by [Gabriel Desplanque|”> in September 2012 in Barcelona during his residency at the French Institute.

The screening will be followed by “Le bestiaire du dedans” (The bestiary inside), a sound and visual piece performed live together with Arandel. [“Les Idoles”|”> (The idols)

Film (Premiere).

Duration: 30 minutes.

”No one can see God without dying, they say.

However, witnesses testify to the contrary.”

“Le bestiaire du dedans” (The bestiary inside)

Live sound and visual piece for a dimly lit space. In collaboration with Arandel.

Duration: 30 minutes.

”Dust and crackling talk about some fantastic story escaped the memory of this old women face that was framed by a floral scarf. It’s a dark, mysterious and mystical pilgrimage, a funeral march or maybe just a celebration.”

Thursday, 27 September 2012 19h15.

[Instituto Francés|–video-arte-y-cine-concierto-por-gabriel-des-ve234-vfc20120927]

Carrer Moià, 8, 08006 Barcelona, Spain

(Please note, the event will begin at 19:30 precise)

The work of [Gabriel Desplanque|”> (1981, Paris) draws links between cinema and literature. In his videos and photographs, the image is thus the medium and the subject of a story whose uncertain and discontinuous construction shapes the meanings.

Giving up the conventional samples and MIDI instruments, [Arandel|] is a migratory project with minimalist influences, that focuses on electro melodies with some krautrock inspiration. This is a faceless project, in which the creators disappear behind the creation: Arandel gives the prominent role to the music.

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La Réserve. by Virginie Laganière and Jean-Maxime Dufresne

Virginie Laganiere and Jean-Maxime Dufresne will present on Thursday July 5, La Réserve, a project developed in residence at Homesession. Both artists live and work in Montreal, a city that housed, like Barcelona, ​​several major international events (Olympics Expo’67 and 76): during their stay in Catalonia, they have decided to focus their research on three landmarks of what has been the “Barcelona model” and that are especially relevant when it comes to investigate into the architectural and urbanistic ideology that led to the games of 1992 and the Forum 2004. With this starting point, Virginie and Jean-Maxime Laganiere Dufresne propose an installation that highlights the reinterpretation of the tales and intentions of the spaces created in these specific contexts, through a writing process within the space by their users. What’s at stake is, on one hand, the tension between a desire for narrative control and attempts to open the construction of the landscape toward the possible and, on the other hand, the inevitable drift, inertia or resistance that come over this first intentionality. In this framework, the artists are not only interested by these places because of their status of arrogant sample or ruins of modernity, but by the field of forces that make them up. La Réserve talks about the conception of certain territories for temporary defined functions, which become, as a result, enclaves for unplanned potentialities, which exceed the power of institutions on the space. The project investigates the ambivalent relationship between measures of control and everyday interactions that represent a permanent critic. Through documentation, photographs and an installation at Homesession project space, the artists try to “give a form” to the dynamics that cross the selected sites. Working ont its more or less obvious ideological features and its subsequent subversion through use and imaginary, La Réserve is based on the distance between program and contingencies, as well as between plan and time. The réserve, Installation by Virginie Laganiere and Jean-Maxime Dufresne Opening, July 5 at 20h

__Homesession Studio__

C / Creu dels Molers, 15

Metro Poble Sec, Barcelona

Till el 21 de July. from Wed to Sat, from 17h to 19h30.

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The Ouroboros Experiment

Open evening 7- 10pm Thursday 12th of April, 2012 [homesession] Studio C/ Creu dels Molers,15 – Poble Sec, Barcelona An installation by Irish artist Emily Robyn Archer, exploring creativity and the everyday.

The ouroboros is an ancient symbol depicting a dragon eating its own tail. The name originates from within Greek language; οὐρά (oura) meaning “tail” and βόρος (boros) meaning “eating”, thus “he who eats the tail”.

The artist experiments with her living and studio space, traversing ways in which our creativity plays off our everyday life, sometimes an awkward obstacle we have to maneuver, but always holding the allure of unique self expression and the opportunity to create and sustain energy from within.

The installation celebrates a new creative space in the Poble Sec locality. To invite the involvement of the community, the artist has been working with participants making miniature origami dragons with the address of installation attached. The dragons have been left in public areas for people to find and follow, discovering the Ouroboros Experiment for themselves. [|]

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Camera Locus # 4 by Julien Gardair

The formal work of [Julien Gardair| alt=”julien gardair] radically transcends the materials, cutting and combining them in a practice that merges sculpture, performance and installation, establishing a vivid dialogue between the space and the piece. Camera Locus, Julien Gardair’s site-specific installations, explore an abstract material: the light. It applies Julien Gardair’s usual processes though, such as cutting, composition and linkages with the space: be it conceived for the former factory of the Invisible Dog art center in New York or for Gallery of the french Gobelins National Manufactory of tapestry, the starting point of each of these installations is an architecturally-significant context. Camera Locus 4 in turn reinvents a singular space, the homesession domestic space, with the same economy of means and adapting itself to the new challenges that this place creates. We hope we can count on your attendance! Sunday, 18 of September 2011 at 20:00, – at homesession photo: Camera Locus #1.[ Invisible Dog| alt=”invisible Dog]. NY

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Carolina Cordeiro @ homesession

__Inauguración: viernes 1 de julio a las 20h__.

La obra de Carolina Cordeiro, utilizando recursos de perfil bajo y cotidiano, recrea los equilibrios precarios que rigen nuestra condición y la dinámica de nuestras proyecciones. Alejándose de la didáctica tradicional de la representación, cada una de sus piezas desarrolla su particular narración: lo que vemos surge como el punto álgido de una ficción y propone al espectador su reconstrucción decentrada a través de la experiencia sensorial. [| alt=”Carolina Cordeiro]

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