Pipo Hernández Rivero: Este puede ser el lugar.
Pipo Hernández Rivero and Israel Galván on Este puede ser el lugar. Tea Tenerife.
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Laura F. Gibellini: Roma, Siempre Roma.
Laura F. Gibellini: Roma, siempre Roma. Mujeres de la Academia en las Artes Visuales at the Ministry of Foreign Affairs, European Union and Cooperation.
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VARIATION/ Madrid. Raphäel Denis
ENDLESS COLLAPSE V, Raphaël Denis.
VARIATION/ Madrid
Raphaël Denis graduated from the Ecole nationale supérieure des Arts décoratifs de Paris (ENSAD), he was born in 1979 in Paris. He livres and works between Paris and Brussels. His works are part of the collections of the Centre Georges Pompidou, of the Musée d’art et d’Histoire du Judaïsme in Paris, of the FRAC Alsace, of the Francès Collection and Laurent Dumas – Emerige collection in Ile de France, of the Frédéric de Goldschmidt collection in Brussels, of the Reiner Speck collection in Düsseldorf, of the Musée d’Art et d’Histoire in Geneva and of the Kunsthaus in Zurich, Switzerland. Raphaël Denis is an artist-researcher who sets historical questioning and the status of the work of art at the center of his work. He is known for his work on the dispossession of Jewish property during the war. By his work, Raphaël Denis’ oeuvre constitutes a commemorative on history of art, and the mechanisms of destruction or of annihilation to which cultural objects as expression of human identities can be subjected. In plastic terms, this reflection emerges from his exploration of materials widely used in the construction of societies – lead, wood, concrete – in tandem with various black binding agents. The artworks presented at NAVE N condense the main elements of “La Loi normale des Erreurs”, a serie begun in 2015, which the artist keeps on developing. This research work was exhibited at the Musée National Picasso and at the Museum of Modern Art in Paris, at the Berggruen Museum in Berlin and at the Kunsthaus in Zurich. “La Loi normale des erreurs” centred on artwork plundered from Jewish collectors during the Second World War (black paintings), on destroyed art (“Vernichtet”), on statues or paintings taken by the Nazi administration to French jewish art collectors or influent dealers such as Paul Rosenberg (“Fonds Paul Rosenberg”).
VARIATION is a collaborative project by galerie Sator and NF/ NIEVES FERNANDEZ that aims to broaden artists’ international visibility through solo proposals in Madrid and Paris. After NOLI ME TANGERE by Clara Sánchez Sala (October 2022, Paris), ENDLESS COLLAPSE V by Raphaël Denis is the second edition of VARIATION and will take place in Madrid, in NAVE N, the second space of the gallery NF/NIEVES FERNANDEZ second space, from Tuesday, February 21th until Saturday, February 25th
Calle José del Rio 24, 28019 Madrid
OPENING HOURS
Tuesday 21st February from 4 to 8 pm
Thursday 23rd February on private appointment
Friday 24th February from 10 am to 8 pm with French Champagne Breakfast
Saturday 25th February from 10 am to 6 pm
CALENDAR for ARCOmadrid 2023
During the week of the fair, we also exhibit at the gallery Un fatal descontento de lugar, by Tamara Arroyo, and at Nave N with Galerie Sator the work of Raphäel Denis, in the second edition of VARIATION.
The artists Fritzia Irizar and Tamara Arroyo participate in the exhibitions of Banco de España and Espacio Muelle36, open to the public until Saturday, February 25th.
TAMARA ARROYO: UN FATAL DESCONTENTO DE LUGAR
Un fatal descontento de lugar (A Fatal Discontent of Place) is Tamara Arroyo’s second solo show at NF/NIEVES FERNÁNDEZ. The show presents unpublished but substantial pieces in the artist’s career, ideas that were left on the margins of previous projects and that needed to materialize. Some of them derive directly from other works commissioned for the public space.
The title of the exhibition takes a concept that Jane Jacobs describes in her book “Death and Life of Great Cities”, and in its awkward translation to Spanish becomes very appropriate here: A fatal discontent of a place. Jacobs reflects on the contradictions between monofunctional urban politics and the multiple uses of the city, and argues for a type of urban life that guarantees certain capacities and choices.
Tamara Arroyo’s practice is based on her own experiences as an inhabitant of the city: both in a literal and punctual way (rescuing elements found in her walks and decontextualizing them by introducing them in her works), and in a poetic and subjective way (with allusions to her experiences, her stay in Havana, or the passage of light through the furniture of her street, for example).
Recreating devices used for order and separation, Tamara Arroyo speaks of identity, of the individual, of freedom. Delving into the ornaments, tiling, manual works and grilles that are still present in popular neighborhoods and in the social housing of our cities, the artist fights to recover the diversity that capitalism erases.
This exhibition is a playground, a representation of the city. It is a scenario that demands efforts and adaptations from those who visit it, forcing them to value their own experience in a complex and dynamic environment such as cities. Ultimately, it is a strengthening of personal identity, a manifesto for diversity in times of uncertainty.