@angelsbarcelona

📸 1-2 . Installation shots " Comparison Via a Third" (2007). Two-channel , 24 min. "Comparison via a third" makes a reflection on the concept of . Harun Farocki shows working procedures in traditional, newly industrialized, and highly . It is the suggestive atmosphere of what is presented that causes an impact on us. 📸 3-4 @danillaortiz, Video stills. "Réplica" (2014). Video, colour, sound. 4 min. In "Réplica", the artist kneels before the Spaniards gathered at Plaza Cataluña to celebrate the Fiesta Nacional de España (the National Day of Spain) on the 12th of October 2014. She reproduces the position of an indigenous person kneeled before Bernardo Boyl, as depicted in the monument dedicated to Christopher Columbus in Barcelona with the objective of making the Spaniards reflect on their history of and the symbolism found in the that surround us. ☝🏾Both works are part of "Images Liées" the exhibition at @chateaudeservieres as part of Les Parallèles du Sud >Trait(s) d’union @manifestabiennial . This project has been created in partnership with , Collection Josée and Marc Gensollen and @loopbarcelona. 👉🏿This 📹program is curated by and ́eGensollen and opens on the 9th of October.

👉🏾 What kind of threat to critical thinking becomes apparent when applying censorship to works of art? The "Red Lines. Censorship in 's collection" @tatxobenet , curated by @celiadeldiego and opens this Saturday 26 Sep @lapaneralleida with the collaboration of @museudelleida & @censored_collection As part of this you'll find the following works (amongst many others) : 📸 1-3 > @daniel.g.andujar, "Picasso Comunista", (2012). Installation views. This installation is made of 125 documents of secret reports declassified by the FBI which demonstrate that, with a view to confirming his Communist affiliation, Picasso was followed and his activities monitored while he lived in France. 📸 4-5 > @oliver.ressler , "This is what democracy looks like!” (2002). Film stills. Video, color, sound 38 min. This film on Austria's first counter-globalization demonstration got censored by the public television channel ORF in 2002. After the film has already been programmed by the TV program "Kunststücke", the program director took it off the program schedule a few days prior to the broadcast date. The censorship can be seen in the context of Austria's first coalition between the conservative party ÖVP and the far right-wing FPÖ. 📸 6-7 > , "Deletrix" (2006-2013). Details of "". This series is based on photographic documentation of . In the images obtained by the artist, the original writing is superimposed with the gesture of the censor, whose virulence sometimes refers to the plasticity of artists like Pollock or Tàpies. ☝🏾Did you know that is the subject of several dialogues in The Republic, the major work of Greek philosopher Plato ?

@mabelpalacin with @mrkmeyez @barcelona_gallery_weekend 📸 What are the visitors of the exhibition seeing through the peepholes? 👀 Are they watching or being watched? "Paisaje Interior con Marina" [Interior Landscape with Seascape] is a multilayered project that aims to question our relationship with , and the different spaces images occupy. This project has counted with the collaboration of: @maiakoenig, @jake.aikman , @totrona, @sitamugwump, @cintiaballbe, @westernproductions, @alexvilches @ahumadafabiana @nahuelbilloni @marccaellas @pmanubian @nataliakazah and @francescoozzola

🎥 @mabelpalacin with @mrkmeyez 👉🏾 points at the key points of her new project "Paisaje Interior con Marina" [Interior Landscape with Seascape] developed in collaboration with the Milanese arquitect on the occasion of @barcelona_gallery_weekend This is a project that founds itself in the crossroad between the sensorial encounters produced by the combination of the cinematic experience and the space it might occupy. 👀 has been created with the special collaboration of @maiakoenig @jake.aikman

@danillaortiz 📸 “Del caballo caerán y en la salvaje naturaleza finalmente descansaremos” ["From the horse they will fall and in the wilderness we will finally rest"] is the artists proposal for the third and fourth commissions . 👉🏿 As the artist states: 🗣“ Since 1940 , a grey metal equestrian statue of Theodore Roosevelt stands at the entrance of the American Museum of Natural History in New York. An African black man and an indigenous man appear at a lower level, half naked and holding the horse. They have no names; their identity has been erased and they’ve been forced to become placeholders created for built by . This of the hierarchical order welcomes the visitors of a museum that, through ethnographical and natural science narratives, reproduces and reinforces, the perspectives with respect to populations and territories from the . At the base of the monument, hand-painted tiles would portray different scenes of anti-colonial struggles and resistance against white supremacy as a way to expel the white man's colonial power from the territories and thus finally be able to rest from its violence. “From the horse they will fall and in the wilderness we will finally rest” proposes a critical response to this monumental representation of the colonial hierarchical order encapsulated by Roosevelt´s . The white man is no longer present; the black man and the indigenous man are represented in a calm environment wearing t-shirts showing slogans that protest against structural racism; the horse is finally resting leisurely “. - Daniela Ortiz - ☝🏾Your feedback is integral to the proposal process: Comments received by the end of September 2020 will be shared with the curatorial team in advance of the decision for the shortlist. 🗳 Leave your comments here: https://www.thehighline.org/art/projects/daniela-ortiz/ @highlinenyc

@mabelpalacin with @mrkmeyez ☝🏾 In just one week!! You'll be able to see Mabel Palacin's new project created in collaboration with Mirko Mejetta "Paisaje Interior con Marina" [Interior Lanscape with Seascape] as part of @barcelona_gallery_weekend opening on 17 September. 👉This is a project that belongs to a series about the space in which we find ourselves with images or the that they are able to generate. A multi-sensorial work that reflects on the and the , the concept of the (this being, either the fragmented body of cinema and its own shared body, or the body that affects the body of others). As well as other ideas around the notion of freedom and its association with and synchrony. 👀 has been created with the special collaboration of @maiakoenig @jake.aikman 🎥 Mabel Palacín ‘s "Lladres" [Thieves] awarded with the 2019 Videocreation Prize, promoted by @loopbarcelona , the Department of Culture will be screened at @artssantamonica from November !

̀ @irene.sola.saez ⚠️ONLY ON VIEW UNTIL TOMORROW 📸 Details of the installation "Witches come in at night an ride Yuh too" (2020). Installation composed 10 texts + 80 images. Digital prints on paper. Variable dimensions. 👉 This work is part of Irene Solà's "There is a story about a woman who", a project that connects several narratives and icons, which have in common the image of a woman a man, whom she has often bridled (or even turned into a horse or donkey). These stories and images appear in very different places and contexts; as accusations, in modern-day witchcraft trials, in European of the Middle Ages, in the context of the black community of the American South, or the story of and , a cautionary tale of Asian origin, which rapidly spreads in many regions in the West, producing an endless , exhorting against women and their seductive ploys. ☝🏾 This exhibition is part of this year's edition of @artnouprimeravisio, the platform for activating the emerging art scene in . ̀ @artbarcelona_galleries

@ridimeid 📸 "Punto perfecto" (2019). Video-installation currently on show at the "Volver dentro del cuerpo", curated by @laechaves at @injuvespain @creacioninjuve . 📷 © 💅🏾 This appropriates some of the most-commonly found furniture in in order to highlight the emotional work linked to -care services provided in them. By making visible the economic conditions of a precarised working-class, this work highlights certain mechanisms of privilege and oppression emerging from this manicured sort of pampering. 🗣 “My methodology is close to anthropological research, because I always start from estrangement to finally arrive at a final plastic solution”. - Maria Alcaide -. As part of this exhibition you'll also find works by: @monicaplanes @esthergaton @anadaganzo @iratinoriza @nataliaescuderolopez @tics_ferreira , @claudia.rebeca.lorenzo . On view through 25 Sept!! 🙌🏾 LAST DAYS to see Maria Alcaide's : "MARÍA ALCAIDE - Recent video works" (link in bio). Through 10 Sept! ☝🏾This work was 1st presented at the artist's "Guǎnlǐ de shǒu. The managed hand" @angelsbarcelona in 2019 @artnouprimeravisio @artbarcelona_galleries

@monicaplanes 📸"Skeletal Archetypes" (2019). . Variable dimensions. These sculptural pieces are currently part of the "Volver dentro del cuerpo" curated by @laechaves @injuvespain @creacioninjuve . 👉🏽These works are part of the artist’s research project regarding children’s . They are the starting point for thinking about the relationship between body and object because their very purpose is to educate the body and mind during growth and to enhance the usual movements of the body in society. The series is based on those playgounds where the traditional structures -slide, swing and balance- organized and conducted the body's movement, while determining a type of thought conditioned by a specific . ☝🏾Did you know that these playgrounds have their origin at the end of the 19th century and were first standardised in the United States under the mandate of Robert Moses as mayor of New York? As part of this exhibition you'll also find works by: @esthergaton @anadaganzo @iratinoriza @nataliaescuderolopez @tics_ferreira , @ridimeid , @claudia.rebeca.lorenzo On view through 25 September.

@martharosler ➵ Back in 2017, àngels barcelona presented “1981 (the year the future began)”, an exhibition of photographs taken by Martha Rosler in 1981 at a key moment in the neo-avantgarde politicization of her work. Taking a micro-historiographical approach, the show presented three distinct photographic series from that year — each reflecting a different facet of the Latin American liberation struggles that were counterpoint to the region’s early encounter with neoliberalism. 👉🏿 Her was created days after she spoke at the panel on “photography as struggle” at the second ́a in , after which she joined in the May Day demonstration in the center of the city. 🙌🏿 Rosler’s solidarity with the Latin American democratic struggles of the 1970s is essential for understanding the politicization of her work. The became the opposite side of the coin of 1980s neoliberalism. Similarly, the critical “reinvention” of documentary and the reaction against the first symptoms of the regressive political wave were part of the same ideological and aesthetic agenda. In hindsight, 1981 represented the end of the potentiality, openness, and experimentation of the 1970s (a product of post1968 progressive public policies worldwide), and the effective beginning of the Thatcher-Reagan era, which determined the entire political and cultural landscape of subsequent decades. 📣 "My images don't argue for a political position however they stand next to the struggles and highlight them " - Martha Rosler- (2017) 📸 1-2 Exhibition views. "1981(the year the future began)", 28.09.17 > 24.11.17, curated by 3-6. Image details. "Mexico May 1st series" (1981). @barcelona_gallery_weekend 2017 @artbarcelona_galleries

@cgacsantiago 📸 "Permutaciones", 1980s. Frames and door handles 130 x 100 x 13 cm. This work, made of frames and door handles, presents the viewer with all the variants in which the "extensions" of the handle can be placed. It's a mathematical law expressed in a visual way, the number of variants would be 9 factorial (9*8*7*6*5*4*3*2*1). 👉🏽 The origin of the work reveals a very curious anecdote. Esther recalls that when she saw a documentary about the French novelist , he commented on an anecdote about his first boyfriend, the Algerian tightrope walker Abdallah Bentaga, who fell off the wire and died. All his subsequent boyfriends resembled the first one who stood out because of his beauty. The interviewer asks Genet why he always looked for a boyfriend who resembled the first one and whom no one will ever equal in beauty, to which replied: sometimes the is better than the original. This anecdote helps Esther to start thinking about works to be copied and so arise.The work only exists as a protocol since the buyer of the work must "reconstruct" or "copy" Esther's original with the same number of and in the same position. Once the work has been constructed a photo is sent to Esther and if the artist accepts it then she will proceed to draw up the certificate of authenticity. 👉🏾 This work is part of the permanent collection of the and is currently on show as part of the "Wonder Women. Women artists in the CGAC collection" on view through September 6!! 📖 "The fact that your solitude is in full light, and the darkness made up of the thousands of eyes which are appraising you, which dread and desire your fall, matters little; you will dance on and in a desert solitude, with eyes bound if you can, eyelids sealed shut. But nothing – least of all the applause or the cries – will prevent you dancing for your own image" - Jean Genet, ‘Le funambule’ (1958) -.

📸 "Las espadas (the swords)", (2017). . 11 on mobile devices, multichannel broadcast, free bluetooth download. Variable dimensions. In collaboration with: , ́nicaValenciano, ́nchez, @ninodeelche ́asGriñolo, ́n, , , , and ⚔️ “ The are popular dances from the Basque country and, from other parts of the world, where they are also called . My guests only had to take a and record themselves with it whilst , with a gesture, with a bullfighting sword movement. Israel Galván was the first to point out the swordish nature of the selfie stick, that fencing nightmare that haunts tourists, friends reunions and family gatherings, aimed at the modern devices for capturing vision. With the selfie stick new relationships and connections emerge. The dancers don’t know each other and are already part of this community of swordsmen. Nor do I want to dwell on the deep relationships between choreography and military life, nor on how violence is always a sort of choreutics. In short, violence often creates a community, it’s important not to forget that, but our interest here is in that which is common; that which is entertained already in aesthetic games, in recognizing each other with the gestures of the others”. - Pedro G. Romero - (2017) 👉 This work was part of Pedro G. Romero's "Máquinas de trovar" .23.05.17 > 28.07.17