| | | |  | | | Miguel Ángel Tornero.
Sin título [Untitled] (the random series -romananzo-) 2013
Fundación MAPFRE Collections
© Miguel Ángel Tornero, VEGAP 2022 | | | Resonancias - Fundación MAPFRE collections | | | | | | | 26 May – 4 September 2022 | | | | | | | 26 May – 4 September 2022 | | |  | | | | | | | | | | | |
| | | | | | | | | |  | | | Lee Friedlander. Cincinnati, 1963.
Fundación MAPFRE Collections
© Lee Friedlander, courtesy Fraenkel Gallery, San Francisco
and Luhring Augustine, New York | | | Resonancias - Fundación MAPFRE collections | | | | | | | 26 May – 4 September 2022 | | | | Resonances-Fundación MAPFRE Collections is articulated as a sort of experimental manifesto that studies what images tell us about the past and how they resonate in the present. To this effect, a series of works have been selected from Fundación MAPFRE’s collection of photography—which is particularly rich in classic North American authors—with the objective of seeking out their reverberation or resonance in contemporary photographic practices and arranging a discourse that will allow for pedagogical speculation on the transition from photography to post-photography. In other words, illustrating the gap between one type of photography—committed to truth and memory—and the anti-artistic experiences that understand images as shared gestures of activism and social articulation in today’s world. | | | | | |  | | | Jon Rafman. 6 Rua Wanderley Pinho, Salvador, Brasil, 2020.
Fundación MAPFRE Collections
Courtesy of the artist and Sprueth Magers Gallery | | | | | | | One of the definitions of the term “resonance” refers to the subject of art. As defined by the show’s curator, Joan Fontcuberta, it involves: “a game of correspondences that establishes an affinity between different works, fostering a dialogue between their respective authors and production periods.” In line with this definition, Fontcuberta has brought forth the work of artists such as Lee Friedlander, Garry Winogrand, Helen Lewitt, Robert Adams, Diane Arbus and Emmet Gowin—who by now are considered classic photographers—found within Fundación MAPFRE’s collections and has placed it in a dialogue with that of different contemporary artists in an effort to defossilize the former group’s images, extracting them from the past and allowing them to speak of the present. | | | | | |  | | | Helen Levitt. New York, ca. 1940.
Fundación MAPFRE Collections
© Film Documents LLC, courtesy Galerie Thomas Zander, Cologne | | | | | | | Therefore, “Helen Levitt’s street scenes find their “dance partner” in the decisive instants captured by Jon Rafman on Google Street View. The freakism in Diane Arbus’s images will dance with that in La parada de los monstruos, by Juana Gost. Garry Winogrand’s beautiful women will dance with the alleged missing prostitutes that make up Joachim Schimd’s series L.A. Women. The maze- like compositions by Lee Friedlander will dance with the unconnected images in Random Series by Miguel Ángel Tornero. The forlorn mall patrons portrayed by Robert Adams will dance with the specters detected in virtual cartographies by Paolo Cirio. Finally, the intimacy of Emmet Gowin will dance with Kurt Caviezel’s stolen privacy. | | | | |
| | | | | | | | | |  | | | Bleda y Rosa
Mercado [Market]. Door of the Miletus market. Pergamon Museum, Berlin, 2021.
Series Tipologies
Fundación MAPFRE Collections
© Bleda y Rosa, VEGAP, Barcelona, 2022 | | | | | | | 26 May – 4 September 2022 | | | An exhibition of Fundación MAPFRE’s photographic repository is held annually as part of the programming for Espai 2 at KBr. On this occasion Joan Fontcuberta has been invited to be the show’s curator and create an exhibition discourse based on the collection. This new interpretation—which differs from usual understandings—will allow for our repository to live on through time as it dialogues and is confronted with new artists and images, granting the possibility of generating new perspectives.
This exhibition offers a survey of the work of Bleda y Rosa over the course of three decades, bringing together the totality of their work for the first time. | | | | | |  | | | Bleda y Rosa
Palacio de Verano. Pekín, 2005.
Series Rooms
Fundación MAPFRE Collections
© Bleda y Rosa, VEGAP, Barcelona, 2022 | | | | | | | The principal discursive axes of the artists’ work are all present in the exhibition, notably the dialectic between landscape and territory, history and memory, and text and image. Bleda y Rosa have focused on these concerns in research projects undertaken throughout their career and ultimately structured into creations of a serial nature. From the starting point of a focus that understands the exhibition space as a place of experimentation and reflection, on this occasion their work is presented as a site-specific video installation, in other words as a type of display specifically devised for the space in which it is housed. | | | | | |  | | | Bleda y Rosa
Godella 1993. Series Football Pitches (1992–1994)
Inkjet print on cotton paper mounted on Dibond.
Fundación MAPFRE Collections
© Bleda y Rosa, VEGAP, Barcelona, 2022 | | | | | | | With this approach the photographic object disappears and the projections encourage visitors to experience the work through different contemplative rhythms and to discover new associations between the images that make up each series. The presentation offered by an installation of this type allows for an appreciation and in-depth focus on the marked visual and discursive significance of Bleda y Rosa’s artistic practice while opening up new options for an analysis of the different themes present in their work. | | | | | |  | | | Bleda y Rosa
Alcoba next to the Patio del Cuarto Dorado. Alhambra de Granada, 2005.
Series Estancias, 2001-2006
Fundación MAPFRE Collections
© Bleda y Rosa, VEGAP, Madrid, 2021 | | | | | | unsubscribe here
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