Open Program 2020

A program co-organized by

bunka

Selection of video art

FOREST MATTER II

Curators: Eduardo Bonito and Isabel Ferreira
A project by: RCR BUNKA Private Foundation
In collaboration with:
Labea – Laboratorio de Artes Vivas y Ecología
With the support of: Acción Cultural Española (AC/E)

Forest Matter II is a selection of video art that celebrates the aesthetic and political power of trees as beings of the future.

Trees are agents of regeneration that inform and inspire us. With them we learn to inhabit the world in a sustainable way. We live on the planet of trees but we have stopped seeing them, forgotten their names and forgotten that we depend on them to survive. Now, in the midst of the climate crisis, it is more important than ever to regain our connection to them and celebrate them as necessary allies to avoid ecological collapse.

Forest Matter II consists of 10 video creations that will accompany the conferences of the 2020 Open Program of RCR Arquitectes. It is a project of the RCR BUNKA Private Foundation curated by Eduardo Bonito and Isabel Ferreira in collaboration with LABEA – Laboratory of Living Arts and Ecology.

Welcome Welcoming Words · Date Monday, July 13, 2020 · 20:00

Assumpció Puig (Girona, Spain, 1954) is an architect from the School of Architecture of Barcelona. She currently holds the position of Dean of the College of Architects of Catalonia.

She currently sits on the board of trustees of the Mies van der Rohe, Docomomo Ibérico, Rafael Masó, Barcelona Centre de Disseny, Institut Tècnolocic de la Construcció foundations on behalf of COAC, and is a member of the UPC Business Council and the ICAEN Advisory Council.

The Association of Architects of Catalonia, founded in 1931 and heir to the former Association of Architects (1874), is a public law corporation that represents Catalan architects, promotes excellence in architecture and disseminates their values, especially their social and cultural dimension. Today, it has 145 years of history.

Learn more about Association of Architects of Catalonia – Culture

Competing for Sunlight: Oak · Austria (2017), 6 min
Director: Dagmar Dachauer

‘Oak’ is a contemporary take on the ancient human understanding of the Oak tree as a gateway into other realities .Competing for Sunlight is a Short Dance Film Series, featuring protagonists of a range of different tree species and Dance, telling individual short stories.

Dagmar Dachauer is a freelance dancer, performer, choreographer and filmmaker, based in Belgium and Austria. In 2015, she founded the art association Umfug, in which she realizes performances as well as film projects with collaborators coming from various backgrounds such as Music, Sound Design, Cinematography, Visual Arts and Ecology.

Director: Dagmar Dachauer; Choreography and Dance: Dagmar Dachauer, Knut Vikström Precht

Cinematography: Kilian always full; Assistant director: David Mair; Camera assistant: Benjamin Lachower; Edition: Rudi Maerten; Sound: Daniel Pérez Hajdu; Color classification: Kilian always full; Playwright: Christine Fentz; Production manager: Benjamin Lachower

Producer: Dagmar Dachauer; Co-producer: Bert De Somviele, Christine Fentz; Co-production: Secret Hotel, Dommelhof C-TAKT, BOS; Produced by: UMFUG; Supported by: Federal Chancellery of Austria, State of Upper Austria.

Learn more about Dagmar Dachauer

Program Visual Arts and Dance · Conference Forest Matter II · Date Monday, July 13, 2020 · 20:00

Eduardo Bonito (São Paulo, Brazil, 1969) has been trained in Performing Arts and Public Relations by the University of São Paulo (USP), Brazil, and in Performance by Middlesex University, United Kingdom. He is currently one of the artistic directors of the Biennial of Arts of the Body, Image and Movement of Madrid (BACmadrid) and since 2005 director of Dança em Foco – International Festival of Video and Dance (Brazil). He has been the artistic director of the Panorama festival in Rio de Janeiro (2004-2013) and project manager at Artsadmin in London (1996-2001). He is the founder of several networks and a consultant for institutions and foundations in Latin America and Europe. He regularly works as a mentor to resident artists in the Teatros del Canal of Madrid and to resident artists and participants of the PEA Project at the Graner / Mercat de les Flors in Barcelona. Since 2017 he has been the creative producer of the Danish collective hello!earth.

Learn more about Bienal de Artes del Cuerpo, Imagen y Movimiento de Madrid  ·  Dança em Foco · Panorama · Artsadmin · hello!earth

El Bosque Hueco de Lucía Loren · Spain (2004), 9 min
Director: Juanma Valentín, Lucía Loren

“El bosque hueco de Lucía Loren” (The hollow forest of Lucía Loren) is an audiovisual creation project that highlights the cultural and aesthetic values of a living landscape. Lucia Loren performs a series of interventions in nature in which she praises the tree as a fundamental part of a landscape and its memory. These interventions have served as a connecting thread for Juanma Valentín to carry out a video creation in which the voices of those who populate this place form a fabric of thoughts and feelings that tell us about the importance of the environment they inhabit.

Lucía Loren works in the exchange relationships of the human being with their surronding environment. Her connection with the landscape has inspired the specific interventions she has carried out in various natural settings. Juanma Valentín is an audiovisual and theatrical creator and director of the production company Ojos de Nube. His first documentary, The Hollow Forest, leads him to relate closely to contemporary art. Lucía Loren works in the exchange relationships of the human being with the environment. Her connection with the landscape has inspired specific interventions that she has carried out in various natural settings.

Director: Juanma Valentín; Artist: Lucía Loren; Music: Claudio Recabarren; Audiovisual Post-production: Adan Latonda_FONOFOX.

Learn more about Lucía Loren

Program Architecture and Landscape · Conference Be part · Date Tuesday, July 14 , 2020 · 20:00

María Langarita (Zaragoza, Spain, 1979) is a graduate of the Universidad de Navarra (BArch, MArch) and the School of Architecture of Madrid-Madrid Polytechnic University (PhD) and is a lecturer in Architectural Design at the School of Architecture of Madrid (ETSAM).

Together with Víctor Navarro, she founded the Madrid-based practice Langarita-Navarro in 2005, where they design and direct teams that driven by innovation and imagination help join together desire and knowledge, resources and technique, and expectations and experience.

Their work has received diverse international recognitions like the Emerging Architect Special Mention of the European Union Prize for Contemporary Architecture – Mies van der Rohe award for the Red Bull Music Academy, and the ar+d Award for Emerging Architecture (2012). They have also received diverse national prizes, including the award from the Spanish Biennial of Architecture and Urbanism (2013), the COAM Award (2013), the AD Heineken “Nuevos Valores” Award (2013), and the FAD Architecture Award (2012).

Their work has been chosen for various exhibitions, including the Venice Biennale of Architecture (2014 and 2008), the Iberoamerican Biennial of Architecture and Urbanism (2014), and the Spanish Biennial of Architecture and Urbanism (2013 and 2011); and it has also been exhibited at the Architekturzentrum in Vienna (2014) and the Royal Institute of British Architects (2013). Additionally, it forms part of the permanent collection of the Centre Pompidou. In 2011 they were invited to participate in the International Young Architects Program organized by the MoMA PS1 in New York and the Fondazione MAXXI in Rome. Their work has been featured in various publications and as the sole subject of an issue of 2G magazine.

Learn more about Langarita Navarro Arquitectos · Twitter

Ash Dome · United Kingdom (1977-), 9:43 min
Director: Peter Telfer, Artist: David Nash

In February 1977, 22 ash samplings were planted in a circle to be nurtured into a domed space, a space for the 21st Century. Documentation over decades of David Nash’s living sculpture Ash Dome in Ffestiniog Valley, North Wales.

David Nash is known for his work with trees.: “I borrow the tree, work it and then, if I want, after a while I can return it to the earth so that it can absorb it and begin its life cycle again”. Pete Telfer is a filmmaker whose mission has been to connect and document the arts scene in Wales. Founder of Culture Colony/Wladfa Newydd as a space for sharing and developing ideas for the creative community in Wales.

Director: Peter Telfer; Artist: David Nash

Program Architecture and Landscape · Conference Three Projects in Switzerland · Date Wednesday, July 15, 2020 · 20:00

Barozzi Veiga was founded in Barcelona by Fabrizio Barozzi and Alberto Veiga in 2004. The practice has since worked internationally in public and private projects receiving several prestigious distinctions. Barozzi Veiga’s work, which mainly includes cultural and educational buildings, is characterized by the intention to arrive at solutions that are rooted in place, architectures that can be perceived over time and that have an emotional content. Concepts and ideas which can create particular atmospheres, that are architecturally clear and expressive, and able to have a meaning by itself. Its built work includes the Ribera del Duero Headquarter (2011), the Auditorium Infanta Elena in Águilas (2011), the Szczecin Philarmonic Hall (2014), the Ragenhaus Musikschule in Bruneck (2018) and the Bündner Kunstmuseum in Chur (2018). The most recently completed projects are the Musée cantonal des Beaux-Arts Lausanne (2019) and the Tanzhaus Zürich (2019).

Among the important prizes, Barozzi Veiga has been distinguished with the Ajac Young Catalan Architect Award (2007) and the Barbara Cappochin International Architecture Award (2011). In 2012 the Ribera del Duero Headquarter, Barozzi Veiga’s first built work, was awarded with the Gold Medal for Italian Architecture for the Best Debut Work 2012. In 2015 the project for the Szczecin Philharmonic received the prestigious Mies van der Rohe Award for European Architecture and the International FAD Award. In 2018 the Bündner Kunstmuseum in Chur, Switzerland, was awarded with the RIBA Award for International Excellence, which distinguished the best 20 buildings constructed worldwide during the last three years. More recently, Barozzi Veiga has been granted the Chicago Atheneum International Award (2019), the Best Architects 20 Award (2019) and the AD Award Architects of the Year (2019).

During the years, the office has been invited to contribute to several international exhibitions, between which the Chicago Architecture Biennal (2017) and to the Biennale di Venezia (2014 and 2016). In 2016 Barozzi Veiga presented ‘A sentimental monumentality’, an installation and an essay that defined the conceptual framework of its work, later compiled in the monographs Barozzi Veiga edited by Park Books (2014), a+u 535 (2015) and A-Mag (2018).

Fabrizio Barozzi (Rovereto, Italy, 1976) studied architecture at the Istituto Universitario di Architettura di Venezia and completed his academic studies at the Escuela Técnica Superior de Arquitectura de Sevilla and at the Ecole d’Architecture de Paris La Villette.Since the beginning of his career, he maintained a balance between his professional activity and his academic involvement. Between 2007 and 2009, he has been Professor at the International University of Catalonia in Barcelona and, in 2009, he was Professor at the University of Girona. He has been Visiting Professor at the Istituto Universitario di Architettura di Venezia between 2013 and 2015 and, in 2016, he started to teach at MIT Massachusetts Institute of Technology, where he is going to teach again as Visiting Professor.

Alberto Veiga (Santiago de Compostela, Spain, 1973) studied architecture at the Escuela Técnica Superior de Arquitectura de Navarra.Between 2007 and 2010 he has been Professor at the International University of Catalonia in Barcelona and in 2014 was Visiting Professor at the Istituto Universitario di Architettura di Venezia. He has taught and lectured worldwide at schools of architecture in Spain, Italy, Portugal, Switzerland, Netherland, United Kingdom, Chile and United States.

Learn more about Barozzi Veiga

 

The Wind Telephone · USA (2016), 6 min
Director: Jody Stillwater · Coreographer: Nicole Klaymoon

“The Wind Telephone” is a trip to the imaginary world of a girl who has just lost her mother. Playful, emotional and, sometimes, macabre, the work builds an intimate and timeless landscape in which the protagonist tries to find her place. Choreographer Nicole Klaymoon founded the Embodiment Project, an urban dance company that works with narratives silenced by social inequality to inspire critical dialogue and a healthier society. For his part, the director, Jody Stillwater is a writer, director and creative technologist whose projects are based on the logic of dreams and tactile reality, with a transformative approach to visual semiotics.

Director / Editor: Jody Stillwater  /  Choreographer: Nicole Klaymoon  /  Producer: Lindsay Gauthier  /  Director of Photography: Michael Epple  /  Performers: Micah Head, Rama Mahesh Hall, Amber Julian, Jon Lee, Valerie Troutt  /  Executive Producer: Judy Flannery & Suzanne Oberlin  /  Post-Sound: Patrick Shaffer  /  Original Music: Valerie Troutt and Kool Kyle  /  Original Score: Patrick Shaffer and Jody Stillwater  /  Wardrobe: Jarred Garza  /  Production Management: Lauren Finerman & Genevieve Hand  /  First Assistant Director: Alex Irwin & Clare Schweitzer  /  Gaffer: Chris Galdes  /  Grip: Tandy Kyne  /  AC: Lawrence Abad  /  DIT: Ben Estabrook & Dylan Love  /  Sound: Alex Irwin & Clare Schweitzer  /  Photography: Aleksey Bochkovsky  /  PA: Terrence Paschal & Steve Merlo  /  Location Assistant: Anza Jarsche, Rewa Bush & Tom Shean  /  Catering: Dan Tosh  /  Sculptural Art: Peter Müller  /  Acknowledgements to Djerassi Resident Artists Program & Margot H. Knight, The Little Giant Lighting and Grip Co. and Videofax  /  This work has been possible thanks to the collaboration of the Kenneth Rainin Foundation, Zellerbach Family Foundation and the Fleischhacker Foundation.

RCR Selection · Open Program 2019 · Program Audiovisual · Conference Movement in the Cinematographic Image · Fecha Jueves, 16 de Julio de 2020 · 20:00

Ivan Pintor Iranzo (Barcelona, Spain, 1975) holds a PhD in Audiovisual Communication. He is Professor of the Department of Communication of the University Pompeu Fabra (UPF), and has taught at universities in Italy, Argentina and Colombia. He has contributed in more than thirty books, among them Oshima (2013), La Strada di Fellini (Liguori, 2013), Poetics of Gesture in Contemporary Cinema (intermediate, 2013), Todas las cartas (CCCB, 2012), The Cinema of Julio Medem (Publications of the Sorbonne), Universe Lynch (Festival of Sitges) or Naomi Kawase (Filmoteca). He has directed numerous cycles for the Caixaforum, as well as the congress Mutations of Gesture (UPF, 2012). He has directed various audiovisuals for museums and television and writes regularly in the culture supplement of the newspaper La Vanguardia.

 

Drape · Japan (2010), 2:45 min
Director: Toshinori Tanaka

“Drape” uses the notion of spectrality through a body that is constantly disappearing and reappearing thanks to montage. The body is ephemeral, surrounded by a forest of trees that remains solid, while the dance evolves in changing forms of absence/presence.

Toshinori Tanaka is a filmamaker who studied at Cavendish College London and now acts as Lecturer at Fukuyama University and as Vice Director of Nonprofit Organization iD Onomichi. Masumi Saito is a Movement Artist and Director who works in theatre, film, art and fashion.

Director: Toshinori Tanaka; Music: Haruka Nakamura; Performer: Masumi Saito.

Learn more about Toshinori TanakaMasumi Saito

RCR Selection · Open Program 2019 · Program Architecture and Landscape · Conference Gravity and some Grace · Date Friday, July 17, 2020 · 20:00

Smiljan Radic Clarke (Santiago de Chile, Chile, 1965) graduated from the Catholic University of Chile’s School of Architecture in 1989 and undertook further studies at the Istitutto Universitario di Architettura di Venezia, Italy. He opened his own architecture firm in Santiago de Chile in 1995.

He was selected as the best architect under 35 by the College of Architects of Chile in 2001; he was given the Architectural Record’s Design Vanguard award in 2008; named honorary member of the American Institute of Architects, USA, in 2009; in 2013, 2015 and 2018 he obtained the award for best Chilean Building, by Universidad Mayor, Chile; in 2015, the Oris Award, Croatia; in 2018 the Theater Bio-Bio was nominated as one of the best building by Architectural Record’s Design Vanguard and in 2018 he obtained the Arnold W. Brunner Memorial Prize of the American Academy of Arts and Letters, USA.

Smiljan Radic is the president of Fundación de Arquitectura Frágil. The aim of the foundation is to promote the study and dissemination of experimental architecture or that of an improbable reality, where the boundaries of architecture are blurred.

He has given numerous conferences and his work has been exhibited in Mexico, Argentina, Spain, the United States, Norway and Austria. His projects have been published in international architecture magazines such as El Croquis, 2G, International Architecture Magazine, a + u, ARQ, Casabella, Detail, Lotus and Quaderns d ‘Arquitectura i Urbanisme, and has been collected in two monographic catalogues published in Spain by the Superior Technical School of the University of Navarra and in Chile by Ediciones ARQ. In 2007 he was a visiting professor at the University of Texas.

He currently lives and works in Chile, always in close collaboration with the sculptor Marcela Correa.

Water on Asphalt · Germany (2014), 1:25 min
Director: Johanna Reich

The artist is painting with water on the street. Reflections bring the distant sky and trees closer to their “destroyer” – the asphalt. Water on asphalt shows the ambiguity between digital progress and a disappearing nature. It becomes a “memento mori” – a virtual memory that reflects the impending ecological dilemma of our time.

Johanna Reich works in the field of video art, experimenting with different media (video, photography and installation). Her work pays special attention to video performances, in which she plays (literally and metaphorically) with the camera, deceiving her and questioning the resulting image.

Visual artist, filmmaker: Johanna Reich  

Learn more about Johanna Reich

Program Photography · Conference The Silence of Light: The Magic Light· Date Monday, July 20, 2020 · 20:00

Hisao Suzuki (Yamagata, 1957) is a Japanese photographer who lives in Barcelona for more than 30 years. He studied photography at the Tokyo College of Photography (Tokyo Sougo Shashin Gakko) and starts his carreer with the photographer Tohru Minowa, specialized in gastronomy. His relationship with Barcelona and his interest in architecture are intimately linked with the work of Antoni Gaudí. An exhibition of the prestigious photographer Eiko Hosoe on Gaudi in the Yokohama City Hall in 1978 triggers him to explore Catalan Modernism and, subsequently, contemporary architecture through the collaboration with the Japanese architect Arata Isozaki, author of the Palau Sant Jordi for the 1992 Olympic Games in Barcelona, documenting the process of construction of the Sports Palace.

Since 1993 he collaborates with the architectural journal “El Croquis”, becoming their principal photographer and contributing significantly to the recognition of the magazine as one of the most prestigious and international publications on contemporary architecture.

Within the Visual Arts, Photography differs from other disciplines by its relationship to reality, a concrete fact, the existence of a model. The look of Suzuki to architecture derives from the visions created by Eiko Hosoe on Gaudí towards a reflection on space. Space as three-dimensional fact involves an intrinsic complexity since the format of the picture is an image in two dimensions. Hence, the interpretation of a work of architecture by a photographer is decisive. In the antipodes are a look that wants to reflect with great fidelity the architectural space and its environment, and its opposite, the personal interpretation of details that enhance a particular vision. The photographic work of Hisao Suzuki represents the position of the faithful and thoroughly documented testimony of reality. He is Director of the Workshop since the first edition.

He has been director of the International Workshop of Audiovisual and Photography in the RCR Summer Workshop on-site editions from 2013 to 2019 and is currently the director of the I e-Workshop of Photography 2020.

Learn more about Hisao Suzuki

 

Ma mére l’Oye  (extract) · Belgium / France (2001), 5:35 min (Original 27 min.)
Director: Thierry De Mey

Commissioned by ARTE, the television version of Thierry De Mey’s film Ma Mère l’Oye is a beguiling multidisciplinary collage, directed, danced and filmed in woodlands surrounding Brussels.

With: Radek Hewelt, Igor Paskiewicz, Iris Bouche, Tijen Lawton, Cristian Duarte, Shiani Granot, Pascale Gigon, Brice Leroux, Marion Levy, Manuela Rastaldi, Samir Akika, Annabelle Chamgon und Cédirc Charron, Erna Omasdottir, Sidi Larbi Cherkaoui und Damien Jalet, Anne Teresa De Keersmaeker und Jonathan Burrows, Lieve Meeusen, Kate Mc Intosh, Eugénie De Mey, Riina Sastamoinen, Efrat Rubin, Michèle Anne De Mey, Thomas Hauert, Etienne Guilloteau. Marco Paccagnella.

Director: Thierry De Mey;  Music: Maurice Ravel;  Camera: Aliocha Van der Avoot Thierry de Mey;  Editing: Boris Van der Avoot, Isabelle Boyer

RCR Selection· ‘RCR. Dream and Nature’ at the Venice Architecture Biennale 2018  · Program Architecture and Landscape · Conference William Curtis with RCR: Dream and Nature · Date Thursday, July 23, 2020 · 20:00

William J. R. Curtis (Birchington, Kent, United Kingdom, 1948) is an architectural historian, critic, writer, painter and photographer. He graduated in 1970 from the Courtland Institute of Art at the University of London and received his PhD in 1975 from Harvard University. He is one of the most prominent critics and historians of modern and contemporary architecture. He has written a dozen volumes and monographs, his articles are regularly published in newspapers and magazines around the world, he has lectured in Europe, the United States, Asia, Latin America and Australia and his book Modern Architecture since 1900 (Phaidon, 1982; later expanded and revised in 1987 and 1996) is a reference work on the history and criticism of modern and contemporary architecture. He is the author of Le Corbusier: Ideas and Forms (Phaidon, 1986), one of the most exhaustive compendiums on one of the most influential architects of the 20th century, and of works on other masters such as the Indian architect Balkrishna Doshi (Mapin, Rizzoli, 1989) or the Mexican Teodoro González de León (Arquine, Reverte, 2004). These works are complemented by titles dedicated to art, architecture and sculpture such as Abstractions in Space: Tadao Ando, Ellsworth Kelly, Richard Serra (Pulitzer Foundation, 2001). He has been awarded prizes for his publications and in his work as a critic by the Comité international des critiques d’architecture (1985), the Society of Architectural Historians (United States, 1982), the Silver Medal of the World Architectural Biennale (1989) and the Alice David Hitchcock Medal of the Society of Architectural Historians of Great Britain (United Kingdom, 2004). Curtis also regularly exhibits some of his photographic and pictorial work. He currently lives in France.

The paths of Rafael Aranda, Carme Pigem and Ramon Vilalta cross with William J. R. Curtis with the publication of RCR Aranda, Pigem, Vilalta Arquitectes. Between Abstraction and Nature (Gustavo Gili, 2004). Under the seal of RCR BUNKA Fundació Privada he publishes the article “The Structure of Shadows. Bell-lloc” in the monograph dedicated to the Bell-lloc wineries by RCR Arquitectes in Palamós, Girona, Spain (2009). RCR was present at the Venice Architecture Biennale 2018 with the Catalonia Pavilion on the La Vila project with the exhibition “RCR. Dream and Nature” where Curtis was invited to reflect together on creating knowledge and new ways of communicating art and architecture.

Learn more about William Curtis · Learn more about the exhition RCR. Sueño y Naturaleza

Duet · The Netherlands (2013), 2 min
Director: Jacqueline Kooter

Lube love…game or struggle?

Jacqueline Kooter is a visual artist and filmmaker. She was founder of STOV art organization and board-member and curator of art space Outline Amsterdam until 2000. She works and lives in Amsterdam. Her films have been screened at multiple international (dance- and short-) film festivals in Europe, the USA, Hong Kong, Indonesia, Nepal, Pakistan, and Japan.

Direction, choreography and filmmaking: Jacqueline Kooter; Music: Eric Vloeimans and Jeroen van Vliet.

Learn more about Jacqueline Kooter

Program Scenography · Conference Where does the lost time go? · Date Friday, July 24, 2020 · 20:00

In collaboration with the Academia de las Artes Escénicas de España

José Manuel Castanheira (Castelo Branco, Portugal) has a PhD in Architecture and Scenography, and has been teaching at the University of Architecture of the University of Lisbon since 1982. His vast work is characterized by the diversity of disciplines he touches, mainly Scenography and Theatre Architecture, Exhibition Scenography and Painting. He has been awarded national and international prizes and has directed practices and seminars in festivals, universities and other institutions in Spain, Belgium, Croatia, France, Czech Republic, Mexico, Greece, Italy, Cuba, Switzerland and Brazil. He is also an author and consultant on architectural projects for theatres.
He has been working in the theatre since 1973 and, with more than 300 stage designs, has collaborated with directors such as Rogério de Carvalho, Serge Belbel, Jorge Listopad, João Mota, Aderbal Freire-Filho, Artur Ramos, João Lourenço, Graziella Galvanni, Carlos Fernando Pérez de la Fuente, João César Monteiro, Maria Ruiz, Rosário Ruiz Rodgers, Joaquim Benite, Helena Pimenta, José Sanchis Sinisterra, Carlos Avilez, Rodrigo Francisco, José Carlos Plaza, Ricard Salvat, Christiane Jatahy and Ignácio Garcia.
His work reaches an international dimension, especially after his retrospective presented by the Georges Pompidou Centre in Paris, and later, at the Gulbenkian Foundation in Lisbon, the National Theatre Museum, the MEIAC – Ibero-American Museum of Contemporary Art – in Badajoz and many other museums and galleries.
Among his recent scenographies, we highlight Shakespeare’s Richard II, Memorial of the Convent of José Saramago, Elektra in Giraudoux’s version, St. John by Max Aub, Carmen with the National Ballet of Spain, The Crusade of the Street Children by José Sanchis Sinisterra, Strindberg’s The Pelican, Dancing in Lughnasa by Brien Friel, Martyr by Marius von Mayenburg, Reigning after Dying by Luis Vélez de Guevara.
Among his creative processes, his drawing and painting have reached a certain autonomy that has led to a series of individual exhibitions in recent years.
In addition, he created, in 1996 for the Gulbenkian Museum in Lisbon, an exhibition on the fables of La Fontaine, which has achieved fame in the field of exhibition architecture. He was also the author, for three years, of the Portuguese Pavilion at the World Fair of Culture and Language in Paris.
For EXPO’98 in Lisbon he worked on the interiors of the Portuguese Pavilion and was one of the twelve set designers selected to design “The Travel Machines”, which turned out to be one of the most representative events of the entire exhibition. His contribution consisted of a huge walking machine designed for the stage, called “The Flight of the Stork”.
Since 2010 he is a member of the Royal Academy of Fine Arts of Spain and since 2019 a member of the Academy of Performing Arts of Spain.
He is also the author of the books Castanheira-Cenografia, Desenhar Nuvens, Viriato Rey, O Tempo das Cerejas, Frei Luis de Sousa, Faust-Pessoa, Reinar después de morir and co-author of Catorze Histórias Incríveis ou o Fabuloso Imaginário das Lendas da Beira Baixa and Viagem à Italia.
He has held management positions at the Calouste Gulbenkian Foundation, at the Dona Maria II National Theatre in Lisbon. In 1995, he joined the world jury of PQ95, the Prague Quadrennial of Performance Design and Space.

 

Teatime with champagne by William Curtis Abstraction and Light · Date Monday, July 27, 2020 · 17:00

William J.R. Curtis invites us with this small and poetic cycle to discover his particular view that he showed in the exhibition Abstraction and Light in the Chapel of the Palace of Charles V in the Monumental Complex of the Alhambra and Generalife from 28 September to 22 November 2015.

Artist, photographer, historian and architecture critic, the exhibition explores ways of looking at architecture and landscape with a particular emphasis on light, geometry, water, space and shadow through a selection of works, as well as tracing a journey of discovery through a world of images and shapes. In Abstraction and Light, Curtis combines historical lucidity and poetic sensitivity to offer us a new vision of the Alhambra.

Learn more about William Curtis

The bilingual catalogue Abstracción y Luz. Abstraction and Light includes an Introduction by Álvaro Siza Vieira, several seminal texts on abstraction by William J.R. Curtis, a post-script by Juan Domingo Santos and critical reflections on the artist’s work by several authors, including Juhani Pallasmaa.

Waves · Czech Republic (2017), 3 min
Director: Vojtěch Domlátil

“Waves” is a non-narrative pixilation of the Czech landscape. “An observer, who clears his mind and reduces the number of his means only to work with time and space, not only reaches certain pixilation ecstasy, but also if he joins “the wave”, his way absorbs him completely”.

Czech independent filmmaker, animator, illustrator, graphic designer and assistant professor in the studio of animation at University of West Bohemia in Pilsen. In his last films he focuses on poetic aspects of stopmotion animation, oscillating between animation, documentary and experiment.

Director, Designer, Producer: Vojtěch Domlátil

Learn more about Vojtěch Domlátil

Program Sound Art· Conference Conference on nothing architecture · Date Monday, July 27, 2020 · 20:00

cabosanroque is a duo of sound artists that was born from a large musical collective formed in Barcelona in 2001. Halfway between visual and performing arts, and experimental music, their work revolves around the performative capacities of the machine, the object and sound. Since 2015 they have been artists in residence at the Lluís Coromina Foundation in Banyoles.

cabosanroque are Laia Torrents (1976) graduated in Higher Industrial Engineering from the UPC and Higher Studies in Composition, Harmony and Arrangements, and Roger Aixut (1975) graduated in Architecture, UPC.

Learn more about cabosanroque

Teatime with champagne by William Curtis Mirrors of the Imagination · Date Tuesday, July 28, 2020 · 17:00

William J.R. Curtis invites us with this small and poetic cycle to discover his particular view that he showed in the exhibition Abstraction and Light in the Chapel of the Palace of Charles V in the Monumental Complex of the Alhambra and Generalife from 28 September to 22 November 2015.

His sequence, entitled Mirrors of the Imagination, focuses on the atmospheres of the Alhambra, evoking the spirit of the place, its reflective water surfaces, its sublime light, and its mysterious shadows. Like mirrors of the imagination, his works reflect inner seas of the mind. If there are similarities between the paintings and the photographs it is because they come from the same inner world, from the same models of thought. These mental structures influence both the perception and the creation of the forms. His works of various techniques reflect a congruent way of looking at things. Abstraction is what they have in common.

Learn more about William Curtis

The bilingual catalogue Abstracción y Luz. Abstraction and Light includes an Introduction by Álvaro Siza Vieira, several seminal texts on abstraction by William J.R. Curtis, a post-script by Juan Domingo Santos and critical reflections on the artist’s work by several authors, including Juhani Pallasmaa.

Teatime with champagne by William Curtis Memories and Resonances  · Date Wednesday, July 29, 2020 · 17:00

William J.R. Curtis invites us with this small and poetic cycle to discover his particular view that he showed in the exhibition Abstraction and Light in the Chapel of the Palace of Charles V in the Monumental Complex of the Alhambra and Generalife from 28 September to 22 November 2015.

Described as “mental landscapes”, his paintings and abstract drawings suggest many realities (the sea, the clouds, the rocky strata, the horizon, the forest) and yet they cannot be linked to any particular theme; they are always ambiguous. There is a strong emphasis on the material, but the aim is to explore the immaterial. These works suggest the strata, levels, traces, and atmosphere of the landscape, while evoking a certain invisible spirit; they also reach the hidden recesses of memory and imagination.
Curtis’ works in all techniques allude to an order that is beyond appearances, through a lyrical abstraction. Some of them acquire the character of microcosms that condense vast natural phenomena, such as the formation of clouds or the infinity of the ocean. Although they are anchored in direct experience, they also react to the invisible forces of nature and translate them into an abstract calligraphy of intertwined lines and floating figures.

Drawings
Over the years William Curtis has stored up his travel impressions and observations in small, portable notebooks. His sketches record sites visited, and places seen, but they also penetrate to the essential qualities of buildings experienced. By degrees, the drawings of ruins and landscapes take on a life of their own as abstract configurations of lines, a personal calligraphy of spaces and horizons. Thus, the artist’s vocabulary of forms is constantly nourished by observation and transformation.

Curtis’s itineraries have taken him far and wide: Ancient Egypt, the temples of India and south east Asia, the platforms of Mexico, the ruins of Greece and Rome, Machu Picchu, the coasts of the Canary islands, New England and the islands of the Baltic Sea. Beyond individual images, general themes emerge which interact with the artist’s “mental landscape” paintings and drawings. For example, he returns constantly to configurations of horizontal layers recalling both geological strata and architectural platforms. There is a constant oscillation between sketches of particular places and the creation of abstract spaces and forms.

View William Curtis’ drawings

Microcosms
Abstraction may provide a way of condensing complex meanings in an apparently simple form. It permits one to probe hidden realities beyond the superficial features of the visible world. Curtis’ works distill his impressions of “nature” in this larger sense while also evoking memories and mythical themes. They sometimes allude to mysteries of water, geology, light, and landscape. Yet they also suggest hidden presences, even energies and forces beyond natural phenomena. A drawing, painting or sketch may be like a seismograph, a mental map between inner and outer worlds.

The Finnish architect and architecture critic Juhani Pallasmaa writes “Every significant work of art is a complete microcosm, capable of projecting ‘a whole world as reflected in a drop of water’ “.

View the painting collection William Curtis’ Microcosms

Learn more about William Curtis

The bilingual catalogue Abstracción y Luz. Abstraction and Light includes an Introduction by Álvaro Siza Vieira, several seminal texts on abstraction by William J.R. Curtis, a post-script by Juan Domingo Santos and critical reflections on the artist’s work by several authors, including Juhani Pallasmaa.

El paraíso de Nunca Jamás · Spain (2013), 4:16 min
Director: Yago de Mateo

There are magical places and extraordinary beings with a sweeping power that can change the course of life, open our eyes and give us a new clean gaze through which we can fly without fear through the window towards the second star to the right and straight on till dawn …

Yago de Mateo is dedicated to audiovisual artistic creation. With a multidisciplinary profile and trained in illustration, graphic design, editing and video editing, he is dedicated to the investigation of the body in space. From the perspective of dance and video-creation, de Mateo explores the languages and disciplines of performance, street theater, sound and light installation. He also participates in numerous interventions in urban and natural spaces.

Director: Yago de Mateo; Artist: Cristina Omecaña.      

Learn more about Yago de Mateo

Program Dance · Conference When silence comes · Date Wednesday, July 29, 2020 · 20:00

Pep Ramis (Manacor, 1962) studies violoncello, puppets and voice techniques. He is a stage director, dancer-actor, co-director of the company Mal Pelo and co-director of L’animal a l’esquena. From 1987 to 1988 he participated as an interpreter in the show Scirocco by Adriana Borriello, Italy. Within the creation group Mal Pelo he develops his facet as a set designer and installation spaces.

María Muñoz (Valencia, 1963) studies music, dance and practices competitive athletics, with training in Amsterdam and Barcelona. She is a choreographer, dancer and co-director of the company Mal Pelo and co-director of L’animal a l’esquena. In 1982 she has her first professional experience with the Japanese company resident in Holland Shusaku & Dormu Dance Theater in the show Era. The training with Maria Antònia Oliver of the group La Dux in 1985 marks the beginning of her own career in stage creation. Within the group, she develops a facet of researcher and pedagogue of the movement. It also edits and stimulates the creation of texts for the scene.

Pep Ramis and María Muñoz collaborated in 1988 in the creation of the solo Cuarto Trastero and in 1989 formed the creation group Mal Pelo.

Mal Pelo y L’animal a l’esquena Since 1989 Mal Pelo has presented, among others, the pieces Quarere (1989), Sur, Perros del Sur (South, Dogs of the South, 1992), Dol (Grief, 1994), La calle del imaginero (The Street of the Imagineer,1996), Orache (1998), El Alma del Bicho (The Bug’s Soul,1999), L’animal a l’esquena (The Animal on our Back, 2001), Atrás los ojos (Behind the Eyes, 2002), An el silenci (An, Silence, 2003), Bach (2004), Atlas (2005), Testimoni de llops (Testimony of Wolves, 2006), He visto caballos (I’ve Seen Horses, 2008), Todos los nombres (All The Names, 2010), Caín & Caín (Cain & Cain, 2011), La esperanza de vida de una liebre (Life Expectancy of a Hare, 2013), The Fifth Winter (2015), 7 Lunas (7 Moons, 2015) and The Mountain, the Truth and the Paradise (2017). In 2001 Pep Ramis and María Muñoz set up L’animal a l’esquena, a centre for creation and interdisciplinary exchange in a farm house on 19 hectares of land in Celrà, Gerona. This refuge encourages experimentation and the exchange of ideas and experiences between stage directors, musicians, video artists, theorists and dancers, taking part in residencies, workshops and laboratories. Mal Pelo is company in residence at L’animal a l’esquena since 2000. Mal Pelo has received, among others, the Premi Nacional de Dansa in 2002 awarded by the Generalitat de Catalunya and the National Dance Prize in 2009 in the creation category, the Ciutat de Barcelona Award 2017 of Dance and the Barcelona Critic Award 2018.

Learn more about Mal Pelo and L’animal a l’esquena

Teatime with champagne by William Curtis Transformations of Light · Date Thursday, July 30, 2020 · 17:00

William J.R. Curtis invites us with this small and poetic cycle to discover his particular view that he showed in the exhibition Abstraction and Light in the Chapel of the Palace of Charles V in the Monumental Complex of the Alhambra and Generalife from 28 September to 22 November 2015.

Curtis’ photographs are not merely records of his long travels, they are also poetic interpretations of places visited and sites seen and experienced. Like his paintings and drawings, abstract structure plays an essential role in his images. His photographs – whether of the landscape, the sea, the clouds or the horizon, of rocks or buildings – evoke light and shadow and suggest spaces for meditation. Curtis has written: “A photograph depends on the angle chosen, but it is also influenced by our intuitive filters, by our way of seeing; it records certain facts of the outside world, but it also responds to an inner configuration. The photographer is guided almost unconsciously by memories and dreams, by formal structures and by his favourite images. Photography can shape a vision of the world; it invites reflection on ambiguity.

Learn more about William Curtis

The bilingual catalogue Abstracción y Luz. Abstraction and Light includes an Introduction by Álvaro Siza Vieira, several seminal texts on abstraction by William J.R. Curtis, a post-script by Juan Domingo Santos and critical reflections on the artist’s work by several authors, including Juhani Pallasmaa.

Closure Closing Words · Date Thursday, July 30, 2020 · 20:00

Miquel Molins Nubiola (Barcelona, Spain, 1953) holds a PhD in History and Theory of Contemporary Art. He is currently president of the Banco Sabadell Foundation. He has taught at the Eina and Massana schools in Barcelona and was director of the thesis for the Metropolis Master’s Degree at the Polytechnic University of Catalonia. During the 1994-95 academic year he was a visiting professor at the Art History, Theory and Criticism Department of the School of The Art Institute of Chicago. He has directed the Museum of Contemporary Art of Barcelona and was the curator of the Miró Foundation in Barcelona. He has curated several exhibitions in Spain and abroad. He has published several essays on criticism and modern and contemporary art in publications and specialized press. Until the 2016-2017 academic year he was a professor of Theory and Contemporary Art at the Autonomous University of Barcelona.

The Fundación Banco Sabadell (Banco Sabadell Foundation) was constituted as a private foundation in 1994 for the purposes of stimulating intelligence and promoting knowledge and culture.

The Foundation’s objective is to promote activities of dissemination, training and research in the educational, scientific and cultural fields, as well as to encourage and support young talent. Over the course of its history, it has made a significant contribution by giving impetus to activities in these spheres and has also become consolidated as organiser of two prestigious awards: the Banco Sabadell Foundation Prize for Biomedical Research, for Economics Research and Science and Engineering.

The Fundación Banco Sabadell is one of the main collaborators of the RCR Summer Workshop and the Open Program since 2013.

Learn more about the Fundación Banco Sabadell

Cinere · Spain (2016), 3:16 min
Director: Nuria Mosqueira

Cinere places us on a mountain burned by the wave of fires in the summer of 2015 in Galicia. From a poetic vision he shows the earth in ashes and opposes it to a dreamed or imagined gaze that lets us see, there on the horizon, what there was.  A fragment that, as a landscape, we could choose to paint and contemplate. But reality devastates the fields and only a few hands remain trying to recover an imagined forest, playing with small flowers and branches that the fire left as remains.

Nuria Mosqueira’s artistic practice has a multidisciplinary character and is based on the exploration of close contexts. She produces encounters that cause a shock, estrangement from a world in constant fracture. It seeks to reconstruct, to show wounds and to try to heal them, as well as question any hegemonic vision before those realities.

Visual artist, filmmaker: Nuria Mosqueira

Learn more about Nuria Mosqueira

Program Performing Arts· Conference Architectural Camouflage· Date Thursday, July 30, 2020 · 20:00

The interdisciplinary approach of La Fura dels Baus has led to an amalgamation of ritual and atavism with the hypertechnological in the scene: from the first impact furan proposals, through Olympic ceremonies, opera stagings or online productions. Since 1979 the company has also been studying the methodologies for creating the collective and the consolidation of new stage discourses. The capacity for risk and creative contagion has given La Fura wide international recognition, both at the level of the public and critics, and also with regard to academic research.

Pep Gatell (Barcelona, Spain, 1958) participated in the creation and interpretation of the company’s first-time shows that consolidated it internationally, creating the development of the furan language: the collective creation method based on the friction and the only tyranny of the best idea is the one worth. Gatell has worked in a plurality of genres, creating and directing theatre, cinema or large scale shows, always working with different creators, professionals, technicians and scientists. He is the president of the Epica Foundation: via the foundation La Fura wants to project both its creative solvency and its methods success through a center that reunites learning and experiencing when it comes to creative projects.

Miki Espuma (Sant Andreu, Spain, 1959)  is the most musical artistic director of La Fura dels Baus. Singer-songwriter and rock musician within the so-called Ona Laietana, in 1980 the company entered as musician and artistic creator of his stage productions. He has directed a wide range of big shows around the world.  Together with David Cid, he has also directed stage shows such as Temptacions or Freebach 212.

Jürgen Müller (Weiterdingen, Germany, 1955) arrived in Barcelona to study mime and contemporary dance. He participated in the creation and interpretation of the first shows of the company that consolidated it internationally, creating the furan language. Müller has directed large scale shows and digital theatre, workshops and other furan proposals.

Àlex Ollé (Barcelona, Spain, 1960) has worked in a plurality of genres, creating and directing theatre, opera, cinema or large-format proposals with its own brand. After worked in the creation of the first shows that reaffirmed La Fura dels Baus as a cult company of critics and audiences, he co-directed the opening ceremony of the 1992 Olympic Games in Barcelona. In the opera he has directed a wide range of works throughout his wide and acclaimed career.

Carlus Padrissa (Balsareny, Spain, 1959) forged some the cornerstone shows at the beginnings of the company. He was the driving force behind the group’s participation in the opening ceremony of the 1992 Barcelona Olympic Games. Padrissa is worldwide recognized for his acclaimed wide range of operas staging. He is also the driver of one of La Fura’s most ambitious projects: the ship Naumon, a barge 60 meters long and weighing 1,100 tons, converted into a modern floating performance center that has logged more than 40,000 miles from the Atlantic Ocean via the Mediterranean all the way to the China Seas.

Pera Tantiñá (Moià, Spain, 1960) left Moià in 1979, with Carlus Padrissa and Marcel·lí Antúnez, with a cart and a mule to travel Catalonia. He participated in the creation and interpretation of the company’s first-time shows that consolidated it internationally, creating the  furan language. Tantiñá has recently recreated the visceral MANES, the last show of the company conceived entirely without external references to the group. He has also directed a long list of large scale shows to many countries all over the world.

Throughout 40 years La Fura dels Baus has developed a method that goes beyond individualities and is articulated around collective work and amalgamation of talent. Now, via Èpica, La Fura wants to project both its creative solvency and its method’s success through a center that reunites learning and experiencing when it comes to creative projects.

Èpica starts out from a central idea: learning is the result of sharing knowledge and experiences. That is why it will build itself on the collective work of different creators, professionals, technicians and scientists who will carry out projects which will later be validated by society through their exhibition.

Learn more about La Fura dels Baus and Fundación Èpica