{"id":54466,"date":"2022-11-18T11:27:00","date_gmt":"2022-11-18T10:27:00","guid":{"rendered":"https:\/\/www.centrobotin.org\/?p=54466"},"modified":"2022-11-25T16:01:53","modified_gmt":"2022-11-25T15:01:53","slug":"the-botin-center-presents-itineraries-xxvii-a-unique-opportunity-to-connect-with-the-most-recent-contemporary-art","status":"publish","type":"post","link":"https:\/\/www.centrobotin.org\/en\/the-botin-center-presents-itineraries-xxvii-a-unique-opportunity-to-connect-with-the-most-recent-contemporary-art\/","title":{"rendered":"BOT\u00cdN CENTER PRESENTS ITINERARIES XXVII, A UNIQUE OPPORTUNITY TO CONNECT WITH THE MOST RECENT CONTEMPORARY ART"},"content":{"rendered":"\n<ul class=\"wp-block-list\"><li><strong><em>Itinerarios XXVII is a unique opportunity to take the pulse of the most recent contemporary art practices through the works of Armando Andrade Tudela, Assaf Gruber, Luc\u00eda Bay\u00f3n, alfonso borrag\u00e1n, Seila Fern\u00e1ndez Arconada, Gonzalo Elvira, Joan Morey and Ana Santos.<\/em><\/strong><\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li><strong><em>The show on the first floor of Centro Bot\u00edn will be open from November 19, 2022 until April 16, 2023.<\/em><\/strong><\/li><\/ul>\n\n\n\n<p>From November 19, Centro Bot\u00edn welcomes the public to a new iteration of <em>Itinerarios<\/em>, the annual exhibition that showcases the work of&nbsp;the eight artists selected in the last call for Fundaci\u00f3n\u2019s Bot\u00edn Art Grants. These grants are characterized by their openness and flexibility, as the conditions for participation do not stipulate age, nationality or specific topics, thus generating a broad and extremely necessary space of exchange, experimentation and reflection.<\/p>\n\n\n\n<p>Since 1993, Fundaci\u00f3n Bot\u00edn has awarded the Art Grants to support Spanish and international artists in the research and production of new projects, serving as a catalyst for contemporary art, and as such <strong>is a unique platform for making known the latest developments in contemporary creation in a prestigious institutional context.<\/strong><\/p>\n\n\n\n<p>On 19 July 2019, a special jury made up of the artists Mar\u00eda Bleda and Carlos Bunga and the curators Orlando Britto and Mar\u00eda In\u00e9s Rodr\u00edguez announced the beneficiaries of the twenty-seventh edition of Fundaci\u00f3n Bot\u00edn\u2019s Art Grants, out of a total of 428 applicants from 42 different countries. The eight selected artists are <strong>Armando Andrade Tudela (Lima, Per\u00fa, 1975), Assaf Gruber (Jerusalem, Israel, 1980), Luc\u00eda Bay\u00f3n (Madrid, 1994), alfonso borrag\u00e1n (Santander, 1983), Seila Fern\u00e1ndez Arconada (Santander, 1986), Gonzalo Elvira (Neuqu\u00e9n, Patagonia, Argentina, 1971), Joan Morey (Balearic Islands, 1972) <\/strong>and<strong> Ana Santos (Espinho, Portugal, 1982).<\/strong><\/p>\n\n\n\n<p><em><u>Itinerarios XXVII <\/u><\/em>is the culmination of this grant, reflecting a broad range of interests and artistic practices. Each project displayed should be viewed as a work in itself, as a unique invitation to engage with the<\/p>\n\n\n\n<p>languages, spaces and networks that each artist has been weaving over the past two years. However, they are united by the context in which we are all living: their processes are permeable to the ongoing economic, ecological and social crises, yet are also defined by the creation of new alliances and places of encounter to collectively imagine other possible formats.<\/p>\n\n\n\n<p>As it is common in these awards, several of the proposals included travelling to conduct research in other settings, get involved with different communities, experiment with new materials or study abroad. Inevitably, their projects were directly affected by the health crisis that began just months after they were selected and by its global consequences, forcing them to reconsider their processes, materials and work spaces. In the words of Mar\u00eda In\u00e9s Rodr\u00edguez, the author of the essay that introduces the catalogue, \u2018Far from solely bearing witness or vociferously uttering a collective complaint, these <em>Itinerarios <\/em>bear an invitation to resistance, a manifestation of the importance of building a coherent language in line with the challenges of our time in an articulated, intersectional and yet flexible way\u2019.<\/p>\n\n\n\n<p><strong><em>Itinerarios XXVII<\/em><\/strong><strong> will remain open to the public until April 16, 2023 on the first floor of Bot\u00edn Center, a time during which the visitor will be able to connect with the most recent contemporary art practices.<\/strong><\/p>\n\n\n\n<p><strong><em><u>Itinerarios XXVII<\/u><\/em><\/strong><strong><u> \u2013 Artists<\/u><\/strong><\/p>\n\n\n\n<p><strong>ALFONSO BORRAG\u00c1N<\/strong>&nbsp;<strong><em>(Santander, Espa<\/em><\/strong><strong><em>\u00f1<\/em><\/strong><strong><em>a, 1983)<\/em><\/strong><\/p>\n\n\n\n<p>Over the past eight years, borrag\u00e1n (sic) has developed the project Litofagos (Lithophages) on stone ingestion in different cultures. The project developed within the grant program focuses on salt ingestion, cultivation and rituals. This mineral is the most common and active of the geophagies (the practice of eating soil) and the stone ingested the most by human beings.<\/p>\n\n\n\n<p>The film Halito (29:28 min) is the outcome of the collective process undertaken by the artist and the communities of Chijllapata, Tahua and Jaruma in the Bolivian Highlands\u2014 the highest-altitude dry sea in the world\u2014with whom borrag\u00e1n lived. Dingua is a collaborative piece with Alfonso Borrag\u00e1n and Javier Noriega. It consists on salt stones from Uyuni (Bolivia) that has been hollowed out by the licks of Cantabrian cattle, as they need this mineral supplement in higher altitude landscapes. This stone activates the reaction of the silver nitrate from Potos\u00ed, which is catalyzed via ultraviolet light and moisture.<\/p>\n\n\n\n<p>\u201cThrough different collaborations, this project seeks to reconstruct the boundaries between subjects and things, between biological and non-biological matter. Salt is the breath of our life on Earth.\u201d (alfonso borrag\u00e1n)<\/p>\n\n\n\n<p>The film starts at 10:15 a.m. and is played recurrently at quarter past and quarter to. Last session starts at 7:15 p.m.<\/p>\n\n\n\n<p><strong>ARMANDO ANDRADE TUDELA<\/strong><strong><em>&nbsp;<\/em><\/strong><strong><em>(Lima, Peru, 1975)<\/em><\/strong><\/p>\n\n\n\n<p>Armando Andrade Tudela\u2019s investigation focuses on the complex correlations between pedagogy, vanguard, dogma and militancy in Peru\u2019s recent history. The film developed as part of the grant, La verdad ha cambiado (The truth has changed, a loop lasting 15:37 min) continues to explore these correlations by concentrating on the Fine Arts Faculty at the Pontificia Universidad Cat\u00f3lica del Per\u00fa, where the artist was an art student in the 1990s. The installation includes three textiles from the Honda Murria series (2022) in which the artist uses images of locks, hinges and necks to continue exploring the body\u2019s place when facing structures.<\/p>\n\n\n\n<p>\u201cFor those of us who were students in that Faculty, this period weakened any political-social consciousness. The film is created from a series of photomontages where I interspersed photographs from the Fine Arts Faculty\u2019s archive with images showing different forms of submission and psychological abuse. Based on this visual script, four actors perform roles of domination and subjugation, rupture and establishment, by mutual agreement.\u201d (Armando Andrade Tudela)<\/p>\n\n\n\n<p><strong>JOAN MOREY<\/strong><strong>&nbsp;<\/strong><strong><em>(Majorca, Spain, 1972)<\/em><\/strong><\/p>\n\n\n\n<p>LA INFLUYENTE, an expanded performance for screens and bodies (2019 \u2013 in process), is a research and artistic project whose point of departure are the first-class relics of Saint Teresa of \u00c1vila. The vitrines act like an antechamber, containing working documents, photographs, vestiges of the performance and elements related to the artist\u2019s investigation, which reveal the backstory of the project. The video polyptych (a loop lasting 14:31 min) presents the performance inspired by the relics of the body, the life experiences and the interpretation of the texts of Teresa of \u00c1vila, featuring Candela Capit\u00e1n as T\u20acR\u20ac$A.<\/p>\n\n\n\n<p>\u201cThe objective of the project is to analyze the influence that a body can have\u2014either the body of a saint or a contemporary body\u2014by means of pre-modern and technological mediation devices, as well as their ability to assemble communities of faith or communities of users. Aren\u2019t the screens of our smartphones the reliquaries of the twentyfirst century?\u201d (Joan Morey)<\/p>\n\n\n\n<p><strong>GONZALO ELVIRA<\/strong>&nbsp;<strong><em>(Neuqu<\/em><\/strong><strong><em>\u00e9<\/em><\/strong><strong><em>n, Argentina, 1971)<\/em><\/strong><\/p>\n\n\n\n<p>Elvira usually undertakes long-term social historical research projects. \u201cLos primeros fr\u00edos (The First Cold)\u201d is a project around the sculpture by Miquel Blay i F\u00e0bregas (Olot), whose original is housed in the MNAC (National Art Museum of Catalonia), while its copy, by the same sculptor, is located in the Carlos Thays Botanical Garden in Buenos Aires.<\/p>\n\n\n\n<p>This sculpture witnessed to the demonstration held on 1 May 1909 in the former Plaza Lorea, where dozens of workers were murdered by police repression, which unleashed Semana Roja (\u201cRed Week\u201d) in Buenos Aires. During that demonstration, the sculptural group was hit by six bullets, four on the man\u2019s back and two on the girl\u2019s back.<\/p>\n\n\n\n<p>\u201cThe drawings exhibited were made using two techniques: dots and lines in ink, which enabled me to draw something that resembled the web or grain of the photographic documents in an effort to rewrite or engrave these images on paper and thus unfold this drawn essay book. The vitrines contain a series of historical documents, a bibliography and drawings, creating a constellation in relation to the sculptural group Los primeros fr\u00edos.\u201d (Gonzalo Elvira)<\/p>\n\n\n\n<p><strong>ASSAF GRUBER<\/strong>&nbsp;<strong><em>(Jerusalem, Israel, 1980)<\/em><\/strong><\/p>\n\n\n\n<p>Assaf Gruber\u2019s work is a result of his ongoing investigation on how politics intersect with art and its institutions. It reveals the human stories and shifting ideological values at the \u201cbackend\u201d of cultural institutions. The main \u2018protagonist\u2019 of Gruber\u00b4s research for the grant is the Avant-Garde art collection of Egidio Marzona, which comprises nearly 1.5 million items, including some of the most canonic artworks of the 20th century by artists such as Man Ray, Marcel Duchamp and El Lissitzky. The collection was donated to the Staatliche Kunstsammlungen Dresden (SKD) museum complex. This institution houses the first museum open to the public at large in Europe in the eighteenth century: The Green Vault.<\/p>\n\n\n\n<p>Bringing together Baroque and Avant-Garde traditions, the sculpture Pr\u00e4sens combines rare red corals, a now endangered species which features prominently in the Green Vault\u2019s collection, with painted wood shaped into the form of the Soviet sickle, a symbol used in many early 20th-century avant-garde artworks. The series Movement takes photographs from the aforementioned collection, now named AdA(Avant Garde Archive), depicting West German protests held in solidarity with East German values, and combines them with corals.<\/p>\n\n\n\n<p>\u201cThis project enables me to connect and shift the center of attention between the two types of authorless works which the SKD brings together today: the sculptures by unnamed artisans and the images taken by anonymous photographers\u201d. (Assaf Gruber)<\/p>\n\n\n\n<p><strong>SEILA FERN\u00c1NDEZ ARCONADA<\/strong>&nbsp;<strong><em>(San Felices de Buelna, Spain, 1986)<\/em><\/strong><\/p>\n\n\n\n<p>The collaborative project Estudio Flotante, cuando el r\u00edo suena a Amazonas (Floating Studio, When the River Sounds Like the Amazon, 2019\u20132022) is inspired by the relationship between human beings and water in the most important freshwater reserve on the planet: the Amazon River.<\/p>\n\n\n\n<p>This gallery presents two sound works along with the project\u2019s documentation collected in three books. Gota a gota el agua se agota (Drop by Drop Water is Drained, 17:28 min) was recorded on the artist\u2019s journey to Peru\u2019s Amazonia and includes fragments from the investigation and collective sound experiments. Due to the interruption of this journey by the outbreak of the pandemic in 2020, the project continued in the Guadalquivir River. The second sound piece Amazonas, entre realidad y ficci\u00f3n (Amazon, between Reality and Fiction, 11:25 min) is based on La Gioconda, an opera that opened at the Teatro Amazonas in Manaus in 1897. The lyrics were rewritten by the artist to bring them into the present.<\/p>\n\n\n\n<p>\u201cThis river experiences constant tensions because of capitalist and colonial extraction, which endanger its potential to generate life. Estudio Flotante follows a \u2018collective artistic expedition\u2019 as a method of situated creation along the river course, using shared experience to address different relationships between bodies of water, be them human or riverine\u201d. (Seila Fern\u00e1ndez Arconada)<\/p>\n\n\n\n<p><strong>LUC\u00cdA BAY\u00d3N<\/strong>&nbsp;<strong><em>(Madrid, Spain, 1994)<\/em><\/strong><\/p>\n\n\n\n<p>Bay\u00f3n\u2019s process revolves around the quest for new materials for her sculptural works through the exploration and revival of everyday practices of conservation and preservation. The work she undertook during the grant is based on manual production, progressively incorporating certain industrial processes, while she explores gradual transformation processes in which materials are \u201cmacerated\u201d. The artist experiments with the vegetal pulp from cotton garments, which she decants and then solidifies, incorporating other materials and iterations in the space.<\/p>\n\n\n\n<p>\u201cThese sculptural constellations are the outcome of a process of insistence and replica of formal gestures to open up the possibilities of a pattern. This pattern (of clothing, of behaviour) has been reshaped bearing in mind the transitions between the flat and the volumetric, or the reciprocal inclination occurring between two bodies about to meet each other.\u201d (Luc\u00eda Bay\u00f3n)<\/p>\n\n\n\n<p><strong>ANA SANTOS<\/strong>&nbsp;<strong><em>(Espinho, Portugal, 1982)<\/em><\/strong><\/p>\n\n\n\n<p>Ana Santos\u2019s work is the outcome of a free, personal interpretation of the production of objects and how they are related to space. While developing the project for the grant, Santos experimented with new materials and techniques, stressing the predominance of color and the surface treatment of the sculptures.<\/p>\n\n\n\n<p>In these sculptures, the artist juxtaposes tubular stainless steel and high-density PVC pieces with lightweight materials and objects, allowing noncongenital colors of certain objects to permeate the reflective surfaces, like fiberglass, metal and polyester thread. The pieces are extremely architecturally precise and notably vertical, like columns drawn in space which invite us to walk around them.<\/p>\n\n\n\n<p>\u201cHis eyes are made of semiprecious stones; copper filaments draw the eyelashes. The figure shimmers.\u201d (Ana Santos)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Itinerarios XXVII is a unique opportunity to take the pulse of the most recent contemporary art practices through the works of Armando Andrade Tudela, Assaf Gruber, Luc\u00eda Bay\u00f3n, alfonso borrag\u00e1n, Seila Fern\u00e1ndez Arconada, Gonzalo Elvira, Joan Morey and Ana Santos. The show on the first floor of Centro Bot\u00edn will be open from November 19, [&hellip;]<\/p>\n","protected":false},"author":869,"featured_media":53941,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14],"tags":[],"class_list":["post-54466","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>BOT\u00cdN CENTER PRESENTS ITINERARIES XXVII, A UNIQUE OPPORTUNITY TO CONNECT WITH THE MOST RECENT CONTEMPORARY ART - Centro Botin<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.centrobotin.org\/en\/the-botin-center-presents-itineraries-xxvii-a-unique-opportunity-to-connect-with-the-most-recent-contemporary-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BOT\u00cdN CENTER PRESENTS ITINERARIES XXVII, A UNIQUE OPPORTUNITY TO CONNECT WITH THE MOST RECENT CONTEMPORARY ART - Centro Botin\" \/>\n<meta property=\"og:description\" content=\"Itinerarios XXVII is a unique opportunity to take the pulse of the most recent contemporary art practices through the works of Armando Andrade Tudela, Assaf Gruber, Luc\u00eda Bay\u00f3n, alfonso borrag\u00e1n, Seila Fern\u00e1ndez Arconada, Gonzalo Elvira, Joan Morey and Ana Santos. 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