For more information please visit:

www.pente10.com

Arte Lisboa

I have been commissioned by Conjunction’08 to produce a new work from the series Vision for their arts festival “Conjunction 2008 Fantastic, Found and Fake” to be launched in November 2008 in Stoke-on-Trent.

For more info on dates, artists and venues in the festival please visit:
www.conjunction.org.uk

OPENING EVENT:
Friday 7th November 6.00 - 8.00pm
The Potteries Museum & Art Gallery
(Bethesda Street, Cultural Quarter, Stoke-on-Trent, ST1 3DW)

A multidisciplinary project involving 38 artists from Cantabria (Spain)in a touring exhibition all around the region. Organized by Asociación RIA and Asociación Cultural de Artistas Independientes (ACAI) to reflect on the environmental and social reality of the basin of the river Miera and the space where all its currents converge, Santander Bay.I will be presenting two new works:“Distance In Real Time” and “1894.-Second Beach, A Beached Sperm Whale”
For more info on the project visit (spanish):Asociación RIA

This will be a touring exhibition, please keep checking this post for openings info:
- 4th September at 20.00h at Antiguas Escuelas de Estaños en Muriedas, Cantabria (Spain)
- 24th September at 20.30h at Aniguas Escuelas de Pontejos (Barrio Los Rosales) Cantabria (Spain)open until 1st October (open 17.00 to 20.00h)

Some of my works will be available at “On Your Wall Too”, an exhibition &  sale of affordable, original art works at Leeds Met Gallery the weekend of Friday 23 until Sunday 25th of May.

In the evening on Friday 23 May, 5-7pm, we will also be having a reception where you can meet the artists involved and chat while you browse.

Friday 23rd 1-7pm
Saturday 24 & Sunday 25 May, 11am-4pm
Please drop in!

More info: www.leedsmet.ac.uk/arts

I had participated in this year’s OPEN UP SOUTH YORKSHIRE.

26th, 27th APRIL and BANK HOLIDAY WEEKEND 3rd, 4th, 5th MAY

More details on:
Open Up’s Website
Bloc’s Website

My participation supported by

www.elevatorgallery.co.uk
www.myspace.com/elevatorgallery

Hondartza Fraga’s work supported by

RELOCATING ABSENCE
Group exhibition showcasing the work of thirteen internationally emerging artists. Through a variety of media, including sculpture, installation, video, photography and drawing, the exhibition offers a series of artistic interpretations of the theme, often playing with the constants of space and time. Absence, in fact, is essentially temporal – it is located where something was: it lies between the realms of Being (object) and Knowledge (perception, creation of a mental image).

18 April – 4 May 2008
PRIVATE VIEW Thursday, 17 April, 6.30 - 10 pm
Exhibition Talk with the artists, curators and writer on Tuesday, 22 April, 6.30 pm. Free.
Opening hours: Thursday - Sunday 12 am - 5 pm

Elevator Gallery,Mother Studios, Queens Yard, White Post Lane,
Hackney Wick, London E9 5EN

Absence can be intended as a state of being, as a period of time, as a lack, or even desire, or as the inattention to present surroundings or occurrences. All these connotations are encountered in the exhibition, which, in fact, proposes an open-ended investigation of the concepts of belonging, displacement, repetition, visual and literary narrative, emotional and physical distance, as well as archive, memory and diary keeping.
The artists have created presence from absence, erased the pre-existent iconography of presence, drawn the viewers’ gaze to details that would otherwise have remained long unnoticed. These acts of relocating, of replacing, collecting or remembering what was there continue absence into the future: new tangible objects now substitute or relocate a previous absence, soon to leave room to new absences, in the viewer’s mind.

Brada Barassi presents Sei sempre appena andata via (You Have Always Just Gone Away), a video installation exploring the relationship between being, memory and distance through a series of photographs, combined with sound. The images were taken across two countries (UK and Italy) in the space of three years, and the narration is bilingual. The piece questions one’s connection to the idea of belonging through a feeling of displacement, and the interplay of the constants of time and space.

Craig Cooper exhibits a series of roadwork signs, where the informative panels have been removed and substituted with sheets of glass. Devoid of their visual lexicon, they become abstract objects characterized by their own aesthetics, on the boundary between sculptural and painterly. A similar abstraction is shown in Cooper’s maps, where the erasure of text leaves room to a sequence of new grids and thick black lines, denying the initial function of the map as a navigation tool.

Amelia Crouch’s Looking- Capture- Reproduction, a fragmentary narrative in scenes, consists of a series of eight short texts printed on paper and pasted to the wall. Each text is highly evocative of an absent visual image, that the viewer is invited to relocate in his own mind, drawing on his personal visual archive.

Hondartza Fraga exhibits a site specific installation, Incandescent, where the contrast between a series of light bulbs and their skillfully drawn shadows recalls the dichotomy of absence and presence. The perfect miniature scenarios depicted in the shadows become promises that can never be fulfilled, pointing out the isolation and imperfection of the reality they evoke.

Zbigniew Tomasz Kotkiewicz’s The Swimmer is suggestive of an invisible narrative, through the image’s compositional elements as well as the irony of the title. The absence of a figure contrasts starkly with the traces of a human presence, triggering the viewer’s curiosity and visual memory.

Anastasia Loginova’s black and white photographs depict an enchanted girl wrapped in a clear plastic bag, her facial expression frozen. A delicate, almost ethereal narrative frames the suspended gestures of the subject, making them timeless, almost lost.

Michelle Lord exhibits Future Ruins, a series of photographs inspired by J. G. Ballard’s apocalyptic literary fiction, which Lord relocates in Birmingham, using hand made models and rear screen projections. The inhabitants of the city are absent, and familiar, concrete urban structures become occupied by strange assemblages, built from the technological detritus of abandoned television sets, computers and domestic appliances. The images aim to highlight the temporality of landscape, reflecting on lost or ephemeral urban architectures.

Erin Newell’s A Map of the Ocean between my Sister & Me is an unusual record for emotional and physical distance through a personal journey. A collection of water samples from the ocean, this highly intimate archive is presented in a display case - each sample labeled - establishing a connection between a traditional museum display and the exposure of personal memories.

Ellakajsa Nordström exhibits Window View, a multimedia installation documenting one year of performative recordings of the view from her studio’s window, facing the backyard of a row of houses. A collection of detailed diary writings, photographs, video and sound recordings - as well as documentation of performances as a means to explore the view and the artist’s relationship to it - the piece explores the dualism between absence and presence, and questions the realms of narrative, time, space and diary keeping.

Anahita Razmi’s Fall is a participatory installation entailing the viewer to become a sculptural form, crawling into a sleeping bag where a video of a “downfall” in a tube slide is shown. This upside down continuous fall generates in the viewer a strong feeling of displacement, as if he was falling upwards.

Erica Scourti’s Spectrum is a projection of digitally manipulated photographs of world-wide protests and marches, from which the artist has erased all text on banners. Instead of carrying meaning and proclaiming the bearers’ beliefs, the banners turn into colourful, sculptural and painterly objects. Furthermore, being archived according to colour, they become totally abstracted from any political credo.

Mikio Saito and Youngho Lee collaborate as an artists’ duo. Alternating their drawing act, while brainstorming and discussing inspired by the exhibition’s title, they have created a large drawing installation especially for Relocating Absence. They introduce the viewer to a new visionary landscape, populated by a magical cast of characters: a skillfully directed doodling, devoid of narrative, yet suggestive of a million microcosms.

Elisa Tosoni, 2008

Some of my works are being screened at Outcasting, a voluntary online screening venue for practitioners of the moving image. Artists, filmmakers, animators and documentary makers are selected for screenings of their work, to freely offer a worldwide audience for filmmakers and a platform for their work. Selected work will be shown in bimonthly Seasons and will then be archived on the site. Selected work will be curated for public screenings and events and will also be distributed on DVD. Outcasting is created by Michael Cousin

Visit the website to see the works: www.outcasting.org

UNTIL 13th APRIL 2008
Host 8: Observatory is a new commission by Host Artists’ Group for the Art Sheffield 08 Yes/No/Other Options city-wide contemporary art event, is a participatory, networked, system for the visualisation and evaluation of artistic production in the absence of a product. Host has invited me to participate in this project commissioned by Sheffield Contemporary Art Forum

The installation will consists of twenty-one models of artists’ workspaces, containing lights of changing intensities which are ‘charged up’ by reports of activity or latency supplied by the twenty-one participating artists. Each light is set to a level of intensity that corresponds to the artist’s own perception of their work/production rate. If the artist is running at full power, then so will the light; if in a period of latency, then the light will be dimmed. Artists are able to change their ‘setting’ from remote locations.

In addition, the participating artists are able to supply progress reports to the space via email. Artists are able to send messages about what work they have been doing, and how their activity has been progressing. These voicemails will be read out in the space intermittently at low volume by a computerised voice.

The Festival has been curated by Jan Vervoert and Jeanine Griffin.
Host 8: Observatory is on view at the Millennium Galleries, Sheffield, from 16th February 2008, and an iteration of the audio component of the piece is audible in Bloc Projects, Sheffield, from the same date.

My work has been selected to be screened in the “II Digital Photography Prize Santander Council-Foconorte”. All the selected works will be screened before the winner is announced at the end of the week.

Where: Centro Cultural Doctor Madrazo. Calle Casimiro Sainz, s/n. 39004 Santander (Cantabria).
When: 28th, 29th and 30th January 2008.
Times: first screening at 19:00, second at 20:00.

Mi obra ha sido seleccionada para su proyección en el II Premio de Fotografía Digital Ayuntamiento de Santander-Foconorte. Todos los trabajos seleccionados se proyectarán antes de anunciarse el ganador al final de la semana.

Now you can visit the exhibition “Propuestas” at Juan Silió Gallery, in Santander, Spain.

The exhibition presents photographic works by César Cea, Hondartza Fraga, Daniel Gutiérrez and Bárbara de Rueda; as part of Foconorte photography festival. In this exhibition I will be introducing “Tip Toe”, a new photographic work, alongside with images from the series “On Waiting” and a new installation of the work “Incandescent”.

Ahora se puede visitar la exposición “Propuestas” en la Juan Silió Gallery en Santander. Esta exposición presenta trabajos fotográficos de César Cea, Hondartza Fraga, Daniel Gutiérrez y Bárbara Rueda; como parte del festival de fotografía Foconorte. En esta exposición presento la serie “Tip Toe” que se expondrá conjuntamente con piezas de la serie “On Waiting” y una nueva instalación de la pieza “Incandescent”.