Aimed at collectors, curators, art advisors, critics and representatives from local and international art institutions, BGW’s Professional Programme includes exclusive visits to the galleries, studios, art collections and partner institutions to introduce them to the city's artistic offer, as well as social gatherings to foster synergies and strengthen relationships.

In addition, BGW2024 will also feature a new edition of the Acquisitions Programme, aimed at private collections, foundations, and companies that commit to acquire artworks at the participating galleries. So far, the following entities have already confirmed their participation: Fundació Vila Casas, Fundació Sorigué, Fundació Úniques, MIA Art Collection and The Social Hub.

From September 19-22, we celebrate our 10th anniversary with a new opening the artistic season in 27 contemporary and modern art galleries in Barcelona and its surroundings, which will present the work of more than 30 national and international artists:

3 Punts Galeria - Jan Schüler | ADN Galeria - Eugenio Merino, Julio Anaya | Ana Mas Projects - Michael Lawton | àngels barcelona - Lúa Coderch | Artur Ramon Art - Jordi Ortiz | Bombon Projects - Lara Fluxà | Chiquita Room - Louis Porter | Dilalica - Beatriz Olabarrieta + Mario Santamaría | ethall - Rasmus Nilausen | FUGA - Nieves Mingueza | Galería Alegría - Jorge Diezma, Philipp Röcker | Galeria Marc Domènech - Esther Boix | Galeria Uxval Gochez - Yeonsu Lim | galeria SENDA - Gino Rubert | Galeria Valid Foto BCN - Masao Yamamoto | House of Chappaz - Carles Congost | L21 Barcelona - Fabio Viscogliosi | Mayoral - Group exhibition (Barcelona 1978 – 1992) + Catalina León | Pigment Gallery - Sito Mújica | Prats Nogueras Blanchard - Richard Wentworth | ProjecteSD - Jochen Lempert | RocioSantaCruz - Lionel Sabatté | Sala Parés - Michael Kenna + Toni Catany | SUBURBIA CONTEMPORARY - Gianluca Iadema | Taché Art Gallery - Lluis Lleó | Victor Lope Arte Contemporáneo - Beate Höing | Zielinsky - Claudio Goulart

+        CHECK OUT THE EXHIBITIONS PROGRAMME: https://www.barcelonagalleryweekend.com/programme.php?lang=eng

An extensive agenda of commented visits by artists and curators, performances, talks, family visits and guided tours will complement the general programme in the galleries and partner institutions.

We are pleased to announce the third edition of “A walk by…”, a programme in which seven local curators propose seven strolls, seven ways of approaching the exhibitions at the participating galleries through their particular points of view.

Check the curators’ profile. Their text-guides will be available here soon: https://barcelonagalleryweekend.com/route.php?type=3

+        Xavier Acarín, independent curator, professor at EINA and PhD student at Goldsmiths, University of London

+        David Armengol, independent curator and director of La Capella, Barcelona

+        Cèlia del Diego, independent curator and head of Institutional Relations at MACBA (Barcelona)

+        Carles Guerra, researcher, independent curator, associate professor at the Universitat Pompeu Fabra and member of the Collège Photographie et images animées and CNAP, France

+        Sofia Lemos, independent curator and writer

+        Patricia Sorroche, curator and head of exhibitions at the Museu Tàpies

+        Linda Valdés, curator and founding member of the research platform Equipo re.

ARTIST: Marie Tučková

MARIE TUČKOVÁ:

WET SCORES FOR LISTENING

The exhibition deals with the theme of scores (textual or musical compositions), which the artist develops in her drawings and poems and simultaneously uses as a working method. The exhibition includes a sound installation, whose compositions thematize the notion of listening and polyphony.

HUNT KASTNER will be present at The Armory Show

Javits Center, New York

6-8 September 2024

ARTIST: Anna Hulačová, Eva Koťátková, Jaromír Novotný, Jirka Skála and Jiří Thýn

CFHILL

In the fall of 2024, CFHILL will begin a long-awaited chapter with a move to new premises in central Stockholm. This change is driven by the ambition to reach a broader audience, in an environment where the engaging and challenging contemporary art that CFHILL showcases can take center stage and speak for itself. 

To inaugurate the new premises, the exhibition Gazing Bodies will be presented, featuring 22 participating artists—Karin Mamma Andersson, Shadi Al-Atallah, Arvida Byström, Karon Davis, Marie-Louise Ekman, Leyla Faye, Charlotte Gyllenhammar, Edith Hammar, Hanna Hansdotter, Melanie Kitti, Klara Kristalova, Sarah Lucas, Martina Müntzing, Frida Orupabo, Ylva Snöfrid, Paloma Warga Weisz, Ulla Wiggen, Kennedy Yanko, Cajsa von Zeipel, Ji Zou, Christine Ödlund, and Sixten Sandra Österberg.

On view 6 September - 4 October.

CURATOR: Radek Wohlmuth

ARTIST: Sakuma Sota

One arrives in the wandering forest when one accidentally crosses the wandering root. One then usually moves among the trees in irregular, erratic circles with no beginning and no end. It’s not so much that one can’t get back to the marked path of the everyday, but rather that one does not want to stop aimlessly wandering through the mysterious forest where anything can happen. Japanese painter, carver, and dancer Sakuma Sota paints such places and carves creatures that can inhabit them out of linden wood.

Sometimes he also depicts them in ink and acrylic on traditional Japanese washi paper. If the plants are mostly real, the inhabitants of his magical forest—whether characters or animals—are by contrast a bit phantasmal. Reality and fantasy thus mix in his paintings, which merely proves that the line between the two is not only very thin but also permeable.

Bernadette Nade Nagy: Three units

György Kemény: Hokusai

Two qualities, two people, two artistic approaches. One of the hallmarks of a good pairing is that the components together can achieve a higher degree of complexity than they could on their own. The fabulous pairing of Bernadette Nade Nagy and György Kemény clearly stands up to two out of three tests, but what happens when their creations are placed in the same space? What happens when the silence of John Cage and the violent roar of the ocean waves enter into dialogue?

The new exhibition opening at the KÉPEZŐ Gallery presents a series of works by two artists with a vast oeuvre, each of them well defined. These worlds are rich in themselves, and now they have the opportunity to transcend each other's spaces and redefine themselves to create a range of new interpretations. More information: https://www.kepezo.hu/nagy-es-kemeny-2-0/

Bonniers Konsthall is proud to open the fall of 2024 with Frida Orupabo’s first solo exhibition at a Swedish institution. On Lies, Secrets and Silence takes its starting point in our most private and intimate space—the home. Through newly produced works in the form of collage, video and sculpture, staged as spatial installations, the exhibition focuses on the complex relationships that are contained within the domestic sphere, central to our everyday lives and in the creation of our identity. Familiar environments and relationships that suddenly, through subtle changes, may transform from safe to strange and uncomfortable.

On view 28 August - 10 November.

Galerie Nordenhake inaugurates its new premises in Stockholm with Sunset in a Cup; a solo exhibition by celebrated American artist Spencer Finch. This marks a return to Stockholm for Finch, a city with which he has a longstanding relationship since his first exhibition in Europe in 1995, and Karlaplan specifically, where in 2003 he recreated the light outside Ingmar Bergman’s front door, only a few meters away from the new gallery.

The exhibition of Tamás Lossonczy's paintings from the seventies reveals an extraordinary segment of his career, characterised by a complex painterly approach and a variable style of expression.  His dark space compositions and paintings evoking the illusion of infinity are visual imprints of man wandering in vast cosmic space, of sinister visions enclosed in pictorial space and of boundless floating. His works are projections of his views, patterns that can be transcriptions of our personality, our habits, the world itself. Her surfaces are built up by colourful, abstract forms, wavering rays of colour and mysterious webs of lines, evoked by inner thoughts and experiences..  

A deep thinker and innovator with an unparalleled oeuvre, we pay tribute to him on the 120th anniversary of his birth.

https://www.nemesgaleria.hu/kiallitas/tagulo-erzesvilag/

Sarah van Sonsbeeck believes that home extends beyond the walls of a house. In "Welcome Stranger," she captures sunlight reflecting from the Benno Premsela building's windows, forming a Morse code message: "Keep up the good work!" She shares this encouragement with passers-by on Spinozastraat and Wibautstraat.

Van Sonsbeeck’s work explores personal experiences and interactions with the world, balancing the need to define private space with the impossibility of complete isolation.

Visible daily from 8 am to 8 pm until September 15, 2024.

About Welcome Stranger

Research by the Boekman Foundation for the Niemeijer Fund shows that female artists earn less, are less visible, and are underrepresented in museum acquisitions. The conclusion is clear: more attention and exhibitions are needed for female artists. Join us for the celebratory opening of this all-female group exhibition curated by Young Collectors Circle.

Research by the Boekman Foundation for the Niemeijer Fund shows that female artists earn less, are less visible, and are underrepresented in museum acquisitions. The conclusion is clear: more attention and exhibitions are needed for female artists. Join us for the celebratory opening of this all-female group exhibition curated by Young Collectors Circle.

INDA Project Room

ONLINE CATALOG: https://issuu.com/inda_gallery/docs/inda_summertime_issuu?fr=xKAE9_zU1NQ

The selection includes pieces by Marianne CSÁKY, Lajos CSONTÓ, Márta CZENE, Róza EL-HASSAN, Zsófia FARKAS, Gábor KOÓS, Henrik MARTIN, Eszter METZING, Barbara NAGY, Barnabás NEOGRÁDY-KISS, András RAVASZ, Zsófia SCHWÉGER, Ádám SZABÓ, SZABÓ Works by Eszter, Lilla SZÁSZ, Zsófia SZEMZő, Gábor SZENTELEKI, Gáspár SZőKE, Ágnes URAY-SZÉPFALVI, Éva ZELLEI Boglárka, Ilona LOVAS and Kim CORBISIER.

After its winter catalogue show, INDA Gallery now presents a summer selection in an online catalogue coupled with works displayed in the gallery’s project room. The catalogue as well as the show features works by twenty-two artists working with us or invited specifically for this show.

Opening hours: Tuesday-Friday from 14:00 to 18:00 or by appointment.

Opening in early July, Lilla Szász's exhibition will showcase works that are parts of her emblematic projects but are rarely seen or have not yet been shown in Hungary. Related thematically, the four projects span twenty-five years. Children of Perestroika is from 1998, the first years after the collapse of the Soviet Union, the Desires and the Daughters projects took place in Hungary in 2005, and 700 meters in Cuba in 2023.

In the photos selected for this show, young people are breaking out of the rigid forms of restriction – politiocal oppression or other forms of limitation. Szász explores what feeds the desires of these groups of young people, what their points of orientation are, what brings them to (or away from) their communities. What happens when there is no revolution, but information is already there – information that reaches these groups in the simplest form, in the most accessible way, conveyed in mass culture, sports, the flood of images of consumption. In this visuality, the material world is manifested as an ideal to strive for.

Like always in her projects, now too, Szász always lives with or as close as possible to the groups or individuals she studied. She does not come to these situations with the intention to provide answers or offer possible solutions. Instead, the projects conclude in what they can offer most authentically: she helps formulate relevant questions precisely. Questions that can help those affected as well as those in positions of power to understand the situation – and latter also to experience the situation. What Szász provides is not the solution, but without what she provides there is no solution. (Opening speech: Lívia Páldi, art historian)

Curator: Zsolt Kozma

Supporter: lab4art

Special thanks Alina Sophia Saduakassova, Mikhail Zonov, Jumana Sameer

CURATORS: Katalin Erdődi, Aleksei Borisionok

ARTISTS: Kateryna Aliinyk, Zbyněk Baladrán, Björnsonova, kulturní družstvo cosa.cz (Markéta Mráčková, Barbora Šimonová) s Viktorem Vejvodou, výzkumná skupina DAVRA research group (Madina Joldybek, Zumrad Mirzalieva, Saodat Ismailova), Martina Drozd Smutná, Giorgi Gago Gagoshidze, Asunción Molinos Gordo, Uladzimir Hramovich, Adelita Husni-Bey, Nikita Kadan, Kateřina Konvalinová & Judita Levitnerová, Kateryna Lysovenko, Pınar Öğrenci, Natalie Perkof, Marta Popivoda, Randomroutines (Tamás Kaszás & Krisztián Kristóf), Alicja Rogalska, Elske Rosenfeld, Zorka Ságlová, Antje Schiffers, Olia Sosnovskaya,Petr Štembera, Dominika Trapp, Tomáš Uhnák s Asiou Dér / Tamásem Kaszásem / Asunción, Molinos Gordo

The third edition of the Biennale Matter of Art will take place from 14 June to 29 September 2024, in the Grand Hall of the National Gallery Prague, the Lidice Gallery, and other venues. Curated by Katalin Erdődi and Aleksei Borisionok, the project will also feature a new bilingual publication comprising theoretical texts and artistic contributions.

The exhibition Avant-Garde and Liberation highlights the significance of global modernism for contemporary art. It raises questions of the political circumstances that move contemporary artists to resort to those non-European avant-gardes that formed as a counterpart of the dominant Western modernism from the 1920s to the 1970s. 

What are the potentials artists see in the ties to decolonial avant-gardes in Africa, Asia, and the “Black Atlantic” region, to take a stand against current forms of racism, fundamentalism, or neocolonialism? Which artistic methods are employed when addressing subjects such as the encroachment on personal liberties and social cohesion by drawing on seminal anticolonial and antiracist positions of the early to mid-twentieth century?

Showcasing several works by more than twenty-five artists from South Asia, Africa, Europe, and America, Avant-Garde and Liberation offers a glimpse of global modernism through the prism of their pertinence for contemporary art. In the complex tangle of past and present, the exhibition reflects on questions of temporality as well as the possibility of engaging with old and new liberation movements.

Artists: Mathieu Kleyebe Abonnenc, Omar Ba, Radcliffe Bailey, Yto Barrada, Mohamed Bourouissa, Diedrick Brackens, Serge Attukwei Clottey, william cordova, Atul Dodiya, Robert Gabris, Jojo Gronostay, Leslie Hewitt, Iman Issa, Janine Jembere, patricia kaersenhout, Belinda Kazeem-Kamiński, Zoe Leonard, Vincent Meessen, The Otolith Group, Fahamu Pecou, Cauleen Smith, Maud Sulter, Vivan Sundaram, Moffat Takadiwa

One could speak of an encounter between beauty and horror, or of how the fantastic has married the dreadful in the artworks of Eva Beresin. Moving through the painterly and graphic worlds of this Hungarian artist, who has lived and worked in Vienna since 1976, one comes across hybrid creatures, grotesque figures, and curiously fantastical beings. The artist’s broad thematic palette, rife with bizarre whimsy as well as the tragic and existential, ranges from medieval-style cruelties to everyday banalities and even humorous episodes.

Beresin challenges the idea of the one-dimensional human being in defiance of any totality. She frequently endows her subjects with animalistic behaviors, while the numerous bona fide animals populating Beresin’s paintings exhibit human traits. There unfolds an artistic universe of sly humor and shenanigans that celebrate just clearly it has gone off the rails. Moments of nonsense coalesce in a veritable apotheosis of the marginalized. Her distortion of ordinary perspectives, true perspectival breaks, and reversals of circumstances suggest carnivalesque situations or recall escapades of mannerist exaggeration. Nothing is unworthy of being depicted. To Beresin, there are no wrong gestures, is no wrong painting, and the speed of her working process along with the eloquent force of her artistic expression underline the autonomy of the painterly act.

The special exhibition at the Sigmund Freud Museum focuses on the uncanny – on the emotion that once aroused Freud’s interest and has been elevated to the status of a pictorial object in art from the beginnings. In a variety of media, works by Louise Bourgeois, Heidi Bucher, Gregory Crewdson, Birgit Jürgenssen, Helmut Newton, Hans Op de Beeck, Stephanie Pflaum (at the Showroom Berggasse 19), Markus Schinwald, Esther Shalev-Gerz, Cindy Sherman, Jeff Wall, Kai Walkowiak and Francesca Woodman illustrate the current and reciprocal influence of psychoanalysis and art.

Just as this specific feeling of anxiety – not least in view of the current world situation – penetrates to the surface of human consciousness, it is also reflected in contemporary art. The international positions on display confront the uncanny in metaphorical compositions of deformed or exposed bodies as well as in subtle stagings that often only gradually reveal the horror.

As early as 1919, Freud referred to the ability of the arts to express the uncanny in his text of the same name (“Das Unheimliche”). To him, the descriptions of poetry in particular appear to be even richer than the actual experience. Both the literary examples he cites and the analysis of the meaning of the term “uncanny” lead him to the same conclusion: the uncanny can be traced back to both the familiar (the homely/heimisch in German) and the repressed (the secret/unheimlich). Above all, the “veiled character” of this sensation triggers horror in us. Numerous works of contemporary art confirm Freud’s insights, either focusing directly on the uncanny or evoking the feeling through almost inconspicuous irritations, whose meaning only becomes apparent on closer inspection and sheds light on the uncanny sensation.

“A FLOWER, FOR LOVE

When the eye lands upon a virtuous ceramic work by Francisco Trêpa, we promptly believe it does not belong to this world; yet, we have no doubts that it belongs to another – it contains an ontology of belonging that intrigues us like a kind of magnetic field. Therefore, we cannot stop looking at it, we let it seduce us and then we want to follow it, to know where it comes from. In “Flor-Cadáver,” Trêpa’s first solo exhibition at the Gallery, this magnetic field will lead us to encounter deep affections, inquiries, and autofictions.“

Text written by Ana Cristina Cachola

Image Credit: Photodocumenta

“Bodily and yet also something else, her recent body of work builds upon a collection of biomorphic forms which embody a quasi-prehistoric quality, like art that reaches to the present from a deep past. In one painting, the curving form of a leaf might also be a breast, while in another the jutting forms could be stones or organs, yet across the series a plethora of textures, colours and marks point to landscape and architecture.”

Text written by Chris Hayes