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Arthur Lanyon, Philip Gurrey – Ceremony

5 September - 23 September

| Free

TAT ART BARCELONA is pleased to announce a new collaboration with No20, a center of contemporary art in London. The common interest in supporting emerging artists and the desire to present and defend their work on the international stage lead us to establish a collaboration that will be formalized in two moments of the season: the No20 will present a collective exhibition of ‘Some of their artists Represented at the beginning of the season in the space of TAT ART, while it will correspond with a collective exhibition in the space of No20 in London during the month of December. This collaboration makes it possible to articulate the relationship between the two cities, while at the same time helping to promote the artists in question beyond their immediate contexts.
No20 is pleased to present “Ceremony” at TAT ART BARCELONA, an exhibition curated by Jim Threapleton which includes works by Mike Ballard, Teresita Dennis, Philip Gurrey, Arthur Lanyon, Claude Temin-Vergez, Jim Threapleton and Sarah Shaw.
The poetic forms, which support their brilliance in the destruction of the real, are at the mercy of nothing, they must rub it, extract from it the most ambiguous and desirable aspect: they already have the strangeness and the enigma of the unknown, the eyes of the Blind “Georges Bataille
Ceremony: An event of great ritual significance carried out on special occasions. A physical manifestation, a material gesture that testifies to an experience to the limits, a possibility of encounter with the immaterial, an expression of the desire to ascend from the profane to the sacred.
For the French philosopher, however, dissident of the surrealist hegemonic current, the ritual articulated an anti-hierarchical impulse, a passage from the sacred to the profane. During the period of the war (the “age of anxiety” which promoted a readjustment of the inner experience towards the secular) Bataille’s provocative use of language was a risk and an opportunity to undermine cultural structures and to articulate a particular silence, Intentionally bearing the possibility of non-knowledge.
Under the thematic atmosphere and the spirit of Bataille, the exhibition presents the viewer with the opportunity to discover a series of artists directly fascinated by how the painting moves or slides both in its plastic immediacy and in its subjective potential. Each of these creators It negates to eliminate certain pictorial materiality in the navigation between representation and abstraction. Although these expressionist methods have been punished, this exposition aims to reconsider the materiality of gesture as the place where narrative and form give rise to subjectivity.
Painting, in this sense, is very ceremonial. The practice in the study of the artist is imbued with this concept with the transubstantiation of the pigment, the cloth, the frame, the oil. The image depends on a material act of faith in an exercise similar to a dice game. In spite of the disparity of visual languages, for these painters the ceremony is a common language of opportunity, improvisation and emanation.
Mike Ballard uses brands that border public and private boundaries to rethink the codes and visual hierarchies of contemporary urban society. Teresita Dennis enters in direct physical contact with the surfaces on which she works, thus developing processes and strategies of creation from her body in movement. Philipe Gurrey explores with his work the tension between the gesture and the surface through a vernacular language based on political slogans, historical antecedents and slogans of the 21st century. Explaining the sediments of the material process, Arthur Lanyon uses compositional tension to trigger inaccurate memories and associations. Claude Temin-Vergez creates forms that cross identifications: from the sexual condition, through baroque ornament, to nature. Both the surface and the image are metaphorical and have been built on a linearity that traces force. Jim Threapleton explores the figurative possibilities of abstraction through historical examples of vanitas and the kinetic and undetermined potential of the brand. Improvisation as an integral element in the creative process allows Sarah Shaw to enter fragments of various forms to investigate memory as an abject state.



5 September
24 September
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