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Lais Myrrha

CALCULATION OF DIFFERENCES . 2017

Lais Myrrha . CALCULATION OF DIFFERENCES . 2017 (1)

+ Galeria Athena Contemporânea

Lais Myrrha’s work presents clear concepts to reveal inadequate forms. Their vocabulary is hybrid and porous. With cement or clay, columns and towers, acts of construction and destruction, gold and cocaine, media and politics, the artist combines precision and ambiguity. Continue reading Lais Myrrha

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Mark Flood

5000 Likes . 2015 – 16

Mark Flood . 5000 Likes . 2015 - 16  (1)

+ Art Basel

Flood believes that when artwork is overly glorified it is hard to experience it as “art” per se, which is why he has referred to himself as one of the “least important artists of the 20th century,” a sentiment reflected in the misspelling of “Gratest” in this exhibition’s title. While Flood is one of the most successful artists working today, his art has not been the subject of significant scholarship until now. CAMH seeks to examine Flood’s work through a serious curatorial and philosophical lens, not as mere hometown hero-worship. Continue reading Mark Flood

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Domènec

The Stadium, the Pavilion and the Palace . 2018

Domènec .  The Stadium, the Pavilion and the Palace . 2018 (1)

photos: © Anna Mas . + Fundació Mies van der Rohe

His intervention gives us an image that is opposed to the one most people nowadays have on the Montjuïc mountain in the context of the International Exposition of 1929: the social reality little explained of the same place in the following period. Continue reading Domènec

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Pia Fries

Parlaver . 1999

Parlaver . 1999

+ MAM

For some years Fries has been taking an interest in the work of Dutch draughtsman, painter and engraver Hendrick Goltzius (1558–1617), one of the leading engravers of the early Northern Mannerism period. Continue reading Pia Fries

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Allora & Calzadilla

Stop, Repair, Prepare: Variations on “Ode To Joy” for a Prepared Piano . 2008

Allora & Calzadilla . Stop, Repair, Prepare Variations on “Ode To Joy” for a Prepared Piano . 2008 (1)

+ Fundació Antoni Tàpies

An early twentieth-century Bechstein piano has a hole carved in the center, creating a void through which a pianist stands to play the fourth movement of Beethoven’s Ninth Symphony. Commonly known as the Ode to Joy, this famous final chorus has long been invoked as a musical representation of human fraternity and universal brotherhood in contexts as ideologically disparate as the Chinese Cultural Revolution, Ian Smith’s White Supremacist Rhodesia, and the Third Reich, among many others. Today it is the official anthem of the European Union. Continue reading Allora & Calzadilla