MUSAC
30. Francisco Ruiz de Infante_Capture linea fracB2012

Francisco Ruiz de Infante

Francisco Ruiz de Infante (Vitoria-Gasteiz, Spain, 1966) belongs to a generation of artists whose sensibility and concerns are coloured by the encounter and confrontation between technology and other materials. Nearly always ephemeral, his proposals are usually the outcome of on-site experience. The experimental situations Ruiz de Infante proposes and the unbalance they provoke are often a “trap” of sorts created to trigger in spectators a questioning of their own perceptual reality. Ruiz de Infante engages in a reconstruction of some of the ways memory operates when activated from the present:  [ → ]

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Rikkrit Tiravanija

“Untitled, 1999 (caravan)” is a specific installation simulating a caravan and including, on the one hand, a zone for reading, watching videos or listening to music and, on the other hand, a kitchen. It is an architectural space for public use housed within another (the exhibition gallery), in which the artist organises cooking and social interaction get-togethers. Tiravanija provides the basic material (the space) and the stimuli (the event), breaking down the visual barrier and urging the spectator to become a participant in it, while in the process leaving his  [ → ]

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Black Tulip

All cultural tradition needs critiques, parodies, revisions and footnotes and moreover, obviously, a continuous stream of references inherent to a field or environment. Contemporary art is a very fertile field in this aspect; as such commentaries make up the foundations of countless different projects, which among others, include those of the collaborative entity called Black Tulip that was created in Barcelona in 2009 as an umbrella that temporarily hosts one artist or a group of them as anonymous collaborators. This group of artists generally revises the tradition that their works  [ → ]

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Isidoro Valcárcel Medina

For more than forty years, the practice of Isidoro Valcárcel Medina (Murcia, Spain, 1937) has been predicated on conceptual rigour and consistency. His proposals are known from their committed stance, removed from mainstream aspects of the art system. One of his statements provides us a glimpse of his understanding of art: “Art is a personal action which may be used as an example, but will never have an exemplary value.” Thus, for the artist, art only makes sense when it makes us aware of and responsible for a personal reality,  [ → ]

37. Ricardo Valentim_3

Ricardo Valentim

The practice of the Portuguese artist Ricardo Valentim (Loulé, Portugal, 1978) is underpinned by the creation of strategies aimed at redefining forms of cultural constructs and established hegemonic orders. Using conventional models of cultural constructs as a starting point, the artist endeavours to recreate spaces where the content dealt with is presented upside-down or in a counter-hegemonic fashion.
In films like O Outro Lado do Uso and Floating Island, Valentim explores acritically established cultural notions: in the former, the daily activities of individuals when leaving a Starbucks café with their  [ → ]

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Tris Vonna-Michell

Tris Vonna-Michell (Rochford, UK, 1982) performs narratives and constructs installations through the layering of these narratives, photographs and mementos, presented using antiquated technologies and slide projection. He will present a new work titled ‘Capitol Complex’ which revolves around a manuscript, consisting of four acts based on four characters, which serves as an underlining blueprint for the work. The soundtrack is based on a live performance recording, and is accompanied by a slide sequence projected on a Telex machine. The slide sequence is a visual abstraction of all four acts, while  [ → ]