BAR TOOL #2
Arash Fayez, Adélaïde Feriot, Céline Mathieu, Fran Glez, Marina Salvo, Gabriella Torres-Ferrer and Milagros Bedoya Valdivia
29.06.2019 – 30.06.2019
Public presentation of the BAR TOOL #2 projects: Arash Fayez, Adélaïde Feriot, Céline Mathieu, Fran Glez, Marina Salvo, Gabriella Torres-Ferrer, Milagros Bedoya Valdivia.
Curated by BAR project
Free entrance. Limited places
Saturday, June 29, 6:00 - 9:00 p.m.
6:00 p.m. - Rooms 2 & 3
19,6”- Punto de Escucha, 2019. Marina Salvo hesitated for 19.6 seconds the first time she called the crisis line. Taking that fact as the starting point and symbol of waiting and of the respectful act of silence, 19,6” - Punto de escucha is proposed as a space to articulate something that is not publicly expressed. In connection with the media invisibility of suicide and the associated taboo, several individuals that have somehow faced this experience are invited to tell their own stories.
6:00 p.m. - Javier García, Barcelona Metropolitan Transport employee. Presentation: Desde la máquina (From the Engine).
7:00 p.m. - Camila, daughter. Presentation: Yo sí hablo (I Do Speak).
6:30 p.m. - Auditori LAB
Milagros Bedoya. A few things I’ve learned, 2019. Performance talk, 30 minutes. The artist’s personal experience as a temporary resident in Barcelona guides a thread of thoughts and events that are meant to put across a rhizomatic set of information. It is a talk on academic and life experiences in different places and with different individuals; the relationships between them are established through contrasts and parallels at intersections experienced by the artist in the course of the process. Touching on subjects such as critical pedagogy, anarchism, intuition, fame and infamy, the talk aims to connect the audience with both the logic of its form and its content.
8:00 p.m. - Patio
Fran Glez. 952,576 cm3, 2019. Wood, polyethylene, sound system, water, screen. Performance, 1 hour. A fictitious stage based upon a swimming pool as a reference to pop music video clips is the connecting thread of musical story that deals with personal relationships, technology and pop culture. The overall work reflects on the millennial context in which the artist has grown up. The presentation will include space for experimental music, poetry and dance.
Sunday, June 30, 6:00 - 9:00 p.m.
6:00 p.m. - Floor 2 & 3
Marina Salvo, 19,6”. Punto de Escucha, 2019. Marina Salvo hesitated for 19.6 seconds the first time she called the crisis line. Taking that fact as the starting point and symbol of waiting and of the respectful act of silence, Punto de escucha is proposed as a space to articulate something that is not publicly expressed. In connection with the media invisibility of suicide and the associated taboo, several individuals that have somehow faced this experience are invited to tell their own stories.
6 p.m. - Marina Salvo, artist. Reading of an excerpt from the book “Hablemos del suicidio” (Speaking about Suicide), by Gabriel González.
7.30 p.m. - Isabel Vallés, psychologist. Presentation: Una mirada al suicidio cara a cara (Face to Face with Suicide)
6:30 p.m. - Patio
Adélaïde Feriot. Melancholia, 2019. Piece for 2 non-speakers. Silk, polyester, squid ink, bleach, wood, paint, 400 x 400 x 2 cm. With Fanny Ansel and Eric Feriot. The history of La Virreina Centre de la Imatge and the architecture of its patio open to the sky connect us to an urge to steal the celestial veil and to the first southern map created during the colonial period. Melancholia is a piece for two performers. Two boxes hide the circular representation of the northern and southern constellations drawn on two skies of silk. Two performers silently don these constellations and in doing so confront their bodies in an attempt to resolve an ancestral conflict.
8:00 p.m. - Auditori LAB
Arash Fayez. 1+1=3, 2019. Live situation in two parts: On Betweenness (2018-19), talk-performance with slide show, and Three, Rather Than Two (or One), 2019, high-definition video, colour/sound, performance. 1+1=3 is a live project that addresses the “intermediate” state resulting from statelessness. This work deals with situations of displacement from one place to another without naming them. Instead, it explores the characteristics of this anonymous, unidentified limbo by reflecting on the empirical observations of a person without a country. 1+1=3 consists of a talk-performance followed by projection of a video. The performance talk On Betweenness is presented using three slide projectors with the text in English. The video Three, Rather Than Two (or One) follows in several languages with a sound component performed live with no beginning or end.
Performance sculptures activated over both days
Fuì, Leh-muhn and Microondas are three autonomous configurations of recently pressed discontinuous movements. They entangle soft physical material with the concept of thought. Mechanical waves require a material medium to transfer their energy from one place to another. Tattooed lemons, soft balloons catapulted against the windows of the hall and another automated “I” places pieces around the space.
Fuì, 2019. Translucent gelatine, launcher, electricity.
Leh-muhn, 2019. Tattoo ink, lemons.
Microondas, 2019. Variable soft material, vacuum cleaner, electricity.
Permanent installation during the programme
Gabriella Torres-Ferrer. Assimilation, 2019. Visual actions, spaces with physical and digital advertising for La Virreina. A current example of the semiotic collage of targeted advertisements aimed at the digital environment. The installation entitled Assimilation (2019) interrupts the physical and digital advertising spaces of La Virreina while playing with the aesthetics and graphics of targeted advertising (in the omnipresent digital neighbourhood) to question the fake empathy of the Internet and the illusion of privacy. A commercial detournement that ironically celebrates the vulgar style of global digital capital.
Milagros Bedoya (Peru) is interested in the circumstances and the phenomena that shape our public life and how it functions. She often turns to architecture and urban development as instruments for the research and analysis of contemporary social relationships and power structures. Her interest in the social role of art and its potential impact have led her to explore those subjects through installation, performance, drawing and participatory and pedagogic practices in Peru and the United Kingdom. Milagros Bedoya holds a degree in Architecture from the Catholic Pontifical University of Peru and a Master’s Degree in Contemporary Art from the Royal College of Art in London. She has been a member of the CIAC-PUCP Centre for Architecture and City Research in Lima and a founder member of HABITAR Construcción Colectiva, an initiative for research and action for the rehabilitation of housing in the historical centre of Lima.
Arash Fayez (originally known as Faeiz) is an interdisciplinary artist who works with live situations, photography and text-based works. Using parafictional strategies, his works explore the psychological effects of displacement and the impact of migration on the brain in relation to identity, memory and language. Fayez has worked and shown in places such as the Metropolitan Museum of Art in New York, Musée du quai Branly in Paris, the British Museum in London, the Queens Museum in New York, and the Wattis Institute in San Francisco.
Adélaïde Feriot (1985, Paris) builds her work starting with the notions of tempos and perception, and their corollaries: impact and behaviour, visual mechanism and proxemics. Since 2010, she has been creating tableaux vivants, real images in the process of creation. They expand time and are underpinned by a protocol that records them and allows their reappearance. Wax, ceramics, mirrors and fabrics are all the media that she uses to fix objects and images, in pursuit of tactile and temporal phenomena. She holds degrees from ENSAAMA Olivier de Serres in Paris and from ENSBA in Lyon. In 2012 she took part in the exhibition Libretto VI by the Irmavep Club group at Artissima Lido in Turin. In 2013 she was invited by FRAC Lorraine to take part in the exhibition Les lignes du geste. IAC (FRAC, Villeurbanne) produced her first one-man show, Eternal Youth, for Angle (Saint-Paul-Trois-Chateaux). She took part in the New Festival at the Centre Pompidou and the Lyon Bienal d’art contemporain (IAC, FRAC, Villeurbanne). In 2016 she took part in the exhibition Oublier l’architecture at CIAP (Vassivière Island). In 2017 she worked with the Samy Abraham Gallery in Paris and showed her work at Tabacalera in Madrid and CAFA in Beijing. In 2018 she took part in the exhibition Sculpter (faire à l’atelier) at FRAC Bretagne and Invitation aux musées at CND Pantin, with Le Magasin (Grenoble).
Fran Glez. Originally from Huelva and residing in Barcelona, Fran Glez began his training as an artist with a Degree in Fine Arts from the University of Granada. This was when he began to take an interest in the new discursive lines of art and multidisciplinary approaches as the key factors of his work, which ranges from installation to illustration to poetry. During his training, he obtained a scholarship to study at Akademia Sztuk Pięknych in Warsaw, where he joined Miroslaw Balka’s Studio of Spatial Activities. Here, he began to gravitate towards performance and action art. Through the workshop he was given the opportunity to show at the Turbo Gallery in the Polish capital and at the Pastificio Cerere Foundation in Rome. In the past year he has carried out projects in Barcelona, where he has taken part in group shows as well as fanzines, and graphic design works, and qualified as a finalist for the Artistic Production Prize awarded by the Fundación Banco Santander, the latter in Madrid. His most recent projects draw on relational aesthetics, situationism, postInternet and the millennial world, always inspired by his favourite author, Fernando Pessoa, although he has never been able to finish reading The Book of Disquiet, because he finds it too intense.
Céline Mathieu (1989, Belgium) is an artist, author and actor based in Anvers, Belgium. Her work examines the minds, beings and artefacts of the 21st century. It most often takes the form of prose, objects, essays and performances. As CMMC, Céline has worked with Myrthe van der Mark on physical and linguistic productions since 2014. Along with Christophe Clarijs, she co-founded Fellow Beings, an independent publication centred on the editorial design of publications. She recently produced a podcast with Rosie Heinrich as a participant in the writing programme of Kunsthuis SYB. Céline works with the support of STRTkit, a development platform for young artists. She has a Master of Arts Degree in Graphic Design and a Master of Research in Art and Design. Through her work, Céline examines semi-scientific and spiritual approaches and she is interested in what we conceive as “knowledge”. Looking at fiction and abstraction as ways of understanding our relationship with “what we think we know”, in BAR TOOL she looks at the world of hypnosis as a medium for sculpture, writing and playing.
Marina Salvo (1989 Asturias-Cádiz) carries out projects that show a pursuit of awareness of factors that might be problematic in our society. Her work is closely connected to the social environment, both political and anthropological. She is interested in how we experience, consider and represent territories, both psychically and physically. She seeks to have her projects grow collectively and participatively, pursuing collaborations in connection with the subject being studied, often outside circles considered to be artistic. In 2015 she obtained a Bachelor’s Degree in Fine Arts from the University of Granada (ES), with scholarships at Yildiz Technical University, Istanbul (TR) in 2013 and at CUAAD, University of Guadalajara, Jalisco (MX) in 2012. In 2015 and 2016 she took part in a number of group shows at La Casa de Cultura San Rafael (MX), Galería Autónoma FAD, UNAM (MX) and Galería LADRÓN (MX). As artist and curator, she took part in Superfine! Art Fair, Art Basel Week in Miami (FL) and at HICC, Hispanic Innovation Center of Chicago (IL). In 2017, she took part in the RSDNART Residencies Programme in Kankabal, Yucatan (MX) and showed works at Casa Invisible, Málaga (ES) and ABM Confecciones, Madrid (ES). In 2018 she took part in J.A.C.A 2018, Madrid (ES) and held her first one-man show at ECCO, Espacio de Arte Contemporáneo de Cádiz (ES).
Gabriella Torres-Ferrer (1987, Puerto Rico). A multimedia artist and researcher, she lives and works in Barcelona and Puerto Rico. She holds a Degree in Architecture from the Technical University of Puerto Rico. Her work has been selected and shown both nationally and internationally, including her participation in Occupy Museum 2017 at the Whitney Museum of American Art (New York) and El Museo del Barrio (New York) and on-line at The Wrong, New Digital Art Biennale. She received a scholarship from Beta-Local (San Juan, Puerto Rico) and since then has taken part in a number of international collectives such as Basurama and Supersudaca. Gabriella’s work challenges spectators to disentangle her complex webs of literary, artistic and historical references, while at the same time inviting them to reconsider their own relationships with the works and overall culture framing them. It consists mainly of subverting hegemonic narratives to raise questions about possible futures, often addressing new realities, such as the digital reality that is often taken from granted and the structures of power and means of production and exchange in this, the Internet Era.