FOREWORD

In our globalised world, the projection of each culture constitutes one of the indispensable strategies for the strengthening of diversity. We must be capable of turning this strategy into an opportunity for solidifying Catalan culture and making it more attractive, which requires a wider distribution of its own initiatives and products in the internal market as well as an effective outward exchange. The participation of eleven Catalan art galleries in the sixth edition of KIAF – one of the most important art fairs in Asia – constitutes a new opportunity. This catalogue compiles information of interest about these galleries. Amongst the artists in the catalogue that are introduced in Seoul are several internationally prestigious names, from Catalonia and other countries, such as Sean Scully, Joan Hernández Pijuan, Antoni Miralda, Evru, Martín Chirino, Christo, Antoni Muntadas, Vanessa Pey, Ignasi Aballí and Ester Partegàs, among others. This important initial contact with the vitality of the artistic market in Korea – and with the emerging role of the countries in eastern Asia – is the continuation of our own cultural projection. Catalan culture, with its inherent creativity and modernity, is striving to consol- idate its own presence abroad. This is being done at a time in which two ways forward into the future are found in intercultural dialogue and in exchanges of all kinds.

JOAN MANUEL TRESSERRAS I GAJU Minister of Culture and the Media of the Autonomous Government of Catalonia CATALAN ART AND ITS CONTEXT NOTES ON A DYNAMIC EQUILIBRIUM

“Just what is it that makes today’s homes so different, so appealing?”, Richard Hamilton asked himself in a collage in the year 1956, which has become an icon of pop art. “What is it that makes the artistic panorama of a city or a country interesting, exciting and consolidated?”, we could ask ourselves, paraphrasing Hamilton, to begin speaking about the artistic context in Catalonia. The answer is simple: a solid base that provides the education sector, artistic edu- cation, production, the scope of exhibitions, the market, which encourages discussion and debate, confrontation and exchange with other contexts. All of these things, in an urban and cultural context, serve as a stimulus for creation. However, the ideal is one thing and reality another. Although on many occasions, complications or disadvantages produce richer and more interesting situations (which are also better connected with reality) than what they may seem at first sight. It is well known; obstacles usually produce the desire to overcome… The artistic context in Catalonia has been evolving as a result of overcoming some adverse conditions. Catalonia has always had a geographical and intellectual proximity to Europe, and was a place of transit, and a centre of experimentation and the avant-garde during the first years of the twentieth century: with the sojourns of Marcel Duchamp in Cadaqués or Francis Picabia in , or the appearance of galleries with key pro- grammes, such as the Cadaqués Gallery in the 70s or the Sala Dalmau, which included Marcel Duchamps’s Nu baixant l’escala in the first exhibition of cubist art in 1912. Barcelona has also seen the birth of publications, such as the magazine 391 promoted by Picabia in the 20s, and a reissue of 291, Alfred Stieglitz’s publication in New York. Never- theless, a range of historic events (such as the Civil War between 1936 and 1939, and the post-war period) has brought changes and setbacks, as well as certain contradictions. When talking about the artistic context we have to start with the most important ele- ment, the artists. Catalonia is a country with an important number of visual artists, many of whom are members of various associations with a strong voice in the cultural dynam- ic. Within the scope of artistic education, beyond the university – where the relationship of artistic practices at any given moment depend entirely on the personal interest of the professors - in Catalonia we find an important number of parallel activities, conferences, seminars, workshops organised by museums, art or production centres, from the Museu d’Art Contemporani de Barcelona (MACBA) to production centres such as Hangar and Can Xalant, to name but a few. Moreover, if we are talking about artists, we should speak about production, a crucial aspect in the development of creation, which has become one of the main concerns of many art institutions. To be precise, institutionalisation seems to be the key word when we talk about art and culture. To understand this phenomenon, it is necessary to go back a lit- tle and remember some of the strategies developed in the eighties that contributed to the stabilisation of democracy. This was a time full of energy and excitement, in which began a rapid process of modernisation, driven by the central government. This was the beginning of ARCO, the contemporary art festival held in , which very soon began to make a big impact in the media because it offered a modern and progressive image of the country. Although the Spanish market was not yet consolidated enough, the corporate collections began to concentrate their acquisitions within the context of the festival. From these references, it is easy to understand how this tendency towards institution- alisation resulted in a large quantity of public museums and centres of contemporary art that have been launched throughout the country over the last 10 years. If we focus only on the city of Barcelona, we find the Fundació Joan Miró, the Fundació Tàpies, the Cen- tre d’Art Santa Mònica and the Palau de la Virreina, as well as the contemporary art pro- grammes of Fundació La Caixa or the Fundació Caixa de Catalunya. Other institutions that must be highlighted are the above-mentioned Hangar or Can Xalant, focussed on produc- tion, as well as the project rooms of the Espai 13 of the Fundació Miró, the Sala Montca- da or La Capella. The MACBA has assumed a central role in this field, becoming one of the most influential museums in the context of Europe. This panorama is not static and, in this sense, we can say that every time a new initia- tive appears, the whole structure has to be redefined and adapted to the new circum- stances. We can do no better than to give an historic example. During the years of the Franco dictatorship (1939-1975), Catalonia saw herself submerged in an oppressive cul- tural exclusion. Despite this, some initiatives worked in the interstices of this network. This was the case with the foreign culture institutes (the Goethe Institute, Institut Francès or the Institut d’Estudis Nord-Americans), which served as a bridge to cultural projects taking place in the rest of the world. There is another example related to the market. In a context in which private collec- tions do not play a prominent role, art galleries have combined their commercial tasks with the development of genuine cultural programmes, such as the generation of debate and the exchange of ideas, as well as introducing artists of the first order, while always keeping in mind a necessary pedagogical slant. Thus, in the 70s (coinciding with the last years of an already very weak Francoism), Barcelona was experiencing a time of accelerated development, and, as a result of pri- vate initiative, promoted a series of events directed towards the re-taking and consolida- tion of an advanced cultural project open to the world. At that time there was a certain proliferation of contemporary art galleries (such as Maeght, Trece, Dau al Set, Ciento, Eude or Joan Prats), and conceptual aesthetics arose, which in re-establishing the nature of the artistic act, created a new type of space for exhibitions. Since then, the panorama of the city’s expositions has begun to welcome a wide range of exhibitions by world- renowned Catalan artists, such as Antoni Tàpies or the Dau al Set group, as well as oth- er well-known international artists such as Kandinsky, Richard Hamilton and Christo. The 1980s, much more related to a re-interpretation of disciplines and the history of art as well with a return to more individualist attitudes, developed parallel to an internation- al economic boom, which gave rise to an unprecedented explosion in the art market. The dizziness and euphoria of the 80s created a much more stable situation, less spectacular, but without doubt much more solid. Thus, during the 90s galleries such as Antoni Estrany, Àngels de la Mota and Senda were established, to name but a few. National and interna- tional artists, both the young and the established, participated in their programmes from Tàpies to Hans-Peter Feldman, through to Jaume Plensa, Thomas Ruff and Antoni Muntadas. Some of these galleries participated in the main international festivals. At this point, it is perhaps interesting to talk about youth art and for that we have to go back and refer to the fragile structural dynamic. Institutions which only four years ago offered programmes in Barcelona aimed at young artists, have given way to other initia- tives, more on the periphery, which are presently playing this role: Processos Oberts of Terrassa, Can Xalant in Mataró, Hangar, Can Felipa or the Centre Cívic Sant Andreu in Barcelona… In the same way, new and young galleries appear with force, such as Nogueras-Blanchard, Projecte SD and ADN, along with other more established galleries, which incorporate a special attention to the creativity of youth in their programmes, such as Estrany-de la Mota, Toni Tàpies and Joan Prats. New festivals have also been estab- lished, such as Loop, which specialises in video and is promoted by three galleries (Sen- da, Galeria dels Àngels and Llucià Homs) and the newest one, Swab, which begins its journey in 2007. Very often artists, organisers, institutions and art galleries in Catalonia complain about the quantity of talented professionals “that are not appreciated internationally”. Howev- er, it is necessary to take into account some unique situations, such as the emphasis on and the facilities for the production of works of art that allow artists to develop their own projects, the obtaining of reasonable working conditions, with a generalisation of rates for artists, as well as the possibility of carrying out projects in an international context. On top of that, at this time, a good portion of Spanish organisers are developing their work beyond our borders, such as Rosa Martínez, organiser of several biennial events; Marta Gili, director of Jeu de Paume in Paris; Vicent Todolí, director of Tate Modern in London and Chus Martínez, director of the Frankfurter Kunstverein. In the same way, other professionals move around several countries, such as Martí Peran and Martí Manen, amongst others. The same has happened with artists such as Muntadas, Ibon Aranberri, Ignasi Aballí, Dora García, Sergio Prego, Tere Recarens and others who have an important international presence. Without a doubt, it is precisely this possibil- ity of movement and exchange, the confrontation with other contexts and the perme- ability of ideas and proposals that will enrich the undeniable artistic creativity in Cat- alonia all the more. Manuel Borja-Vilell, director of the MACBA, claims that this cosmopolitan patina has, on the other hand, always characterised Catalan art, and he recently reflected: “We would like the MACBA to become the MOMA of the 21st century. We would also like Barcelona to become the Düsseldorf of the seventies. But for the time being, as a self-crit- icism for all of us: there are artists here, there are institutions, but opinion is missing; ideas must be generated and circulated”. We cannot agree more.

MONTSE BADIA Montse Badia is an art critic and curator. Today she is curator of the Centre d’Art Santa Mònica (Barcelona), co-director of the digital publication a-desk (www.a-desk.org) and artistic director of the Cal Cego collection of contemporary art.

CATALAN GALLERIES AT SPAIN, GUEST COUNTRY OF HONOR NAIA DEL CASTILLO (, 1975) ged his most recent solo exhibition at the Paul Kasmin Gallery GALERIA Del Castillo creates series of objects and clothes, which she then (2007). His work has been shown in solo exhibitions at Caixa de reproduces photographically. The images she produces portray a Girona (2005), Galeria Miguel Marcos, Zaragoza (2002) and Gale- DELS ÀNGELS silent, feminine and symbolic world that encourages introspec- ria dels Àngels, Barcelona (2005, 2003, 1998, 1996). In 2002, he tion and makes us question everything that is most familiar to us. received the Guggenheim Fellowship Award. ARTISTS AT KIAF Her work has been displayed in solo exhibitions at Galeria dels Àngels, Barcelona (2006, 2003, 2001); De Santos Gallery, Hous- JAIME PITARCH (Barcelona, 1963) NAIA DEL CASTILLO ton, Texas (2005); Galeria Distrito 4, Madrid (2005); Sala Alcalá 31, He uses photography, video, sculpture, drawing and installations Madrid (2004) and ARTIUM, Vitoria (2004). Among other awards, to explore the possibility of linking the order of physical objects ABIGAIL LAZKOZ she has won the first prize for best exhibition in the Off Photo with more abstract orders (political, economic, etc.). In 2006, he España 2005 festival. was selected by María de Corral as one of the 16 Proyectos de SANTI MOIX Arte Español, which were displayed on the occasion of the 25th ABIGAIL LAZKOZ (Bilbao, 1971) ARCO exhibition. He has exhibited his work at the Spencer JAIME PITARCH Her drawings on paper and murals are produced in black and Brownstone Gallery, New York (2006); Museu d’Art Contempora- white in a clear, sharp style. She re-examines themes of the ni de Barcelona - MACBA, Barcelona (2006); Patio Herreriano MAYTE VIETA world around us. Museum, Valladolid (2006) and the Galeria dels Àngels, Barcelo- In 2007, her second solo exhibition will be staged at the Monya na (2004, 2000, 1997). Rowe Gallery in New York, where she lives and works. This same year, she has been selected by Rosa Martínez for an exhibition to MAYTE VIETA (Blanes, 1971) commemorate the 10th anniversary of the Guggenheim Museum in Her photographs refer to the visible world and the corporeal nature Booth S-5 Bilbao. In 2005-2006, she produced murals at P.S.1 and the Drawing of light in the face of endless space. She portrays timeless landsca- Center, New York; MUSAC, León; ARCO, Madrid and Galeria dels pes that express a world of great poetic resonance. Among her solo Àngels, Barcelona. In 2006, she won the Gure Artea prize. exhibitions the following stand out: Tinglado 2, Tarragona (2006); Fundació Vila Casas, Barcelona (2004); MUA, Alacant (2002); Gale- SANTI MOIX (Barcelona, 1960) ria dels Àngels, Barcelona (2005, 2001) and Sala Metrònom, Barce- His work shows a fascination with accumulation and movement. lona (1997). She has also participated, among others, in the follo- His pictorial universe is linked to the same concerns and volume- wing joint exhibitions: Entornos de la Colección, Centro de Arte tric forms that can be seen in his sculptures, ceramic work and Caja de Burgos, Burgos (2006) and Miradas de Mujer, Esteban performance art. He lives and works in New York, where he sta- Vicente Museum of Contemporary Art, Segovia (2005).

DIRECTOR Emilio Alvarez

CONTACT PERSON DURING KIAF Emilio Alvarez Gabriela Moragas Quico Peinado Contact telephone number during KIAF: +34 679 133 185 (Quico Peinado) +34 627 535 797 (Gabriela Moragas)

Dels àngels, 16 E-08001 Barcelona Tel.: +34 934 125 454 Fax: +34 934 125 400 [email protected] JAIME PITARCH www.galeriadelsangels.com Line, 2005 MAYTE VIETA En la nada II, 2007

SANTI MOIX Ruc, 2007 JOSÉ MANUEL BALLESTER (Madrid, 1960) Regina de Miguel has been awarded the Mención de Honor, GALERIA Lives and works in Madrid. Painter and photographer. Academy- Generación 2006, Caja de Madrid and the Premio de Artes Visua- trained artist. les Ciudad de Burriana, Castelló. Her work has been exhibited in ANTONIO DE Ballester’s work focuses on architectonic images that bear Spain’s main cities and at the Sofia Biennial, Sofia. witness to the fleeting transience of human existence and the BARNOLA passage of time. José Manuel Ballester has staged significant ROSA MUÑOZ (Madrid,1963) national and international exhibitions on all five continents and Lives and works in Madrid. Photographer. Her work has two crea- ARTISTS AT KIAF his many awards include the 1999 Premio Nacional de Grabado. tive aspects: setting up an installation and then photographing it. In 2005, the Museo Nacional Centro de Arte Reina Sofía, Madrid, Muñoz elaborates assemblages with a theatrical flavour in JOSÉ MANUEL BALLESTER granted him a solo exhibition (Habitación 523), as did the Institut which lighting takes on a primordial importance. Her work is mar- Valencià d’Art Modern - IVAM, València. ked by the power of colour and balanced composition. REGINA DE MIGUEL REGINA DE MIGUEL (Málaga, 1977) MARÍA LUISA PÉREZ PEREDA (Madrid, 1966) ROSA MUÑOZ Graduate in Fine Arts at the Universitat Politècnica de València, Her work emerges as a very personal reflection, from inside the stu- de Miguel lives and works in this city. dio, on the meaning that painting now has in the face of the repre- MARÍA LUISA PÉREZ PEREDA Her drawings, which are based on photographs and maps, sentative power of photography and the way in which both these make up a mural composition in which the field of visual collage arts are connected in terms of what they express and conceal. is widened and in which a dialogue is established between María Luisa was awarded the Creación Artística prize of the different narratives in order to shape a story about urban life. Comunidad de Madrid in 2005.

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DIRECTOR Antonio de Barnola Schönhöfer

CONTACT PERSON DURING KIAF Antonio de Barnola Schönhöfer

Palau, 4 E-08002 Barcelona Tel.: +34 934 122 214 Fax: +34 934 121 931 [email protected] www.antoniodebarnola.com REGINA DE MIGUEL Inercia - Accidente, 2007

MARÍA LUISA PÉREZ PEREDA Tubulares, 2006

JOSÉ MANUEL BALLESTER Composición, 19

ROSA MUÑOZ La habitación de casa, 2003 MIGUEL ÁNGEL CAMPANO (Madrid, 1948) “non-artistic” and “poor”, and are close to an “aesthetic of con- GALERIA Campano’s work blends abstract expressionism and the historical tempt”. His work has made him win international recognition as avantgardes, abstraction and figuration. Awarded the Premio one of the most important contemporary artists. CARLES TACHÉ Nacional de Artes Plásticas in 1996, he is considered a major Recent solo exhibitions: 1997 Museum Ludwig in der Halle exponent of the renewal of Spanish painting in the 80’s. His Kalk, Cologne; 2002 Atto Unico, Galleria Nazionale d’Arte Moder- ARTISTS AT KIAF retrospective at the Palacio de Velázquez, Madrid (1999) confir- na, . med his evolution as one of the most important figures in Spa- MIGUEL ÁNGEL CAMPANO nish contemporary art. CORNELIA PARKER (Cheshire, 1956) Recent solo exhibitions: 1999 Palacio de Velázquez, Museo Through a combination of visual and verbal allusions, the work by JORDI COLOMER Nacional Centro de Arte Reina Sofía, Madrid; 2002 Centro José this British artist, triggers cultural metaphors and personal asso- Guerrero, Granada. ciations which allow the viewer to witness the transformation of TONY CRAGG the most ordinary objects into something compelling and extraor- JORDI COLOMER (Barcelona, 1962) dinary. In the last two years, Parker has had solo exhibitions at JANNIS KOUNELLIS Colomer’s work is a perfect synthesis, through an open diversity Galleria Civica d’Arte Moderna e Contemporanea, Torino; ICA Phi- of expressive mediums, of many of the paramount ideas about ladelphia, Pennsylvania; Aspen Art Museum, Aspen, Colorado; CORNELIA PARKER contemporary art and architecture. Profoundly literary and con- Arts Club of Chicago, Illinois; and ICA Boston, Massachusetts. She ceptual, he is one of the most internationally renowned Spanish was nominated for the Turner Prize in 1997. Parker’s work is repre- SEAN SCULLY artists. Colomer exhibits usually in Europe in many important mu- sented in many institutional collections including the Tate Modern, CARLOS PAZOS seums such as the Museo Nacional Centro de Arte Reina Sofía, London, or the Milwaukee Art Museum, Milwaukee, Wisconsin. Madrid; Centre Georges Pompidou, Paris; Museu d’Art Contem- Recent solo exhibitions: 2000 ICA Boston, Massachusetts; 2001 porani de Barcelona - MACBA, Barcelona; or the Ludwig Museum ICA Philadelphia, Pennsylvania. in Vienna. Recent solo exhibitions: 2005 Arabian Stars, Espacio Uno - CARLOS PAZOS (Barcelona, 1950) Booth S-9 Museo Nacional Centro de Arte Reina Sofía, Madrid; 2005 Ara- Carlos Pazos studied architecture and graphic design. His work bian Stars, Salvador Dalí Museum, Saint Petersburg, Florida. has always been tied to objects (assemblage) and photography, with part of his own self residing in the nostalgic atmosphere TONY CRAGG (Liverpool, 1949) that surrounds his work. The nostalgia for an era gone by, and Cragg is recognised as one of the most influential British sculp- probably not lived, is the leading threat in the work of this artist, tors of his generation. His work has focused on the mulfarious who lived in New York for several years. relationships between the human being and its environment. With a broad selection of materials and sculptural strategies, the SEAN SCULLY (Dublin, 1945) artist reflects on the complex connection between figure, object This Irish painter, settled in New York for the last twenty years, and landscape which, for Cragg, includes geological and micro- is well known for his use of colour and his compositions of hori- biological systems as well as urban and industrial contexts. The zontal and vertical stripes. His work keeps a perfect balance bet- work by Tony Cragg has settled the bases to understand what has ween the dynamic gesture of the abstract expressionism and the been named as contemporary sculpture strict discipline of North American minimalism. Its contents Recent solo exhibitions: 1989 Tate Gallery, London; 1996 Cen- reflect the mystical, poetical world of the artist. Scully’s work can tre Georges Pompidou, Paris. be found in the most important contemporary art collections and DIRECTOR museums worldwide, such as the Metropolitan Museum of Art, Carles Taché JANNIS KOUNELLIS (Piraeus, 1936) New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; Born in Greece, but naturalized Italian, Kounellis is one of the and the Tate Britain, London. pioneers of Arte Povera, the artistic movement born in the USA Recent solo exhibitions: 2001 Kunstsammlung Nordrheim-Wes- CONTACT PERSON DURING KIAF and Italy in the late 60’s. The materials he uses in his works, such tfalen, Düsseldorf; 2006 Wall of light, Metropolitan Museum of Carles Taché as charcoal, bags or stones, are those traditionally considered Art, New York. Pablo Taché Contact telephone number during KIAF: +34 639 394 306

Consell de Cent, 290 E-08007 Barcelona Tel.: +34 934 878 836 Fax: +34 934 874 238 [email protected] www.carlestache.com SEAN SCULLY Brixton, London, 1998

JANNIS KOUNELLIS S/T (Couteaux), 2004

CORNELIA PARKER Brontean Abstract (Anne Bronte’s needle), 2006

JORDI COLOMER Future, 2006 IGNASI ABALLÍ (Barcelona, 1958) FRANCESC RUIZ (Barcelona, 1971) GALERIA His work, based on a conceptual approach to painting and to reality His work, essentially comprising installations based on drawings as a creative material, has been attracting a great deal of attention in which he recreates the aesthetic approach of comics, amplif- ESTRANY - since the 1990s, and has been exhibited in centres such as the Dra- ying and expanding it, has been shown in centres and museums wing Center, New York, and Printemps de Septembre, Toulouse, as such as the CRAC, Sète; MUSAC, León; Frankfurter Kunsteverein, DE LA MOTA well as in museums such as the Museu d’Art Contemporani de Bar- ; and the Centre d’Art Santa Mònica - CASM, Barcelona. celona - MACBA, Barcelona; the Serralves, Porto; the Ikon Gallery, ARTISTS AT KIAF Birmingham; and the ZKM, Karlsruhe. His participation is scheduled for 2007 in the 8th Sharjah Biennial, Sharjah and the 52nd Venice IGNASI ABALLÍ Biennale, with Robert Storr as curator. GREGORY CREWDSON DOUGLAS GORDON PAULINE FONDEVILA JOSÉ ANTONIO HERNÁNDEZ-DIEZ THOMAS RUFF FRANCESC RUIZ

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IGNASI ABALLÍ Carta de colors (Inventari-vermell), 2007

DIRECTOR Antoni Estrany - Àngels de la Mota

CONTACT PERSON DURING KIAF Antony Estrany Àngels de la Mota

Passatge Mercader, 18 E-08008 Barcelona Tel.: +34 932 157 051 Fax: +34 934 873 552 [email protected] www.estranydelamota.com FRANCESC RUIZ La zona alta, 2006 GALERIA PEREJAUME (Sant Pol de Mar, 1957) EVRU (Barcelona, 1946) Recent exhibitions Recent exhibitions JOAN PRATS 2006 Amidament de Joan Coromines, Es Baluard, . 2007 From Zush to EVRU, Shangai Duolun Museum of Modern Art Unlimited, Basilea. Art, Shangai. ARTISTS AT KIAF 2005 Perejaume, Galeria Joan Prats, Barcelona. 2006 Oficina de Flujos, Galeria Fernando Latorre, Madrid. Amidament de Joan Coromines, Fundació Caixa Catalunya, 2005 Oficina de Fluxos - Tecura, Centre Cultural La Mercè, Girona. JORDI ALCARAZ La Pedrera, Barcelona. TECURA, Workshop and installation, Art Center Nabi, Seoul. 2004 Perejaume 1977–1981, Fundació Palau, Caldes d’Estrac. 2004 ArtCieMist: the second incarnation, from Zush to Evru, CHRISTO Retrotabula, Palacio de los Condes de Gabia, Granada. Haim Chanin Fine Arts, New York. Visibilitat, Institut Cartogràfic de Catalunya, Barcelona. 2003 De Zush a Evru - ArtCieMist, Galeria Joan Prats, Barcelona. HANNAH COLLINS Esconderse, Encuentros de Arte, Sajazarra. Tecura, Galeria Palma Dotze, Vilafranca del Penedès. 2003 Para tocar el mundo / para no tocar el mundo, Galeria 2002 Zush. Evru. Trasubos recientes, Galeria Rafael Ortiz, Sevilla. EVRU Soledad Lorenzo, Madrid. 2001 Zush - Tecura, Museu d’Art Contemporani de Barcelona - Perejaume, Galeria Trinta, Santiago de Compostela. MACBA, Barcelona. FERRAN GARCIA SEVILLA Retrotabula, ARTIUM, Vitoria. De Zush a Evru: Trasubos recientes. Galeria Rafael Ortiz, Sevilla. PEREJAUME JULIÃO SARMENTO

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DIRECTOR Joan de Muga

CONTACT PERSON DURING KIAF Joan de Muga EVRU Drevisdre, 2004 Rambla de Catalunya, 54 E-08007 Barcelona Tel.: +34 932 160 290 Fax: +34 934 871 614 [email protected] www.galeriajoanprats.com PEREJAUME Alzina, 2003 LUIS BEZETA (Santander, 1976) PAOLO MAGGIS (Milano, 1978) GALERIA A visual artist who works solely in video, Bezeta’s work is simple Maggis studied at the Accademia di Belle Arti di Brera (Milano) and direct. His videos tackle topics from his everyday life, little from 1996 to 2000, and is now living and working in . METROPOLITANA stories with his personal reflections and his daily routine, and His works were shown in exhibitions in Italy from 2000 to 2003. small poetic dissertations on very simple subjects. An exhibition devoted solely to his work was put on in 2004 in Tam- BARCELONA He works from a highly personal viewpoint, one whose visual pa, Florida, and in Cologne. In 2005 he presented Monito® in approach is surprising for its freshness and unpredictability. Conegliano, in Italy’s Veneto region, and his 10 di te in the Museo del- ARTISTS AT KIAF Despite the simplicity of his work, his interest in experimenting la Permanente, Milano. He has published two catalogues: Monito®, with images and themes clearly emerges. The intention in his published by Skira, and Paolo Maggis, by Silvana Editoriale. LUIS BEZETA work, straddling between video art and the cinema, is to tell stories featuring a number of underlying layers. IMANOL MARRODÁN (Bilbao, 1964) XAVIER DÉU Imanol Marrodán could be defined as an inter-disciplinary artistic cre- XAVIER DÉU (Barcelona, 1966) ator. He uses industrial paint to compose images which, in the artist’s NÚRIA FUSTER Born in Barcelona, Déu has been involved in individual and col- own words, “act as interferences affecting our field of vision”. The lective exhibitions in this city since 1992. He has participated on works belonging to the series Núcleos de Emoción (Pinturas Codifi- BIGAS LUNA various occasions in ARCO, Madrid, in New Art Barcelona and in cadas) are in that line: he moves away from the figurative approach, other international fairs. Conceptually, he works on the basis of and creates new forms in which other original forms are concealed. PAOLO MAGGIS the metamorphosis cycle, moving towards the idea of insect His work is on display in museums in the Basque Country, such wings and relating them with air. Part of his work is merely pic- as the ARTIUM, Vitoria and the Photomuseum, Zarautz. His IMANOL MARRODÁN torial, using a technique of his own with bees’ wax. sculptures for public streets are also noteworthy and can be MARIO PASQUALOTTO Recently, he shows great interest in the ideas of air and wind found in different Basque towns and cities. and their accumulation through different objects. Part of this VANESSA PEY work evolves bringing in pieces that employ helium and smoke to MARIO PASQUALOTTO (Barcelona, 1953) give conceptual sense to his reflection on air, regarded as a This artist has worked in various fields, including installations- IRIS SCHIEFERSTEIN source of artistic and scientific inspiration. performance-environment, sculpture, sculpture-paintings, jew- ellery and graphic art, both in Europe and the USA. His first exhi- NÚRIA FUSTER (Alcoi, 1978) bitions, in 1975, were in Italy and Spain, and then he showed his Núria Fuster graduated with a Fine Arts degree at the Universitat work in various cities around Europe. Politècnica de València, and also studied sculpture and engraving Virtually all Pasqualotto’s works fall into series: specific one- Booth S-1 at Rome’s Accademia di Belle Arti. off installations of unique conception, with a tendency to use She reflects on lost utopia, the crisis of language, the decon- accumulations of materials, which are then used for subsequent struction of contemporary views and the constraints on represen- selection over a long process. In those processes, the artist tation by using everyday objects that she deconstructs and investigates the inherent properties of the materials he uses and processes on the basis of a personal code close to arte povera also submits himself to a number of major formal restrictions. and Jacques Derrida’s deconstructionism, fashioning a language of her own. She designs structures, installations and sculptures VANESSA PEY (Tarragona, 1974) in which industrial components stand alongside other products of A specialist in photography, her creative work is based on complex contemporary society. compositions and contrasts of colour and symbols, the result being DIRECTOR large-format works in which she captures the sensuality of the Pere Soldevila Puig BIGAS LUNA (Barcelona, 1946) human body. Her work is a universe inhabited by disturbing and Bigas Luna launched his creative work in the world of design in coercing icons: eyes, exotic landscapes, deserts, stones, sharp stab- 1969, but his interest in conceptual art and emerging image tech- bing weapons, fetishism and a degree of voyeurism – emerging as CONTACT PERSON DURING KIAF nologies was already evident in his first exhibitions in the early a representation of our fears, phobias, desires and passions. In this Pere Soldevila 1960s. After establishing himself as an atypical film-maker in way her photographs – which are really “frames”, pictures made in Claudia Praderio both Spanish and American cinema, he retired to devote himself video as a photographic support – become autopsies of universal entirely to painting and photography. Yet, he has since returned feelings and emotions which she shapes and colours (strong and Olga Sevillano to film-making, with films such as Las edades de Lulú (1990) or acidic, blues, reds and yellows on black and white backgrounds). Contact telephone number the trilogy comprising Jamón jamón (1992), Huevos de oro (1993) during KIAF: +34 656 810 932 and La teta i la lluna (1994). IRIS SCHIEFERSTEIN (Lich, 1966) His short Collar de moscas (2001) signalled a return to his For many years this German artist, whose studies took her to Kassel interest in avant-garde experimentation and small audiovisual and Berlin, has used dead animals as the material of her works. She Rambla Catalunya 50, principal 1 formats. Bigas Luna’s career as film director, painter and design- combines fragments to form new creatures, thus giving new faces to E-08007 Barcelona er marks him out as a truly interdisciplinary artist. death. In some cases her assemblages draw their inspiration from Tel.: +34 934 874 042 paintings by the great masters of art, or shape objects that emerge Fax: +34 934 875 092 as complete sentences, though with her aesthetic intuition and fond- ness for subtle entertainment always coming through. [email protected] www.galeria-metropolitana.com LUIS BEZETA Muñecas, 2004

VANESSA PEY Serie Shine, 2001 JORDI BERNADÓ (, 1966) MARTÍN CHIRINO (Las Palmas de Gran Canaria, 1925) GALERIA Jordi Bernadó arouses reasonable doubts in the viewer concer- Martín Chirino is one of the most influential contemporary artists ning the extent to which the images he presents are a rendition in the context of 20th century art in Spain. Chirino’s conceptual, SENDA of what is seen, or whether it is just a simulation. The images expressive, formal and material contributions to contemporary he offers us seem to be convincing and testable; at the same sculpture are widely acknowledged all over the world. Starting ARTISTS AT KIAF time, when the photographer chooses what to portray and how with his first individual exhibition in 1958, the wrought-iron spi- he wishes to capture it, the photograph ceases to be a pure ral has become the essential and constant feature in his work in JORDI BERNADÓ representation and becomes a transformation or reinvention. metal. The wind and the origins evoked are the themes referred However, in this case, the fiction does not just stem from the to under iron bands with helicoid rhythms. As he puts it himself, JOAQUIM CHANCHO photographer’s reading: the real meaning of the photograph is “The spiral that emerged for the first time over the enormous reached through the object and the subject that does the loo- lava walls of the Canary Islands has gradually taken form throug- MARTÍN CHIRINO king. In the end, it falls to the viewer’s gaze to discover what is hout the course of my work and has become a form of sculpture real in his works. that is practically a symbol today.” Chirino uses iron to impose ANNA MALAGRIDA austere lines and facial expressions that border on the essential, manifesting his personal language based on a capacity for H. C. OTTERSBACH synthesis and poetic evocation. GINO RUBERT JAIME SÚNICO DARÍO URZAY VIDEO SELECTION: BLANCA CASAS, MÒNICA FEBRER, ANA GARCIA-PINEDA, EMANUEL LICHA, MOMU & NO ES

Booth S-13

DIRECTOR Carlos Duran Basté - Chus Roig Losantos

CONTACT PERSON DURING KIAF Chus Roig Losantos

Consell de Cent, 337 E-08007 Barcelona Tel.: +34 934 876 759 Fax: +34 934 882 199 [email protected] MARTÍN CHIRINO www.galeriasenda.com Cruz y pensamiento. Sobre el barroco II, 2006 JORDI BERNADÓ Paris, Texas, 2002 ANNELISE COSTE New York. Worthy of mention among her recent exhibitions are: NOGUERAS Coste has exhibited in the following group shows: Midnight Walk- Uplands Gallery, Melbourne (2006); Centre d’Art Santa Mònica - ers, Kunsthaus Baselland, Basel (2006); The youth of today, Schirn CASM, Barcelona (2003); Hallwalls Contemporary Art Center, BLANCHARD Kunsthalle, Frankfurt (2006); Global World / Private Universe, Buffalo, New York (2003); and Rice University Art Gallery, Hous- Kunstmuseum St. Gallen, Saint Gallen; The Collective Uncon- ton, Texas (2002). Among the collective exhibitions she has been ARTISTS scious, Migros Museum, (2002); Urban Diaries: Young involved in are: the Moscow Biennale (2006); the Canary Islands Swiss Art, Sala Alcalá 31, Madrid (2003). In June she will be Biennial (2006); the Busan Biennial (2006); Long Term Installa- ANNELISE COSTE showing her work at Tate Modern, London, within the context tions, P.S.1, New York (2004); The Paper Sculpture Show, Sculp- of the exhibition Learn To Read, curated by Vincent Honoré. ture Center, New York (2003); and Outer City / Inner Space, Whit- PAUL EKAITZ Annelise Coste lives and works in Zurich. ney Museum of American Art at Phillip Morris, New York (2002). An individual exhibition is scheduled for 2007 in the Museo MICHAEL LIN PAUL EKAITZ Nacional Centro de Arte Reina Sofía, Madrid. Paul Ekaitz’s work has been exhibited in the Centre d’Art La Pan- ESTER PARTEGÀS era, Lleida (2007); Generación 2007, La Casa Encendida, Obra WILFREDO PRIETO Social Caja Madrid, Madrid (2007), where he was awarded the Prieto’s work has been exhibited most recently in the 7th Havana WILFREDO PRIETO first prize; Muestra de Arte Injuve, Círculo de Bellas Artes, Biennial, Havana, where his work Apolítico was featured in inter- Madrid (2002) and in the Sala Metrònom, Barcelona (2001). His national publications such as Flash Art, ArtForum, Art Nexus and SHIMABUKU work will be exhibited at Carré d’Art, Nîmes, next June. Paul Contemporary. Selected exhibitions include: Cordially Invited, 7 Ekaitz currently lives and works in Berlin. episodes on (ex)changing Europe, curated by Gerardo Mosquera and Maria Hlavajova, BAK, Utrecht; Island Nations: New Art MICHAEL LIN From Cuba, the Dominican Republic, Puerto Rico and the Diaspo- Lin’s recent solo exhibitions include: Kunsthalle Wien, Vienna ra, curated by René Morales, RISD Museum, Rhode Island and Booth S-2 (2006); The Contemporary Museum, Honolulu, Hawaii (2005); Stretch, curated by Eugenio Valdés, The Power Plant, Toronto. His P.S.1, New York (2004) and Palais de , Paris (2002). Amongst work is also in the Daros Collection, Zurich, and Peter Norton Col- his most important group shows are: Urgent Painting, Musée lection, New York. His work will be exhibited at the 52nd Venezia d´Art Moderne de la Ville de Paris, Paris (2002); Asianvibe, Espai Biennale, Venice, in June 2007. Wilfredo Prieto currently lives d’Art Contemporani de Castelló - EACC, Castelló (2002); Gwangju and works between Barcelona and Havana. Biennale, Gwangju (2002); Taiwan Pavilion, 49th Venezia Biennale (2001); 8th Istambul Biennial, Istambul (2001); ARS O1, Kiasma SHIMABUKU Museum, Helsinki (2001); Casino 2001, S.M.A.K., Ghent (2001) Shimabuku´s recent exhibitions include: São Paulo Biennial, São and The Sky Is the Limit, Taipei Biennial, Taipei Fine Arts Muse- Paulo (2007); Circa Berlin, Nikolaj Copenhagen Contemporary Art um, Taipei (2000). Lin has also collaborated with other ventures Centre, Copenhagen (2005); Expat-art Centre / EA C, Contempo- like Louis Vuitton, Illy Café and Moroso. rary Art Centre, Vilnius; and ICA, London (2004); Utopia Station, Michael Lin currently lives and works between Paris and Shanghai. 50th Venice Biennale (2003); Then, I decided to give a tour of Tokyo to the octopus from Akashi, IKON Gallery, Birmingham ESTER PARTEGÀS (2002); Facts of Life, Hayward Gallery, London (2001). Upcoming After studying Fine Arts at the Universitat de Barcelona and the projects include the Sharjah Biennial, Sharjah. Shimabuku cur- Hochschule der Künste in Berlin, Partegàs moved to Brooklyn, rently lives and works in Berlin.

DIRECTOR Àlex Nogueras / Rebeca Blanchard

CONTACT PERSON DURING KIAF Àlex Nogueras

Xuclà, 7 E-08001 Barcelona Tel.: +34 933 425 721 Fax: +34 933 425 722 [email protected] www.noguerasblanchard.com ESTER PARTEGÀS Les coses més importants, 2006 Pink neon installation PEP AGUT (Terrassa, 1961) the Food Pavilion, Expo Universal 2000, Hannover, and has taken PALMA DOTZE Since 1979, this multidisciplinary artist has been focusing his work part in the Documenta, Kassel; Havana Biennial, Havana; and on the issues of representation, language, the role of the artist, the Venice Biennale, Venice, among others. His performances in the ARTISTS AT KIAF space of art and the modes of artistic production and their disse- streets of Barcelona, Paris, New York and Miami have introduced mination. Pep Agut pursues a complex and personal work process him to the general public. He now divides his time between Bar- PEP AGUT that enables him to involve his aesthetic project in the political celona, Miami and New York. sense of his attitude. He has exhibited his work in the Prospekt, ROGELIO LÓPEZ CUENCA Frankfurter Kunstverein, Frankfurt; in the Venice Biennale, Venice, ANTONI MUNTADAS (Madrid, 1962) and the Biennale of Sydney, and in museums such as the Tel Aviv He has geared his practice and his investigative work towards the JOSE MALDONADO Museum of Contemporary Art, Tel Aviv, and the Museu d’Art Con- media and its relationship with aesthetics and ethics. His work – temporani de Barcelona - MACBA, Barcelona, among others. He photography, video, publications, the Internet and installations – MIRALDA has been living and working in Terrassa since 1993. engages in social, political and economic themes such as rela- tions between the public and the private space and in investiga- MUNTADAS ROGELIO LÓPEZ CUENCA (Nerja, 1959) ting information channels and media, his stance being one of acti- Ever since the late 1980s, he has been formulating a semiotic ve resistance with regard to their manipulations. Noteworthy in RABASCALL discourse that is “suited to low culture”, enabling him to reach a his extensive career were his projects in the Guggenheim and the CLAUDIA TERSTAPPEN critical fusion of the iconisation of public information, the poetic P.S.1, New York; Musée d’Art Moderne de la Ville de Paris, Paris; sign and retrieved objects. His output includes interventions in Documenta, Kassel; Gwangju Biennial, Gwangju; and Taipei Bien- public institutions, urban spaces, publications, videos, and televi- nial, Taipei. He represented Spain in the Venice Biennial, Venice, sion and web-based projects (www.malagana.com) in which he in 2005. He has been living in New York since 1971. uses language, humour and visual and allegorical poetry, playing Booth S-3 with words and images to encourage the viewer to discover new JOAN RABASCALL (Barcelona, 1935) interpretations of the language of power and the power of lan- He is a representative of Catalan conceptual art, linked with guage. He has taken part in the Johannesburg Biennial, Johan- the sociological art of the 1970s. In formal terms, his art draws nesburg; São Paulo Biennial, São Paulo; Ibero-American Biennial on influences from collage, the press and advertising. In con- of Contemporary Art, Lima and the Istanbul Biennial, Istambul as ceptual terms, he reflects on the ideology and manipulation well as in Manifesta 1, Rotterdam. that underlie the messages broadcast by television channels and the mass media. He has exhibited his work in the Venice JOSÉ MALDONADO (Madrid, 1962) Biennale, Venice; Museu d’Art Contemporani de Barcelona - His current project, in development, reviews much of his produc- MACBA, Barcelona; Centre Georges Pompidou, Paris; Neues Mu- tive output from the 1990s, starting from a realisation that serves seum Weserburg, ; Museum of Contemporary Art, Tok- as a threshold for him: the impossibility of producing a full and yo; Shizuoka Prefectural Art Museum of Art, Shizuoka; Hiroshi- satisfactory “sensation” of the communicative link expressing ma Prefectural Art Museum, Hiroshima; and the Gallery of the the reality of the subject, its intentions and its vital communica- Institut Franco-Japonais, Tokyo, among others. He has been tion needs. He has shown his work in the Prospekt, Frankfurter living in Paris since 1962. Kunstverein, Frankfurt; CAPC, Bordeaux; and the Institut d’Art Contemporain, Lyon, among other venues. Collections: Museo CLAUDIA TERSTAPPEN (Arnsberg, 1959) Nacional Centro de Arte Reina Sofía, Madrid; La Caixa, Barcelo- She is interested in belief systems, and uses photography and na; and Marugame Hirai Museum, Marugame, among others. video to cultivate her scepticism regarding scientific knowledge and the permanence of myth and superstition in various cultures. ANTONI MIRALDA (Terrassa, 1942) Selected exhibitions: Kunstmuseum, Düsseldorf (1982); Slade DIRECTOR His work is always defined by a vital sense of play, establishing Gallery, London (1992); White Columns, New York (2000); Sendai, Pilar Carbonell Fábregas a dichotomy between the amusing on the one hand and political Sendai (2002); and the Northern Territory Centre for Contempo- and social critique on the other, with irony and reductio ad absur- rary Art, Darwin (2003). Awards: Ida Gerhardi, (1990), CONTACT PERSON DURING KIAF dum as the main ingredients. With his anthropological outlook, and the Bronze Medal at the Sculpture Triennial, Osaka (1998). he brings folk elements into his projects, such as Honeymoon She has been teaching Fine Art at the Monash University in Vic- Anna Rovira Carbonell (1986-1992) and his current Food Culture Museum. He created toria since 2004. Contact telephone number during KIAF: +34 616 902 964

La Palma, 12 E-08720 Vilafranca del Penedès Tel.: +34 938 180 618 Fax: +34 938 180 618 [email protected] www.palma12.com ROGELIO LÓPEZ CUENCA PEP AGUT CLAUDIA TERSTAPPEN Warning Flag, 1922-2006 C’est avec ta pensée que je pense, 2003-2005 Fushimi-inari-taisha II, 2004

ANTONI MUNTADAS We are fantastic, 2005

ANTONI MIRALDA Pinya Americana II, 1969

JOSÉ MALDONADO Espejo ciego velado 2 (Daft Rothko Punk), 2006

JOAN RABASCALL Safari TV, My Collection Series, 1996 FRANCIS BACON (Dublin, 1909 – Madrid, 1992) JAUME PLENSA (Barcelona, 1955) POLíGRAFA Lives and works in Barcelona. CARMEN CALVO (València, 1950) OBRA GRÀFICA Lives and works in València. LILIANA PORTER (Buenos Aires, 1941) Lives and works in New York. ARTISTS AT KIAF CHRISTO (Gabovro, 1935) Lives and works in New York. ANTONI TÀPIES (Barcelona, 1923) FRANCIS BACON Lives and works in Barcelona. JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 – 2005) CARMEN CALVO CHRISTO JOAN HERNÁNDEZ PIJUAN JAUME PLENSA LILIANA PORTER ANTONI TÀPIES

Booth S-8

DIRECTOR Joan de Muga - Ángel Samblancat CHRISTO CONTACT PERSON DURING KIAF Wrapped Woman, 1996 Ángel Samblancat José Aloy

Balmes, 54 E-08007 Barcelona Tel.: +34 934 882 381 Fax: +34 934 877 392 [email protected] www.poligrafa.net JOAN HERNÁNDEZ PIJUAN Rosa rosa II, 1991

OTHER CATALAN GALLERIES AT KIAF IDROJ SANICNE (JORDI ENCINAS) (Llofriu, 1966) Spagna, il colore della passione, San Donsto Milanese, GALERIA Born in Girona, he lives and works in Barcelona. Milano and Trento. [email protected] Fundació Vila Casas, Torroella de Montgrí. FERNANDO ALCOLEA Entre las tapas, Galeria René Metrás, Barcelona. Recent performances & places of exhibition of Anarchitekton Scope New York Artfair, Galeria Jorge Alcolea, New York. (barcelona, bucarest, brasilia, osaka) (in collaboration with Jordi Rostros, Galeria René Metrás. Barcelona. ARTISTS AT KIAF Colomer & Marc Viaplana). Galeria Fernando Alcolea, Barcelona. IDROJ SANICNE (JORDI ENCINAS) 2006 Dinámicas de la cultura urbana, 9th Havana Biennial, Havana. The prodigious builders, Galerie Traversee, Munich. RAMÓN ROIG (Oropesa del Mar, 1963) Trilhas Na Mata Digital, Videocreaçao contemporanea na Espanha, MATÍAS KRAHN Solo exhibitions Museu de Arte Contemporânea de Niterói, Rio de Janeiro. RAMÓN ROIG Passages en ville, Le Bellevue, Biarritz. 2006 Galeria Fernando Alcolea, Barcelona. Communicating Vessels: video works by seven Spanish artists, 2004 Galeria Cànem, Castelló. Hara Museum of Contemporary Art, Tokyo. Fundació Caixa Vinarós, Vinarós. 2005 Patio Herreriano Museum, Valladolid. 2001 Galeria Cruce, Madrid. Terra Infirma, Espai d’Art Contemporani de Castelló - 1997 Fundació Caixa Vinarós, Vinarós. Booth P-92 EACC, Castelló. 1996 Galeria Fernando Alcolea, Barcelona. La Perspective du Cavalier (proposition of Frac Bourgogne), Fundació Joan Miró. Barcelona. Parc Saint Léger, Pougues-les-Eaux. Galeria Berini, Barcelona. Fantasmapolis, Galerie Art & Essai, Université de Rennes 2, Rennes. 1994 Galeria Fernando Alcolea, Barcelona. 1993 Caja de Ahorros Municipal, . MATÍAS KRAHN (Santiago de Chile, 1972) 1992 Galeria Fernando Alcolea, Barcelona. Matías Krahn lives in Spain since 1980. Galerie de La Tour, Groningen. Solo exhibitions Galeria Jorge Albero, Madrid. 1991 Galeria Fernando Alcolea, New York. 2006 Galeria Jorge Alcolea, Madrid. Galeria Ferran Cano, Palma de Mallorca. 2004 Galeria Jorge Alcolea, Madrid. 1990 Gallery Moos, Toronto. 2002 Galeria René Metrás, Barcelona. Galeria Lino Silverstein, Barcelona. 2001 Le Magasin d´Art Contemporain, Montpellier. 1989 Galeria Cànem, Castelló. 1999 Galeria American Prints, Madrid. Galería Fernando Alcolea, Barcelona. Recent collective exhibitions 1998 Galeria Jorge Albero, Madrid. 2006 ARCO, Galeria Cànem, Madrid. 1997 Galeria Fernando Alcolea, Barcelona. 2005 ARCO, Galeria Cànem, Madrid. 1996 Galeria Fernando Alcolea, Barcelona. ART MIAMI, Galeria Cànem, Miami. 1995 Peinlichgasse 14 Gallery, Graz. 2004 ARCO, Galeria Cànem, Madrid. Recent collective exhibitions 2003 Sala d’Exposicions CAM, Alacant. 2002 Museu Valencià de la Il·lustració i de la Modernitat, València. 2006 Gran Formato, Galeria Jorge Alcolea, Madrid. Scope Art Fair, Galeria Jorge Alcolea, New York. 2001 ARCO, Madrid. 2005 ¿Dónde está Leger?, Galeria 3 Punts, Barcelona. Scope London Artfair, Galeria Jorge Alcolea, London.

DIRECTOR Fernando Alcolea

CONTACT PERSON DURING KIAF Fernando Alcolea Contact telephone number during KIAF: +34 607 870 292

Plaça Sant Gregori Taumaturg, 7 E-08021 Barcelona Tel.: +34 932 092 779 Fax: +34 934 143 034 [email protected] www.fernandoalcolea.com MATÍAS KRAHN Untitled núm. 1, 2007

RAMÓN ROIG Cannonball, 2006

IDROJ SANICNE (JORDI ENCINAS) Espectador ante un acontecimiento contemporáneo, núm. 1, 2006 ICIC - INSTITUT CATALÀ DE LES INDÚSTRIES CULTURALS CATALAN INSTITUTE FOR THE CULTURAL INDUSTRIES

The Institut Català de les Indústries Culturals, ICIC (Catalan Institute for the Cultural Industries) is a public institution, attached to the Catalan Government’s Department of Culture, that is charged with promoting and fostering the development of the Catalan cultural industry. ICIC offers support to companies in all cultural fields: music, theatre and performing arts, audio-visual, publishing and media, and visual arts. Since January 2005, its Promotion Department has been offering support to the production of professional projects and their promotion abroad, through the access it has to international mar- kets via its network of offices around Europe. Its general objectives include, amongst others: • Providing business information, advice and contacts to both Catalan and foreign professionals and companies. • Supporting Catalan cultural companies that are looking to develop their business internationally. • Increasing the level of international trade and exchange involving creative businesses, by sup- porting and assisting those companies wishing to participate in key international fairs and exhibi- tions and drawing up specific industrial strategies, policies, programmes and activities with the aim of developing new opportunities abroad. • Publishing catalogues and other marketing tools for the Catalan cultural industry, thus increas- ing its international visibility and recognition. • Developing general policies for the cultural industries in co-ordination with the cultural indus- try trade organisations, especially with regard to initiatives designed to promote the exporting of Catalan cultural products and the opening up of new markets. ICIC’s offices are located in:

ICIC BARCELONA ICIC LONDON Rambla de Santa Mònica, 8 107 - 111, Fleet Street E-08002 Barcelona UK-London EC4A 2AB Tel.: +34 933 162 700 Tel.: +44 20 79 36 90 00 Fax: +34 933 162 843 [email protected] [email protected] www.gencat.cat/cultura/icic www.catalanarts.com

ICIC BERLIN ICIC MILANO Charlottenstr. 18 Via Montebello, 27 D-10117 Berlin I-20121 Milano Tel.: +49 30 551 95 40 Tel.: +39 02 29 00 46 41 Fax: +49 30 554 89 104 Fax: +39 02 29 00 46 45 [email protected] [email protected] [email protected]

ICIC BRUXELLES / BRUSSEL ICIC PARIS Delegació del Govern de Catalunya 3, rue la Boétie - Esc. A, 3e étage 227, Rue de la Loi / Wetstraat F-75008 Paris B-1040 Bruxelles / Brussel Tel.: +33 1 43 25 04 35 Tel.: +32 2 235 06 43 Fax: +33 1 46 34 09 10 Fax: +32 2 230 21 10 [email protected] [email protected] [email protected] [email protected] EDITION Institut Català de les Indústries Culturals Rambla de Santa Mònica, 8 E-08002 Barcelona Tel.: +34 933 162 700 Fax: +34 933 162 843 [email protected] www.gencat.cat/cultura/icic www.catalanarts.com

DESIGN Jordi Ortiz–Patxi Solà

PRINTED BY Grup 3 DL: B-20.565-2007

The Catalan galleries included in this catalogue (except for Galeria Fernando Alcolea) participate in KIAF as part of the official selection of Spain as Guest Country of Honor 2007. The official selection, curated by Toni Berini, in- cludes also the following galleries: Galería Espacio Míni- mo, Madrid (www.espaciominimo.com); Galería Moisés Pé- rez de Albéniz, Pamplona ([email protected]); Galería Moriarty, Madrid (www.galeriamoriarty.com) and Galeria Visor, València (www.espaivisor.com). The information contained in this catalogue has been pro- vided by the galleries themselves. This catalogue is exclusively intended for promotional use.

Barcelona, April 2007