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April 2022 

Temporary generation
Olamide Ogunade
21.4.2022 – 21.6.2022

Investec Cape Town Art Fair – Digital Event

Jacob Van Schalkvywk | Kamyar Bineshtarigh | Jake Aikman | Olamide Ogunade

2021

Suburbia Contemporary abre sus puertas en el nuevo espacio de Barcelona el 15 de septiembre 2021. La galería llega con su proyecto y su compromiso con las artes visuales a la Eixample Dreta.

Suburbia nació en 2018 en Granada, con el imperativo de reunir artistas de variados orígenes culturales y ubicaciones geográficas dentro de un solo grupo, presentando puntos radicales de similitud entre diferentes materiales culturales, obras y tradiciones artísticas de todo el mundo.

Reflejando esta filosofía, la galería lanzó Satellite, proyecto que ha tenido sede en Ciudad del Cabo (2019) y Florencia (2020), estructurando el contacto entre Oriente, Occidente, Norte y Sur. Su programa de exposiciones está en constante evolución y comprometido con la crítica, abierto a sistemas de conocimientos tradicionales, lenguajes secretos y ocultos, así como definiciones futuras de arte y práctica artística.

Con su llegada a Barcelona, Suburbia comenzará con un nuevo programa comisariado por la artista visual Mabel Palacín , para la construcción de un contexto local, apoyando jóvenes artistas y nuevas prácticas artísticas contemporáneas con encuentros y exposiciones.

Suburbia inaugura con la exposición grupal “Urban environments and imaginary spaces”, con presencia de obras de:

Eliel David Pérez Marínez
Jake Aikman
Anna Marzuttini
Jacob van Schalkwyk
Ako Atikossie
Sepideh Mehraban
Grip Face
Lucy Jane Turpin
Jaime Poblete
Han Bin

PRESS
Artes visuales y gestión del talento
Estrategias para la promoción y difusión de artistas emergentes en Andalucía (España) y otros contextos iberoamericanos
ISBN: 978-84-09-27912-8
2021, Sevilla, España

2020

September 2020

Surroundings 
Satellite project space 

Exhibiting Artists:
Jake Aikman | Michelangelo Consani | Bonolo Kavula | Sepideh Mehraban | Mabel Palacín | Laura Paoletti | Robert Pettena | Jaime Poblete | Jacob Van Schalkwyk | Shakil Solanki

Read article
meer – Surroundings 
10 Sep – 18 Dec 2020 at Satellite in Florence Italy

March 2020

El pasajero – Mabel Palacin 

Aware that an image is rarely just an image anymore, for about two years I have taken pictures of passengers on public transport in many cities. Cities I live in, have temporarily lived in, or been passing through.

The fleeting encounters with people of all kinds, characters for me, trace human geography of movement that stimulates fantasy. I have wondered many times if I could come across any of the travelers again but in this period of time it has never happened. I have instead come across the gestures of some carried by others and from station to station I have observed the beauty of repetition and I have imagined patterns in which to read messages and look for snapshots made of data.

Data like snapshots capture moments of existence and viewing it has become a way to communicate complexity. We generate data that generates us and that circle extends a quality of photography: seeing what otherwise could not have been seen, discovering hidden perspectives on the world.

The passenger is a set of almost 4,000 photographs that generate shapes, drawings, stories. The passenger is all the passengers or the one that each one decides to find among all. An image is rarely an image anymore, we move in an interdependence where it is difficult to recognize our own limits and our contour becomes blurred.

The passenger appears for the first time in Suburbia where the images generate circles that order gestures and resonances forming an eye that looks at us while 77 passengers consult the mobile, 15 read, 16 sleep, 22 looks at us but only one hug some loaves of bread.

FULL PROJECT

2019

ARP – Art Residence Project 7th Edition is designed and promoted by Centro Luigi Di Sarro, Rome, Italy and with the partnership of Suburbia Contemporary in Granada, Spain, and Satellite project space in Cape Town, South Africa.
ARP 7th Edition is realized with a contribution of MAECI – Ministry of Foreign Affairs and International Cooperation and of Media Aid Onlus.
This call is an opportunity to encourage the artistic production by emerging artists in the countries involved, Italy, Spain and South Africa.

Thursday, 12 Sept – Sunday, 15 Sept

LATITUDES ART FAIR 2019

Mmabatho Grace Mokalapa

August 2019

Satellites
Exhibition curated by Alexandra Karakashian and Khanya Mashabela.

Exhibiting Artists:
Isabel Fuentes
Thuli and Asher Gamedze
Jared Ginsburg
Khanya Mashabela
Mitchell Gilbert Messina
Mmabatho Grace Mokalapa
Alexandra Karakashian
Bonolo Kavula
Max Thesen Law
Kyu Sang Lee
Jaime Poblete
Brett Seiler

May 2019

Jaime Poblete
Nigredo

Alquimista visual

Las obras de arte que el artista Jaime Poblete exhibe en Suburbia Contemporary, galería en Granada, España, denotan una subversión en el manejo bosquejado de las técnicas tradicionales del arte, hoy modalidades artísticas contemporáneas. Así el conjunto de piezas en Nigredo, título de la exposición, designan sensorialmente una pluralidad de estados de construcción visual, sensorial y estética. Esta última como categoría filosófica asociada al arte como proceso (s). Así aparecen estos procesos que el artista propone para solucionar sus aptitudes plásticas: descompone normas rígidas de clasificación técnica para desdoblamientos particulares de elevada potencia resolutiva, purifica los estados de asimilación e interpretación espacial para despertar e iluminar, desde esta ocupación espacial  y cromática, la maleabilidad en la contemporaneidad de la estructuración arquitectónica de las composiciones visuales. Una estructuración que transita entre conceptos y metáforas reverberando en la formación del pensamiento critico, de convicciones y de vivencias a partir de la acción y articulación de todos los agentes artísticos contemporáneos, como el artista, la obra de arte y el público, entre otros.

Las cadenas asociativas que el  artista articula, entre todas las posibilidades inquiridas y atingidas, para hacer fulgurar conceptualmente sus obras de arte y el espacio arquitectónico, denotan la proyección de una propulsiva sintaxis estructural que disuelve la presencia totémica en la piezas tridimensionales y garantiza una proyección ilimitada de posibilidades asimilativas e interpretativas en las que no poseen esta realidad espacial.

Los misterios desde lo cromático, las articulaciones de las tramas, las duplicidades antagónicas y las flexibilidades compositivas de los diversos materiales y sus superficies, los argumentos de las composiciones plásticas, las maleabilidades impositivas de las sombras que se presentan en matices de autenticidad y capacidad proyectivas únicas, colocan  al artista  en la categoría de alquimista visual.

Andrés I. M. Hernández
São Paulo, Mayo 2019

2018

2017 – No profit

Suburbia inaugura este sábado la exposición 'Mirage', de Giovanni Ozzola

El centro cultural Suburbia inaugura este sábado a las 20.00 horas la exposición ‘Mirage’, de Giovanni Ozzola (Florencia, 1982), que actualmente vive y trabaja en las Islas Canarias.

La obra de Giovanni Ozzola se centra en la conjunción de diferentes formatos artísticos como son la fotografía, la instalación y la vídeo-instalación…

Robert Pettena
Interview by Francesco Ozzola

Francesco Ozzola: Who are you and what do you do?
Robert Pettena: I spend all my time studying the dynamics of society and the powerful relationship it has with art and the art system, understanding the language of art and how this language changes and why it changes. Sometimes it changes faster than the cultural system in which it is embedded, and society struggles to follow.

FO: What’s your background?
RP: I had a very alternative childhood, spent between England and Italy. Society was changing radically in the 1970s. Individual independence was becoming more important than the idea of the family unit and compromise between family members was no longer considered important. Left wing intellectuals were not keen on sacrificing their independence for the greater good of society. Utopian ideas were strong at that time. People wanted to change things drastically without considering whether it might have been better to make compromises for in the 1970s compromise was frowned upon.
I had the opportunity to experience the squatting movement in Brixton with all the subculture that this entailed. I was also taken to the Albion Fayres, small, alternative festivals where young people had the chance to develop their creative potential. In Italy too I experienced an alternative culture in the country side. Our parents encouraged us to express ourselves creatively right from an early age.

FO: How has your practice changed over time?
RP: My practice has always combined my desire to understand society with memories of my childhood. I can take a theme such as libertarian education and work on it in depth, but whatever the theme it will always be connected to my childhood experiences in some way. Libertarian education was something my parents believed in passionately.
When I started working on Nobel Explosion I was fascinated by Alfred Nobel’s laboratory where he invented dynamite but where he also grew orchids. As a child I wanted to be an inventor – I loved inventing things – including explosives. Nobel was full of contradictions, a meta-example of corporate power.
Over time my art has changed outwardly from being apparently introverted to becoming apparently more extroverted, but how real is this change? Some of my later works, such as ‘The Torture of Meditation ‘ at the Venice Biennial could be seen as something inward looking, though on the surface it may be critiquing society.

FO:
What role does the artist have in society?
RP: I don’t think the artist should have a role. The artist should be sensitive and aware of changes in society before they occur, like the canary in the coal mine. Art doesn’t change society but the artist can draw people’s attention to things that are occurring, things they might otherwise be unaware of. Whenever an artist takes a position he is manipulated by the powers above.

FO: What research do you do?
RP: One project in particular: Nobel Explosion, involved clear philological research to understand the dynamics of corporate power and the way in which it always has to present a positive image of itself. The Nobel corporation wanted the pubic to remember Nobel for his prize, not for the many types of explosives he invented and sold, causing death and destruction in so many countries. This made me think about the positive image of myself that I would like to create for posterity.
I did quite a lot of research for libertarian education, which shed light on my own upbringing.
But in the end my research is always connected with my childhood and the development of society.

FO: What makes you angry?
RP: I’m angry when I think about the way that the best art is always sponsored by the richest elements within an exploitative system. Art sustains the system, even when artists are critical of it, because the system finances them. As artists, whether we achieve fame or not, we give our life blood to the system. The inevitability of this short circuit makes me angry and this anger stimulates my creative juices.

FO:
What’s your dream project?
RP: I dream of living off my art, being able to develop art projects for people without interference from a system that uses the artist as a fragment to embellish itself, within a small, alternative society.

FO: Name something you love and why.
RP: When I travel I lose the idea of a destination or an objective and I begin to discover something in the transient relationships I make along the way, the food I taste, things I see. I love losing myself in the flow of the journey.

FO: Name something you don’t love.
RP: I hate inhuman rules and restrictions that ignore the soul of the people. I detest authoritarian people who try to impose their ideas on others, manipulate people around them and engulf other people’s ideas. Charismatic people tend to annoy me after a while. So I hate McDonalds!