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Créditos / Credits «TRANSFORMATIONS»
Direcci N Y Comisariado
/ MANAGEMENT AND CURATION
FACULTAD DE BELLAS ARTES, UNIVERSIDAD DE GRANADA
/ FACULTY OF FINE ARTS, UNIVERSITY OF GRANADA
Vicedecana de Internacionalización e Investigación / Vice-Dean for Internationalization and Research
M. Reyes González Vida
Vicedecana de Extensión Cultural y Transferencia / Vice-Dean for Cultural
Outreach and Transfer
Marisa Mancilla Abril
Vicedecana de Estudiantes, Redes y Comunicación / Vice-Dean for Students Services, Networks and Communications
Rosario Velasco Aranda
INSTITUCIONES COLABORADORAS
/ PARTNER INSTITUTIONS
FACULTY OF PAINTING AND
DRAWING, UNIVERSITY OF THE ARTS POZNAŃ, POLAND
DEPARTMENT OF ART, FACULTY OF EDUCATION, MASARYK
UNIVERSITY, CZECH REPUBLIC
Artistas participantes
/ Participating artists
Tomasz Kalitko, Marcin Lorenc, Joanna
Marcinkowska, Marek Przybył, Ondřej Navrátil.
Asistentes y montadores
/ Assistants and assemblers
María Blanco Pérez
Nilo Isla Montes
Salvador Jiménez Poyatos
Eduardo Martín Moreno
Javier Megías Molero
Rocío Moreno Molina
Estefanía Muros Pereira
Xuezheng Wu
Qianyu Yang
Ayudas recibidas
/ Assitance
Programa 8 “Ayudas para otras acciones de internacionalización y de cooperación” del Plan Propio de Internacionalización del Vicerrectorado de Internacionalización de la Universidad de Granada (2019).
Programme 8 of the Internationalization Plan of the Vice-Rectorate for Internationalization of the University of Granada (2019): Grants for other Internationalization and Cooperation Initiatives.
Erasmus+ Programme. Key Action 1 «Mobility for learners and staff». Higher Education Student and Staff Mobility (2019).
Performance inaugural / Openning performance «FRONTIERS»
«TRANSFORMATIONS»
From the cycle Street , 2019. Monotyping and marbling on the foam, 20
Marcin Lorenc
Sierra perdida , 2019.
Acrylic on cotton, 155 x 150 cm.
Ballance, 2019.
Acrylic on cotton, 155 x 150 cm.
Broken links , 2019.
Acrylic on cotton, 155 x 150 cm.
Travels among remains of reality , 2019.
Acrylic on cotton, 155 x 150 cm.
Joanna Marcinkowska
Beyond the Event Horizon , 2019. Mix technic, print on the paper, 27 x 60 cm.
Surface of Last Scattering, 2019. Mix technic, print on the paper, 20 x 60 cm.
“The lands shown and described in my works belong to the domain of imagination, they contain only debris of reality, few familiar sounding names of places, monochromatic forms that recall projection of mountain ranges, deserts or oceans. All of that seems to be balancing on the edge that divides the real / literal, and the conventional / abstract. The space that is being created is the room for the viewer’s imagination.”
Marek Przybył
FRONTIERS.
Flood and Drought , 2019
Photography from village Sowiniec - Poland
Photographic composition.
SOCIETY.
Different forms of live and behavior, 2019
Photographic composition.
Photo 9. Discussion (Kórnik city, Poland).
Photo 10. Man on his tractor (Serbia).
Photo 11. Nuns walking (Bilbao, Spain).
Photo 12. Conversation (Srebrna Góra city, Poland).
Photo 13. Man in front of the Shanghai subway (China).
Photo 14. Girl looking into her telephone (Lisbona, Portugal).
Ondřej Navrátil
Academic art , 2019. 2014/2019
Book 10 x 10 cm, 260 pages, drawing 21 x 30 cm.
“The book presents my picture (130x200 cm) in real size. I was inspired by the conditions of the exhibition abroad where only digital or very small work can be carried. That is why I transformed the big canvas into the small book.
The project is also a commentary on my current profession as a university art history teacher. I’m getting more and more into details of art history, but I can’t see it as a whole (like a viewer who browses through my book).”
“Zoom project is an attempt to make a new contact with the viewer. Placing an artwork in the urban space, using the infrastructure that is available and prepared for it, such as bill- board or city light is a kind of deceiving game with well-established patterns of the art work perception. In the campaign “Zoom“, the city is an art gallery, and everyone may be a viewer.
The assumption of the project is a two-way study. On the one hand, it is an analysis of the strength and possibilities of functioning of work of art in the urban space, and its impact in relation to the commonness of the visual culture surrounding us. On the other hand, we look at the reaction of the viewer that is not prepared for contact with painting in such a place, as well as at the open and ambiguous message that the work of art brings within itself. In this case, the recipient is removed from a safe, conventional situation of the relationship guaranteed by the art gallery. Thanks to this activity, the viewer can become a creator. Lack of certainty in identifying the existing situation may also cause sensitization to the everyday scenery of the city.”
